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Nigeria, West Africa, Benin Kingdom
Leopard Hip Ornament, 18th century
8 1/2 x 5 7/8 x 3 1/4 in. (21.6 x 14.9 x 8.3 cm)
Friends of Art Fund, 1955
View this object's K-12 Classroom Resource Sheet
Brass leopard head ornaments such as this were given by the Benin monarch to his war officers, who wore them slung at the hips. The ornament signified that the ruler had delegated to the wearer the authority to take human life.
From the fifteenth through the nineteenth century, the powerful Benin Kingdom spread throughout southern Nigeria. Although the oba,1 a divine king, ruled the state, his many chiefs helped in its administration. They were organized in a highly hierarchical system, and costume elements reflected their rank. Brass, still a precious metal in Benin today, could in the past only be worn with the oba's permission.2 Brass pendants, worn at the hip, took the form of human, ram, crocodile, baboon, and leopard heads.
The oba was the only person in Benin who had the right to take human life, and the leopard was his symbol. When he delegated his power to kill to his war leaders, he gave them a leopard head pendant.3 The oba also wore leopard head pendants, but his were carved from ivory--a material forbidden the chiefs by sumptuary laws--and were usually worn in multiples around his waist.4
The Oberlin pendant shows a leopard with pouched cheeks, large slanted eyes (the proper left eye set slightly higher than the right), and a nose with pierced nostrils. The partially open mouth reveals a tongue caught between two rows of teeth, which include prominent incisors. Three ropelike raised whiskers flank either side of the mouth, and the leaflike ears are placed close together on the narrow forehead. The leopard has raised spots, differing in diameter and degree of relief; the surrounding surface is stippled. Two semicircular flanges are placed behind the head. The top flange is narrower and is filled with an openwork interlace pattern, while the bottom flange displays a somewhat crooked, openwork crosshatch pattern. Both are edged with an s-spiral border. The bottom flange additionally includes a row of rings that were originally hung with jingling crotals. The mask was attached to the costume by the two cast-on rings on the back, located on the top and bottom.
Several southern Nigerian cultures historically produced brass hip pendants.5 The Oberlin leopard pendant is, however, clearly from Benin. It follows stylistic conventions established in Benin brass by at least the sixteenth century, when standing figures of horn-blowers or military officers were depicted on figurative plaques wearing similar pendants. A Benin leopard pendant which appeared in a recent auction was attributed by William Fagg to the sixteenth century. 6 Slightly smaller than the Oberlin example, its facial modeling is more pronounced; it includes inlaid iron eyes, but lacks the raised spots. Barbara Blackmun dates the Oberlin pendant to the seventeenth or eighteenth century, a convincing conclusion based on its style, quality, and weight.7
Human head pendants from Benin are quite common, but only about fifty leopard head ornaments survive.8 Several have been published in sales9 or collection catalogues,10 but none are identical in treatment or form to the unusually large Oberlin example. Leopard spots are often rendered as flat circles, although some pendants have raised copper insets. Many examples include flanges, although they are seldom so elaborately constructed. Crotals, raised whiskers, and stippling are also common. Almost all known brass leopard pendants are cast, although a few nineteenth-century examples are made from beaten sheet brass.11
The leopard was, and is, a widespread symbol of authority and rulership in southern Nigeria, conferring by association the animal's characteristic beauty and elegance, as well as its deadliness, speed, and surety, upon the wearer.
Since Oba Ewuare's reign in the mid fifteenth century, the leopard has been inextricably identified with the monarchy12 Before he was crowned, Ewuare lived in exile, wandering in the wilderness. One day he awoke to feel blood dripping on his face. He looked up and saw a leopard resting on an overhanging branch, an antelope in its jaws. Interpreting his survival as a sign of luck and an omen of future kingship, he demonstrated his mastery by killing the animal. Ewuare subsequently decreed that all future obas should sacrifice a leopard at least once during their reign.13
Seventeenth-century European visitors saw semitame leopards at the Benin court.14 In precolonial times, several highly respected royal guilds dealt with the leopard,15 the oba's animal counterpart. When a leopard, dead or alive, was brought before the oba, its face was covered, for, as a Benin proverb states, "Two obas can't see each other's faces."
K. Curnow
Brass casters, like all those who made or took care of objects for the oba, belonged to hereditary guilds. When the oba desired an object, he summoned the guild chiefs, gave them their orders and raw materials, and awaited the product. The oba's satisfaction with a work resulted in awards which were shared by guild members according to an internal hierarchy. Although there was certainly room for creativity within the guild, conformity to certain set models was expected, and apprenticeship training encouraged the continuity of traditions.
While the individual maker of the Oberlin pendant is unknown, he would have been a member of the brass caster's guild, or Igun Eronmwon.16 Working only at the oba's command, they created cire perdue heads and figures for his ancestral altars, as well as pendants, bracelets, and other ornaments for his chiefs. Before casting took place, guild members purified themselves and practiced sexual abstinence to achieve an ideal ritual state. They then prayed and made offerings to their ancestors, to their personal guiding spirits (ehi), and to Ogun, deity of iron and war, who is personified by tools and metal itself.17 While casters worked on smaller projects (probably including hip ornaments) in their own town quarter, more ritually significant objects were made in secrecy at the palace. In such instances, the oba himself participated in the pouring of metal.
The leopard pendant was purchased for the museum in 1955 from the African art dealer J. J. Klejman of New York. He had bought this piece earlier in the year and, in a letter written to the museum, said it was "brought to Europe by one of the high officers who commanded the punitive expedition."
The 1897 Punitive Expedition resulted in the British colonial rule. By the late nineteenth century, the British had extended political and mercantile control over parts of southern Nigeria through trade and "protection" treaties. In 1897 the Acting Consul-General James Phillips decided to visit Benin City to pursue a stronger trade agreement with the then-independent kingdom. The oba asked Phillips to delay his trip until a festival ended, since strangers were barred from entering the city during its celebration. Ignoring the
oba's message, Phillips and eight other Britons--accompanied by several hundred African porters--advanced towards Benin. Insulted by their actions, Benin's generals intercepted the party and killed most of them. In swift retaliation, the British Navy undertook a punitive attack. They conquered the kingdom, tried and executed several chiefs, and exonerated but exiled the oba himself. He died in 1914, but the British allowed his son to be crowned; his grandson rules today as the thirty-eighth monarch of the present dynasty. During the British conquest, the city burned, and thousands of palace and chiefly treasures were taken as booty. Some of these objects were sold in Lagos, Nigeria; others were auctioned by the Foreign Office in London to benefit the widows of British Soldiers killed during the Punitive Expedition. Many choice items remained in private hands; the Oberlin ornament was apparently one of these private souvenirs.
Kenwood, London County Council, 1962. An American University Collection: Works of Art from the Allen Memorial Art Museum. 30 May - 30 October. Cat. no. 13.
College Art Journal 14, no. 4 (1955), cover.
Allen Memorial Art Museum Bulletin 21, no. 2 (1964), p. 113-15, no. 70.
Robbins, Warren M., and Nancy Ingram Nooter. African Art in American Collections, Survey 1989. Washington, D.C., 1989, pp. 222-23, no. 574.
Blackmun, Barbara. "The Face of the Leopard: Its Significance in Benin Court Art." Allen Memorial Art Museum Bulletin 44, no. 2 (1991), pp. 24-35.
Technical Data
The Oberlin pendant is in excellent condition. While oxidation has darkened this cire perdue work,18 only a little corrosion is evident on the teeth. In Benin, it would have been kept polished to a high sheen with lime juice and sand. At the back, the upper flange shows a hole just to the right of the ring, and small holes are evident just below the right ear. Some of the interlace shows minor damage which may have occurred during the casting process. The collar of the piece was originally hung with thirty crotals; all but two of these are missing, although eleven additional attachment wires remain.
1. The oba, or king, of Benin holds a hereditary position that follows the rules of primogeniture. Although the British colonized Benin in 1897 and Nigeria became independent in 1960, Benin's monarchy survives. While the oba and his chiefs no longer direct economic affairs or create state policy, they still have strong ceremonial and religious roles, and retain political influence.
2. The pendant's polished brass surface was not only aesthetically pleasing, but also protective, for as Barbara Blackmun ("The Face of the Leopard: Its Significance in Benin Court Art," Allen Memorial Art Museum Bulletin 44, no. 2 [1991], p. 29) observed, it was believed to deflect "hostile spiritual energies by turning their malevolence back upon the instigators." Brass was also an expression of wealth and status, and Benin eagerly imported this metal once trade with Europe was established.
3. Warriors were adorned with numerous references to the leopard. Depending on their rank, these included leopard tooth necklaces, actual leopard skins, simulated skins made from leather-trimmed cloth, and hip pendants in the form of a leopard's head or the even rarer full leopard, which was worn by the Iyase, the leader of the war chiefs.
4. A sixteenth-century plaque in the British Museum, London (inv. 98.1-15.43), includes a depiction of the oba wearing three leopard pendants; they seem flatter than the Oberlin pendant and were probably made of ivory. See Philip J. C. Dark, An Illustrated Catalogue of Benin Art (Boston, 1982), fig. 59.
5. The ninth- or tenth-century Igbo site of Igbo Ukwu, to Benin's east, yielded examples of cast elephant, ram, human, and leopard head pendants; see Thurstan Shaw, Igbo-Ukwu (Evanston, Ill., 1970), passim. An eleventh- or twelfth-century terracotta figure from the Yoruba site of Ile-Ife, to Benin's west, wears a ram's head pendant at the hip. The work is now in the collection of the Department of Archaeology, Obafemi Awolowo University, Ife, Nigeria; illustrated in Henry J. Drewal, John Pemberton, with Rowland Abiodun, Yoruba: Nine Centuries of African Art and Thought (New York, 1989), p. 60.
6. Willam Fagg, One Hundred Notes on Nigerian Art from Christie's Catalogues, 1974-1990 (Milan, 1991), pp. 67-68.
7. Barbara Blackmun ("The Face of the Leopard: Its Significance in Benin Court Art," Allen Memorial Art Museum Bulletin 44, no. 2 [1991], p. 34 n. 1) summarizes the literature on the dating of Benin art, and states that while the Oberlin face is similar to pendants depicted in seventeenth-century reliefs, the weight of the brass and the style of the flanges appear to be eighteenth century.
8. Philip J. C. Dark, An Illustrated Catalogue of Benin Art (Boston, 1982), p. 2.4.10.
9. See for example, London (Christie's), 5 December 1973, p. 29; sale New York (Parke-Bernet), 22 April 1965, p. 25.
10. A fine example is at The Metropolitan Museum of Art, New York; dimensions, inv. 191.17.36. Reproduced in Kate Ezra, Royal Art of Benin: The Perls Collection (exh. cat., The Metropolitan Museum of Art, New York, 1992), p. 167.
11. See Philip J. C. Dark, The Art of Benin (exh. cat., Chicago Natural History Museum, 1962), pl. 21.
12. Many of the oba's praise names refer to him as the leopard (ekpen owa) of the home, as opposed to his forest counterpart, the leopard of the bush (ekpen oha). Because the oba is a divine king, it is sacrilegious to speak of him as partaking in ordinary human activities. When the oba is sleeping, courtiers say, "The leopard is in the shelter"; when he is ill, they say, "The leopard is sick in the wilderness."
13. Ewuare's decision concerning a sacrifice is said to have been the beginning of the formalized ritual of Igue, the sacrifice to one's head. The head is considered the seat of an individual's good fortune, and Igue is performed to ensure a man realizes his maximum potential. The proverb, "The leopard has a good head, that is why he has the beads," reinforces this linkage between the oba(whose coral-beaded attire exemplifies his own wealth, achievement, and Igue benefits) and the leopard.
14. Leashed leopards formed part of the oba's festival procession; see Olfert Dapper's seventeenth-century account, cited in Thomas Hodgkin, Nigerian Perspectives (Oxford, 1975), p. 169. Unchained, they could act as warders. In 1652, a Spanish Capuchin missionary complained, "That night we were kept under guard, and the next day...[they] took us to a grove where we remained in the company of five leopards who watched us"; see A. F. C. Ryder, "The Benin Missions," Journal of the Historical Society of Nigeria 2, no. 1 (1961), p. 245.
15. Different guilds cared for the oba's pet leopards, or hunting bush leopards, treated their pelts, and processed other body parts for use as medicines. See Barbara Blackmun, "The Face of the Leopard: Its Significance in Benin Court Art," Allen Memorial Art Museum Bulletin 44, no. 2 (1991), p. 31.
16. Even today, all guilds working with metal belong to the Igun sector, which has separate branches to work iron and brass. Membership in these groups is hereditary, and only males are involved in the work. The brass casters live in one neighborhood and today are composed of numerous lineages. Philip J. C. Dark, An Introduction to Benin Art and Technology (Oxford, 1973), p. 51.
17. Philip J. C. Dark, An Introduction to Benin Art and Technology (Oxford, 1973), p. 52.
18. Nearly all Benin brass were produced by this method; some fifteenth-century works were only a millimeter thick.


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As filmmaking, it's uninspired. As journalism, it's shoddy. As biography, it's muddled. Shane Salerno's Salinger is all of these things and less — a confusing, meandering and ultimately pointless look into the life of writer J.D. Salinger. The story of the author of The Catcher in the Rye, who spent most of his life in seclusion, is obviously a curious tale, since so much of his later life is veiled in mystery. And while it's obvious that Salerno — who spent years researching and filming Salinger — is fully engrossed in the topic, the film lacks a clear, focused direction, trying to squeeze too many tangents, stories and interviews into its runtime. The result is a frustrating, scattershot documentary with no obvious thesis and even shakier intentions.
In most ways, it's easier to list what Salinger does wrong, since it doesn't do a whole lot right. Early on, we're told that Salinger (who's occasionally approximated onscreen by a double who looks distractingly and confoundingly nothing like the man) had a natural distrust for education and being told what is true and what to believe by teachers and the establishment. We're then subjected to two hours of hearsay and secondhand stories, some told by Salinger scholars and contemporaries, others told by people with obvious axes to grind, most of it rarely escaping the level of pop psychology. His surviving family — his widow, his son, his daughter — are never interviewed, and it's not clear if Salerno even approached them. Instead, for some unknown reason, we're left to hear from Martin Sheen and Ed Norton (who shows up for about 10 seconds to read a letter), even though none of them actually knew the man or appear to have any connection to his work. (The trailer's promise of including such luminous literary critics as Judd Apatow and Danny DeVito is thankfully unfulfilled.) Tom Wolfe shows up to tell a story he heard from True Grit author Charles Portis — a story, mind you, he admits he may not remember correctly — who once accidentally encountered Salinger. Where is Portis to corroborate this story? Who knows. The film would rather have Philip Seymour Hoffman pop up to explain how hard it is to be famous.
The movie never has a good grasp on Salinger the man, sometimes painting him as a fragile genius and other times as a maddening tyrant. Don't be mistaken, this isn't for the purpose of illustrating a complex man. Salinger is far too unorganized for that, as its narrative jumps around, occasionally folding in on itself and contradicting facets of the story it just told, while never bothering to flesh out its ideas (if this were a college paper, it'd be covered in red ink). The idea is to detail Salinger's life as a means of illuminating his writing, but the film fails to convey the importance of his work—and it certainly isn't brave enough to broach the topic of where his legacy would be if he hadn't receded from the spotlight of fame. While I didn't mind watching it, the further I've gotten from it, the more its failures and faults become visible. It seems that the Weinstein Company — who are distributing the film — realized this, too, waving a flag of surrender and announcing various cuts and changes to the film. I'm not even sure if the movie I'm writing about will be the one playing in theaters this weekend (thanks for that, Harvey), but I can say that Salinger's missteps are more than simply cosmetic, and sans some immense overhaul, I imagine there's little that can be done to save it now. Rated PG-13 for disturbing war images, thematic elements and smoking.
Starts Friday at Carolina Cinemas

subset: commoncrawl


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Q&A with with astronaut Ron Garan
Astronaut Ron Garan lived and worked in space for 178 days. He flew spacecraft. He traveled 71,075,867 miles in 2,842 orbits of planet Earth. But he has only been interviewed in a women's bathroom once - during a tornado warning lockdown at NASA's Space and Rocket Center in Huntsville, Ala., with USA TODAY reporter Natalie DiBlasio.
Your first time that you launched into space, what were you thinking?
"'What am I getting myself into?' I was anxious but you've trained so much for that point and you don't have time to be scared. You have to focus and concentrate on your job."
What do you bring with you?
"On my first flight I brought Eli Manning's Super Bowl jersey – but I had to give it back to him. CDs, family pictures, flags from different organizations – things like that."
What happens if you don't like the people you are stuck up there with?
"I have never heard of that happening. Everyone gets along because you are in a wonderful place with a really important job to do."
The greatest thing about being in space?
"Looking back at the earth and the weightlessness – it feels euphoric. My morning commute to work is flying."
When you are getting ready to go home how do you feel?
"You are really excited to see your loved ones and to experience everything that defines the beauty of life on our planet – which is a lot that you take for granted, But there is a lot that defines the beauty of life on space that you know you'll probably never see again. It's like a wonderland."
What items do you miss most when you are in space?
"Pizza and beer. Not necessarily in that order."
Garan will be live tweeting and answering questions on Twitter during National Geographic's Live From Space broadcast on Friday, Mar. 14 at 8 p.m. The live show will give viewers access to NASA astronaut Rick Mastracchio and Japanese astronaut Koichi Wakata on the International Space Station.


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| 15.1°C Dublin
WikiLeaks founder Julian Assange is due to make a speech to the United Nations on the eve of the 100th day since he sought political asylum at the Ecuadorian embassy in London.
Mr Assange will speak to a UN meeting in New York over a satellite link.
He arrived at the embassy on June 19 as part of his bid to avoid extradition to Sweden where he faces sex allegations.
Mr Assange fears he will be extradited to the United States over the activities of the whistle-blowing website if he travels to Sweden.
He was granted political asylum by the government of Ecuador last month and has remained in the embassy ever since.
Ecuador's foreign minister Ricardo Pantino will address the United Nations on the subject of political asylum, referring specifically to the Assange case.
PA Media


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We already showed you the moody, intense first trailer for Warren Ellis' new novel Gun Machine, with narration by Wil Wheaton and art by Ben Templesmith. Now check out a crazier, possibly creepier trailer directed by Siege, aka Clayton Cubitt.
The "dream" version of this trailer appeared the other day at Vulture — but now here, exclusively at io9, is the "nightmare" version. Warning: may cause epilepsy and feelings of deep uneasiness.
Director: Siege, aka Clayton Cubitt
Editing, Compositing, Effects: Jeff Dragon
Soundtrack: Meredith Yayanos
Grooming: Katie Wedlund
Wardrobe: Signe Yberg
The Hunter: Joe Heaps Nelson
Additional audio effects: CGEffex via Freesound


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PolCo now for sale!
advICo's radiation hard DC/DC pol-converter is now being offered for commercial use.
PolCo is a key component for next generation communication satellites. Due to its radiation hard design it can also be used in nuclear (e.g. LHC) and medical (e.g. CT) equipment.
- [2018-05-30] advICo completes 24GHz 4ch 5dBm PA for automotive radar.
- [2017-08] advICo begins system design for 800Gbps 12-PAM fiber optical links and modeling of high-speed interconnects.
- [2016-05-30] advICo on Sensor+Test 2017
- [2016-05-10] advICo on Sensor+Test 2016
- [2016-02] advICo completes 4 channel 28Gbaud linear TIA and modulator driver for Silicon Photonic.
- [2015-11-24 to 26] See POLDI on the booth of iCHaus during the SPS-IPC Drives in Nuremberg
- [2015-09-08 to 10] advICo attends EuMW
- [2015-05-13] advICo on Sensor+Test
- [2015-04-13] PolCo completed
- [2015-01] advICo completes design of medical ultrasonic phased array transmitter for mobile ultrasonic imaging.


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Category: Start / Ensembles/Performers/Associations/Societies / Ensembles/Consorts
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"With each vibrant performance, La Monica engages the music and the audience with passion and affection. Their artful programming and dramatic flair have established this dynamic combination of solo soprano voice and string ensemble at the forefront of the American early music scene.
La Monica delivers refreshing recitals exploring the depths and heights of 17th and 18th century music, whether theatrical or lyrical, obscure or celebrated. The ensemble has appeared on New York's prestigious concert series, Music Before 1800, and has also been presented by the J. Paul Getty Museum, Houston Early Music, the Pittsburgh Renaissance & Baroque Society, San Francisco Early Music Society, and early music festivals of Bloomington, Indianapolis, Amherst and Washington's Whidbey Island. " See website for more information. (ed.)
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"Les Délices is quickly establishing its reputation for polished, expressive, and dynamic performances of masterpieces and little-known works from the French Baroque. Founded by baroque oboist Debra Nagy, Les Délices is comprised of some of the nation's top early music specialists, each with notable careers as soloists, chamber musicians, and teachers. In addition to touring engagements, Les Délices presents two to three concert sets per year in Northeast Ohio in intimate settings that encourage cooperation and mutual interest between local visual and performing artists. Les Délices' performances on period instruments allows them to explore the rich tapestry of tone colors available in this repertoire, and the group's name conveys their approach to the music of this era: a delight, a fine delicacy, sumptuous, and exciting. Audience members have called their performances "exquisite," "superb," and "breathtakingly gorgeous," while the Cleveland Plain Dealer has lauded the ensemble's "rhythmic buoyancy, suave phrasing and seamless interplay." Les Délices has been delighting audiences with regional concerts in the midwest since 2006, made their Boston recital debut in June 2009, has had live performances featured on WKSU's In Performance, and will have their new recording featured as part of the Audio-guide for an upcoming exhibit at New York's Metropolitan Museum of Art (Watteau, Music, and Theater)."
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"The Baroque ensemble Les grâces formed in the spring of 2008 in order to explore seventeenth- and eighteenth-century music. The ensemble's performances are equally inspired by the four young performers' passionate musicianship, as well as their collective study of historical performance practices at leading conservatories in Europe and the US. The name Les grâces stems from a long literary and artistic tradition. The number of graces varies in different depictions, but there were usually three. Daughters of Zeus and Hera, they were representations of brightness (Aglaia), joyfulness (Euphrosyne), and bloom (Thalia). Seventeenth- and eighteenth-century artists frequently depicted them as nude females, united by a sash, representing harmony. Taken as general symbols of love, beauty, and fertility, they are often accompanied by Cupid or Mercury, their male counterparts. " Visit website for more information. (ed.)
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"For more than a decade, LIBER (formerly Liber unUsualis) has been the foremost interpreter of late medieval music in the United States. LIBER's artistic director and founding member, William Hudson, is doggedly devoted to rediscovering and performing this ancient repertoire. His extensive research and meticulous preparation of the music of the late medieval period highlights the vitality of this music. Audiences leave a LIBER performance entertained, enlightened, and energized by their new experience of this ancient art form."
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" Using historic instruments, the professional musicians of the Ensemble recreate the unique characteristics of style and musical expression known to the composers of the Renaissance, Baroque and Classic eras. The Long Island Baroque Ensemble is committed to authentically duplicating the sounds and ambiance of times gone by." See website for more information. (ed.)
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"The group was organized in the spring of 1983 and are recognized as an important early music ensemble performing on period instruments.
Frances von Seggern Bach, viola da gamba and baroque cello; Adriana Zoppo, baroque violin; Anthony Brazier, baroque flute; Wm Neil Roberts, harpsichord. " Visit website for more information. (ed.)
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"Machicoti (Ma-Shee-Co-Tee) is dedicated to creating exhilarating interpretations of medieval music. The group debuted in 2003 and has performed medieval music from France on concert series around the city, including Midtown Concerts, Salon Concerts at Stern, the New York Early Music Series, the 2007 and 2004 New York Early Music Celebrations, and recent concerts in conjunction with NY Public Library's "Splendor of the Word" exhibition. Individually, the members have sung with such early music groups as Ensemble for Early Music, Pomerium, New York Collegium, Infiorare, and City of Ladies. The original machicoti were the skilled vocal soloists at Notre Dame Cathedral in Paris in the twelfth century, who created virtuosic improvisations on the liturgy and beyond-a tradition later preserved in manuscripts. " Visit website for more information. (ed.)
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"The Madison Bach Musicians ensemble is dedicated to presenting the music of Johann Sebastian Bach—as well as works by other great composers of the Baroque, Renaissance, and Classical periods—through performances, lectures, and workshops. Bach's music was chosen as a focal point because of its outstanding beauty, variety, and profundity and because it speaks with urgency to modern audiences; it is the high water mark of musical expression and craft in western culture. In pursuit of the greatest clarity we perform primarily on period instruments, and our ensemble sizes are typical of those used by Bach himself. ... " Visit website for more information. (ed.)
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"Magnificat was formed in 1991 by its conductor, Philip Cave, to explore the rich diversity of choral music from the last five centuries. The ensemble specializes in the restoration and performance of neglected choral masterpieces of the 16th and 17th centuries. The choir ranges from four to forty voices and has performed a wide range of music, both a cappella and with its own orchestra of period instruments. " See website for more information. (ed.)
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"At the core of the ensemble is the duo of singer Donna Stewart and lutenist Ron Andrico. One of the few professional lutesong duos in the United States, their unique and immediate sound blends respect for authenticity with solid musicianship and a flair for improvisation. Their fresh and engaging approach imparts the immediacy of folk music to renaissance music. ..
Mignarda - Donna Stewart and Ron Andrico - perform historical music that transcends history. Ron Andrico is a lute specialist with publication of several important music editions and scholarly articles to his credit. Mezzo soprano Donna Stewart has a long background in research and interpretation of Gregorian chant and the renaissance choral repertory. Together, the duo specialize in performing music that resides in the grey zone between folk and art music, with interpretations that follow the renaissance ideal of 'moving the passions' of the listener. .."
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"Modern Musick, under the artistic leadership of music director John Moran and concertmaster Risa Browder, is a baroque chamber orchestra founded in Washington, DC in January 2002. Taking its name from an eighteenth century primer The Modern Musick-Master or the Universal Musician, Modern Musick seeks, through the immediacy of live performance, to restore a sense of newness to music of the 17th and 18th centuries. To this end Modern Musick uses period instruments and historical performance practices as a starting point allowing the musicians the freedom to make new discoveries. Modo (latin for "just now"), the root of the word "modern" is the perfect description for cutting edge music making of the moment."
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"Mostly Motets is a small vocal ensemble that sings sacred music primarily from the Renaissance and earlier. The group typically sings works by 15th and 16th century composers such as: Byrd, Tallis, Palestrina, Victoria, Dufay, Desprez, and Frye as well as some Gregorian chant and other works from the Middle Ages. " See website for more information. (ed.)
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"The Mozartean Players, founded in 1979, is one of the oldest continuously active early-music organizations in America. It is also one of the most distinguished, as measured by all criteria: critical response, the breadth and volume of its performing history, the distinction of the auspices that have welcomed it, the influence it has borne on other musicians, and the quality of its recorded legacy.
The current configuration of the group as a piano trio is comprised of Steven Lubin, fortepiano, Anca Nicolau, violin, and Myron Lutzke, cello. The group's repertoire spans the era from Haydn through Schumann, the period during which the piano, starting as the delicate, five-octave, wooden-frame instrument of the classical period, changed gradually into the larger, early-romantic piano. A large proportion of the group's touring has involved Mr. Lubin's readily transportable five-octave Walter fortepiano replica, performing trios of Haydn, Mozart and early Beethoven. By special arrangement, the group also tours with its romantic Graf piano replica (both replicas by R.J. Regier), offering works by the later Beethoven, Schubert, Mendelssohn and Schumann. The stringed instruments are accordingly in period disposition. " Visit website for more information. (ed.)
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"Music City Baroque (formerly Belle Meade Baroque) brings the world of Historically Informed Performance to Nashville and the Middle Tennessee region. Through the use of period instruments, and the latest musicological findings on matters such as pitch, articulation and tempo, Nashville audiences are able to experience the world of seventeenth and eighteenth century music in all its original color and passion.
The mission of this not-for-profit organization includes performances with larger instrumental ensembles, workshops and programs with guest experts in the field from around the country, and on-going collaborations with area educational institutions."
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Added on: Feb 19, 2012 | Hits: 1906
"Music of the Spheres™, formed in 2000, is an early music group based in San Francisco and Atlanta, consisting of Baroque violinist Jeanne Johnson, Baroque cellist Joanna Blendulf, and harpsichordist Yuko Tanaka. Music of the Spheres has performed at the 2006 Tage Alter Musik Festival in Regensburg, Germany, on the San Francisco Early Music Society series, as a main event for the 2002 Bloomington and Berkeley Early Music Festivals, and on several broadcasts of "Harmonia" and "Performance Today." Highlights of 2007 include a performance on the Frick Collection series in New York.
We give lively, fun and informative performances, often interacting informally with our audiences and speaking about composers, history and our instruments. Our programs focus primarily on music of the 17th and 18th centuries, and in addition to performing major works by well-known composers, we also introduce little-known composers and works which are new to our audiences. We are available for concerts, series, festivals, recordings and advanced master classes. Our CD's are available at www.magnatune.com. " See website for more information. (ed.)
Added on: Mar 02, 2008 | Hits: 1717
"Since its founding in 1979, Music's Re-creation has performed to high acclaim in both Europe and America, including appearances at the Lufthansa Festival of Baroque Music in London, York Early Music Festival (U.K.), Kilkenny Festival (Ireland), the Music in Old Krakow Festival (Poland), Carmel Bach Festival, and the Berkeley Festivals. Their CD recordings of music by Clerambault, Telemann, and Leclair on London's Meridian label have received praise from critics worldwide. Their four newest recordings on the Centaur label feature the music of C.P.E. Bach, Marin Marais, Georg Philipp Telemann, and William Lawes.
Well known for their performances of trios, quartets, and chamber cantatas from the Baroque era, the group has also expanded in size to perform such large-scale works as Monteverdi's Vespers of the Blessed Virgin, Purcell's Dido and Aeneas, famous operatic arias by Handel, and concerti by J.S. Bach. Over the years Music's Re-creation has collaborated in concert with a long list of distinguished guest artists, including Jaap Schroder, Stanley Ritchie, Andrew Parrott, Nicholas McGegan, Nancy Argenta, James Bowman, Judith Nelson, Derek Lee Ragin, Jennifer Lane, and Julianne Baird.
Music's Re-creation has held artistic residencies with the University of Washington in Seattle and the Renaissance and Baroque Society of Pittsburgh and is currently based in the San Francisco Bay Area. The ensemble's name was inspired by Jean-Marie Leclair's Recreation de Musique (1736), and John Playford's Musick's Recreation on the Viol (1682).
Added on: Mar 02, 2008 | Hits: 1723
"Musica Angelica is led by Music Director Martin Haselböck, the internationally renowned organist, conductor, and composer. Regarded as Southern California's premier Baroque ensemble, Musica Angelica presents wide-ranging programs encompassing music from the early Baroque through the early Classical era.
Since its inception in 1993, Musica Angelica has produced an annual subscription season of orchestral and chamber concerts in venues throughout Los Angeles County, programming a mixture of known masterworks along with rarely heard gems, and featuring many of the best Baroque musicians from across the country and Europe. Guest conductors have included Rinaldo Alessandrini, Giovanni Antonini, Harry Bicket, Paul Goodwin, and Jory Vinikour, among others. Concertmaster/Resident Artistic Director Elizabeth Blumenstock, the noted Baroque violinist, programs Musica Angelica's chamber music series.
Musica Angelica's first international tour, distinguished by sold-out performances and wide critical acclaim, took place in March 2007 in a joint venture with Haselböck's acclaimed European orchestra, the Wiener Akademie of Vienna. The ensemble presented 13 performances of Bach's St. Matthew Passion in Los Angeles, New York, Savannah (Savannah Music Festival), Mexico, Hungary, Austria, Spain, Italy and Germany. " See website for more information. (ed.)
Added on: Feb 10, 2008 | Hits: 2173
"Founded by local musician and early music enthusiast, John Truitt, Música Antigua de Albuquerque has been performing medieval, Renaissance and Baroque music since 1978. In recognition of New Mexico's Hispanic tradition, the ensemble concentrated on the repertoire of Renaissance and medieval Spain in its early performances. Soon, however, the organization began to broaden the scope of its repertoire, and its concerts have since featured music from many areas in Europe from the 13th-18th centuries.
Música Antigua has given guest performances throughout New Mexico, including Las Cruces, Silver City, Portales, Hobbs, Taos, Tucumcari, Los Alamos, Socorro, Grants, Corrales, Cedar Crest, Tomé, and Mountainair. The ensemble has given joint performances with the Sangre de Cristo Chorale and the Coro de Cámara, and has collaborated with the Cathedral Church of St. John in productions of the medieval Play of Daniel and T. S. Eliot's Murder in the Cathedral. In 2002, the group performed for the Southwest Repertory Theater's Shakespeare Festival. The ensemble has also given tour performances in Houston and Milwaukee. In addition to its concert series and guest performances, Música Antigua gives frequent lecture-demonstrations of early music and instruments to adults and students of all ages. " See website for more information. (ed.)
Added on: Feb 10, 2008 | Hits: 2156
" Musica Antigua de Toledo works to recreate the styles and sounds of early European music (pre-1800 CE) with as much historical accuracy as possible, using various combinations of voices and period instruments.
Each year we present a concert season of music organized around a theme, using various subjects, time periods, or national styles.
Several school programs are offered to acquaint children with early music and society, including colonial America.
The ensemble is available for programs specialized to fit your entertainment, educational, or holiday events. We occasionally join forces with other musical and dance groups! " See website for more information. (ed.)
Added on: Feb 10, 2008 | Hits: 1862
"MUSICA ANTIQUA NOVA is the Westchester County concert series of the baroque ensemble REBEL, performances of which take place in two historically notable and acoustically excellent venues in Westchester County: the Bedford Presbyterian Church in Bedford, NY and the Paramount Center for the Arts in Peekskill, NY. Three to four programs are presented annually, and ofte include guest artists of international repute. The series aims to present both known and rarely if ever heard 17th- and 18th-century repertoire, performed on historical instruments of the period, in an intimate setting. Receptions often follow the concerts, at which the artists mingle freely with the audience. " ...
Added on: Feb 02, 2008 | Hits: 1714
"Musica Pacifica achieved recognition as one of North America's premiere baroque ensembles soon after the group's founding in 1990. Mining a rich vein of Baroque literature for mixed wind/string ensemble, the group performs the spirited chamber concerti of Vivaldi and Telemann, colorful dance suites from the courts and opera houses of France, and the more intimate solo, duo, and trio sonatas from European countries as diverse as Scotland, Poland, Spain, and England. Musica Pacifica has been described by the press as "some of the finest baroque musicians in America" (American Record Guide) and "among the best in the world" (Alte Musik Aktuell). At home in the San Francisco Bay area, the artists are members of Philharmonia Baroque, and they appear with many other prominent early music ensembles nationally and abroad. ... " See website for more information. (ed.)
Added on: Feb 10, 2008 | Hits: 2039
"Described as one of the discoveries of the 2001 early music festival in Regensburg, Germany, Musicians of the Old Post Road has been captivating audiences in the US and abroad with its exciting programming and virtuoso performances. As a chamber ensemble specializing in the period instrument performance of music from the Baroque, Classical, and early Romantic periods, the ensemble specializes in offering a dynamic and diverse repertory that includes rediscovered works that have been lost to audiences for centuries."
Also, visit these associated Old Post Road sites:
Podcasts: Discover Podcasts
YouTube Channel: musiciansopr
OPR Editions: Old Post Road Editions
Added on: Jul 27, 2010 | Hits: 3879
"Founded in 2006, the New Esterházy Quartet takes its name from the Hungarian estate where Joseph Haydn lived and worked for nearly three decades, and from the noble family who were his employers and patrons. The name also honors Quartetto Esterhazy, the ground-breaking historical string quartet from the 1970s, with the blessing of that ensemble's eminent founder and leader, Jaap Schroeder.
The members of the New Esterházy Quartet are internationally-known period-instrument and chamber music specialists Kati Kyme and Lisa Weiss, violins, violist Anthony Martin, and cellist William Skeen. As individuals, the players perform in the top echelon of early music ensembles such as Orchestra of the 18th Century, the Bach Ensemble, Artaria Quartet, Smithsonian Chamber Players, Arcadian Academy, the Göttingen Festival Orchestra, and Musica Angelica. In addition to many years of musical collaboration in Philharmonia Baroque Orchestra, American Bach Soloists, and a long list of renowned chamber ensembles, these four Bay Area players have enjoyed decades of friendship and shared experience. Their history as both colleagues and friends endows the quartet with an unusual commonality of musical language and gesture, and provides a strong foundation for a unique and original ensemble voice.
The New Esterházy Quartet has embarked on a performance voyage featuring all 68 of the string quartets of Franz Joseph Haydn. The concerts will span two seasons, culminating in 2009, the 200th anniversary of Haydn's death. This is the first complete period-instrument Haydn cycle ever performed in North America. Composed over a period of a half-century, Haydn's quartets contain some of the most imaginative, sophisticated and expressive composition in all of music, providing great joy to players and listeners. For the New Esterházy Quartet, the chance to learn and perform the complete Haydn quartets represents the opportunity of a lifetime. " See website for more information. (ed.)
Added on: Mar 02, 2008 | Hits: 1839
"Since its founding in 1972, the New York Consort of Viols has championed the beauty and breadth of music written expressly for or especially suited to the viol. Acclaimed as a foremost ensemble for its dynamic Renaissance and Baroque repertoires, the Consort also performs medieval music on such instruments such as the rebec and vielle. The group commissions contemporary works as well.
The Consort has performed for enthusiastic audiences on campuses and in concert series throughout North America. These include such notable venues as Milwaukee's Early Music Now, the Berkeley Festival, and New York's Music Before 1800. In 1992 the Consort traveled to Turkey to perform in Istanbul and Ankara. The Consort has also collaborated with many accomplished early music ensembles such as Pomerium, Zephyrus, the Boston Viol Consort, the Yukimi Kambe Viol Consort, the Waverly Consort, the Ensemble for Early Music and Music For A While. ... " Visit website for more information. (ed.)
Added on: Aug 06, 2008 | Hits: 1981
"The Newcastle Players perform Renaissance, Medieval, Celtic and British folk music on lute, baroque guitar, theorbo, viola da gamba, recorders, whistles and other period instruments. The Baltimore based ensemble was formed in 1994 when as members of the Peabody Renaissance Ensemble they collaborated to form a smaller group. Each member has extensive experience with early music perfomance on period instruments. " See website for more details. (ed.)
Added on: Feb 18, 2008 | Hits: 1783


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|Members List
|Today's Posts
|Mark Forums Read
|Topic Review (Newest First)
|Jan 15th, 2009 11:41 PM
Max, damn your brilliant hide, this is easily the best thing you've written on this site, and easily one of the very best essays of the year gone by. Trimming away the wonderfully lunatic fringes-- Gary Busey, the STAR WARS stuff-- there's some profunidity in there.
Yes, profundity. A word that looks wrong no matter how long you look at it. And I look at it a long-assed time, believe you me.
Jesus and Santa in the bar-- although it sounds like the set-up to a joke Henny Youngman might have discarded in the early '70s-- is some great character work and honest-to-Xenu pathos, but the best thing here (IMNSHO) is Santa as the derailing nightclub magician. I don't think we should hope for a Burbank piece that sounds like Mamet; we should wait for something by Mamet, that sounds like Burbank. 'Cos that Burbank fella, he's damned good.
|Dec 30th, 2008 05:22 PM
Dear Mr. Burbank
You are brilliant. Thank you.
|Dec 22nd, 2008 08:35 PM
|Great work. I was reading this before going to bed and had a giggle attack suddenly (you know snorted to stifle the laugh)at the memory of the II. variation and blew snot on my sleeping wifes back. Well she was sleeping - then she wasn't...chuckling about that now...
|Dec 22nd, 2008 11:45 AM
|Hey, Pretz! I pmed and emailed you, I hope you got them. Merry Christmas!
|Dec 22nd, 2008 06:22 AM
|Very nice article, Max. I enjoyed it a lot, thank you.
|Dec 20th, 2008 10:44 PM
Ah, Gary Busey. That man is a flippin' train wreck. Who knew he could be so funny, at least in this?
I do believe in the spirit..of commercialism.
|Dec 20th, 2008 05:59 PM
|What in the (you are going to) hell.
|Dec 20th, 2008 03:44 PM
|wow max. you are so talented. seriously
|Dec 20th, 2008 11:41 AM
|Awesome in every imaginable way.
|Dec 20th, 2008 08:00 AM
|This is seriously the best thing I've read in a while and one hell of a fine Christmas gift, Max.
|Dec 20th, 2008 03:44 AM
|David Mamet is the worst playwright I've ever read (by force, as well in English class). Just throwing that out there.
|Dec 20th, 2008 12:17 AM
|Tetsu Deinonychus
Once again a wonderful blend of dark humor and artistic surrealism.
Max, you are a true master!
BTW, I will totally paint that crucified Berger Meister Meister Berger painting!
|Dec 20th, 2008 12:09 AM
|El Sammo
Max, darling, you make me weep. On the philosophy of Max's little article...
It's not really funny. If you laugh at it, you're kind of messed up. The biting, dark truths that Max reveals with each platinum piece of prose are too bright for many human minds to see. We blink and shudder away from such thoughts. Is head trauma that funny?
Laugh damnit you broken little fool, it IS that funny!
sorry, overboard
|Dec 19th, 2008 07:31 PM
|very dark humor, i love it!
|Dec 19th, 2008 03:20 PM
|Haha, that was a kickass read!:3
|Dec 19th, 2008 02:49 PM
|That was beautiful.
|Dec 19th, 2008 01:39 PM
|Colonel Flagg
|I agree, it's good to have Max back, writing articles again. And I respectfully disagree, this piece is meant to be funny. Gary Busey thinks so, at any rate.
|Dec 19th, 2008 12:16 PM
|Personally I don't think this article is meant to be funny - I think it elicits a great deal of pathos, in particular the variations containing dialogue between Jesus and Santa. It also reminds us of what a good writer Mr. Burbank is, and makes me glad to have him back and writing articles. Excellent use of Roman numerals too!
|Dec 19th, 2008 12:01 PM
|Mental Pooperscooper
IX-if Santa is Luke than is the Easter Bunny the Emporer?
In any case V is easily my favorite
|Dec 19th, 2008 10:30 AM
|i love how mr. burbank combines "hilarious" and "depressing" into such wonderful pieces!
|Dec 19th, 2008 10:13 AM
|Ha Ha! Nice one Max.
|Dec 19th, 2008 10:09 AM
|Thank you Max that was all I wanted for christmas. Hahaha. Seriously that was funny. Never stop.
|Dec 19th, 2008 09:56 AM
|Dec 19th, 2008 03:33 AM
|Purple Man
|Number 9 FTW.
|Dec 19th, 2008 03:12 AM
The Santa/Jesus Variations
Automatically generated comment thread for The Santa/Jesus Variations.


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Nicki Gig
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The Micasaverde & Vera community forums have moved Click here to visit the new Vera Control community forum
I might have some news about this in a few months.
Yes. We're in the process of translating HomeWave to Xamarin, a cross-platform environment that targets iOS, Android and potentially Windows phone, desktop or OSX as well. There's still a long way to go though!
If your computer is on the same local network as your Vera you can control her from your PC with simple HTTP commands via eg the wget command or if your familiar with Powershell 3.0 you could use Invoke-WebRequest in a script.Simplest way would be to create icons on your desktop (or in a Vera folder on it) for all commands you create. Execute them by double clicking the icon. Although I have a programming background and did a lot of it on ye olde Commodore Amiga I retired from that a while back when that platform died. There may be tools for Windows to make simple a GUI interface to interact with the above backend scripts.On that note, GetVera released a Windows 10 app which may work on a Windows 10 PC. I'm making the most of my Windows 7 box for another 27 days until I have to 'assimilate'.


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- "I'll be whoever you want me to be. So, whaddaya say?"
- ―Chet, to Bella.[src]
Chet is a man who flirts with Bella Swan in the movie adaptation of New Moon. This character is created exclusively in the movie, and does not exist in the novel.
He is portrayed by Michael Adamthwaite.
Bella approaches Chet in attempt to see Edward in her mind by putting herself in dangerous situations.
He takes her on a joyride on his bike, but she orders him to stop shortly and then goes back to Jessica by herself. Jessica accuses her of being "crazy, or suicidal."
Physical appearance
Chet is a partly balding man in his late 20s, with dark blond hair, blue eyes, and reaches the height of 6'1". He also has a mustache and wears a black earring on both of his ears.
Film portrayal
Chet is portrayed by Michael Adamthwaite in the New Moon movie.
Community content is available under CC-BY-SA unless otherwise noted.


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Pirates shut out Rangers, clinch winning season
First time Bucs will finish over .500 since 1992
Pittsburgh Pirates manager Clint Hurdle had no special message for his team and there was no big celebration after what was a special victory for their long-suffering fans.
With their 1-0 victory at Texas on Monday night, the Pirates clinched their first winning season since 1992. But victory No. 82 was really just another step toward their goal of getting into the playoffs.
"It's going to touch a lot of people on a lot of different levels. We are aware of it," Hurdle said. "Everybody's here for a reason, and that's to knock down things we haven't done in a long time."
Before rookie right-hander Gerrit Cole (7-7) threw seven scoreless innings with a career-high nine strikeouts to win a pitcher's duel against Yu Darvish, the Pirates hadn't had a winning season in more than two decades -- since the last of their three consecutive NL championship series appearances under manager Jim Leyland.
"We don't really understand what the fans have been through. I know it definitely puts a smile on their face when they see that No. 82 up there," Cole said. "We're extremely happy to be able to make them feel like we've got a winning team out there. But we've got a few weeks ahead and those are going to be some real big games."
The Pirates (82-61) didn't get a runner to second base against Darvish (12-8) until Marlon Byrd's two-out double in the seventh. He came home when Pedro Alvarez, mired in a 5-for-41 slump over 12 games, followed with a double.
"It's a huge deal for me. It certainly thrills me to be a part of that," said Pirates hitting coach Jay Bell, the shortstop on that 1992 team.
"I understand the significance of this game, the 82nd win, more than probably at least most of the players here," said second baseman Neil Walker, the team's first-round pick in 2004. "As big as this win is for the city of Pittsburgh and the organization, and as big a deal as the media is going to make out of it, we still have a lot of baseball to play. We've got a lot of games we need to win, we're in a tight race."
The Pirates moved within a game of NL Central-leading St. Louis, which swept Pittsburgh in three games over the weekend.
Cole got out of a self-induced jam in the sixth after consecutive walks to Elvis Andrus and Alex Rios, his only walks in the game. Andrus got his 38th career stolen base -- the Rangers pulled off a double steal when Rios reached before Adrian Beltre grounded out.
"The sixth inning could have gotten out of hand," Cole said. "I was just able to get the ball down on them."
Tony Watson pitched a perfect eighth, his 14th consecutive scoreless outing. Mark Melancon worked the ninth for his 12th save in 14th chances to close out Pittsburgh's 16th shutout of the season.


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If it were a few years ago, I would've recommended Stripburger. It used to be a favorite. Prices went up, competition grew fierce and it wasn't as convenient for me to frequent it so its been a long while since I've been.
My brother and I were reminiscing and decided to grab dinner there tonight. I was pleased to see they still had the atomic fries on the menu. I recall them being delicious. They were still good, but I missed the heavy hand of jalapenos. These were pretty sparse. I ordered the jalapeno popper burger and he couldn't choose between the BBQ Whiskey burger or the Blue burger so he opted for the sampler of three sliders so he could try them both. He also got a shake since he used to love it. The burgers should have been prepared medium, they were medium well at best. The buns were dry, the meat crumbled. The fried cheese on my burger tasted like flour and grease. I pulled it off so it would be edible. His BBQ burger came with mayo and really threw off the flavor. At least, the shake was decent.
The waitress never asked how our meal was, but she was pretty prompt refilling drinks and taking our order. $40 later, we were wishing we went to In & Out and bought doubles for everyone in line. Money would have been better spent. It's a shame how bad this place has become.


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Newsletter of the Call of Girona - Number 13 «Light and stars in the Jewish quarter»
February 2010
The sky, the stars and the Jews
Joan Miró Ametller
The contribution of Hebrew culture to astronomy did not become important until, having already been identified in terms of its Jewish content, it was introduced within the context of other cultures. This does not mean that Hebrews and Jews in general did not make astronomical observations or knew nothing about astrology. It is self-evident that they were permanently in contact with peoples that not only knew about it but also practised it, races and peoples with whom they cohabited and had everyday contacts. It simply means that the only records that we have in this respect are a few references in the body of sacred, historical, literary and regulatory texts that we could describe as being of an official nature. In contradiction of the negative statement at the beginning of this text, I myself could make all manner of daring speculations based on the texts I have just mentioned, on references found in the different books of the Bible, in which we can assume what happened during the Babylonian exile and, if I accept that legendary origins are the fruit of oral traditions that had some basis in reality or at least reflect a desire for cultural identification, it can even be recalled that Abraham's ancestors lived in Ur of the Chaldees, a land where observation of the night sky and of astrological formations had great political significance.
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BOSTON — A majority of club operators say that they think positively about implementing environmentally friendly practices in their businesses, but a majority does not think that doing so will lead to more members or more profits, according to a recent survey by the International Health, Racquet & Sportsclub Association (IHRSA).
More than 70 percent of 130 IHRSA-member health club operators surveyed said that they had a strongly positive perspective about implementing green practices. Green practices were a moderate priority for 54.7 percent and a high priority at 33.1 percent. Sixty-five percent said sustainability practices would set them apart from competitors.
However, only 35 percent said that green practices would increase membership, 38.8 percent said it would increase membership retention and 48.9 percent said it would increase club profits.
"Across all industries, green is down and on the back burner," says Will Phillips, CEO of Rex Roundtables and founder of Greenhealthclubs.org. "It never really got on the front burner for clubs."
Unfortunately, he adds, the club industry tends to follow rather than lead in the area of green, so even though it is considered cool to be green, most in the industry do not consider it to be exciting.
Phillips says that the club industry has two groups driving what green movement there is in the business. The first are owners who have a green value set, and the second are owners who want to save money. Phillips says that going green may mean an initial upfront investment, but the efforts will pay off with lower costs in the long run. Some of the efforts even save thousands of dollars each month.
Green business practices include improvements as small as recycling and cleaning with non-toxic products, to larger construction projects using building materials with low volatile organic compounds, using post-consumer recycled materials, i.e. rubber flooring, and installing Leadership in Energy and Environmental Design-certified heating, air conditioning and ventilation systems in clubs.
Despite Phillips' dire assessment of the green efforts in the industry, Jay Ablondi, IHRSA executive vice president of global products, says that going green is a hot topic in business, and interest and awareness from the club industry are growing.
"Club operators are increasingly paying attention to member concerns regarding environmental issues, exploring green business opportunities and implementing appropriate programs: both formal and informal," Ablondi says.
Bruce Buckbee, managing partner of Leisure Green LLC, who collaborated with IHRSA on the survey, says, "The world's increasing need and focus on environmentalism presents health club owners and operators with the opportunity to improve the health of the environment as well as that of their members. Going green can have a positive impact on a club's image, establish them as leaders in their communities, positively impact its recruitment and retention of members and employees, and improve its bottom line."


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FRANKFURT (Reuters) - German engineering conglomerate Siemens (SIEGn.DE) will have to take additional gross writedowns of more than 250 million euros ($321.13 million) on the solar business that it is exiting, a German paper reported.
The additional amount is made up of writedowns on the value of company units, operational losses and writedowns on solar projects that have already been started, Financial Times Deutschland reported in a story to be published on Monday, citing company sources.
In total, the company is booking losses of 800 million euros on its solar business, which it started in 2009, the paper added.
Siemens announced last month it was pulling the plug on its loss-making solar business as part of plans to improve profitability.
Siemens was not immediately available for comment.
As part of its plans to quit solar, Siemens is exiting the Desertec project, which envisages Europe will import up to a fifth of its electricity from solar and wind parks in North Africa and the Middle East by 2050.
FTD reported in a separate story also to be published on Monday that State Grid Corporation of China and First Solar (FSLR.O) were considering taking stakes in Desertec.
($1 = 0.7785 euros)
Reporting by Victoria Bryan, Maria Sheahan and Jens Hack; Editing by Marguerita Choy


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President Lyndon Johnson asked John Kenneth Galbraith to write him a speech on economic policy. After glancing at it LBJ said 'You know Ken, the trouble with economics is it's like peeing in your pants. It feels hot to you, but leaves everyone else cold'.He follows that nugget with a nice essay about Keynes, J.A. Hobson and Karl Marx in light of recent economic history. This discussion of how Keynes linked his theory of fluctuations in The General Theory to his essay on economic growth, Economic Possibilities for Our Grandchildren, was particularly interesting:
However, by 1943, he had sorted out his thoughts on the matter. He now envisaged three phases after the war. In Phase I, which he thought might last 5 years, investment demand would exceed full employment saving, leading to inflation in the absence of rationing and other controls. In this phase consumption should be restricted in order to reconstruct the war damaged industries.In phase 2, which he thought might last between 5 and 10 years, he foresaw a rough equilibrium between full employment saving and private plus public investment, with the state pursuing an active investment policy.In Phase 3, i.e. by about 1960, he thought that investment demand would be so saturated that it would not be able to match full employment saving without the state having to embark on wasteful and unnecessary programmes. In this phase, the aim of policy should be to encourage consumption and absorb some of the unwanted surplus of saving by increasing leisure and more frequent holidays. This would mark the entrance to the 'golden age' of capital abundance. Eventually Keynes thought that 'depreciation funds would be almost sufficient to provide all the gross investment that is required'.
On a related note, John Quiggin recently had an interesting essay on Keynes' prediction in Economic Possibilities, of much greater leisure time (Matthew Yglesias suggests it is coming true, a little bit).


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This video highlights the difference between AMD and conventional management journals. Providing insight into empirical exploration and how it links to theory development, this video will help scholars better understand the mission of AMD, how it fits into the portfolio of AMD publications, and the benefits AMD offers to its authors.
What we look for: The Importance of Surprise; Using Data to Fill Gaps in Theory; Plausible Explanations; Rigor; Abductive Reasoning
Thinking about attending an AMD Paper Development Workshop? This video will give you a realistic preview of what to expect and what you might do to make the most of the workshop experience.
Planning to submit your manuscript to AMD? Before you press the "submit" button, watch this video and learn more about what AMD's editors look for and how you might "tweak" your paper to increase its likelihood of acceptance.
What is the mission of AMD?
The mission of AMD is to publish phenomenon-driven empirical research that theories of management and organizations neither adequately predict nor explain. Data on these poorly-understood phenomena can come from any source, including ethnographic observations, lab and field experiments, field surveys, meta-analyses, construct validation research, and replication studies. AMD welcomes exploratory research at the pre-theory stage of knowledge development, where it is premature to specify hypotheses, and which generates surprising findings likely to stimulate and guide further exploration and analysis. This research must be grounded in rigorous state-of-the-art methods, present strong and persuasive evidence, and offer interesting and important implications for management theory and practice.
AMD is published quarterly in March, June, September, and December.
Accordingly, AMD publishes management research guided by empirical abduction and induction, or in other words, studies which use data exploration in order to:
How does AMD differ from the other AOM journals?
As a journal grounded on empirical abduction, AMD's mission is distinct from but complementary to the missions of other Academy of Management publications. AMD papers report novel findings or unusual empirical patterns in their particular indigenous contexts that are either not adequately explained by current theory or that may play a critical role in the development or testing of new theory. Accordingly, AMD papers use data to isolate the plausible nature of new or poorly understood phenomena, identify their plausible antecedents and/or consequences, and/or shed light on the conditions potentially governing these relations. Ideally, these empirically driven insights provide a framework to guide further theory generation and a basis upon which to ground testable hypotheses. Papers developing new concepts or theory on the basis of the empirical insights offered by an AMD paper might appear in the Academy of Management Review, whereas papers testing theories deducted on the basis of the patterns uncovered by an AMD paper might be submitted to the Academy of Management Journal.
Why was there a perceived need on the part of the Board of Governors to launch AMD?
The decision to launch AMD came about as a result of two largely independent sources that identified a scholarly need for this journal, as well as an unmet need within our membership. First, with respect to our membership, on November 9, 2010, the Board of Governors received a memo signed by 18 Chairs of AOM Divisions and Interest Groups, requesting that AOM increase both the size and scope of publication opportunities within AOM for members. This memo articulated the need for expanded publication opportunities, and expressed several possible solutions for meeting this need, including the launch of a new empirically based journal along the lines of AMD.
This memo was consistent with the data from a 2005 membership survey, in which 88% of AOM members indicated that the most pressing need they had was for "expanded opportunities to publish research within AOM". This response also echoed a study conducted by the Board of Governors, which indicated that as a professional society the AOM publishes a significantly lower percentage of work by our members relative to other professional societies within business schools, such as Finance, Accounting, and Marketing.
In terms of the scholarly need, Don Hambrick (2007, AMJ) articulated why this type of journal is necessary in the field of Management, and others have echoed this call (see Miller 2007; Oxley, et al. 2010). The general idea expressed by Hambrick and others is that the field of Management needs to strike a better balance between theories on the one hand and direct empirical evidence on the other. Hambrick recounts many examples in the physical and natural sciences, as well as other disciplines in business, where reporting of critical evidence led to important advances in problem solving and future theory building, even when the immediate implications for current theories was unclear. That is, a novel finding, unusual empirical pattern, or a robust anomaly that cannot be explained by any current theory is reported, which in turn triggers future theory building efforts. In addition, direct evidence regarding relationships may promote Evidence-Based Management even if the full theoretical articulation for explaining a relationship is not immediately available.
Based upon the confluence of membership and scholarly needs, the Board of Governors asked the Journals Committee to explore the idea of expanding both the size and scope of publication opportunities for AOM members by creating a new empirical journal that would be focused on important management issues and organizational phenomena that was not necessarily theory driven. This eventually led to the development of AMD as a empirical journal grounded on abduction.
Why not just expand the size and the scope of AMJ instead of launching a new journal?
By any standard, AMJ is a clear success story for AOM. The journal's blending of tight and formal a priori theory building combined with rigorously obtained and analyzed data is a powerful vehicle for making scientific contributions. This has been a proven formula for the success of that journal, and there was no perceived need within the Board of Governors to "fix" something that was so obviously "not broken". Rather than threaten that established paradigm by mixing in new articles that would not adhere to the paradigm, it was considered more prudent to offer a new journal that was devoted to a different paradigm.
How can I determine whether AMD is the appropriate outlet for my manuscript?
AMD seeks to publish papers that use data to identify and propose plausible explanations for management and organizational anomalies (i.e., new or poorly understood phenomena), thereby facilitating important advances in management knowledge and practice. The first step in creating knowledge is conceiving the germ of an idea that may change our understanding of an issue or phenomenon. This idea may originate from an observation or experience in the practical world, from an irregularity in an empirical analysis that is inconsistent with conventional understandings of how things are expected to unfold, or from a personal experience or insight. The second step is to use data to better understand the nature of the concept or relationship discovered, and to then narrow down the range of plausible explanations for it. This may be done using quantitative and/or qualitative data, but often demands comparative analyses, the re-testing of models across varying sets of assumptions or datasets, or multi-experiment studies.
Whatever the source of a discovery, AMD welcomes papers that clearly grounds important and innovative insights in their empirical characteristics and context, and explore the data in ways that lay the groundwork for down-the-road theorizing. As Pasteur stated, "Chance favors the prepared mind." AMD seeks to publish papers from authors with minds–prepared not only in terms of describing the particulars of a phenomenon in its indigenous context, but also by showing a deep appreciation of the most plausible alternative theories or models that do NOT adequately explain the discovery. By definition, a phenomenon or uncovered relationship among constructs is not a discovery if it is adequately explained by existing theory or does not call existing theories or taxonomies into question.
In particular, AMD is an appropriate outlet for manuscripts whose purpose is to:
AMD is NOT an appropriate outlet for manuscripts that:
What kind of papers will AMD publish?
Papers are more likely to be accepted for publication in AMD if:
AMD publishes studies using a wide-range of analytical approaches. Examples may be found here:
Quantitative Field Data–Macro
Quantitative Field Data–Micro
Video-based Ethnography
Construct Validity& Taxonomies
Mixed methods
Simulation models (Lyneis & Sturman)
What is the page limit for manuscript submissions?
Authors should prepare their manuscripts in accordance with AMD's Style Guide, which appears on the AMD webpage. Based on their contribution-to-length ratio, "REGULAR" submitted manuscripts should be about 30 pages, excluding references, tables and figures. "DISCOVERIES-IN-BRIEF' should be about 20 pages, excluding references, tables and figures.
How might I frame an AMD paper?
Because AMD seeks empirical studies of poorly-understood yet important phenomena, we expect they will be directed by specific research questions and conjectures rather than testing refined hypotheses. Introductory paragraphs should clearly ground the phenomenon and the research question. While this can be done many ways, we encourage this grounding to clearly describe a particular case or instance of the phenomenon, and the context or settings in which it exists. This grounding should also include a statement of the specific research question that guides the study of the phenomenon, why it is important, and how it is addressed in the paper.
Examples of how exemplary submissions have framed their research question may be found in any of the following studies:
Are AMD manuscripts a-theoretical?
Absolutely not. Theory is critically important for any advancement of knowledge, but our appreciation of the roles of theory in scholarship needs to broaden. All data-driven explorations are theory-laden to some extent; one cannot consider evidence in a meaningful way without engaging in "sense-making." AMD papers very much rely on theory, but it is theory in service of describing, understanding and narrowing the range of plausible explanations for phenomena and relationships, rather than theory in service of testing and confirmation as has been the case in AMJ and other empirical journals in the field of management.
In most AMD papers, theory offers a guiding framework that is typically affected by the findings. For example, a discovery may highlight new boundary conditions for some theory. A discovery may question accepted understandings of the mechanisms underlying a relationship, or completely overturn basic assumptions underlying a particular theory. A discovery may demonstrate some relationship that is simply inconsistent with a variety of relevant theories and provide a plausible explanation as to when and why this is the case.
In sum, the aim of most AMD papers is to use empirical findings to provide plausible, data-driven descriptions of and explanations for phenomena, relations, and anomalies for which extant theory falls short. Accordingly, AMD may best be described as "pre-theoretical." In contrast to other empirical journals which require extensive a-priori theorizing in the manuscript's front end, in AMD papers most of the theory-relevant material is presented post-hoc and found in the paper's discussion. In this way, the discussion provides a framework to guide further theory generation and a basis upon which to ground propositions and even testable hypotheses.
Can an author submit a paper to AMD if it was rejected at AMJ?
Because the purpose of articles published in AMJ and AMD differ, at the time of initial submission, authors need to carefully think about which AOM outlet offers the best fit for their work. Papers that have been reviewed at other journals and rejected, including AMJ, may or may not be a good fit for AMD.
The major criteria by which papers at AMD will be judged are (a) the importance of the discovery, (b) the technical strength of the research methods employed, (c) the weight of the quantitative or qualitative evidence presented in supporting the premise and eliminating alternative explanations for the discovery, and (d) the clarity and conciseness of exposition. Reviewers will be asked to determine if the discovery has a high likelihood of leading to advancements to management knowledge and practice.
Can I submit a meta-analysis to AMD and if so, how does a meta-analysis submitted to AMD differ from one that might be better suited for another AOM Journal?
Absolutely. However, consistent with the mission of AMD, meta-analyses must be focused on important emerging phenomena or already-studied but poorly understood phenomena. For further information on the criteria AMD reviewers use when evaluating a submission grounded on meta-analysis, please see the FTE by Miller and Bamberger below:
Does AMD publish simulation studies?
A simulation study is suitable for submission to AMD to the extent that its assumptions are grounded in empirical evidence regarding important phenomena or processes. Simulations that produce novel insights into the dynamics of systems are particularly relevant. For an example of a simulation study published in AMD see the study by Lyneis & Sturman below:
Can I submit a qualitative study to AMD, and if so, how does a qualitative study submitted to AMD differ from one that might be better suited for another AOM journal?
AMD welcomes qualitative research. The major purpose for publishing a qualitative study in AMD is to richly describe a phenomenon in terms of its characteristics, temporal development, and context. More specifically, rather than publishing papers using rich data to ground propositions, AMD seeks to publish studies that use such data to explicate emergent phenomena, processes, and taxonomies, and narrow the range of plausible explanations for them in order to provide the foundation for important subsequent theory development.
However, given its focus on abduction, qualitative studies published in AMD are different from those typically published in other management journals. For further insight on these differences please see the FTE by Arino et al.
Is AMD an appropriate outlet for studies that are trying to make contributions to Evidence-Based Management?
Yes. Many have suggested that there is a current imbalance between the emphasis on theory versus evidence in the field of management, which has prompted calls for "Evidence-Based Management" (EBM) (Rousseau, 2006; Pfeffer and Sutton, 2006). The EBM movement extols the virtues of basing managerial practice on empirical findings. AMD articles could provide the evidence that managers need without the research having to reach the maturity of a formal theory before it can be published.
Some empirical findings may defy logic or it may take a long time before a formal and comprehensive logic can be developed to explain them. AMD is the vehicle for sharing these systematic and interesting empirical findings that can serve as the basis for theorizing, while they can also inform and support practice. Findings reported in AMD, as is the case with evidence reported in AMJ, support the work of EBM. The main difference is that AMD focuses on the plausibility of the EBM discovery, while AMJ focuses on the robustness of the theory explaining the discovery.
Does AMD publish articles that are characterized by "null results"?
Our field's preoccupation with statistically significant effects has produced a number of distortions related to publication bias and general neglect of important non-effects (Schmidt & Oh, 2016). Imagine if medical researchers were unconcerned with understanding treatments that do not work! At AMD, null findings are welcome, so long as they have been produced in a pre-theory setting and with empirical methods that ensure sound measurement and strong statistical power. Purposeful searches for negligible effects also might benefit from Bayesian approaches (McKee & Miller, 2015).
Will AMD be "counted" by tenure and promotion committees as an "A-level" or "top-tier" journal?
The 19,000-plus members of AOM represent a diverse group of individuals who reside in a diverse set of contexts. We cannot speak to how each and every AOM member's institution defines the term "A-level" or "top-tier" publication. We believe, however, for the reasons listed in this document that (a) AMD will be a highly cited journal, (b) its citation status will be established quickly, and (c) over time it will be highly ranked on the lists of empirically-based journals in management. We expect AMD to become an A-level journal because it is published by AOM, which by reputation, publishes only top rated journals. The AMD team is committed to making AMD a top-tier journal.
Will AMD articles be highly cited?
We expect AMD to be the preferred source of knowledge related to management discoveries. Moreover, the AOM brand and access to its 19,000-plus AOM members will help increase the number of "eyes on target" relative to what might be experienced by a new journal with no existing link to this large professional body. Based on the latest rankings (2012 Thomson Journal Citation Reports), AOM has the top management journals in the world. Thus, AOM is a highly credible publisher of highly cited works.
Further, the electronic distribution of AMD provides the technical means for increasing "eyes on target" by direct distribution to AOM members. Most AOM members now receive emails that alert them to the content of upcoming editions of AMJ, AMR, AMP, AMLE and the Annals. Many members read or download papers from this source well before the actual physical journal arrives in the regular postal mail weeks later. This would also be true of AMD, in the sense that our members will be made aware of the contents of AMD via email communications. We suspect that our members will read and download works that are relevant to their areas of research or practice in the same manner as used for our other highly cited titles.
How long will it take for AMD articles to be highly cited?
It was once an accepted belief that it always takes a long time before a new journal can perform well in terms of the traditional citation metrics. However, our experience with the Academy of Management Annals has challenged that belief. The Annals became one of the most highly cited journals in the field of management in just a few years. Part of this is attributable to the nature of the content (an outlet for critical literature reviews). However, we believe that the AOM brand and the electronic means of distribution also played a major role in the quick success of this publication. These two factors might also reduce the time required for AMD to become a highly cited journal. And indeed, there are indications that this is happening as several AMD papers, although published only months ago, have been already been cited numerous times (link to most cited).
How did the process of developing AMD unfold?
Early in the development process of AMD, the Board of Governors sought the input of 25 people who were considered to be thought leaders within AOM. This group consisted of individuals who were (a) current or former editors of AMJ and AMR, (b) former editors of competing journals, (c) past AOM Presidents, (d) past Deans of the AOM Fellows Group, (e) winners of the AOM Distinguished Scientific Contributions Awards, and (f) current and former division chairs. The comments from the vast majority of this group were positive with respect to the need for AMD, and this group provided a number of comments that were helpful in developing the new journal.
Although not everyone was supportive of AMD, even those who were opposed recognized the need for more publication opportunities for members and an expanded scope of those opportunities. Some argued that these problems would be better addressed by changing the size, nature and scope of AMJ. For the reasons previously stated, the decision was made to leave AMJ unaltered. Instead, the plan was adopted to go forward with a new journal, AMD.
The new and revised AMD concept was then taken to the Chairs of the Division and Interest Groups of AOM. The Journals Committee reached out to this group and sent them a slightly updated version of the December 2011 AMD proposal, including a revised mission statement, the analysis of the competitive market, and a mock-up of the journal. The leaders of Divisions and Interest Groups were asked to study the proposal and weigh in on whether or not they believed AMD would provide a value-added professional contribution to the members of their divisions and the Academy of Management's portfolio of journal offerings.
They were then asked to respond to eight specific questions to gauge the degree to which they thought AMD would support the needs of their members and AOM at large, including:
We received input from 19 Division and Interest Group Leaders. The comments from the vast majority of this group were generally positive with respect to the need for AMD, and this group provided a number of additional insights that were helpful in further developing this new journal.