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The Mapleson Cylinders - Program Notes
|What Can We Hear? -- The Maplesons as -- Research Tools: -- The Singers, Their Capabilities; -- The Impact in the Theater; -- The Performance Practices -- of the Period
by John Stratton
Though a first encounter with the cylinders may leave simply the impression of voices and orchestra faintly amidst much noise, patience yields some surprising rewards. In spite of the surface noise, the voices generally ring out true, and are often readily recognizable when familiar from studio recordings. At certain points, a voice can be heard reverberating in the theater, giving vivid assurance of the impact it had--something that can seldom be confidently estimated from studio recordings. Sometimes one can hear the applause that follows some splendid passage, reminding us that delight in the art of song and in opera was as alive then as now. As well, the orchestra is heard surging with the singers' voices, something which the early studio recordings strove, for technical reasons, to avoid rather than capture. This effect of a substantial orchestra working with the singers is surprisingly audible in the Mapleson cylinders, and belies claims that the conductors of the day were servile and provided merely a background for self-indulgent singers--at any rate, it belies that this was so at the Met at the turn of the century.
There are moments of striking vocal brilliance to be heard. Indeed, virtually every celebrated name provides evidence that he or she deserved a great reputation. On the other hand, I cannot think of a single example of conspicuously self-indulgent singing (or, for that matter, conducting): a few interpolated high notes, that is all. The performances in general are unexpectedly direct and honest. Of course there is frequently evident an eagerness to make big effects that does contrast somewhat with present-day practice, but to my ears what we hear never breaks out of the frame of an overall performance.
The reader will perhaps find interesting a short survey of the Mapleson collection with some observations pointing up what I have just said, and some suggestions of matters that perhaps deserve further reflection or research. The cylinders are in fact a mine of information regarding performance practice at the turn of the century and what the celebrated singers of the time were prepared to attempt in the theater--at any rate, in the Metropolitan Opera House. I will proceed by opera, not quite in alphabetical order.
It is striking how modern-sounding are the fragments from Aida, mostly from a performance in 1903 under Luigi Mancinelli. The presentation of the music is vigorous and straightforward. The rhythm is strongly underlined and the singers do not linger. This is especially conspicuous in the "Su! del Nilo" passage from Act I: the singers are able to deliver the notes without having to sit on them to make sure they are really there. It is unfortunate that the preponderance of low harmonics in Journet's voice makes him all but indistinguishable from the chorus in the fragments of the Temple Scene, but the tenor De Marchi's voice rings out, sustaining reports that he was an accomplished Italian tenor, and making one regret the more that he never made any commercial recordings.
Nor did Marguerite Marilly, who is readily audible as the Priestess--and one is reminded, as so often in playing the cylinders, how nicely the singers of the secondary parts did their work. The excerpts from the Triumphal Scene are thrilling, especially the "Ma tu, o Re" passage (Side 5/Band 9), where the concerted singing of the principals can be quite easily followed. At the end, De Marchi drops his own line and ascends to the high C with Gadski, the Aida of the occasion--a not-uncommon practice even more recently. The singers deliver their notes with the most complete composure, no matter where these lie. What is particularly arresting is that they all do this.
The cylinders from L'Africaine are from 1901, when Mapleson did not have the big collector-horn we see in the pictures; they were made in the prompter's box, which greatly restricted where he could point the equipment. The results are therefore much fainter, much more submerged in cylinder noise. But there amidst it all is the voice of the legendary Jean De Reszke, not to mention the important and also otherwise unrecorded Lucienne Brťval! One can make Brťval out--indeed, she delivers notably strong and clear high notes, but, in all honesty, other than to say that she partners De Reszke deftly in the passages where they sing in unison, little otherwise can be said confidently about how she sang.
Whereas in the case of the great tenor, patient listening yields a surprising amount of information regarding his voice and his style: a fine, somber but lyric tone quality, somewhat vibrant in the middle range, rather
The cylinders from the fourth-act duet are also instructive. Eight and nine measures into the theme passage ("O ma Sťlika," not recorded), at the words "...sois ma femme!," De Reszke does a wonderful vocal flourish that takes him up to a high B-flat, then down again through a rapidly executed turn and group of sixteenth-notes, which quite decisively puts him in the class of superior vocalists. Also an interesting feature of his and Brťval's performance of the duet is the fluency with which they sing the running passage at "O transports...." They accomplish this by rendering it virtually at two beats to the measure, whereas in every other recording I have ever heard the singers mark all four beats. I would regard this desire to achieve a fluent plasticity of phrasing as another instance of what I have called the "Romanticism" in De Reszke's singing. As well, one should note the splendid forte high B-natural that he directly attacks in the earlier of the two cylinders from the duet, immediately after the aforementioned running passage. His declamation here seems to provide us with a vivid example of advice he used to give his pupils as to how such notes should be delivered: as if one were pasting stars on the ceiling.
The chief attraction of the Carmen cylinders is the willful and capricious but utterly beguiling Emma Calvť. In the fragment from the end of the second act she sounds exactly like herself, and, in the passage that echoes the "Lŗ-bas" duet with Don Josť that was sung a few minutes earlier, we discover that Calvť sang her part with high interpolations. She delivers herself almost identically as she would several years later when she recorded that duet with the tenor DalmorŤs. Also, at the very end of the act, she sings a high C which comes across as sheer daring, since plainly it is just about the end of the line for her. In the fourth-act Carmen cylinder, Mapleson was presumably more optimistic about capturing the chorus singing the Torťador theme than the Escamillo-Carmen duet that follows, but before the cylinder runs out we do get the beautiful phrases beginning with the words "Si tu m'aimes, Carmen," very faintly yet sung with the greatest expressiveness. It does not sound like Scotti, and if it is not he it must be Journet.
The Cavalleria cylinders give us Calvť again, and also De Marchi. The stage action must have moved them around a good deal, since in the two cylinders from their big duet they pass quite often into and out of the horn's line of pick-up. Calvť does not rant: she pours out that poignant tone of hers, and De Marchi throughout strongly supports her. Her sounds are those of a great singing actress, as everyone says she was. This wonderful sound is heard briefly as well in a few phrases of the Santuzza-Alfio duet, with the mellow-voiced Campanari.
The Cid cylinders are of more than passing interest, not least because several of the singers in the casts were in the first production, amongst them Jean De Reszke. He indeed is the only one of them actually distinguishable, and then only very faintly. But it is apparent that De Reszke under Mancinelli and Alvarez under Phillippe Flon adopt about the same tempo for "O noble lame ťtincelante." And that, more recently. Domingo under Eve Queler in both sections of the piece went a lot faster. If Domingo sings this music again, I hope he will listen to Alvarez--he, at least, is quite audible--and will decide to slow down. Alvarez appears to declaim the music in much the same manner as De Reszke, though much of the evidence is a cylinder (Side 3/Band 8) that may simply be from a different performance by Alvarez himself.
Alvarez possessed a splendid voice, but with an extremely idiosyncratic method of emission, as odd in its way as Tamagno's. The quality of the voice was appreciated at the time, as well as the fine stage presence, but the emission puzzled. Nonetheless, he makes one of the most imposing impressions of any of the male singers recorded by Mapleson. Incidentally, at the concerted climax of the first section (on Side 3/Band 5), one of the sopranos--either Adams or Brťval--anticipates a note by a fraction of a second. In the Jean De Reszke performance, the Adams part was sung by Melba. The very earliest really audible Mapleson recording from the Met stage is in fact Melba's rendition of the Infanta's "Alleluia," and her characteristic slightly staccato-from-the-diaphragm tone is instantly recognizable. The Melba Maplesons show that the incomparably even scale and the detached manner were as evident in the opera house as in the recording studio.
That there was an alternative, in the period when Mapleson was active, to this great mistress of vocal virtuosity, says something for the times. Marcella Sembrich was not with the company in the Melba season, but she returned for the next two, those during which Mapleson was able greatly to improve his recording technique. The two almost identical fragments of the famous and tuneful ensemble from Ernani allows us to distinguish the singers' voices from one another, so that we hear more than merely Sembrich's ringing tones. Once again, De Marchi is squarely in the picture, further affirming the impression that he was a worthy tenor. And one can hear the unique, slightly wooden sound of Scotti's baritone leading the way. There is little difference in the singing between the two cylinders. What strikes me is the complete composure of the performance: no apparent striving to make it work. As a matter of fact, the critics of the day considered that this was the chief defect of the production, since to them it seemed that the music failed to speak for itself.
I do not find a great deal to say about the Ero e Leandro fragments. The chorus sings with efficiency under the composer's lively baton. And the fluency and easy upper range of Gadski's voice in the cylinder where she can be heard shows why she became such a mainstay of the Met in the next decade and a half. The voice is sometimes a bit overpowering in her studio recordings, and occasionally sounds so in the Maplesons (see below), but in the Aida fragments and here, for instance, it sounds very well balanced indeed.
It used to be said that the Met was the "Faustspielhaus," and there is certainly a long run of cylinders from this opera. One notes that Mancinelli gets energetic performances from the chorus, though it sings in Italian even when the soloists are singing in French. As for the soloists, they are a parade of some of the greatest names of the day. Melba, though faint, sounds exactly as she always sounds, even to such details as her distinctive way of clipping notes here and there--for instance in the Final Trio at the words "Portez mon 'me au se in des cieux!" Calvť, in turn, pours out a breathtaking fullness of tone. The final ascent to B-natural in the Trio is well calculated to set the audience back on its heels. The very full tone is also in evidence in the "Jewel Song," but the ever unpredictable lady here takes the climactic B pianissimo--and, if my ears don't deceive me, it has a little crack in the middle of it; again, a wonderful piece of daring. Before this cylinder has played out, she begins the aria over for an encore; that was "the name of the game" in those days at the Met, at least as far as Faust was concerned. Incidentally, Calvť's voice is even clearer in the reprise, but the cylinder does not quite last to the B. Maybe this time she sang it forte!?
In such superstar company, Fritzi Scheff must be counted as a minor light. Yet she has produced one of the most delightful of all Mapleson's recordings in her rendition of the scene at the window: her singing audibly has charm, composure, and beautiful shimmering tone. There is a big, big high C at the end, with the tenor Salignac also vividly at the climax, and Journet as MťphistophťlŤs laughing sardonically in the closing measures of the act.
Adams sings the same music earnestly and with very beautiful tone quality, but she seems that day to have been having difficulty with her upper range; when the moment comes for the C, she starts to take the note, then abandons it. The Final Trio from the same performance shows her "just managing"; moreover, this is one of the most troubled recordings amongst the Maplesons--the sound seems somehow muddled. I suspect we are partially hearing a previous recording on the cylinder; certainly at the end there is a phrase or two of an "Alleluia" from Le Cid (see Side 12/Band 5).
The Duel Scene, from a performance that had Nordica as Marguerite (though no fragment of her participation has survived), is an exceptionally long cylinder and gives a more than usually strong sense of an actual performance taking place. Alvarez sounds forceful as usual, and hangs on to his high note a moment too long at one point; Edouard De Reszke sounds, as always, a little larger than life but genial; and Campanari sounds, as always, mellow. We have the beginning of Valentin's death scene before the cylinder runs out, and I suspect that Campanari sang it movingly. As for the various versions of the Final Trio: that Calvť sets even a listener of today back on his heels has already been indicated. This might suggest that the tenor (Dippel) and the bass (Journet) are overshadowed, but in so far as they are, this is, I think, mostly because of the recording characteristic of Mapleson's machine; it did often tend to pick up female voices more readily than male. Indeed, as I have already mentioned, the bass singers are frequently all but inaudible. The best balanced of the Trio recordings, though very faint, is the Melba version with PlanÁon. Particularly in the recent transfer (Side 1/
The Fille du Rťgiment cylinders feature the virtuosity of Sembrich, and clearly were recorded with that aim in view. The important French lyric tenor Salignac, who made no studio recordings, is moderately audible in the duet. Flon conducts with exhilarating energy and in the "Rataplan" ensemble Sembrich delivers some ascending scales with an evenness and aplomb that one is not likely often to hear. It is at the end of the first of these cylinders that we have one of the most vivid and arresting of Mapleson's recordings: the last minute of Sembrich singing Arditi's Parla Vals (Side 4/Band 10)--as has developed after some research, it was a pendant to the Fille performance. The "spring" of the voice in its interplay with the orchestra is astonishing. The orchestra swells around the voice without ever drowning it, and, just before Sembrich's wonderfully launched high D at the end, there is a series of "rat-tats" with the orchestra almost unbelievably synchronized. Perhaps no other recording gives such an impression of one of the great singers of the nineteenth century in action. Somehow, Mapleson has caught unusually vividly the ambience of the great opera house.
This Sembrich fragment has not been available for hearing until now, but another of the cylinders has long conveyed a somewhat similar sense of a dazzling performance in the theater. This is the cabaletta to the Queen's aria from the second act of Les Huguenots. Since the cylinder was originally unidentified, it was assumed that only Melba, if not Sembrich, could have sung so brilliantly. But research and subsequently unearthed evidence strongly indicates that it is Suzanne Adams of the "exquisitely beautiful voice" (as it was characterized by one of the eminent critics of the day). Here, her upper range and her resources of energy are far more at command than in the Faust recordings of a year later; indeed, the wide-ranging sweep of the voice, the total decisiveness of the attacks in the upper register, and the great trill near the end, are almost without equal in the whole catalogue of the phonograph.
Of course, Huguenots was one of the most popular operas of the nineteenth century, and in Mapleson's period of recording activity the ability to sing music from this opera impressively was still taken to be the hallmark of a great singer. It is not merely the Adams recording just mentioned that informs us powerfully of what singers thought was expected of them in those days. The four cylinders by Gadski and Edouard De Reszke of the extended Valentine-Marcel duet are a study in derring-do. Gadski is obliged by the composer to fling her voice all over the place, and again and again to arrive in the vicinity of the dominant in her upper range, whereupon Meyerbeer unexpectedly changes key, giving one the impression that she is holding the musical scale together by sheer nerve. As for Edouard, as the crusty Marcel temporarily mellowed by Valentine, Meyerbeer puts him through his paces too. At one point he is obliged to go from the lower F to two Ds above--that is to say, nearly two octaves--and back down again, all within the space of three measures. What this reveals is that Edouard was more at ease in his upper range than the lower. But mostly he takes the music as an opportunity to display his famed geniality. At another point he revels in a jaunty melody for several measures while Gadski sits with all her force on a high C, waiting for him to get to the point where she can come down again. It is quite a cliff-hanger, but fun.
The fragments of ensemble from Huguenots turn out not to be very interesting, I think chiefly because the solo voices are for the most part not distinguishable; they are lost amidst the chorus. But Flon's tempos--he conducts all the performances--are lively.
Unfortunately Jean De Reszke and Nordica in the famous Act IV duet (sung here in Italian) are not for the most part very audible; far, far less so than the duet between Gadski and Jean's brother recorded two years later. But this should not be taken as saying that nothing can be heard at all. Something of Nordica's splendid soprano voice with its great compass is in evidence, particularly her straight-as-a-die high notes. But, what is more, one of the three cylinders from the duet--of the middle section with its big melody ("Tu l'as dit," sung as "Dillo ancor")--has Jean De Reszke audible in spite of the noise for nearly a full two minutes. We hear his heady ascent, solo, to the high C-flat, then in the passage of melodic recitative that follows there is that complete composure and sense of the meaningfulness of the music that seems to have been characteristic. Nordica rejoins him just at the end, where the cylinder breaks off at a particularly unfortunate moment.
But in truth, Nordica's most spectacular showing amongst the Maplesons is in the series of five cylinders from the "Immolation Scene," in two 1903 performances of GŲtterdšmmerung. Her voice seems to have been one of those that needed a big orchestra and a sure conductor, such as Hertz, to sound at its best. As all collectors know, she was not happy in the recording studio and passed very few of the records she made. But in these GŲtterdšmmerung cylinders both the force of Nordica's singing and the force of the orchestra come over very well, particularly in the two of virtually the end of the scene (Side 11/Bands 7b and 8b). As Walter Damrosch has pointed out--and I think it is audible in these recordings--there was a certain tendency to rhythmic diffuseness in Nordica's singing that took quite a bit of management. It makes for a plasticity in the singing that is very attractive, provided the conductor has matters well in hand.
This plasticity in Nordica's singing stands in marked contrast to Gadski's tendency to be almost over-emphatic at times. Thus Gadski makes for a very strong-voiced, not very vulnerable-sounding Elsa, in Lohengrin, from which opera Mapleson recorded such a long series. Anthes is a tough-sounding Lohengrin, though not without some subtlety. Which I suppose makes them a pretty good match--their voices might otherwise not have registered so well on Mapleson's recording machine! The celebrated Van Rooy as Telramund is audible in the preparation for the duel (Side 8/Band 3), but, in this music at least, he seems to me to "bark." Blass's fine-grained bass has not quite enough authority for the "King's Prayer." The vocal play within the ensemble is, however, generally impressive, and at times the chorus works up a wealth of tone. The two cylinders with Jean De Reszke are fainter, at least as far as the solo voices are concerned. Indeed, in the "Mein Herr und KŲnig" passage, De Reszke is much of the time all but drowned out. His declamation here seems to have been effective, but not especially remarkable. What is remarkable is the sudden and beautifully poised ascent to the A natural in the measures just before "In fernem Land" (not a scrap of which we have, alas). The other cylinder, from earlier, in the "Bridal Chamber Scene," yields to patient listening the entire of a most beautifully phrased short solo: Lohengrin sadly commanding that Elsa be readied to go before the King.
Melba is easily recognizable in all the Lucia cylinders. What is surprising about the duet fragment is the very fast tempo that Melba, under the authoritative Mancinelli, adopts. It points her voice nicely, but makes it hard going for Salťza: his voice seems not altogether to settle into the music at the speed, and some of his notes sound almost spasmodic. Two fragments of the "Mad Scene" are of virtually the same music--not a part of the scene that Melba recorded in the studio. The concert version without chorus (Side 4/Band 6), though faint, is for the most part wonderfully clear, and shows off one of Melba's marvellous, even ascents of a scale and her familiar tendency--one might even say, determination--to go down at the end of pieces, as characteristic, it seems, as her compatriot Sutherland's habitual inclination to go up.
What the brief fragment from Manru shows, other than some limpid "la-la-la" from Scheff, is--for anyone who has managed to consult a vocal score--that what was performed at the Met was very different from the music printed.
What is striking about the two choral passages from a 1903 Meistersinger is the fullness of the sound that Mapleson was able to capture. The liveliness and forthrightness that seems so typical of the period is as evident on this occasion under the direction of Alfred Hertz as anywhere in the collection. In the last measures of the opera Gadski, the Eva. ascends to one of her easy high Cs, capping, as it were, the concluding ensemble. A strange anomaly in this collection is an excruciatingly distorted recording of the latter part of the "Prize Song" (Side 12/Band 15). Much painful listening has convinced me that there is no chorus, and clearly there is a concert ending; but in that case when can it have been recorded? I suspect that it may be Burgstaller from a Sunday concert program in 1904; we do know that Mapleson made a number of recordings in the house that winter.
The Pagliacci fragments are virtually all choral, with a few notes here and there of Scotti and Alvarez. These cylinders convey an engaging sense of the actual performances going on so long ago. The two from January 30, 1903, are unusually clear, with practically no surface noise. This, incidentally, was the same day as the fine Sembrich cylinders from La Fille du Rťgiment.
In the Romťo Valse, even amidst the mighty roar, Melba sounds exactly like her record--a fact that can be viewed as a virtue or a defect, depending on how you look at it!
The Siegfried recordings are decidedly interesting. They show us that Jean De Reszke was a fairly lyric-sounding hero. The forge music plainly is not easy for him. He seems to have the music entirely in hand, however, though at the climaxes he has to force a little. It is evident that Jean produces, in the final phrase of the act, the same flatout sound as earlier. A notable feature, from the point of view of vocal technique, is the way in which he sings the downward phrases after each of the climaxes in the "Forging
The other three Siegfried cylinders are much easier to hear--indeed, they are pretty good. Since Anthes nowhere else displays such smoothness and finish of tone as in the longer "Ho-ho! Ha-hei" (Side 11/Band 4), perhaps it isn't Anthes, as was initially proposed in this project. I would have thought it might be Dippel from a 1902 performance. Nordica's wide-ranging voice encompasses the climax of "Ewig war ich" almost too easily, and Anthes drives on from there with, clearly, the requisite stamina for his part. There is quite a big cut after Nordica's solo that seems not just Mapleson stopping his machine. Indeed, the collection shows that Wagner was heavily cut at the Met in those days. (There are sizeable omissions in some of Jean De Reszke's Wagner cylinders.) The very end of Siegfried is thrilling. It takes a Birgit Nilsson to rival the kind of command that Nordica is able to bring to bear in these final measures of the opera.
In those days Gadski could also do it, as is evident in her very clear recordings of the latter part of "Dich, teure Halle" from Tannhšuser. But, as I remarked earlier, her preferred stance is very different from Nordica's: more angular, more rhythmically incisive; less diffuse, less ethereal. Nordica's manner, by contrast, is especially evident in her cylinders from the Tristan "Liebestod." Many would consider her dreamy and diffuse singing exactly what is required in this music, though others might want something more rhythmically pointed. Her ease with the notes, however, is certainly admirable, as it is, too, in the "Love Duet" music sung with Anthes. He partners her strongly--it is perhaps his best showing amongst the Maplesons--and she at the appropriate moments delivers her marvellously spanning and intense high notes.
The Jean De Reszke-Ternina cylinders from Tristan are, of course, a great disappointment. They tell us practically nothing, except that Ternina seems to have possessed clear and strong high notes, and that she and Jean could deliver this demanding music.
The Tosca recordings with Eames, De Marchi, and Scotti, conducted by Mancinelli, are justly famous. Scotti's unique voice, perhaps not really quite strong enough for Scarpia (presumably it was chiefly his presence and his acting that made him so successful in the part), is audible in the "Te Deum," and of course he is very much on stage in the "Torture Scene." Here, however, it is Eames and De Marchi who stand out. At "Vittoria!," De Marchi manages to sound nearer the recording horn than any other singer from the Maplesons. The creator of his role, he sings with great intensity. And Eames sings with an abandon and passion that belie the famous remark about skating on the Nile. Like Calvť, she really sings all the notes, and indeed the voices of all three of the principals come right through the thunderings of the orchestra. Eames's "Vissi d'arte" has very much the composure of her studio recordings, though at the climax she goes impulsively to the B-flat just ahead of the beat. The note is finely sustained, and thereafter she returns to her familiar repose. The finale with the guns going off is an exciting moment of theater, even so far away in time and some perspective.
The two cylinders from Traviata allow us to compare the two great mistresses of high soprano virtuosity of the day. Even the roar of the 1901 recording cannot obscure the fact that in "Un di felice" Melba produces a series of echo effects that everyone else has aspired to and no one else has been able to bring off. Dippel partners her smoothly and sympathetically. Sembrich, for her part, in "Sempre libera" conveys exuberance through great velocity. ("Velocity" used to mean the ability to make notes distinct even at great speed. Perhaps only Horne, among modern singers, has taken much interest in pursuing this sort of virtuosity.) Sembrich's singing is dazzling. Dani, as Alfredo, does his bit, which includes a quite nicely taken high C. Sembrich's interest in velocity does not, I think, serve the ZauberflŲte Queen of the Night aria so well. It is not what we are used to, but Sembrich does make the Queen sound angry. The interpolated D at the end is somewhat forced, and cannot compare with the note at the end of the Parla Vals.
Which leaves only the rather numerous WalkŁre fragments to discuss. It hardly comes as a surprise that Nordica can negotiate "Ho-jo-to-ho!" Once again, it sounds almost too easy for her. Van Rooy--what little can be heard of him--sounds less spasmodic than in Lohengrin. It is, of course, thrilling to find Nordica and Gadski singing together on one cylinder (Side 10/Band 8). The Valkyries in the "Ride"--for the most part strongly recorded--impress because they all really can and do sing their notes. Bispham sounds clean of tone and imposing as Wotan in the final scene, as does Van Rooy, if it is he, in the last of the WalkŁre cylinders (Side 10/Band 10). We have here Wotan's final phrase, then an amazingly engaging and audible rendition of the concluding "Magic Fire Music."
One could wish that Mapleson's collection went on and on. We know that once there were other cylinders. Some empty boxes have survived: Ternina and Jean De Reszke from GŲtterdšmmerung, a finale of Act II of La BohŤme, Campanari singing Faure's Charitť from a Sunday concert. Remarks made by Lionel Mapleson's son Alfred to David Hall in 1982 suggest that at one time there were a great many more. I think it not unlikely that Mapleson may at the time have given some cylinders to the artists themselves. For instance, we know that Suzanne Adams and her husband materially helped him with his recording project. And it may be that the only reason that her stunning Huguenots cylinder remained with Mapleson was because it was misplaced! Whether any more of his cylinders will one day turn up remains to be seen. At any event, we must be grateful for the hundred and some that have been preserved. The present publication of the whole of the surviving collection on LP, under the auspices of the Rodgers and Hammerstein Archives of Recorded Sound, virtually guarantees the permanence of these fascinating glimpses of operatic performances long ago.


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Cory Everett wrote:When it comes to the next Paul Thomas Anderson film, all news is mysterious news. While we're still not sure exactly which of Anderson's films might be going into production first, it had looked like it might be his Thomas Pynchon adaptation "Inherent Vice" this fall, but recent casting speculation leads us to believe it may be the untitled religious drama sometimes referred to as "The Master," which is now possibly to co-star Joaquin Phoenix alongside Philip Seymour Hoffman. The next little morsel of news comes from reliable fansite Cigarettes & Red Vines. The site received a tip from a reader that indicates that Anderson has been shooting tests with and operating a 65mm camera, which the site also points out, is the same camera used by Stanley Kubrick on "2001: A Space Odyssey." Anderson has always been a big advocate of shooting on film and if this were to happen it would be a cinephile's wet dream.
While it's likely Anderson is indulging his inner Kubrick, the reader suggests Anderson may have been inspired more recently by cinematographer Wally Pfister and director Christopher Nolan's use of the format on "The Dark Knight" and "Inception." Pretty much everyone who saw "The Dark Knight" in IMAX had the same jaw-dropping reaction to the scenes filmed in the large format so it's not entirely unreasonable. The aerial shots and action sequences looked so good (and so crystal clear) it's actually frustrating to see so many other films fake the format by blowing up 35mm and calling it "IMAX" because the quality just isn't there (We're looking at you, pretty much every other tentpole.) "Inception" did not shoot in IMAX (due to the size and unwieldy nature of the IMAX cameras) but was instead filmed with much more manageable 65mm cameras, which is the best possible quality for film outside of IMAX. The site points out that "Nolan shot 65mm in a square, IMAX format whereas Kubrick kept the format at 2:35.1 to contain as much detail as possible for the optical effects."
While it's not clear whether he might be using it for "The Master" or "Inherent Vice," it's possible (though unlikely) he could be using it for some other purpose entirely. (Home movies? Superbowl commercial? Nature doc?) The site mentions they received an image to corroborate this story but due to the secretive nature of the information are unable to publish it. (They do include a hilarious drawing/recreation in its place.) The report also suggests that for the first time, Anderson's next film will not be shot by regular cinematographer Robert Elswit though it's not clear yet who might replace him. Elswit's work has been such an integral (and beautiful) part of Anderson's films that we'll be sad to see him go but hopefully they can collaborate again on whichever project comes after.
Fievel wrote:Paul Thomas Anderson is a fucking pussy.
Spandau Belly wrote:They have a couple sequences from THE MASTER up on the mothersite. I watched one of them, which only contained stuff I'd already seen in the trailer and decided I want to go into this one blank and so I didn't watch the other two.
Al Shut wrote:This thread just reminded me how much I hate There Will Be Blood. Stupid noncommunicative waste of time and celluloid.
Spandau Belly wrote:I eat your wordburger!
Al Shut wrote:I felt the movie was beyond ambiguous. Like the answers to my questions weren't out in the open to be found but rather written down secretly, sealed in an envelope and waved in front of my face with the chant 'Haha I'm not going to tell you'
Al Shut wrote:No, for some reason I never really cared what was said.
even if I did, how could I hate the ending after loving the beginning that much.
Peven wrote:I feel sorry for people who don't like "There Will Be Blood".....
TheBaxter wrote:Peven wrote:I feel sorry for people who don't like "There Will Be Blood".....
i drink your pity! i drink it up!
Peven wrote:TheBaxter wrote:Peven wrote:I feel sorry for people who don't like "There Will Be Blood".....
i drink your pity! i drink it up!
it's called drainage, Bax
Ribbons wrote:That's Sam Waterston's daughter, so picture the old guy from Law & Order with boobs.
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text:
As we dribble our way towards the tournament's end, we've bid farewell to many gifted men. So we'd like to take a moment of (relative) silence to honor some of those whom we've most recently had to say goodbye.
Such as Paraguay's Nelson Valdez, above. Upon losing to Spain, he had a reaction so broken-hearted that our hearts broke as well.
Pour one out for Gabriel Heinze's Argentine hamstrings, which lost to Thomas Mueller and his German teammates.
But Germany would not relish the victory for long; Bastian Schweinsteiger, his omnipotent abdominals, and all of the German team were soon knocked out by Spain.
Despidida to Brazil's Gilberto Silva. He and his buddies were sent home by the boys from the Netherlands.
Sulley Muntari and his teammates remind us of happier times with Ghana. But now we've had to break up, destroyed by Uruguay.
However, not even the instigator of a breakup is safe from being dumped by the World Cup — Diego Lugano and the rest of Team Uruguay learned that the hard way after losing to the Netherlands.
May God bless them all.


text:
Noor Magazine
12 13 05
This magazine was created by the ICNA Sisters Wing as a resource for the entire Muslim family. It gives updates on the ICNA Sisters' Wing as well as many other interesting articles about Islam in America and around the world.
Press Contact: Naeem Baig
Vice President for Public Affairs
Islamic Circle of North America
Office: (718) 658-1199 Extension: 102
Cell: (917) 202-2118


text:
Last Friday night we went out and ate at a very yummy restaurant with a big group of friends.
See? Big. And this wasn't even everyone. There were a few more couples in another room.
This is Doug holding Gray. Our first date since his arrival.
This is my O.B. and his cutie new baby just two weeks older than Gray.
He ordered uterus.
For realizes.
This is what uterus looks like cooking on a grill:
These are some of the friends who came over to look at, and sample, the uterus.
The purpose of this gathering, was, shockingly, not just to get together to eat uterus.
Nor was it to celebrate me putting on make-up and leaving the house.
(Although that is cause for celebration.)
All of these people got together to say good-bye to our friend Wes who's deploying for 4 or 5 months. His second deployment since moving here. One of many men (and women) who left last weekend.
It was a really fun night and the food was delicious.
(Doug's scallops, that he wanted to grill, came cooked in an omelet for some reason.)
But it was sad too. Because deployments suck. Bad. (Pardon my language Mom and Aunt Jeannette.)
They suck for me and I'm not the one without a husband. Just the friend of the wives-with-kids left behind. (Only because I have to watch them suffer and it makes me teary and emotional.)
(Fortunately, Doug wont ever be deployed for which I am immensely grateful.)
Anyway, if you want to learn a little bit about what some women with deployed spouses go through, check out THIS article I found awhile ago. It's worth the read!
Good luck Wes!
Come home safe!
We miss you already!!!


text:
Old Home Day
1638 - Town of Hampton - 1961
127 Winnacunnet Road
This church and town were founded in the year 1638 by a group of English settlers under the leadership of Rev. Stephen Bachiler. The second and third pastors were Timothy Dalton and John Wheelwright. They were succeeded by Seaborn Cotton, eldest son of Rev. John Cotton of Boston, one of the most distinguished of the early ministers of New England. It is believed that John Cotton himself visited Hampton and preached in our meeting house. Seaborn Cotton was succeeded by his son, also named John Cotton. Other great men of God have proclaimed the Gospel here for 323 years.
The present church building was erected in 1844, and is the sixth meeting house. Its beautiful old pulpit, however, dates from the previous building in 1796. Ancient communion silver belonging to this church may be seen in the Historical Museum in Concord, N.H. The antique violincello in the narthex case was the first musical instrument used in our church. This cello, originally called a bass-viol, was purchased by subscription in 1846 and was awarded to Daniel Hobbs to lead congregational singing. The instrument remained in the custody of the Hobbs and Lane families after the church installed an organ. Mrs. Eloise Lane Smith, fourth generation custodian of this ancient relic presented it to the church in 1952.
Two members of the fifth generation -- direct descendants of Daniel Hobbs, Mr. Douglas S. Hobbs and Mrs. Andrew Lane Panyeko will be your guides in the church sanctuary on Old Home Day 1961.


text:
Highly Qualified Faculty & Staff
Patrick Somers
Title/s: Senior Lecturer
Office #: Lewis Towers 401
Phone: 312.915.6501
As a former extern at the Cook County Public Defender, Mr. Somers has represented many clients in a variety of criminal defense matters. He also handles a wide variety of business litigation matters including commercial and complex civil litigation, asset recovery and collections, and bankruptcy matters concerning creditor's rights. In addition to his criminal practice, Mr. Somers has defended a regional manufacturer in product liability lawsuits, and has assisted banking and financial corporations and bankruptcy trustees in recovering tangible and intangible assets from debtors, collecting accounts, enforcing negotiable instruments, avoiding preferences within the parameters of the new Bankruptcy Code.
Mr. Somers has lectured at several local universities and is currently an Adjunct Professor at Loyola University Chicago, where he teaches Leadership, Culture, and Ethics and Art of Persuasion. Mr. Somers has been a guest lecturer at several area Universities lecturing on employment law issues as well as conflict resolution through negotiation. During law school, Mr. Somers was the National Runner-up at the Michigan State University National Trial Advocacy Competition and represented DePaul University's National Trial Team for two consecutive semesters. Mr. Somers is admitted to practice in all Illinois Courts, United States District Court for the Northern, Central, and Southern Districts of Illinois. Mr. Somers is a member of the American Bar Association, Illinois Bar Association, and the Chicago Bar Association.
- J.D., 2003 from DePaul University College of Law, Chicago, IL
- B.A. in Organizational Management, 2000 from Concordia University, River Forest IL
Program Areas
- COMM 268 - Persuasion
- CPST 380 - Leadership, Culture and Ethics
- CPST 350 Human Resources, Principles and Operations
- CPST 380 Leadership, Culture, and Ethics
- COMM 268 Persuasion
Professional & Community Affiliations
- Depaul College of Law Evening Law Student Society, President, 2001-2003
- DePaul College of Law Evening Law Student Society, Vice President, 2000-2001
- Moot Court Society- ABA 13th Annual National Criminal Justice Trial Advocacy Competition, Spring 2003
- Moot Court Society-National Runner Up- 4th Annual National Trip Advocacy Competition, Fall 2003
Courses Taught
"I learned so much from this class! The discussions were wonderful, the texts he assigned were so interesting and Professor Somers himself is a fount of knowledge. I always looked forward to this class each week as did my co−workers who were very interested in what I was learning and I would share with them."


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| 8.5°C Belfast
New rules for academies and free schools that compel them to promote British values are "dangerous" and could effectively stop Muslims becoming trustees or governors, it is claimed.
Education Secretary Michael Gove has drawn up funding agreements that will allow him to shut down schools or kick out governors if he believes a member of the academy trust is "unsuitable" because of "relevant conduct".
Unacceptable actions are defined as anything "aimed at undermining the fundamental British values of democracy, the rule of law, individual liberty and mutual respect and tolerance of those with different faiths and beliefs".
The Muslim Council of Britain (MCB) has raised fears that the reforms, which will apply to new academies and free schools, could prevent people with conservative Muslim beliefs viewed as incompatible with "British values" being involved - a claim the Department for Education denies.
Talha Ahmad, a senior member of the MCB, told the Guardian: "As a matter of principle, to have so much power vested in one hand is wrong. But then to have powers over an area over which there is no consensus is, frankly speaking, quite dangerous.
"People may have different views, and those views might be informed by faith. But does that mean the secretary of state should have the power to arbitrate these ideas, so much so that they should not be part of an educational establishment?
"This whole idea of giving the secretary of state the power to decide which views fall foul of British values, on matters such as school governors, seems to be draconian."
In the wake of the Trojan Horse controversy over Islamist influence on some Birmingham schools teachers were told by Mr Gove that they must "actively promote British values".
The DfE funding agreement sets out how schools must promote respect for the law, democracy, equality and tolerance of different faiths and religious and other beliefs.
A DfE spokeswoman said: "There is absolutely no bar to Muslims becoming school governors. We want a diverse range of people, of all faiths and none, to serve on governing bodies.
"It is right that we prevent unsuitable people from becoming governors. We are clear that any behaviour which undermines the fundamental British values of democracy, the rule of law, individual liberty, mutual respect and tolerance of those with different faiths and beliefs is incompatible with being a governor in a state-funded school in England."


text: Builders in Bow Are you looking for a reliable builder? 0203 633 1144 Extensions House Refurbishment Loft Conversions Garage Conversions Basement Conversions Bathrooms View Our Work Fully Qualified & Registered Tradesmen 10 Year Insurance Backed Warranty Covering London & Surrounding Areas ESTABLISHED LONDON BUILDERS We are a family business which has developed since 2008 from a small family setup to a fully fledged building company which has worked on many projects around London and the home counties. The projects we undertake have our full dedication and commitment to be completed on time , within budget and upto the high standards our customers expect. We always have an open and transparent approach with our customers so that you always know where you stand. With our skilled tradesmen we are specialists in Extensions, Loft Conversions, New Builds, Property Refurbishment, Bathroom Installlation, Kitchen Design & Installation, Brickwork, etc. WHAT WE DO Extensions MORE INFO House Refurbishment MORE INFO Loft Conversions MORE INFO Garage Conversions MORE INFO Basement Conversions MORE INFO Bathrooms MORE INFO Free no Obligation Quotation Call us on 0203 633 1144 Get a price WHAT OUR CLIENTS SAY London design and build are the friendliest most approachable builders I have met. Their work is of a high standard with competitive prices no matter what you want doing. LEE MARTIN★ ★ ★ ★ ★ Great builders!!! Completed a very large project £150,000 all done in 4 months. Build was superb as was the lads on site. The customer service is second to none. Very helpful company thanks guys, I already recommended you to my friends. PETER LEIGH★ ★ ★ ★ ★ We chose LDB to refurbish our flat in Totteridge. The dedication showed by the team was great. The task on hand was huge and the timescale which the work needed to be done in was tight. But we are happy with the results and would have no hesitation in recommending LDB. TONY PARSONS★ ★ ★ ★ ★ Absolutely delighted with the service from London Design Build. Our new kitchen extension has made a lovely difference to our home. If I could give more than 5 stars I would! Compliments to the whole team. DENNIS BARBER★ ★ ★ ★ ★ LDB completed a superb single storey extension for us and created an open plan living area and kitchen, as well as an additional downstairs toilet/utility. This has transformed the way we function as a family. We've had lots of great feedback from friends and family who have seen it. We found the guys working on the build very professional, punctual and reliable. I would thoroughly recommend LDB to anyone. Thanks guys! HELEN BRISCAL★ ★ ★ ★ ★ Previous Next Available 24 Hours a Day You may have questions as work on your home progresses, or even after it is finished. Our company director is avialable to discuss whatever you want during and after the project has been completed. Our History LDB was established by our Director back in 2008 .Back then, we were a small start up family business offering quality workmanship with integrity. Upon that foundation we have established ourselves in London. Today, not much has changed. Our customer base has grown along with our reputation and we are firmly established as one of the leading companies in our fields. Send us a Message Your Name *Email *Your Message *PhoneSend Message Free no Obligation Quotation Call us on 0203 633 1144 Get a price


text:
Jenkins shares outfield experience with Braun
PHOENIX -- Geoff Jenkins, who knows all about making a mid-career move from left field to right, believes Ryan Braun will fare quite well in the transition.
Jenkins arrived at Maryvale Baseball Park on Sunday to begin a week-long stint as a special instructor in Brewers camp. It will give him some time to talk about the intricacies of right field with Braun, who has manned left field at Miller Park for the last six seasons.
"There's obviously some different footwork out there, and you use the spin move more when balls carom off the wall down the line, and the throws from right field are a little lengthier," Jenkins said. "But at the end of the day it's just about getting to the ball quick, releasing the ball quick and hitting the cutoff man.
"I actually thought right field was easier. Left field is harder."
Jenkins found, for example, that opposite-field line drives hit by left-handed hitters tended to slice sharply toward the left-field line. In right, similar line drives from right-handed hitters tended to stay more true.
One adjustment Braun will need to make, Jenkins said, involves medium fly balls to right field that get lost in the lights. For some reason, the problem is less an issue in left field.
Braun is poised to pass Jenkins on some of Milwaukee's all-time leaderboards. Jenkins ranks third in Brewers history with 212 home runs, one ahead of Braun entering the season. Jenkins is also fourth with 704 RBIs as a Brewer (Braun is sixth at 681) and fifth with 661 runs scored (Braun is seventh at 644).
Braun is making the switch in part to open playing time for Khris Davis, a promising young hitter who does not have the arm for right field. Like Braun, Jenkins had been the Brewers' regular left fielder for six seasons before switching to right field for the 2005 season after the Brewers traded for slugger Carlos Lee.
"I did what was right for the team," Jenkins said. "With Carlos Lee coming in, it was a big deal for us to get a good hitter in the middle of the lineup. And at the end of the day, it was just, 'Go catch the ball. Play your position.'
"In a weird way, I thought it was kind of fun to make the switch. Sometimes changing can be scary, but I took it as a positive."
Other special instructors will follow Jenkins later in camp, including Hall of Famer Robin Yount, who annually makes an appearance, and Wisconsin native and former Brewers catcher Damian Miller, who will be a first-time attendee. Miller will work on both the Major League and Minor League side, manager Ron Roenicke said.


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'Midway Arcade' Mobile Game Review
Imagine you could step into a time machine and revisit all your favorite moments. Pretty cool so far, right? Only this time machine doesn't let you walk around and enjoy yourself — it keeps you locked inside the clunky device, forced to peek out through a muddy, distorted window. When you try to relive your glory days, you end up screwing them up and ruining all your memories.
That time machine exists, and it's called 'Midway Arcade.' We salute Warner Bros. Interactive for resurrecting the defunct developer's old slate of treasures to introduce them to new gamers, but deplore the execution. The likes of Rampage, Joust, Arch Rivals and Spy Hunter aren't so hot when you're squinting to make out dated graphics and fumbling to replicate your well-honed skills with touchscreen controls that seem actively geared to make you look like an idiot.
The app starts you off with 10 classics and unlocks more in pay-to-play downloadable packs. Even if you're harboring a longstanding crush on Gauntlet, APB or Total Carnage, we can't recommend picking them up in this form.
Not only do the games look muddier than we remember, the act of even loading them up is a chore, thanks to a poorly designed interface that makes you wonder if your device has frozen before it eventually decides it's time to let you play.
If WB takes another stab at resurrecting Midway's games, we hope it remakes them, adapting them to the strengths of the platform rather than shoehorning them into control schemes that don't work. Otherwise we'd just as soon skip the next time machine ride.
'Midway Arcade' ($0.99), available on iOS platforms, was published by Warner Bros. Interactive Entertainment. For this review, we played the game for two hours on an iPod Touch.


text:
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Title: Seeking Enlightenment...Hat by Hat
Author Name: Nevada Barr
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text:
Welcome to the Indiana University Honors and Awards website, dedicated to documenting and celebrating the excellence of Indiana University students, faculty and alumni in research, teaching, service, athletics, and creative performance.
Each singular award represents an outstanding accomplishment by a member of the IU community. Taken together, the collection of these awards over our nearly 200-year history depicts the breadth and depth of IU as a world-class public research institution.
University Honors and Awards, an initiative of the Office of the President, is an ongoing research effort to catalogue the rich legacy of individuals affiliated with Indiana University. This website is a starting point and we welcome your input on any errors, omissions, oversights, and any other suggestions you might have for improving the site and the project.


text: At Soft Surroundings, we know the importance of softness and comfort. That's why we take special care in selecting the pillows, pillowcases, and shams that become a part of our bedding collection. Our selection of pillowcases reflects our dual commitment to wellness and creating beautiful spaces. Choose from a variety of fabrics, ranging from bamboo to silk, in a range of colors. The bamboo reflects a commitment to sustainability, while silk not only feels wonderful, it doesn't tug on your delicate facial skin as you shift positions during sleep. We also offer Circadia, a doctor-designed pillowcase that hydrates your skin during the night. Shams are the multitaskers of the bedding world. Often used primarily as décor, they also provide a comfortable spot for your head during a nap and offer support while propped up and reading a book or working on your tablet. Many also incorporate distinctive touches, such as embroidery and ethnic prints. Browse our selection and treat yourself to something beautiful.


text:
Paul the Octopus Makes More Predictions
One of the World Cup 2010 withdrawal syndromes is definitely about Paul, the psychic octopus. In case you don't know, he got all Germany matches, and also the final match between Netherlands and Spain, right.
Honestly, I started noticing Paul after the recent prediction of Germany VS England match was correct.
I kept myself updated with Paul's predictions throughout the remaining matches then. Not because I bet, it's just that I find it interesting.
Now, ever since World Cup 2010 has ended days ago, I've already put Paul in the past. Couldn't be bothered anymore – but it returned after I saw this amusing Revive advertisement.
It's on the New Straits Times newspaper (22 July) and the first reaction when I saw it was "WHAT?!". Seriously, this advertisement is either loved by Revive fans or just plain noob. Can't they be more creative and original?
Anyway, I've done some little research and managed to discover that even though Paul has retired from football predictions, he's now picking on some other favourite competitions.
Here are some photos of certain predictions I found.
Yahoo VS Google
Paul picked the obvious winner, Google!
Sony Ericsson VS Nokia
Manchester United VS Chelsea
Oh this is still on football, but not World Cup matches lah. Instead, it's two of the English Premier League's top clubs. Great, looks like Manchester United is gonna win the title next season! Woohoo!
Media Prima VS Astro
I agree with Paul even though I don't have Astro at thome.
Short break: If you're a kennysia.com reader, you might realize that this entry is somehow sooOoo similar to Kenny Sia's style. But wait, you think only kennysia.com can produce such style ah? Think again.
Alright, back to the topic – Twilight's Jacob VS Edward
This is kinda gay, since Paul is a dude. =/
Microsoft VS Apple
Apple hardcore fans must be loving Paul after seeing this prediction.
Big boobs VS Small boobs
Amazing! Way to go Paul, you're a true Octoman!
Hotlink VS Digi
Oh no, I'm using Hotlink. But Paul is inclined to the colour yellow right?
Now, onto the blogosphere in Malaysia – Advertlets VS Nuffnang
Obviously Paul knows the better blog advertising company. I believe that Nuffnang is the winner in this situation.
Anyway, after all these discoveries, I was pretty amazed with what Paul has to offer. I feel like getting an octopus for myself and try my own luck.
Oh before that, as I was gonna stop searching for Paul-related predictions, I bumped into this final one…
Paul, you're definitely the best! 8-tentacles up!


text:
Helping people safely find more affordable medicine
The lowest price for Mayzent 2 MG is found at local U.S. pharmacies. PharmacyChecker-accredited Canadian and other international online pharmacies do not list prices for this product. If you live in the U.S., enter your ZIP Code to find discount mayzent prices in your area.
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text:
Dior Rhinestone Ring - 44
This ring features a plastic body with rhinestone details.
Exterior back is discolored. Exterior front is discolored.
Length: 1.5 cm
Width: 2 cm
Ring Size : 44
Color : Black, Red
Material : Plastic
Country of Origin : France
Rating : GOOD - The item has been used with visible signs of wear. There may be slight patina and other indications of use. All of which are either described in detail or visually declared in the product photos
Order Processing Time: Please allow 24-48 hours for your order to process, weekend orders will process on the next working business day.
Delivery Time: Our items are located in warehouses across the globe, please allow approximately 5-10 days for delivery.
All items at LAB are guaranteed authentic, with a 100% money back guarantee.
This item will never be marked down. Discount codes or loyalty points may be used if applicable.
This item may be returned for a full refund within 2 weeks of receiving your order.


text:
Spring Training unlikely to resolve closer role
LAKELAND, Fla. -- Four years ago, Tigers manager Jim Leyland left Spring Training saying Fernando Rodney would be his closer on Opening Day, but not guaranteeing anything beyond that. In fact, he suggested that other pitchers could end up closing games. But Rodney ended up with 37 saves in a breakout season.
The way Leyland is talking now, don't be surprised if his message is the same once the Tigers wrap up this year's camp -- even if right-hander Bruce Rondon wins the first chance at closing.
It is not Rondon's job to lose, Leyland cautioned. He's not going to put that kind of pressure on the 22-year-old. Yet it's hard to guarantee it's a job for one pitcher to definitively win, at least publicly.
"Hopefully I have a lead Opening Day, and you'll see somebody pitching," Leyland said. "I doubt very much that there'll be anybody anointed out of Spring Training as the closer. Is it a possibility? Yes."
When asked about left-hander Phil Coke's struggles against right-handed hitters and what he needed to do to reverse the trend, Leyland initially took it as a question about Coke potentially closing. But after saying Coke would not be the closer, Leyland added that Coke could get chances based on matchups.
"I think he'll probably close some games," Leyland said. "I'm not saying he won't close games, but I would not start anointing anybody as our closer just yet, because we don't have one just yet."
Coke, of course, picked up two saves in the American League Championship Series in Jose Valverde's stead. He didn't get a chance to save a game in the World Series, but his situation and the matchups with Giants hitters made him a likely candidate if the Tigers had a save situation.
"I think it's really a front-burner thing that's on the back burner," Leyland said.


text:
I finally got to watch; Klunkerz – a film about the history of mountain biking.
It's an awesome and inspiring story. And one that we can connect to well as we continue to see the development of polo from it's early days.
I love how all things grow from the adaption of needs. If there's a will, there's a way.
Go watch the full length Klunkerz film.
Also, whilst you're at it, check Joe Kid on a Stingray too.


text:
Listings in Glass, Doors + Windows - and Construction in Pittsburgh
Vitro Architectural Glass
in Doors + Windows -, All, Glazing -, Glass -, Doors + Windows, Glass, Glazing
Vitro Architectural Glass's industry-leading products include a range of energy-efficient low-e, low-iron and performance-tinted glasses. As North America's largest and most trusted glass producer, Vitro strives to realize the future of glass.
400 Guys Run Road
Pittsburgh, Pennsylvania 15024
United States


text:
Product Description
The Asian Love Dolls are fabricated to handle any and everything you provide for her, and you can lay her on her back or let her straddle you and ride you into absolute bliss. They are to a considerable degree adaptable, allowing you to place her in any position that you desire her to be in. If you want to give her a decent and appropriate reaming from behind, you can put her in a standing position, if you want her against the wall, you can also lean her against the wall and fuck her upward. Contrary, to other Asian Love Doll, this Asian Love Dolls realistic are fabricated solid, and can handle any brutality you inflict on her body.
She is a babe,beautiful face incredible body. Chanel feels smooth and soft,hands and feet that are made so nice you just want to put them in your mouth,manicured nails on hands and feet with wires in hands for flexibility,her nicely constructed full metal skeleton.
After i spent the day with her taking photos.
Material: Life size sex doll, TPE tensile strength reached 550%, therefore, the durability is strong; medical safety grade material is non-toxic, and our sex doll is the only one with this excellent material in china. In addition, the material of the sex doll is super soft, so the adult doll can give you the most natural human skin texture.
Non-toxic, no smell, no smell, anti tension strength, elastic, soft degree is very strong, feel more soft than silicone
Bone: In order to make the bones strong and durable, the use of titanium alloy skeleton, we designed 36 different steering sections, so that the behavior of the doll is easy to maintain the same posture, do not rebound.
Body: Skin strong attachment of the skeleton, no filler, integrity reached 100%.
Design: All of the sex dolls are made by domestic designers. From design to production, the prototype is really, each step is accomplished by a lot of changes and improvements.
Finger: A bone of the fingers can make all kinds of gestures. There are real and detailed texture design, it is difficult to distinguish between true and false.
Hair: There are two kinds, there is pubic hair and no pubic hair, pubic hair is the real wool, completely manual work, looks more realistic. The default is no pubic hair doll, if necessary, please contact customer service.
Vagina:The main structure of the vagina designers have rich experience in wax carving mud draft produced, so it is very real. Two kinds of vagina, one is the built-in type, can not be separated from the body, and the other is the insert, can be separated from the body.
Free gift: Underwear, hair accessories, heating rods, lubricating oil, blankets, talcum powder, repair agent, condoms.
Packing: Each package is designed a thick layer of packaging
1 Flavor:
TPE's material has a little taste, and when they have just done it, like the new home decoration and new furniture, to ventilation to put some time in the air, the smell of allergies, you can use perfume to temporarily cover the taste of TPE
2 Mobile joints:
Life Size Sex Doll is a metal skeleton, the factory skeleton is new, the fixed position is hard, because the essence of TPE colloid is to be out of oil, with the use and placement time, the amount of oil will penetrate the bone, joint activities will be flexible.
3 Wipe three nursing:
Life Size Sex Doll usually daub talcum powder and feel as long as nursing points, Not only to protect the material is not out of oil, and can prevent dust, increase the service life, usually clean with warm water, normally clean once in 20 days, With ordinary household bath liquid can be, if the Life Size Sex Doll is dirty, with olive oil and a small cotton swab can. Clean the sex dolls with a normal person's vaginal cleaning fluid, and need to dry after cleaning.


text:
Our Urgent Care Services & What We Treat
Illness Treatment
For treatments for illnesses such as colds, flu, stomach aches or ear infections, Twin Fountains Medical Centers is your number one choice for fast, caring help. Our knowledge medical staff can quickly diagnose your ailments, and provide the proper medications and treatment to get you on your feet in no time.View all Illness Treatments
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Did you know that 80% of all ER visits can be treated at Twin Fountains Medical Centers? Not all injuries require a costly trip to an emergency room. For less severe bumps, cuts, abrasions or sprains, visit Twin Fountains Medical Centers for quick relief for all of your minor injuries.Minor Injury Treatments at Twin Fountains Medical Centers
When your child is ill, you want access to the most convenient and comprehensive care possible. That's why we are open late on weeknights, weekends and holidays: to get your child the medical help they need fast. From common childhood illnesses like influenza, bronchitis, rashes or infections, to minor injury care for cuts, lacerations, sprains or breaks, bring your son or daughter today.Caring For Kids at Twin Fountains Medical Centers
From physicals for schools and sports, to employment and DOT examinations, we can offer comprehensive physicals that meet state or employer requirements. Offered daily, physicals are available for children, teens or adults for a number of different needs.
- Sports Physicals
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We understand that convenience and discretion are important to you when it comes to the lab services and sexually transmitted disease (STD) testing that you need. Our on-site labs reduce wait times for results and also reduce the need for you to go to another location for such lab work. Moreover, if you believe that you have contracted an STD, we can provide fast, private testing. After a medical assessment and examination, our highly-trained physicians can recommend the most appropriate treatment for youLearn more about our In-Clinic Services


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Heads and Bodies
3rd Jan 2017 6pm - 7:30pm
at Queen of Hoxton
Event Details
Who didn't play Heads & Bodies as a kid?! Draw a monstrous head, fold it and pass it on - then the next player might add a freaky torso, followed by the legs of an octopus...and so on! Join us in our rooftop for a game where everyone is included. All completed bodies will be displayed on the night and winning combinations will be awarded goodies and the occasional booby prize!
Time: 7pm - 8.30pm
Price: Free entry


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Fayette village council is hoping to land some state funding for street resurfacing. Council heard the first reading Aug. 24 of an ordinance to give administrator Amy Metz the authority to seek funds through the Issue 2 program.
Council also approved a motion to sell unused and obsolete items at the Fulton County auction scheduled Sept. 24. Items will include unclaimed bicycles.
Council approved the use of village property for two events in September. The annual Music Fest is scheduled in the park Sept. 17. The park board will be joined by the Sons of the American Legion Post 143 in sponsoring the event.
Fayette's Fall Fest is planned downtown the following week, Sept. 24.
FOREMAN—A committee that included former village administrator Dennis Richardson met Aug. 22 to review the seven applications for the village foreman position to oversee streets, grounds, parks and utilities.
The position is expected to be filled by the middle of September.
SEWER LINES—Camtech, the company engaged in viewing and cleaning village sewer lines, has proposed an amended agreement and fee schedule due to the unexpected level of cleaning needed.
The company has found the lines to be in excellent shape but heavily filled with silt and debris. Cleaning is taking much longer than a typical job.
The Public Works committee was scheduled to meet with a representative from Camtech and from Arcadis, the village's engineering firm.


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Bush, George Walker
Bush, George Walker, 1946–, 43d President of the United States (2001–9), b. New Haven, Conn. The eldest son of President George H. W. Bush, he was was raised in Texas and, like his father, attended Phillips Academy in Andover, Mass., and Yale, graduating in 1968. He subsequently earned a Harvard M.B.A. (1975) and worked in the oil and gas industry (1975–86). Bush helped manage his father's 1988 presidential campaign, then became managing partner (1989–94) of the Texas Rangers baseball team.
Sections in this article:
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2012, Columbia University Press. All rights reserved.
See more Encyclopedia articles on: U.S. History: Biographies


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Can Brazil's record employment rate get any better? The Labor Ministry reported the creation of 280,799 last month. Beating the 209,425 posted last January. Before the numbers came out, the market was suggesting gains of 206,000.
What do the numbers mean? Other than the fact that Brazil is still hiring like mad, it means demand is still there. And demand for goods and services means inflation, which is already 6%, its highest in around 8 years.
Last week, the Labor Ministry reported that the country's hiring frenzy is bringing in more workers from abroad. In 2010, Brazil companies hired 56,006 workers from other countries, up 30% from 2009.
"The increase in these authorized workers since 2006 is because of increased foreign investments in Brazil," says the Labor Minister's General Coordinator for Immigrant Workers, Paulo Sergio Almeida. He cited hiring especially at industrial factories, and at oil and gas companies.
In the industrial sector, the increase in workers is due to our own industrial park expansion, including modernization and implementation of new industrial segments. The acquisition of new equipment and technology from abroad demands that you bring in professionals specialized in supervising the building and execution of the most sensitive steps in the process of setting up this equipment in order for a decent transfer of technology to happen," he says.
Most of Brazil's highest paid, high demand jobs are specialized.
A quick look at where Brazil's jobs will be in the next 10 years. (more…)


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Sang An
The juicy pears in this elegant tart provide a dose of filling fiber. Each slice also serves up a helping of satiating healthy fat and phytonutrients, which come from the almonds.
- Yield
- Makes 8 servings
- Pastry:
- 1 1/4 cups all-purpose flour, plus extra for rolling and dusting
- 2 tablespoons sugar
- 1/4 teaspoon baking powder
- 1/4 teaspoon salt
- 1/8 teaspoon baking soda
- 5 tablespoons butter, cut into 1/2-inch cubes and frozen
- 1/4 cup plus 2 tablespoon cultured buttermilk
- 1/4 teaspoon pure almond extract
- Cream:
- 1 large egg white
- 3 tablespoons confectioners' sugar
- 3 tablespoons finely ground almonds
- 2 teaspoons melted butter
- 1/4 teaspoon pure almond extract
- Filling:
- 3 firm, ripe pears, such as Anjou or Bartlett
- 2 tablespoon fresh lemon juice
- 1 1/2 teaspoons grated lemon zest
- 3 sheets parchment paper
- 1/4 cup granulated sugar
- 1/4 teaspoon cinnamon
- 2 teaspoons butter, cut into small bits
- Confectioners' sugar for dusting
- Pastry:
- Pulse flour, sugar, baking powder, salt, and baking soda in a food processor 30 seconds to combine. Add butter. Pulse until butter pieces are the size of peas. Add buttermilk and almond extract; pulse until dough just comes together. Form dough into a disk, dusting lightly with flour. Cover in plastic wrap or wax paper and refrigerate 1 hour.
- Cream:
- Whisk egg white and confectioners' sugar in a bowl until frothy, about 1 minute. Add almonds, butter and almond extract. Whisk. Refrigerate.
- Filling:
- Peel and core pears, then cut into slices about 1/4 inch thick; toss in a bowl with lemon juice and zest.
- Galette:
- Heat oven to 400°F. Lightly dust a sheet of parchment paper with flour; place dough on top and lightly dust with flour; top with another sheet of parchment and roll out dough into a circle about 12 inches in diameter. Peel off top layer of parchment. Invert dough onto a baking sheet lined with third sheet of parchment. Trim around edges of dough. Spread cream over dough, leaving a 1-inch border. Arrange pear slices in concentric circles over cream. Sprinkle with sugar and cinnamon. Fold edges of dough over pears, crimping dough to enclose ends of pears. Evenly scatter bits of butter over top of filling. Bake 20 to 25 minutes or until pears are tender and crust is golden. (Cover top with a sheet of foil if it begins to overbrown.) Remove; cover edges of tart with foil. Heat broiler. Glaze top of pears under broiler, about 6 inches from heat, 1 minute or until pears are golden brown. Cool on baking sheet 5 minutes. Transfer (on parchment) to rack to cool completely. Dust with confectioners' sugar.
Nutritional analysis per serving: 268 calories, 11.8 g fat (5.1 g saturated), 37.7 g carbs,


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Anadol Forestry Service Camp (Dnipropetrovsk, Ukraine)
The Anadol Forestry Service Camp, or Anadoler Forstei, was located in the Russian (now Ukrainian) province of Ekaterinoslav (now Dnipropetrovsk), district of Mariupol. It was established for Mennonite young men as an alternative to military service in 1880, about five miles (eight km) from the railroad station of Gross-Anadol and Volnovacha, and occupied by an average of 170 men.
Hege, Christian and Christian Neff. Mennonitisches Lexikon, 4 vols. Frankfurt & Weierhof: Hege; Karlsruhe: Schneider, 1913-1967: v. I, 70.
|Abraham Braun
|Date Published
Cite This Article
MLA style
Braun, Abraham. "Anadol Forestry Service Camp (Dnipropetrovsk, Ukraine)." Global Anabaptist Mennonite Encyclopedia Online. 1955. Web. 24 Oct 2020. https://gameo.org/index.php?title=Anadol_Forestry_Service_Camp_(Dnipropetrovsk,_Ukraine)&oldid=143824.
APA style
Braun, Abraham. (1955). Anadol Forestry Service Camp (Dnipropetrovsk, Ukraine). Global Anabaptist Mennonite Encyclopedia Online. Retrieved 24 October 2020, from https://gameo.org/index.php?title=Anadol_Forestry_Service_Camp_(Dnipropetrovsk,_Ukraine)&oldid=143824.
Adapted by permission of Herald Press, Harrisonburg, Virginia, from Mennonite Encyclopedia, Vol. 1, p. 118. All rights reserved.
©1996-2020 by the Global Anabaptist Mennonite Encyclopedia Online. All rights reserved.


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Obamacare funding specific lifestyle choices
Say gov't can't coerce Americans 'to fund specific lifestyle choices of another'
A coalition of faith leaders – ranging from the president of the National Association of Evangelicals to an official for the Church of Scientology – reprimanded President Obama and his health care plan for infringing on the faith of employers by forcing them to provide abortion services to their employees.
"The government has neither a compelling interest nor the appropriate authority to coerce one citizen to fund or facilitate specific lifestyle choices of another," the group says in a letter to Obama released Tuesday.
"If the federal government can force morally opposed individuals to purchase contraception or abortion-causing drugs and devices for a third party, what prevents this or future administrations from forcing other Americans to betray their deeply held convictions?"
Under Obamacare, employers fund the abortion, contraception and abortifacient demands of their employees under threat of federal government sanctions. The requirement is in the rules for the federal health-care program, which was written with the input of leaders of the nation's abortion industry.
The letter came the same day the White House announced it was delaying the Obamacare mandate for businesses with more than 50 employees until 2015, after the elections in November 2014.
More than 100 prominent national religious leaders and scholars released the letter, called "Standing Together for Religious Freedom."
It calls on the Obama administration and Congress to start respecting conscience rights and religious freedom.
"Through its contraceptive coverage mandate, the U.S. Department of Health & Human Services continues to breach universal principles affirmed and protected by the U.S. Constitution and other federal laws," the letter says. "While the mandate is a specific offense, it represents a greater fundamental breach of conscience by the federal government.
"Very simply, HHS is forcing Citizen A, against his or her moral convictions, to purchase a product for Citizen B. The HHS policy is coercive and puts the administration in the position of defining – or casting aside – religious doctrine.
"This should trouble every American."
The letter, released in both English and Spanish, was signed by NAE chief Leith Anderson, Bishop Gary Stevenson of the Church of Jesus Christ of Latter-day Saints, Bishop Andrew of the Russian Orthodox Autonomous Church of America, Randall Bach of Open Bible Churches, Russell Moore of the Southern Baptist Convention, Susan Taylor of the Church of Scientology, John Ashmen of the Association of Gospel Rescue Missions, Mark Tooley of the Institute on Religious and Democracy, William Estrada of the Home School Legal Defense Association, John Garvey of the Catholic University of America, David Nammo of the Christian Legal Society and dozens more.
The leaders write that while there are differences of opinion on theological issues, they all believe that their faith convictions "manifest themselves through our daily interactions among family, neighbors, strangers and institutions."
That means, they write, "the doctrines of our respective faiths require something of us beyond the walls of our churches, synagogues, temples, and other places of worship."
"We stand united in protest to this mandate, recognizing the encroachment on the conscience of our fellow citizens," the letter continues. "HHS continues to deny many Americans the freedom to manifest their beliefs through practice and observance in their daily lives."
The leaders charge Obama is violating the First Amendment.
It states, "Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof."
"Free exercise includes the freedom to order one's life, liberties and pursuits in accordance with his or her convictions," the letter says.
While the Obama administration has insisted it can tell the faith community which religious beliefs members may follow, the message hasn't been well received.
One of the dozens of organizations suing the government over the issue, Belmont Abbey College, said it would not follow the government's mandates no matter what.
President William K. Thierfelder told WND: "We cannot go against our faith, and we are not going to do it. We will never accept something that is antithetical to what we believe. I think all of us have to have the commitment the martyrs [had]. Not that we are going to be martyrs, but we have to have that kind of commitment. Sometimes the faith is bolstered by persecution."
In addition to Belmont Abbey, others that have brought legal actions include Hobby Lobby, Wheaton College, East Texas Baptist University, Houston Baptist University, Colorado Christian University, the Eternal Word Television Network and Ave Maria University. More than five dozen legal actions are pending.
The HHS mandate is unprecedented in the country's history of religious freedom.
"We're not aware of any other time in American history when the government has given religious believers such a stark choice between following their consciences and paying millions of dollars in fines," said Adele Auxier Keim, legal counsel and one of the attorneys in Belmont's case.
According to Keim, balance is the key.
"If the government wants to put a burden on religious practice, they have to prove that it advances a compelling interest, and that it is the least restrictive means of advancing that interest," she said.
"The government can't meet that balancing test when it's already exempted other organizations for secular reasons," she said. "HHS has exempted health plans covering 87 million Americans for political reasons, in order to keep President Obama's promise they could keep the health plan they already had.
"But, HHS has refused to exempt a single [for-profit] business from the mandate for religious reasons," said Keim.
WND also reported the 10th U.S. Circuit Court of Appeals in Denver significantly said Hobby Lobby would continue to be protected from paying the mandate fees or fines until its lawsuit is resolved.
The district court previously refused to allow the injunction, and even Supreme Court Justice Sonia Sotomayor told the company owners to start paying for abortifacients for their employees, in direct violation of their faith.
But the appellate judges ruled the store company has "established a likelihood of success that their rights under this statute are substantially burdened by the contraceptive-coverage requirement, and have established an irreparable harm."
The judges said the government did not satisfy the requirement to show that any burden on the religious exercise of the plaintiffs was overridden by some "compelling" government interest or that it was imposed in the least intrusive way possible.
The court pointedly noted that Obama's administration already has exempted "tens of millions of people" from the same mandate, so to exempt Hobby Lobby hardly would create an impact.
The faith community has been busy lately with its condemnation of what's going on in Washington.
Just a week earlier, a coalition of Christian organizations warned that the U.S. Supreme Court does not have the power to redefine the institution of marriage, which predates government, churches and even religion.
The statement came just before the court release its rulings on the Proposition 8 case in California and the federal Defense of Marriage Act.
In both cases, the judges took a politically progressive and activist stance, allowing the advance of homosexual "marriage."
The coalition released a statement that left no doubt about the intention of its members.
"Make no mistake about our resolve. While there are many things we can endure, redefining marriage is so fundamental to the natural order and the true common good that this is the line we must draw and one we cannot and will not cross," they say.
The group includes Catholic, Orthodox and Protestant clergy and leaders.
via Now captains of faith blast Obama.


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Latter-day Prophets (Hunter)
Latter-day prophets are: number one,
Joseph Smith; then Brigham Young;
John Taylor came third, we know,
Then Wilford Woodruff, Lorenzo Snow;
Joseph F. Smith, remember the F;
Heber J. Grant and George Albert Smith;
David O. McKay was followed by
Joseph Fielding Smith,
Then Harold B. Lee, Spencer W. Kimball,
Ezra Taft Benson, Howard W. Hunter.
Latter-day prophets show(s) the way.
We hear and follow their (his) words today.
Text: Cynthia Pace
Music: Vanja Watkins
Artist: Pace/Watkins
Album: Music Published in the Church Magazines: Friend
Composition Date: 1995-04-01
More Info: Friend


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I noticed this answer on Super User this morning, obvious advertisement for some commercial plugin. Quite usual situation, happening frequently.
What is more surprising, though, is the amount of upvotes this user got for his other answer, advertising one as well. The answer was clearly off topic, but it got highly upvoted, very fast.
Following this track, we can see another user advertising the same product, once again with quite good reputation (for an advertiser, of course). His only answers are about this product, and the other one is where we reach a wonderful, magical place!
The place where everyone agrees that this product is wonderful, ideal, so great, and all with high votes! This question has obviously been cleaned up already, many of the users are deleted (we could probably get rid of their CW posts as well), but it shows really a "farm" of advertising users, and smarter than the usual.
For example, this one posted a valid question, to gather enough reputation to be able to vote. And same for others, finally. That way, they advertise, agree with each other, and upvote each other!
Edit: Even better, they use questions to criticize a competing product, and accept their own as a correct answer to that!
So if some moderators are motivated to make a bit of a spring cleaning, a Google search shows most of the posts to clean (I think only one of them is legitimate), and the users with it ;-)
Edit2: As shown by json, it's also on Stack Overflow and Server Fault.
We need to take down the whole gang!


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Dear Marvin,
Your series of articles on the "Cuba question" could not have been timelier, better considered or more thoughtfully written. In my opinion, you have truly lifted Cigar Aficionado to the ranks of serious political discourse (of course I and many others have long considered your thoughts on smoke and other good things most serious indeed).
Instead of complaining about the lack of a market for Cuban cigars, you took the high road of focusing on what matters most to generations of Americans and Cubans—family and freedom. You took the time to provide the backstory and history for your position and then intelligently argued it. The authors were not Pollyanna, but rooted in the difficult political realities. Your article on the human element of the current failed policy—agriculture and the Robainas—provided important perspective.
John D. Porter III Charlotte, North Carolina
Dear Marvin,
I had decided not to renew my subscription to Cigar Aficionado before my last issue simply because it was all about Cuba. The February issue was the last straw. Check it out: 1) Editors' note 2) "Memo to President Obama" 3) "Talking with Castro" 4) "Cigars and Cuba: 50 Years of History" 5) "Inside Havana" 6) "After the Storms" If I want a Cuba magazine, I will purchase one. I suggest you print Cigar Aficionado in Spanish and sell it in Cuba.
Alfred Bensmiller Naples, Florida
Dear Marvin,
I agree there needs to be a change of policy, but this needs to come from Havana, not Washington. History has demonstrated that trade embargoes do work if employed vigorously; case in point: South Africa. You are correct that "the good people of Cuba" have been punished long enough, but ending the U.S. trade embargo will not automatically solve 50 years of suffering. The U.S. is the only country that imposes a trade embargo. Why haven't circumstances changed? You also mention our relations with China, Vietnam, and even talks with North Korea as some sort of justification for approaching this regime. Does this mean three wrongs make a right? Let us not confuse the issue; Cuba's plight is not due to our so-called "failed policy," it is due to 50 years of a brutal communist dictatorship. I sincerely believe, in the not-too-distant future, Cuba will become a free, democratic and prosperous nation. This will be accomplished by its own courageous initiatives, led by a new generation, and not through negotiations with fading hard-liners.
Norbert Cardenas Miami, Florida
Dear Marvin,
In her article in the February 2009 issue ("Memo to President Obama"), Julia Sweig from the Council on Foreign Relations encourages President Obama to lift the embargo that the United States has maintained on Cuba for nearly 50 years. She argues that this is in the American national interest. I disagree. The goal of Cuban authorities has been to maintain themselves in power in perpetuity, even at the expense of improving the living conditions of Cubans, and to undermine the only country that stands in the way — the United States. Naturally, those authorities lend support to countries that have the same aspirations. This explains why Agence France-Presse (AFP) reported how Fidel Castro, while visiting Iran in May 2001— just four months before 9/11— proudly proclaimed that "Iran and Cuba, in cooperation with each other, can bring America to its knees." Just last September, Cuban Foreign Minister Felipe Pérez Roque indicated that the U.S. embargo had forced Cuba to spend more than $89 billion to get goods and services elsewhere. This is money well spent to keep Americans safe and to keep America on its feet.
Despite many overtures by U.S. administrations to lend a helping hand to the Cuban authorities, they have all been rebuffed. When President Carter tried to open a U.S. interests section in Cuba, the Cuban government responded by sending many jail inmates with criminal records and patients with mental illnesses to the United States via the Mariel boatlift. After President Clinton eased up on travel and remittance restrictions, Havana reciprocated by shooting down two U.S. civilian planes in international waters. Although President George W. Bush offered humanitarian aid five times to help out with the ravages of two hurricanes, Raúl Castro turned them down. These examples show that Cuban authorities are not interested in any bilateral agreements with the U.S.
Thus, it is not the United States that needs to change. It is the Cuban government that needs to open up to the free world. When Cuban authorities free all political prisoners without any quid pro quos, call for free elections that are monitored by international organizations, embrace a private economic model and set up a mechanism for settling U.S. property claims from seizures after the Cuban revolution, it will be appropriate for President Obama to change previous U.S. policy.
Jorge E. Ponce Burke, Virginia
Dear Marvin,
When I was given a travel humidor that was stuffed with 18 cigars, I could not imagine how it would impact me. Each cigar was a different flavor and style. I celebrated Christmas about a month early with my family because I was being deployed on my fifth tour from home. During this deployment I would be away for roughly 18 Sundays and with the gift I would be able to count down to my return in an Advent calendar style.
I recently started to smoke cigars with my brothers-in-law during our family Sunday time. They and my wife, Tracy, felt it important for me to be able to carry on the tradition just as they would in my absence. Being able to get a break and relax on a Sunday in the North Arabian Gulf is hard enough, but when the time comes around, I cherish the Sundays that I had and will have when I go back home.
Now that I have shared that, I write about the true impact of that gift. My first son was born five days before I departed on my most recent U.S. Navy adventure. Being able to catch that hour on my Sundays has given me a chance to think back on the few short days I was able to hold my son Jeffery the II. At the same time it allows me to close my eyes and dream about the many more days after my return that I will be able to spend with him.
I have been in the Navy for about 11 years and most deployments have come and gone with ease. I'm a chief now and have the brotherhood of my fellows and the backing of my crew. Nonetheless, not one of these great bonds holds a candle to the "Puff" and "Eyes closed" I do on my Sundays with my son. Until my return, light one up this Sunday for family and cherish the days in between them.
BMC(SW/AW) Jeffery J. Carne Virginia Beach, Virginia
Dear Marvin,
Last month we sailed to England in the largest suite on the seas, one of the two 2,500 square-foot, bi-level accommodations on the Queen Mary 2. I couldn't smoke in the suite, nor on the huge private balcony outside, overlooking the stern. On this completely filled voyage (2800 passengers, 1400 crew) the most colorful, unique place was the Churchill Cigar Bar, a small room within the Commodore's Lounge, all the way forward, that seated less than 20 people. It was filled every night after dinner. Men in tuxedos and the five or six women in gowns on the formal nights, and the denizens of the place were out of a good novel. It was a quarter mile from our suite (the entire length of the ship) but was filled with bonhomie, great brandy, and Cuban cigars. When my wife finally agreed to join me, she readily acknowledged it was the most interesting aspect of the entire seven-day crossing.
It wasn't so much an Atlantic crossing as it was time travel back to the 30s, when good cigars, fine wine, and interesting conversation were so much more commonplace. Thanks for your help in trying to recreate it whenever you can!
Alan Weiss East Greenwich, Rhode Island


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The Texas town famous for busting celebrities is in the headlines again. Rapper Nelly is the latest star to be detained in Sierra Blanca, after his tour bus was stopped at a border checkpoint Wednesday night.
The Hudspeth County Sheriff's Office said during a routine check for U.S. Citizenship a police canine detected drugs.
The deputies search of Nelly's tour bus turned up 36 small Ziploc bags of heroin, a small plastic container of marijuana and a loaded .45 caliber pistol.
U.S. & World
The day's top national and international news.
Seven people on the bus, including Nelly were detained while deputies continued the inspection.
A search of a compartment under the bus turned up a large green duffel back containing nine vacuum-sealed bags of marijuana weighing 10.4 lbs. and heroin with a total weight of .64 ounces.
Brian Keith Jones admitted to deputies the controlled substances and the weapon belonged to him. He was arrested by U.S. Border Patrol agents while Nelly and the other five others were allowed to leave.
Sierra Blanca has snared a handful of other celebrities in its checkpoint drug busts, among them Fiona Apple, Willie Nelson and Snoop Dogg.
Interesting fact, the hold music for the Hudspeth County Sheriff's Office is "I Fought the Law."


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£61.25 incl. VAT
£51.04 excl. VAT
Collections: 1 Bing Products, 10.0 (32.8ft) To 19.9 Metres, £50 to £100, AFB-Lcom, All, Cable, Cables & Connectors, Fibre Optic, Fibre Optic Cables, Fibre Optic System, Google Shopping, L-Com Connectivity Products | Lcom Global Connectivity, L-com Fibre Optic Cables, Multimode, OM2, Yellow, Yellow default 10+, Yellow default 20+, Yellow default 3+
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Type: Cable
Vendor: L-Com
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Frangipani Hmong Pillowsd + k renewal
Created by the Hmong Hill tribe in Thailand, each textile is handcrafted, hand-dyed and hand-woven to now complement your home.
Fine needlework has always been a source of great pride to Hmong women. Bright colored embellishments were used to celebrate a new year, a birth, a wedding or other important events.
Each pillow has a linen/cotton blend backing and a hidden zipper closure.
Pillow insert is not included, but you can purchase a high-quality insert here:
Sizes: 12" x 20" , 18" x 18" , 24" x 24"