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Former New Orleans Saints defensive coordinator Gregg Williams has met with the staff of the Tennessee Titans and is close to becoming the team's assistant head coach, reports ESPN.com.
Williams was suspended indefinitely by the NFL last March for his role in the Saints bounty program. Before Williams can be hired the league has to lift his suspension.
Williams was the ringleader of the Saints' pay-for-performance bounty program as defensive coordinator in New Orleans and was hired by Rams head coach Jeff Fisher as defensive coordinator before the league started to dig into the Saints bounty program.
Should Williams be reinstated, no obstacles are expected on the contractual front, according to sources. The two sides are familiar with each other with Williams having worked in Tennessee from 1997-2000.
Williams has been a defensive coach in the league since 1990 and helped the Saints win the Super Bowl after the 2009 season.
Filed to ESPN: Suspended former Saints DC Gregg Williams already has met with Titans and is on verge of becoming Tennessee's assistant HC.—
Adam Schefter (@AdamSchefter) January 27, 2013


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Calcium and Thyroid Medicine and Surgery
Even though the thyroid is small in size, it is one of the larger glands in the endocrine system that is comprised of other glands like the pituitary, adrenal, pineal and thymus, besides the pancreas and testicles in males and ovaries in women. In males, the thyroid is located just below the thyroid cartilage, commonly known as the Adam's apple.
Two of the three hormones (T3 and T4) secreted by the thyroid control the body's metabolism, and therefore determine how quickly the body burns energy, produces proteins and controls the sensitivity to other hormones. The third hormone, calcitonin, plays a major role in maintaining the metabolic equilibrium of calcium. This is done through the management of biological mechanisms that operate via the autonomic nervous system to offset disrupting changes. The parathyroid hormone (PTH), released by the parathyroid, is responsible for maintaining adequate levels of calcium in the blood.
Considering the wide range of duties that the thyroid hormones perform, it is more than evident that symptoms of thyroid problems can surface in practically any part of the body. The sad part is that most doctors often fail to connect them with thyroid dysfunction. And what is worse is that many times, doctors either do not know or fail to mention that consumption of calcium can interfere with the absorption of thyroid medicine. This is one of the reasons why many people do not respond to thyroid treatment.
If the level of calcium in the blood increases, the follicular cells in the thyroid release calcitonin to stimulate the movement of extra calcium in the blood. Calcium in the blood, however, is controlled by the parathyroid. During thyroid surgery, care has to be taken to avoid damage to the adjacent parathyroid glands. Accidental removal may require daily supplemental doses of calcium and vitamin D to maintain adequate levels of calcium in blood.
Medication for an under-active thyroid (hypothyroidism) involves thyroid supplements, some of which contain desiccated thyroid sourced from animals. Taking a thyroid supplement requires regular monitoring to check and stabilize the level of thyroid hormones. The level needs to be arrived at to avoid the occurrence of symptoms associated with hyperthyroidism (an overactive thyroid). This thyroid condition is associated with the excessive excretion of calcium through the urine and stool, resulting in the weakening of bones and osteoporosis. Surgical treatment and radiation therapy to treat hyperthyroidism can lead to an under-active thyroid due to over correction. Supplemental hormones may also be advised in such cases, requiring similar precautions.
Calcium is essential for cell physiology. It is a major mineral used in the mineralization of bones. Thyroid disease and medication can have a major affect of body structures. Thyroid medication should not be taken along with supplemental calcium and many other trace minerals. If you have thyroid problems, it will be prudent to discuss this matter with your physician. There may also be a need for some modification in your diet.
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subset: commoncrawl


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Anniston's homecoming theme proved appropriate Friday night, as the Bulldogs kept their playoff hopes alive with a 33-7 victory over Hokes Bluff at Lott-Mosby Memorial Stadium.
The win puts Anniston (5-3, 3-3) in a three-way tie with Cleburne County and Alexandria for the fourth and final playoff spot in Class 4A, Region 5.
"That's the only way we could do it," Anniston coach Eddie Bullock said when asked about staying in the playoff hunt. "We couldn't afford another loss, and we're still on the outside looking in."
The Bulldogs were led by their stout defense, which turned three first-half fumble recoveries into 21 points.
As Hokes Bluff quarterback Tanner Williams dropped to pass during the Eagles' first possession, the ball slipped out of his hands. Anniston's Raekwon Billingsley came up with the recovery, setting the Bulldogs up on the Eagles' 18-yard line.
Running back DeMarcus Thomas picked up a big third-down conversion with a 14-yard run before carrying the ball into the end zone from 5 yards out on the next play. The first of three successful first-half extra points from Quint Dobbins put Anniston up 7 with 7:54 to go in the first quarter.
Hokes Bluff put the ball on the ground again early in the second quarter. Running back Christian Beggs coughed it up and Anniston's Tedarius Smith was there to gobble it up at the Eagles' 27-yard line.
Thomas opened the ensuing drive with a 14-yard carry to set up the Bulldogs' second score of the night.
On the next play from scrimmage, wide receiver Qua Frazier used his size to out-jump two Hokes Bluff defenders and come down with a 13-yard touchdown reception from Dobbins, putting Anniston up 14 with 10:04 left in the half.
Tevin Davis scooped up another Eagles' fumble late in the second quarter, carrying the ball all the way down to the Hokes Bluff 6-yard line. Thomas scored his second touchdown of the night on the next play, giving the Bulldogs a 21-point lead heading into the locker room.
Thomas finished with 82 yards rushing on 17 carries and had a 75-yard kickoff return to open the contest.
Anniston's defense also came away with two interceptions as the Bulldogs finished the game with five forced turnovers. Smith came up with an interception just before halftime, and Deontae Brown picked off a pass in the end zone early in the fourth quarter.
Of the turnovers, Bullock said they were important.
"The defense has actually been solid for about the last three games, and that's the reason we have been able to stay in games," Bullock said.
Dobbins threw two touchdown passes in the second half to extend the Bulldogs' lead to 33. He found Darius Carter open in the flat on a short pass to the left sideline, and Carter did the rest, sprinting all the way across the field on his way to a 61-yard score.
Dobbins found Damonta Miller open in the end zone on his final pass of the night, a 30-yard strike off of a play-action fake with 1:45 to go in the third quarter. Dobbins finished the game 5-for-11 for 141 yards and three scores.
Running back Donovan Lucas made the most of his limited workload, finishing with four carries for 55 yards.
Hokes Bluff halted the Bulldogs' attempt at a shutout when Williams found Phillip Ward on a 14-yard touchdown pass late in the fourth quarter.
Anniston hits the road next week to take on region champion Munford in a game that could make or break the Bulldogs' playoff chances.
"It's extremely big," Bullock said. "If we win, we're in, I believe. And if we lose, we're out. I'm a firm believer that that's it. There's no other way to put it."


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Power of the Panthers
Keaton Reiher's big game at plate lifts Delta past Olathe
Keaton Reiher collected three hits, including a double and a triple, and drove in three runs to lead Delta to a 12-7 victory over Olathe in nonleague baseball Wednesday. Olathe rallied for…
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Back to School Duck Tape® Folder or Divider
Create unique dividers or folders for each subject by using different Duck Tape® design and color combinations!
Material List
- Duck Tape® Sheet - Zebra
- Duck Tape® Roll - Merlot Mania
- Cardstock - White
- Three Hole Punch
- Ruler
- Scissors
Project Instructions
Start with one piece of white cardstock.
Measure and cut Zebra Duck Tape® sheet in half (5"x8½"). Lay over bottom of white cardstock.
Cut Merlot Mania and tape across 1" of all sides of the cardstock and Zebra half sheet. The tape should create a 1" border all around the folder, as well as overlapping 1" on the back.
Cut a slit in the Merlot Mania Duck Tape® above the top of the Zebra half sheet to allow for a wider pocket.
Use three-hole punch to finish the folder for your binder.


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Friday, March 22nd, 2013 Edition of The Daily Standard
Online Local News Stories
CELINA - Officials are looking for ways to improve security at the Mercer County Courthouse as violent acts continue in public places. One of the ideas discussed during a meeting Thursday morning at the courthouse was to lock a . . .
Print Edition Only News Stories
• Probe of police chief's actions is ongoing
• Farm receives EPA notice of violation
• Survey results to determine future of Neil Armstrong airport funding
• More foods contain gluten than first thought
• Dangerous intersections to be modified
Local Obituaries
Mary Moeller, 82, Celina, died March 21, 2013. Funeral arrangements are pending at Cisco Funeral Home, Celina. . . .
Werner Schwartz, 58, New Bremen, died March 21, 2013, at his sister's home near St. Marys. Arrangements are pending with Gilberg-Hartwig Funeral Home, New Bremen. . . .
Kathleen Sue "Kathy" Shirk, 60, Celina, died March 21, 2013, at Van Wert County Hospital. She was born May 5, 1952. Her father, William Kelly, her mother, Ruth Ketrow Kelly Schnack, and her step-father, John Schnack, are all de . . .
Local Pictures
Weather forecast
for Friday:
Mostly cloudy, showers
for Friday:
Mostly cloudy, showers
Wednesday, April 23
Wednesday, April 23


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March 22, 2012, 9:09 AM
By Lisa Taddeo
Istvan Banyai
Part of "Sex and the American Man" in the April 2012 issue, on sale now
I don't think my late parents cheated on one another, but I can't ask them anymore, can't say, But come tell me now this time for real, now that I'm old enough.
As far as I know, they didn't cheat. As far as I know, my mother never cried in a car on the way to her favorite restaurant, like a friend of a friend's mother, who I call the Lorax.
The Lorax's husband told her to get dressed up and pick out the place she wanted to go to, when he had not done so in months, and she spent her fifty-six-year-old day preparing her face, creaming her body, hooking a bra, and doing that thing that women do, touching a part of ourselves we imagine being touched later by a man.
In the car on the way to the favorite restaurant, the Tom Waits song "Shiver Me Timbers" came on.
"I'm leavin' my family / I'm leavin' all my friends / My body's at home / But my heart's in the wind."
Her husband said, Turn it off. Turn it off now.
She said Why, even though she already knew, it was up in her throat like a horse vitamin. She said, If you are about to say something that's going to crush me, then don't take me to my favorite restaurant and do it to me over wine. Pull over, be a man, and do it now.
This story always upsets me. Not because I imagine my parents in these roles. But because I wonder what they'd think if they knew I've been the other woman.
I sat down to write this eighteen different ways. I thought, What does someone want to read about affairs? You've had one and you want to relate to something. You haven't had one but you fantasize about the girl with the keyhole shirt and the shoes your wife would call cheap. Her name starts with a C or a G. You know you and your partner will never have one, but you remember the time your wife, your husband, did not answer the phone for five car-accident hours.
The Lorax has reddish-brown hair and lives in Queens. She's solid and talks a lot.
Every time I meet a married woman, I think about the things she does that likely annoy her husband. I think a great deal about the evanescence of sexuality. The marrow missing from the bone. That's what I want to know. If you're going to wreck some other person's world, what's the good thing you're going to get?
My friend Cobb is from Kentucky. Now he lives in New York, but before he was married to a woman I'll call Blondie. She was hot and perfect-familied, drank a lot, like a college girl. She had a sister, Meg, with dark hair, younger but more mature and sleek. Cobb was happy but not complacent. His wife was both.
After a year or so, Cobb started thinking of dark hair. The swish and wealth of it. On wide southern avenues brunettes jerked his head around. At first not Meg. It was just damn near every brunette. It was forty-five-year-old brunettes at Lancôme counters. It was twenty-seven-year-old cashiers and the dark-skinned Jewish brunettes who perform sure-footed blowjobs on porn sites. Then it was Meg. Then it was the cashier. Then it was both, in his head in the bathroom in the bedroom on a reel billowing like horse manes.
One night at a wine bar, the sisters looked beautiful and disparate. Everybody drank too much and they all went back to Cobb and Blondie's home, and Blondie made it to the bathroom and passed out there, her blond tresses cascading murderously across the tile like southern blood.
As a nation we are obsessed with the moment it happens. When alcohol is involved, the moment is a glance of breath. It's the smell of cologne and lacrosse sweat. Meg is on the bed. Her brother-in-law walks halfway across the room and Meg has this look on her face like pre-sin. A white bra strap is showing.
He kneeled on the bed and she kneeled up to meet him and they kissed and skipped foreplay, pants off, dress hiked up, and they had drilling sex, fast and half-smiling, half look of holy fuck, my sister your wife. The depraved lunacy of gotta have it anyway.
This story doesn't shock me. I see the logic. More than I believe in the sanctity of union and promise, I believe that everybody cheats. If you have not cheated yet, it's because you are still too grateful to be secure, or you have not yet had the opportunity, or the right color of red hair has not come along and sat down at the bar on a Tuesday when the jukebox was playing Leonard Cohen and your manhattan tasted like the future.
Or maybe I'm simply rationalizing and making excuses. Because I relate more to the Lorax's husband than to the Lorax. Because I'd rather be getting fucked in bed than passed out on the bathroom floor.
It's this past summer at a country club in New Jersey where the pool twinkles like 1985. I am reading aloud to a friend from a David Foster Wallace essay in which he talks about how a man who puts his hand at a woman's abdomen while his mouth is between her legs is selfish. Because he wants to know if she comes. He's in it for his ego. Then we talk about cheaters, because I'm telling my friend about a man who was great at that, while he was married. And we talk about the fact that I've been with married men, which I feel taught me to be careful not to get hurt, to know that one day it could happen to me. And she feels it is because I'm worried about losing people, like I lost my parents, so I don't ever put myself in a position to lose. She says I'm just a catalyst for more loss.
We stare across the pool at the families. Dark-haired fathers and blond wives and rows of blond-fur children in Vilebrequin swimsuits.
You shouldn't ever see him again, she says. You're ruining your marriage karma. I say, I'm not sure I believe in it. It's weird you're this fucked-up about marriage, she says. You grew up in a perfect home.
I argue in the general but also in the specific. The fucking moment. The married guy I'm talking about put a cashmere jacket across my shoulders in a downtown bar when the door was open in early spring. I'm happily married, he said in conversation. He had an odd bit of an accent, salt-lick after it's been run through by ten thousand yellow cabs.
Four days later I e-mailed and said I wanted to interview him for a story. I trembled and smiled as I sent it. Six days later we met in a bar far from where he worked and where I lived, but cool and appropriate, and I walked in thinking I was crazy for what I had been thinking, that he was just another married guy, just another finance guy, just another moment in time and scent in a room.
I saw him and I had three beers and I had to run into the bathroom and scream, shriek for fuck's sake. I looked at my face in the mirror and I thought, I have never felt this before. I may never feel this again. Something chemical and explosive. I'll never forget the smell of beer on my breath, that particular evening's smell of beer.
Another bar a few hours later, beer into gin and tonics, side by side on stools, my thigh against his. He says if he weren't married, this would be the best first date he had ever had. He is eight years older. He has a six-month-old baby.
I have to go, he says. I have to go.
He hails me a cab and opens the door for me and I am about to get in, about to be innocent only because he is leading the way, and he puts his hand on my shoulder.
May I kiss you on the mouth? He says it like an apology.
When we saw each other again, he said he didn't want to walk away, that he knew he should but he couldn't.
This time we were in the bar where we'd met, where he knew everyone and he likened me to a jar of cherries beside his glass of Scotch and he kissed me there at the bar and it was the kind that doesn't stop until a full stop. We left together and outside in the street he lifted me into his arms with my legs around his waist and he threw me up against a brick wall. On the way to my apartment a taxi almost hit us and we laughed. He carried me inside and the bottles in my bar stand shook. He threw me on my bed and it was the ideal mix of laughing and panicked desire and he took half my clothes off and his phone rang. We were doing midnight things but across the rest of the city it was 8:00 P.M. and with one hand on my waist, he picked up the phone and said, Yeah honey, don't worry, having a drink with Brian, I'll bring home a pizza.
More than the illicitness of the sexuality, there's a sexuality to the selfishness. To doing precisely what you want to do. Being crudely, smilingly, on the side of the winners. I'm arguing for Wild Moments, because you never know what your last one will be.
She says, I hate myself. She says, This is thrilling.
Call her the Enigma, she works in an office in the center of the city. She's tall and redheaded and thin and in the past she drank a lot and even though she still drinks now, it's different. She's together. She's gotten engaged, it was years in the making. He has a career, the kind that makes the Engima's mother forgive the Enigma's past transgressions. The ring is a holy laurel.
The first morning it's not an affair but a glowing warmth, nobody gets hurt. It begins with an instant message. There's a man in the office who's wildly good-looking, he has great jeans and a hot smile and the other girls and women in the office talk about what he's wearing and how he smells and they trade information like they're handling a rookie card. The Enigma doesn't have the time to, because she is the one he chooses. You look great today, is how it starts.
The Enigma's wearing a white button-down shirt and a dark pencil skirt and her long legs are bare bones in winter and her shoes are popping snake green. Her hair has just been highlighted so it is brighter than yesterday. Everything the Enigma does is done in the extreme it's part of her maddening charm, especially for a man who is in love with her.
In an office, that's how it works, instant messages on the company server. Soon it's eight hours a day, and soon it goes into night. E-mails, because they're quieter than texts. 3:00 A.M. The idea of someone thinking of you, then, who shouldn't be. In bed with his wife. In bed with your fiancé. Nothing has happened, except everything in your head.
I'm losing it, she writes, at 11:00 A.M. on a Tuesday. I'm so scared. I have so much to lose. I'm floored. I'm so scared. I mean, I won't lose it. I'm just addicted.
I say it's like a drug, and the aftermath of a drug is shit. She says, I know I know I know. But. He's amazing. Though. Like. Every moment is erotic. The way he lifts a pen. We are sexy together. You know?
What To Read Next


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'Could there be a more enticing title stamped across a CD than Strauss: The Complete Songs—1? Richard Strauss the man may be widely resistible; but it would take someone extraordinarily hard-hearted not to take any delight in his luxuriant imagination and succulent harmonies … Each planned CD in the series will be shaped around the talents of different singers, and Brewer's disc marks a tremendous start' (The Times)
'Hyperion's encylopaedic collection of Schubert songs was one of the great recording projects of the Nineties. Now the beleaguered company hopes to do the same for Richard Strauss … The series launches in style with the soprano Christine Brewer, accompanied by Roger Vignoles, whose booklet notes are as perceptive and stylishly executed as his piano playing' (The Evening Standard)
'Hyperion is following its massive surveys of Schubert and Schumman by kicking off a retrospective of Strauss's complete lieder with a recital by Christine Brewer and pianist Roger Vignoles. If this is anything to go by, the series should be at once scholarly and thrilling' (The Guardian)
'Christine Brewer in magisterial voice … a major project, beautifully performed and presented' (The Independant)
'Christine Brewer … combine opulent, blazing tone, fearless top notes and surprising agility' (Daily Telegraph)
'At all times Brewer and Vignoles work together hand in glove … This is a properly equal partnership that bodes very well indeed for this admirable project. Brewer and Vignoles set high standards for anyone who would record Strauss now and for future collaborations on Hyperion too!' (International Record Review)
'there seems to be no challenge that Christine Brewer and Roger Vignoles can't meet in these opulent songs. Brewer's soaring voice offers a fabulous range of colour and dynamics, and Vignoles matches her with a truly orchestral palette at the keyboard' (Classic FM Magazine)
'Christine Brewer is a fine choice for this first disc in what is expected to be a total of eight or nine CDs … one is already impatient for the arrival of Volume 2. Full texts with translations are given, of course, and concise but informative notes from Vignoles. This recital is a gift not to be missed' (Fanfare, USA)
'The CD, itself as masterfully composed as the songs on it, begins, appropriately, with 'Zueignung' and ends, touchingly but without sentimentality, with the last song from that same Op. 10, 'Allerseelen' … Brewer is blessed with what legendary record producer Walter Legge called the sine qua non of the great singer; a distinctive, immediately identifiable sound. Her remarkably supple voice, Rubenesque in size and voluptuosness, has just enough acid to allow her to etch each song with highly detailed word painting and her personal stamp … the insight Brewer brings to the less familiar songs brings deep satisfactions' (Bay Area Reporter)
The inception of an important new series on Hyperion: the complete songs of Richard Strauss on a projected eight or nine CDs.
Although Strauss wrote over two hundred songs, barely a dozen are well known to the public at large and not more than perhaps thirty feature with any regularity in concert programmes. In part this obscurity could be ascribed to the mediocre nature of much of the poetry the composer chose to set; Goethe, Rückert and Heine do indeed put in an appearance, but for the most part Strauss seemed content to set lesser-known poems from the byways of literature. Perhaps this allowed him to focus more completely on the music itself, unburdened of the potential for invidious comparison. The orchestral nature of many of Strauss's accompaniments, furthermore, can serve to intimidate performers, yet we know that the composer's own performances (many given with his soprano wife) allowed for significant divergence from the so-called Urtext as circumstances demanded.
Such considerations are swept aside in this new recording, with Roger Vignoles providing the perfect accompaniment to Christine Brewer (whose performances in Ariadne auf Naxos have, not surprisingly, won her considerable international acclaim) in a recital which combines such favourites as Wiegenlied, Zueignung and Allerseelen with a host of lesser-known songs in the first of what promises to be an enthralling series.
Full texts and translations are provided, along with insightful commentaries on each song by Roger Vignoles.
Other recommended albums
Bach: Piano Transcriptions, Vol. 4 – Samuel Feinberg
CDA67468 2CDs for the price of 1
Brahms: Songs
CDA66444 Archive Service
Purcell: The Complete Sacred Music
CDS44141/51 11CDs Boxed set (at a special price)
Although Richard Strauss wrote over two hundred songs, barely a dozen are well known to the public at large and not more than perhaps thirty feature with any regularity in concert programmes. Many more deserve to be much better known, but their neglect also reflects an undeniable unevenness, especially during the middle years. As Strauss himself freely admitted, when the Muse smiled the song would almost write itself, but at other times it took hard work:
Musical ideas have prepared themselves in me God knows why and when, as it were, the barrel is full, a song appears in the twinkling of an eye as soon as I come across a poem more or less corresponding to the subject of the imaginary song If I find no poem corresponding to the subject which exists in my sub-conscious mind, then the creative urge has to be re-channelled to the setting of some other poem which I think lends itself to music. It goes slowly, though I resort to artifice.
Yet Strausss artifice is often as good as many a lesser mans inspiration. Meanwhile, his insistence that musical inspiration was the primary impulse is significant, and in marked contrast to the tendency of composers of the modern Lied by this he especially meant Hugo Wolf, for whom the entire nuance of the poetic text was of prime importance, and who immersed himself only in writers of the highest quality: Eichendorff, Mörike, Goethe. In the case of Strauss, none of the writers he favoured Gilm, von Schack, Dehmel can be called a major figure. True, there is a small sprinkling of texts by Goethe, Rückert and Heine, but none is representative of their genius. (That said, the world would be poorer without the two magnificent Heine songs recorded on this disc, especially Die heiligen drei Könige.)
In any case, in responding to the musical impulse Strauss was playing to his own strengths as a composer his innate gift for vocal melody, his sense of harmonic colouring and the generous, orchestral texture of his piano parts. Interestingly, when accompanying his wife, the soprano Pauline de Ahna, he was often known to vary the more difficult passages, as though he already considered the material as an orchestral score how often have we pianists longed to have that freedom ourselves!
Strauss is often said to have had a lifelong love affair with the soprano voice, and certainly no other composer has ever written for it with such glamour. Even though some of his songs were originally written with tenor in mind he was of course much less generous in his operatic roles, which are generally unkind to tenors it is not surprising that the best (or at least the most singable) have been readily taken up by female singers, recognizing Strausss unique ability to flatter their voices.
The more remarkable fact is that Strauss composed so many of his greatest songs so early in his career. No fewer than three Zueignung, Die Nacht and Allerseelen appeared in his very first published set, Opus 10, and most of his other well known songs including Morgen, Ständchen, Befreit and Wiegenlied appeared long before 1905, the year in which Salome was completed and his career as an opera composer began. Ironically, it may be the very success of those early hits and the few other favourites that has put so many other fine songs in the shade.
In selecting the songs for this series, it has been decided to follow musical, as much as musicological, considerations. Strausss groupings by opus number have not necessarily been adhered to, since although some sets are unified by the choice of poet, in other cases it is not always obvious that Strauss intended a particular set of songs to be performed as a group, or indeed that they were put together for any other reason than convenience of publication. Not infrequently, songs stand side by side that are quite clearly conceived for totally different voice types, while elsewhere the variation in style and content disrupts any great sense of musical cohesion.
The endeavour therefore is in each case to entice the listener with the sequence of songs while playing to the strengths of the singer concerned. In the case of Christine Brewer, who opens the series, these strengths are evident and matched by the choice of repertoire, ranging chronologically from the familiar Zueignung to the rarefied (and rarely, if ever, performed) Gesänge des Orients Op 77. These latter songs, not to mention dramatic numbers such as Ich liebe dich and In der Campagna, would be well-nigh impossible without a voice of the heft and versatility of Christine Brewer, who thereby provides us with a panoramic view of the heights and depths of Strausss song-composing style.
Roger Vignoles © 2005
Other albums in this series
Strauss: The Complete Songs, Vol. 6 – Elizabeth Watts
Studio Master: CDA67844 Studio Master FLAC & ALAC downloads available


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District 4 Coalition for Change April 22, 2014 at 02:33 PM
Viagra is a male enhancement drug. Penis Pumps are male enhancements too. The Birth Control Pill…Read Morea llows women, all women, married, unmarried, etc. to control their destiny. Birth Control is part of women's healthcare. Mathew, really!
Alicia78 April 23, 2014 at 10:53 AM
Well, Matthew Andras for your information, birth control pills are not only taken to prevent…Read Morepregnan cy, but many women take it to regulate their menstrual cycle, as well as to lessen the extremely uncomfortable premenstrual symptoms (pms) such as cramping, headache, etc.; therefore, making it a "medical necessity". Birth Control pills also may aid in the prevention of cervix and breast cancer. But I guess you wouldn't know any of that because you didn't bother to research and actually educate yourself on an issue that you know nothing about, but still choose to give an opinion on. I'm guessing that you are all for the penis pump for your own personal reasons.
District 4 Coalition for Change April 23, 2014 at 12:09 PM
Well said, Alicia. Please share Congressman Smith's Anti Woman agenda with your friends and…Read Morefamily. Urge them to vote in November and vote Against Smith's agenda. He is trying to block private insurance companies from providing women basic health care, cancer screenings, STD and AIDS, Breast Exams, all forms of birth control and sex ed training. He voted for fetal personhood, he voted to block health professionals from sharing with women all their health options, tried to block abortion even the case of saving the mother's life. he voted to criminalize doctors by allowing family members to sue the doctor if they disagree with the women's choice to end a pregnancy. He wrote a bill changing the language from rape to forcible rape to make it harder for women who are raped to prove rape. Which is reckless and endangers women while empower rapists. He voted against equal pay for women and on and on. He also voted against the Violence Against Women's Act. No women should ever vote for Smith.


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David Luiz, who handed Roberto Di Matteo a timely boost by returning to training this week following a hamstring injury which ruled him out for the past month, admitted he will be fulfilling a lifelong ambition if he steps out to face Bayern Munich on Saturday with the Blues on the brink of making history.
The Brazilian central defender hasn't played since the FA Cup semi-final against Tottenham Hotspur at Wembley in mid-April, but his possible return couldn't have come at a better time with both John Terry and the versatile Branislav Ivanovic ruled out of the game.
'As a young kid, it was my dream and now on Saturday I will hopefully play in the Champions League Final,' he said. 'All the world stops to watch this game. My mother and father will come to support us and I will be happy to have them.'
With midfield duo Ramires and Raul Meireles also unable to participate due to suspension, we head into what is arguably the biggest game in the club's history without four key players.
However, the 25-year-old, ever the optimist, sees no reason to panic, and cites the quality of those players who are able to take part as the reason why we can emerge from the game as European champions.
'For sure, they are important players we are missing, but I know my teammates and we have very good players in the squad,' he argued.
'It's the Champions League Final so of course we are playing against a good team with very good players, and they deserve to be in the final just like we do. It's a difficult game, the biggest in the world and Bayern will be playing at home in Munich.
'They played against Borussia Dortmund [last weekend], I watched the game, they lost, but they are still a very good team, now they will be angry when they play against us.'
A win for Di Matteo's side would be a remarkable achievement, particularly taking into account our plight when the Italian took charge, when a 3-1 first-leg defeat in Napoli saw us heading for an early exit prior to that dramatic second leg at Stamford Bridge.
Not only would we lift the trophy for the first time in our history, but we would also become the first London club to secure the prize, and David Luiz insisted the result, ultimately, is all that matters.
'For me it's special, for the fans it's special too, it's the biggest game in the world and I just hope we can win it,' he said.


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Bottle Stopper
(4541R) William Morris
Perfect wine accessory to go with the other William Morris designs which are well known for its grape and vine motifs.
8 cm x 30 cm x 3 cm
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John Patitucci: Celebrating Jazz Heroes
John Patitucci is one of the finest bass players in jazz. A mainstay of the Wayne Shorter quartet for years, he's also blessed the world of music by augmenting the art of folks like Chick Corea, Jack DeJohnette, B.B. King, Herbie Hancock, Michael Brecker, George Benson, Dizzy Gillespie, Natalie Cole, Queen Latifah, Sting, Carly Simon, Joshua Redman, Freddie Hubbard, Tony Williams, Mulgrew Miller, and many more.
But in the 1960s, young John and his brotherboth into musicwere investigating sounds of the day: Motown, Eric Clapton with Cream, Jimi Hendrix, The Beatles,The Rolling Stones and other outfits from the famed British Invasion. Heyit could have gone another way. Some things are inevitable, like Patitucci's immense talent. Who knows? But at times in history, seemingly minor things have resulted in twists of fate that have had major ramifications. Ask Mrs. O'Leary about her cow.
Whatever one's faith is in such, the road for the young Patitucci brothers was altered one day: "What happened one day was that my grandfather, he was fixing roads in Manhattan for a while with crews, with a jackhammer and all that," recalls the convivial and warm-hearted bassist. "Somebody comes out of their place in New York and they put boxes in the street that they wanted to get rid of. It was a box if records. My grandfather said, 'Wow. Can I take these? I have grandsons that are into music.' So he brought them back. It had all this jazz music in them: Art Blakey, Oscar Peterson, Wes Montgomery, Ray Charles' Genius + Soul = Jazz (Impulse!/ABC-Paramount, 1961), which had Roy Haynes on it. All these people. The first Thad Jones/Mel Lewis Big Band recording called Solid State (Solid State, 1966).
"They were new and different. I think the Wes Montgomery album helped us come in because it was guitar, and we had been listening to all this music that featured guitar. And here's Wes playing blues and jazzbebop oriented stuff on the guitar, but with such an amazing rhythmic feeling that he really grabbed us... But the Art Blakey record called Mosaic (Blue Note, 1961) was in there. That killed me. It freaked me out. I couldn't understand it, but I loved it. That had Wayne Shorter on it, Freddie Hubbard, Cedar Walton. Incredible record. And obviously Genius + Soul = Jazzthat killed me. That was so soulful. 'I'm Gonna Move to the Outskirts of Town'classic Ray Charles stuff."
It was his first exposure, and headed him down a path of investigating improvisational music. While he studied classical music in college, he grew to the point where he was doing jazz gigs on the side. He eventually left school and went on the road. The road has led him to today, where he stands as one the examples of excellence both in and out of jazz. The multi-dimensional Patitucci also writes classical music and dabbles in ethnic music.
The latest addition to his enviable resume is a new, adventurous and enticing recording Remembrance (Concord) with Joe Lovano on sax and Brian Blade on drums, each also masters of their respective instruments. There's some assistance from his wife, Sachi Patitucci, on cello and Rogerio Boccato on percussion. It's an outstanding documentation of dialogue among inspired musicians, on songs written by Patitucci in celebration of some of his musical heroesamong them, Sonny Rollins, Thelonious Monk, John Coltrane and Alice Coltrane Coltrane, Joe Henderson, Freddie Hubbard and Michael Brecker.
That's in the wake of a fine Jack DeJohnette trio recording which he was a part of, Music We Are (Golden Beams, 2009) which includes Danilo Perez.
The seed for Remembrance was laid down years ago. Patitucci was developing his Communion (Concord, 2001) album that included Lovano, Blade and pianist Brad Mehldau. The group went to rehearse at Lovano's home, but the pianist couldn't make it. The three carried on without him. The bassist recounts, "Joe has a really nice place upstate, and we had this nice room with a high ceiling and started playing together. The sound of it, the space of it, the whole feeling of it, and the connection that we had right away was just amazing. We felt it. We all looked at each other, like: 'Wow! We need to do something like this some time.'" Patitucci would bring it up periodically to the others when their paths crossed in ensuing years, and it finally came to pass.
"I started writing pieces. I'm always writing all year long every year, but I started writing pieces with that thought in mind: doing the trio record. I knew who I was writing for. So I just kept on accumulating things. And I noticed as I was writing them, a theme emerged, in that a lot of these things were things that were for people that I really reveredsome who have gone on and some who are still with us," says Patitucci.
He says the idea for the title is "remembering and rejoicing in the inspiration that these great musicians have brought to us... It's not meant to be a mournful thing. The record is not a mournful thing, to me. There's a lot of energy on it. But also the idea to remember to be present and not wait for people to go away before you acknowledge and appreciate them. Do that right now. And also to try to be in the momentnot dwelling on what happened before and not always projecting what's going to happen in the futureremembering to stay in this moment right now."
It was mostly recorded live in the studio with the players in the same roomno booths, no headphones. Patitucci says he felt more harmonic and rhythmic freedom in doing so. "I'm very excited about it. Sometimes you have a little dream, and there's a wonderful way it can come to pass at the right time. The timing was just right for us to do thissomething we had wanted to do for a long time.
With players the caliber of Lovano and Blade, the music was bound to be remarkable. The feel of it is a gas. All the musicians excel, but the group synergy is remarkable. They're digging in, expressing themselves, conversing. And having fun.
In "Messaien's Gumbo," which pays respect to classical composer Olivier Messiaen, Patitucci puts down a funky electric bass line, with Blade adding to the funk, but with subtle polyrhythms. Lovano plays winding lines through the thing with his creative swell and beautiful tone. The bass solo is melodic, but with one foot still in the funk. "Sonny Side" is a leisurely stroll that allows Lovano to make his statement about Rollinsnot imitating, but showing he's a fan and follower. His darting statements do justice to the tribute.
"Meditations," for the Coltranes, is a haunting ballad on which Patitucci strums the electric bass for a fuller feeling. Blade's mallets, in parts, bring a dramatic feel; elsewhere he caresses and buoys the music with brushes, as Lovano offers thoughtful passages in a stream of ideas that appears endless. "Play Ball," for Ray Brown, is a slow-paced numberthe bass walking but also playing contrapuntal lines behind Lovano's laid-back, but rich, story. Patitucci performs a short solo, "Remembrance," for Michael Brecker, playing both six-string electric bass and six-string electric piccolo bass to create an airy feel.
Patitucci displays why he's such an in-demand player. His sound is intense, adaptable, thoughtful, musical, with a great sound. Lovano continues to show why he is one of the greats of his erarobust and inventive, always playing it right even when taking chances. Blade is always busy, but sometimes it might be quiet tic-tic-tic here and a sweeping subtle pattern there. It's almost like he takes the polyrhythmic Elvin Jones and Tony Williams, tones it down a bit, spreads it out and comes up with a wonderful amalgam that utilizes deftness and expands further the legacy of those great trap masters.
"Joe is one of the great improvisers that we have now," beams Patitucci. "He definitely embodies that tradition. He's been affected by all the great history of the saxophone. You can hear that great swing and swagger and great feeling that goes all the way back to people like Lester Young but also through all the modern guys. He has an ability to understand rhythmically what Sonny and Trane, Joe Henderson and all these other greats that we love were doing. He understands all that; it's in him. But then he has a personal way of playing. I can always tell when it's Joe. He has a very personal sound. His sound is huge, too.
"Brian and I have been playing together for over 10 years and that's a blessing... I first heard him on a Joshua Redman album. I think I almost drove off the freeway. I couldn't believe his drumming. I said, 'Who is this guy? I've got to find him.' I was really intent on finding and playing with him. Finally it came to pass that we did some playing on one of Danilo Perez's albums (Motherland; Verve, 2000). That was the first time we played together. Then all the Wayne Shorter stuff. He's been playing with me on my recordings and in my groups whenever I can get him, because everybody wants to play with Brian.
"He's an incredible link in the tradition of great drumming. It's not just drumming, it's musicianship ... His feeling and his beautiful sound on the drums... For any kind of music, any kind, this guy can play. He has an understanding of so many different kind of styles, rhythmic feels. It makes him real special."
Speaking to All About Jazz in August 2009, Patitucci was in the middle of a week-long gig at Dizzy's Coca Cola Club in New York City with Lovano and Blade, playing a lot of the Remembrance material and more. "It's been amazing," he notes, "drawing good crowds each night. With the trio, we don't just have the music on the recording, but we can access a lot of different things. We can even play an entirely improvised set, if we want, because Joe and Brian are so great at being improvisers that there's always room to explore a lot of avenues."
He adds, "It's an interesting format. I'm always curious to see how people receive the music when you have a trio with no traditional chordal instrument involved. On a couple occasions, you have the six-string bass playing sort of chordally. There are no traditional-sounding chords being played. So it's interesting to see how people respond to it. It's a very contrapuntal and very linear expression that results when you do that.
The trio is also playing at the Monterey Jazz Festival (Sept. 18-20) in California. But his mates are so busy with other projects that it's hard for Patitucci to get them. Nonetheless, he continues his trio gigs this year with other fine musicians, including Marcus Gilmore on drums. On sax, John Ellis and George Garzone will do some gigs. Fine players, all. Patitucci himself has a variety of other projects he's involved in, as well as doing gigs this fall with Shorter's quartet.
He's come a long way from being a kid monkeying around with the guitar in Brooklyn. He was following his brother's lead on guitar, but didn't take to it well. He was left-handed, trying to play right-handed. He didn't have the patience for learning that way. "My brother said, 'Try the bass. This way we can play together and you can use your fingers on your right hand to play it.' So I tried it. It felt great. I had a little electric bass first. I started that when I was about 10. Before that, I had some percussion instruments. I had some bongos and maracas, and I sang. Everybody in our family sang. By the time I was a little bigger and could hold a big bass, I was about 15in high school, where I had access to an acoustic bass. I started playing that as well and really enjoyed that too. I embarked on a path where I did both, and that was what was happening."
His fondness for the bass grew the more he played it. "It's not only the catalyst for the musicit's involved with every aspect of itbut it's also it's the crossroads of the harmony, the rhythm, melodic elements, the shape, the counterpoint of the music. All the aspects of the music come together with the bass," he says. "You're connected to the harmony, the melodies. You're supporting all the music. You're sort of the foundational bulwark. It's rhythmically amazing because you're part drummer, part chordal instrument, in a waybecause you're still involved in the harmony. You change the bass note, it changes the chord.
"You're involved in an instrument that's absolutely essential to the music. The layman might not understand all that, but if you take the bass away, I think most people would feel something missing. Anybody who listens to musicwho's not just casually listening, who's involved in checking out the musicthey'd notice it. There's also a very visceral thing about the bass. It's really physical. I love that. You feel like you're involved in every beat and every bar of the music. It's not an instrument where you play the melody and then you stop and wait for somebody else to do something. You're in every bar, every beat."
Patitucci eventually moved to the West Coast and studied classical bass at San Francisco State University and Long Beach State University. While studying, he was also into jazz, playing gigs as he could find them. His major influences, he says, include Ron Carter, Charlie Haden, Dave Holland, George Mraz, Eddie Gomez, Oscar Pettiford, Jimmy Blanton, Wilbur Ware, Percy Heath and Buster Williams. "I love those old recordings of Henry Grimes with Sonny (Rollins). There's a long list. I know I'm probably leaving out some important people."
While those remain his influences, Patitucci has never given up his love of the electric bass, and continues to do important projects employing that instrument. "At this point, I could never conceive of giving up either. When I was younger, I lived out in L.A., playing a lot of recording sessions with the electric and acoustic. Sometimes I'd be doing a session with the electric, but I'd have my acoustic with me because I was going to go straight to a jazz gig. People would say stuff like, 'When are you going to get that thing back to the museum?' about the acoustic bass. The jazzersif I went to a bebop gig that night and I had my electric bass in a soft bag and threw it in the corner while I was playing my gig on the acousticthey'd say, 'Make sure you play the real bass. Don't play that toy,'" he says, chuckling at the recollection.
"For me, it depends on the music I'm playing. I love them both. When I play the electric bass, like when I use it in my group, I use it with a jazz conception. I go for a darker sound. I believe you can swing on it too, although I use it for the other kinds of rhythms that we're doing ... It just depends on the music."
In school, studying classical bass, he didn't say much about his jazz leanings to his professors. "My teachers in college expected me to be an orchestral bassist. They were pretty angry when I left school ... I only went three years to college, and then I left. I went out on the road. I had to go in the direction I felt."
His first road gig was with pianist Gap Mangione. "From there, I played with Airto Moreira and Flora Purim; Joe Farrell; a bunch of the older Italian guys that came out to the west coast, like Frank Strazzeri, a great pianist; Don Menza; a bunch of different people." He was in Victor Feldman's trio and also played with Oscar Castro-Neves and Dave Grusin.
In 1980, he continued his career in Los Angeles as a studio musician and a jazz artist, doing album sessions with all kinds of artists in different genres. In 1985, Chick Corea came calling, and he spent a major part of the next decade with the pianist's bands, including the Elektric Band and Akoustic Band. "That took me all around the world and gave me an exposure that I never would have gotten, had I stayed in L.A."
"Incredible" is how he describes his time with Corea. "Brilliant composer. Brilliant pianist. Got me my first record deal [GRP]. Encouraged me as a composer. Encouraged me as a player. Really had a huge impact. Took me all around the world. People heard me play everywhere. I was able to develop a connection with a worldwide audience with Chick."
In addition to recording with Corea, he did six solo recordings for GRP before moving to Concord in 1996, also the year he moved back to New York City. He continued to be a busy bassist, performing with superior musicians like Jack DeJohnette, Roy Haynes and Herbie Hancock, and creating his own groups. In 2000, the legendary Wayne Shorter set up an acoustic quartet. He called upon Patitucci as well as Blade and Danilo Perez.
"Wayne is a genius. Flat out," avows Patitucci. "The nicest genius you'll ever meet, but he's nevertheless a genius. He's a musician of the highest level. I've learned a lot from being around him. I feel like I've been very blessed to be around him ... Wayne is a beautiful person. He's very generous, kind, very encouraging. He also encourages musicians to really stretch, take chances and grow. That group is such a family. So transparent and very connected in so many ways. It's just really, really, really lots of fun to be in."
So the bassist who was once perhaps headed for classical orchestra has made it to the top of the jazz world. And yet his open and expressive musical mind still hearkens back to the classical world and even genres beyond. "I still work really hard on that," he says about classical music. "I love classical music and I loved playing in the orchestra too. And I love chamber music. Now I'm doing more than ever. I'm writing commissions for classical music. I do different stuff. The last 15-20 years I got way back into it. I'm going to be 50 this year. When I was 19, or whatever, I walked away from those expectations.
"During the time I was playing with Chick, between '85 and '95, he was very encouraging about my bowing. He really liked the way I played with the bow. I started practicing that stuff as time went on. Then I made that record, Heart of the Bass (Stretch, 1992), which kind of inspired me to get back and working on the bowing stuff. From there, I started studying it again, working on my classical stuff again. It's sort of come around. It was my first music, anyway. I did develop a love for it and I did hear opera records around the house when I was a kidtenors like Mario Lanza. Later on, my dad was into Pavarotti."
He adds, "I've also been involved heavily in ethnic music, like Brazilian music, African music, Afro-Cuban music, music from Venezuela, music from all over. It's exciting to me."
He's built a solid career and a solid following, earning respect as being one of the top on his instrument, and as someone who can fit into all kinds of situations and make it work. He's a complete musician.
"I've taught a lot of bass students over the years," he notes. "The two things that are most important, for any musician playing any kind of music, are your sound and the rhythmic feeling you play with. How vibrant that is and how it's supposed to make people feel goodthe rhythm. You have to a powerful rhythma rhythm that's very confident and relaxed, but strong. Joe (Lovano) is a classic example of that. And then sound. Your sound, when you play for people, even if they don't know anything about music, the thing that they're reacting to is your soundwhether it's a beautiful sound, whether it draws them in. And also your time feel ... Those are the things I want to work on and make deeper."
Keeping a career moving is easier said than done in the topsy-turvy music business climate. Talent must be coupled with the requisite hard work. Patitucci writes instructional music books. He is associate professor of jazz studies at City College of New York, "so that I have health insurance and all that. Also, I love teaching. It gives me the opportunity, now that I'm turning 50, to not have to say 'yes' to all the road things. That's the tricky thing as you get older; if you have a family (he has a wife and two daughters). Travel is necessary, if you're a jazz musician and you want to make any kind of living, because America is not the place where you can gain the most acceptance and earn a living playing the music. You have to go to Europe and these places where people place a little bit more value on what we do. You have to hustle and be industrious and have a bunch of different ways to make things work. That's what I do."
And there's uncertainty in the record industry to cope with, as well as how to come to terms with difficult changes that the internet and new related technologies have brought to the arena. "The business of records is kind of crazy. I don't even know how to describe what it is anymore, especially with all the burning and stealing of music that happens through the computer. The computer is a blessing and a curse for our music. In a way, you can reach lots of people. But I tell my younger studentsthey think it's great to burn and do all this stuffbut when you write your music and you do your records, you're never going to get any royalties," says the bassist.
"The younger generation thinks that music should always be free. Which is a wonderful idea, but how do the composer and the musician make a living? If they can't, then the music goes away. Then where's your music? Would you call a plumber and have him come to your house and expect it to be free?" he says, chuckling. "That's just the reality of it, putting it very simply. It's going to negatively impact the young musicians who are using that. They often do that because maybe money is tight. They're going to college. They're big fans of the music. They wind up burning a bunch of stuff. It's become common for everybody to do that. But there will be some repercussions that are definitely not positive. There already have been.
"The positive side is, some guys are doing their own records, financing them and promoting them themselves. Theoretically, they'll get to keep more of the bread that they make when they sell one. It's just the distribution problems and all that. It's not so easy. It's tricky ... (But) that's a good thing if they can manage to save some money and put up the money up front; they'll do much better in the long run from the recordings. I guess, also with promotion and the internet, you can reach a lot of people. Hopefully."
However, it also feeds into a situation of oversaturation. The amount of CDs out there now for people to hear is tremendous. Many can get lost in the shuffle, ignored by being overwhelmed by the sheer volume. "More people are making their own custom records. I get kids coming up to me at my gigs, handing me their CD. They're so young, yet they've made a CD of their own already. There's good points to that and bad points. The good thing is they're getting experience doing it, and they're going to learn a lot. The first time they go and record their music in a studio, that's a learning experience that will change their lives. On the other hand, if you go in too young and you're not really ready to make a CD, what you're giving out is a business card, or whatever, that could potentially come back to bite you if you're not that developed yet. People will go, 'Well, OK,' and that indifference toward a musician or group can be something that sticks."
This immensely talented bassist is in a good place, for which he's grateful. "I've gotten to play with so many people. When you do that, you have greater exposure. People become aware that you like different kinds of music and you can function and bring something to those musics and bring a passion and an excitement to your participation. And that you care and that you're involved and making it happen. That's what was good about learning how to be a studio musiciansomebody who could help another composeranother artistrealize their dreams. That's a good skill to cultivate," he says. "It's very important if you want to be a bassist."
Thankfully, the impetuous left-handed kid who didn't like using a pick with his right hand when trying to play the guitar became just that: bassist, extraordinaire.
Selected Discography
John Patitucci, Remembrance (Concord, 2009)
Jack DeJohnette, Music We Are (Golden Beams, 2009)
John Patitucci, Line By Line (Concord, 2006)
Wayne Shorter, Beyond the Sound Barrier (Verve, 2005)
Hank Jones, The Great Jazz Trio, S'Wonderful, (441 Records, 2005)
Chick Corea, To the Stars (Stretch, 2004)
John Patitucci, Songs, Stories Spirituals (Concord, 2003)
Wayne Shorter, Footprints Live! (Verve, 2002)
Herbie Hancock, Michael Brecker, Roy Hargrove, Directions in Music: Live at Massey Hall (Verve, 2002)
Roy Haynes/ Danilo Perez/ John Patitucci, Trio (Verve, 2000)
John Patitucci, Imprint (Concord, 2000)
John Patitucci, Now (Concord, 1998)
John Patitucci, One More Angel (Concord, 1997)
John Patitucci, Sketchbook, (GRP, 1990)
John Patitucci, John Patitucci, (GRP, 1988)


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Cost for up to 18 teachers, including tea, coffee and biscuits
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Practical Art Techniques
The Wallace Collection specialises in practical art courses designed to re-invigorate teachers' own creative skills. All the workshops involve time in the galleries for inspiration and a practical session in the Studio and are run by practicing artists. Schools and colleges can book sessions at a mutually convenient date on the following themes:
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Work with published author and teacher, Lynda Waterhouse, writer of teenage novels, to explore the collection and discover how to inspire your pupils in their creative writing through the use of works of art.
Secondary school teachers will find this workshop is of particular relevance to the creative writing component in the English Language GCSE.
Primary school teachers will learn the Writer's Notebook method, which allows children to direct their imaginations in the presence or workds of art and reinforces the concept that there are no right or wrong ways of responding to art. You will learn the skills required to write short pieces to enhance vocabulary and description and to create and build characters, which can be passed on to your pupils.


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Damask Accent Foil Balloon (225519)
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Reviewed by: mlaw
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Location: Bakersfield, Ca
Title: Beautiful
Date: Nov 15, 2013
These were easy to blow up with the helium tank I bought. They are very pretty and almost a week later they are still filled. They are self sealing too, so once I blew them up the little opening can be pinched closed.
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What It Is
Peppa Pig's Peek 'n Surprise Playhouse lets kids play out Peppa's everyday adventures, just like on the show. The playhouse opens to reveal four floors of play space, including a bedroom, living room, kitchen, and bathroom. The playhouse comes with more than 15 play pieces, including two poseable figures of Peppa and George. The play pieces includes lots of little surprises. For instance, the washing machine flips to reveal clean clothes, the fridge opens to reveal food, and the bathtub flips to reveal bubbles. All the pieces store inside the house, which folds up when playtime is over.
Why It's Fun
Peppa Pig fans will enjoy interacting with the toy version of this favorite TV character. There are lots of surprises within the playhouse that will engage kids in all kinds of imaginative play as they create new adventures for Peppa and George.
Who It's For
Peppa Pig's Peek 'n Surprise Playhouse is for ages 3 and up.
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This item is available exclusively at Toys "R" Us.


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Moshi VersaCover for iPad mini, Denim Blue
Product information
The innovative VersaCover from Moshi is designed to protect your iPad mini and act as a stand without compromising on the iPad's slim form factor. It features a unique folding pattern which will transform the cover into a robust stand, ideal for typing, watching videos and playing games. Unlike with most other cases that double as a stand, this one is designed to work in both landscape and portrait mode, so you can have your iPad mini in the position you need it. This case allows full access to all of the iPad's buttons and cameras and will also automatically put your iPad mini to sleep when the cover is closed.
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- Moshi
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- iPad mini
- Eligible for International Delivery
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- Synthetic
- Model name / number
Click & collectFree Click & Collect from John Lewis and Waitrose shops for collection tomorrow from 2pm
261 participating John Lewis and Waitrose shops
- Free
Standard UK delivery within 5 working days
- £3.00
Next, named or Saturday UK delivery.
- £6.95
Next/named day UK delivery pre-10.30am.
- £9.95
Collect+ from a local shop from Saturday - postcode exclusions apply for Collect+ deliveries
Trial in Scotland, Wales, SW England and N Ireland only1500 participating Collect+ shops
- £3.00
International delivery not available
We want you to be happy with your purchase. If you're not, just return the products to us or to one of our shops. Unless faulty, we'd like this to be within 90 days of purchase. Exceptions apply to certain products - find out more about our refund policy.
Depending on the type of product, you can make free returns via our shops, Royal Mail (or courier collection for large or heavy items), Collect+ or via MyHermes.
Q & As
Special offer
UK delivery:
£3.00 Standard UK delivery within 5 working days
Click & collect
Free Click & Collect from John Lewis and Waitrose shops for collection tomorrow from 2pm
£3.00 Collect+ from a local shop from Saturday (Trial in selected areas)
International delivery not available:


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Elements Rain Gear is made with EVA, which is free of the harmful ozone-depleting chemicals and plasticizers used in typical PVC Suits, making it easier to recycle!
And even though it's earth-friendly, it's every bit as tough and waterproof as you need it to be! Actually, EVA is more tear and puncture resistant than PVC because of its superior flexibility and stretch. And for more protection from the wet weather, the EVA material features heat-sealed seams to prevent leaks.
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Stearns® Elements EVA Poncho
Stearns® Elements EVA Rain Suit
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Free events and things to do in Orlando and surrounding areas this week. See what you can find that won't cost you a dime!
LEESBURG BIKEFEST: today-Sunday; Downtown Leesburg, Main Street, Leesburg; free; 352-365-0053.
EARTH FEST: with activities and recycled art exhibit: noon-6 p.m. Saturday; Lake Concord Park, 95 Triplet Lake Drive, Casselberry; free; 407-695-6069.
COMEDY NIGHT: featuring Mary Tischbein and Catherine Maloney: 9 p.m. Saturday; The Gold Lion Bar and Deli, 4580 Coquina Ave., Titusville; free; 321-264-0084.
STANDUP COMEDY: comedy competition: 10:15 p.m. Saturdays; Sleuths Mystery Dinner Shows, 8267 International Drive, Orlando; free (one drink minimum); 407-363-1985.
OPEN MIC COMEDY: 8:30 p.m. Mondays; The Other Bar, 18 Wall St., Orlando; free (21 or older); 407-843-8595.
CINEMATIQUE UNDER THE STARS: outdoor screening of "Atlas Shrugged Part I": 8 p.m. today; Riverfront Park, 150 S. Beach St., Daytona Beach;free; 386-252-3778.
PARANORMAL FLORIDA & BEYOND: ghos thunting presentation with authors Doug Dillon and Dave Lapham: 2:30 p.m. Saturday; Orlando Public Library, 101 E. Central Blvd., Orlando; free; 407-835-7480.
DI-VERSE WORD: open mike: 8 p.m. Tuesdays; Dandelion Communitea Cafe, 618 N. Thornton Ave., Orlando; free; 407-362-1864.
FOOD TRUCK FRIDAYS: 10 a.m.-2 p.m. Fridays; RDV Sportsplex, 8701Maitland Summit Blvd.,Orlando; free; 407-916-2442.
FOOD TRUCK BAZAAR: 5-8 p.m. today; Brevard Community College, 3865 N. Wickham Road, Melbourne;free; thefoodtruckbazaar.com.
FOOD TRUCK BAZAAR: 10 a.m.-3 p.m. Saturday; Osceola Heritage Park, 1875 Silver Spur Lane,Kissimmee; free; thefoodtruckbazaar.com.
FOOD TRUCK CRAVE: 1-4 p.m. last Sundays monthly; Central Park, 142 W. Lakeview Ave., LakeMary; free; 407-324-3090.
FOOD TRUCK BAZAAR: 6-9 p.m. Sunday; Avalon Park Group, 3680 Avalon Park East Blvd., Orlando; free; thefoodtruckbazaar.com.
TRUCKING TUESDAYS: food truck gathering: 11a.m.-2 p.m. Tuesdays; First United Methodist Church, 142 E. Jackson St., Orlando; free; 407-849-6080.
APOPKA'S FOOD TRUCK ROUNDUP: 5:30-9p.m. Thursday; Kit Land Nelson Park, 105 E. First St., Apopka; free; 407-703-1777.
APOPKA ART & FOLIAGE FESTIVAL: juried festival with crafts and vendors: 9 a.m.-5 p.m. Saturday, 10 a.m.-4 p.m. Sunday; Kit Land Nelson Park, 105 E. First St., Apopka; free; 407-886-3639.
DELAND ART WALK: with exhibits at participating venues: 6-9 p.m. today; Artisan Alley, between New York and Georgia Avenue, DeLand; free; 386-450-0200.
PETER MAX TRAVELING EXHIBIT: with appearance by the artist: 6-9 p.m. Saturday, 1-4 p.m. Sunday; Road Show Company Gallery, 7600 Dr. Phillips Blvd., Orlando; free; 888-513-8385.
PTI 3D WORLD EXHIBITION AND WORKSHOP: with paper tole craft demonstrations: 10a.m.-6 p.m. today-Saturday; Mount Dora Chamber of Commerce, 341 N. Alexander Drive, Mount Dora; free; 352-383-3883.
SANFORD ART WALK: with exhibits and music at participating venues: 6-9 p.m. today; Downtown Sanford, First Street, Sanford; free; 407-302-2586.
ARTS ON DOUGLAS: 10 a.m.-5 p.m. Tuesday-Friday, 11 a.m.-3 p.m. Saturday; 123 Douglas St., New Smyrna Beach; free; 386-428-1133. "John Wilton: Floral" (through Saturday).
CASSELBERRY ART HOUSE: 10 a.m.-5 p.m. Monday-Friday; 127 Quail Pond Circle, Casselberry; free; 407-262-7720. "Recycled Art Show" (through Tuesday).
EUROPEAN GALLERY: 10 a.m.-9 p.m. Monday-Saturday, 11 a.m.-7 p.m. Sunday; 8001 S. OrangeBlossom Trail at Florida Mall, Orlando; free; 407-438-5339. "A True Friend" live demonstration by sculptor Alfredo Llorens (5-8 p.m. today).
FIFTH AVENUE ART GALLERY: 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday; 1470 HighlandAve., Melbourne; free; 321-259-8261. "Travels" landscapes by Jini James (through Sunday), 10 a.m.-5 p.m. Tuesday-Saturday, 1-4 p.m. Sunday;"Swimming in the Infinite" works by Nancy Hamlin-Vogler (opening Monday with reception 5:30-8:30 p.m. May 3, through June 2).
GALLERY ON FIRST: 10 a.m.-6 p.m. Tuesday-Saturday, noon-5 p.m. Sunday; 211 E. First St., Sanford free; 407-323-2774. "100 for $100" (opening with reception 6-9 p.m. Friday, through Sunday).
GATEHOUSE GALLERY: 10 a.m.-6 p.m. daily; 100 N. Alexander St. at the Lakeside Inn, Mount Dora; free; 352-383-4101. "Flo and Patti" (through May 6).
GATEWAY CENTER FOR THE ARTS: 10 a.m.-4p.m. Monday-Friday; 10 a.m.-2 p.m. Saturday; 880 N. U.S. Highway 17-92, DeBary; free; 386-668-5553. "Art Springs Eternal" works from the Plein Air Paint Out (opening Monday, through June 22).
MOUNT DORA CENTER FOR THE ARTS: 10 a.m.-4 p.m. Monday-Friday, 10 a.m.-2 p.m. Saturday; 138 E. Fifth Ave., Mount Dora; free; 352-383-0880. "Sutra" by photographer Yatin Patel (opening with reception 6-8 p.m. today).
CORNELL FINE ARTS MUSEUM: 10 a.m.-4 p.m. Tuesday-Friday, noon-5 p.m. Saturday-Sunday; 1000 Holt Ave., Winter Park; free; 407-646-2526. "Jeffrey Gibson: Tipi Poles (Performing as Lines)" (through May 12), "Collecting for the Cornell" (with Dialogues with Collectors lecture 7 p.m. Tuesday, through May 12), "Felrath Hines and the Question of Color" (through May 12), "Coalescence" senior studio art exhibit (through May 12).
HAND ART CENTER: 11 a.m.-4 p.m. Monday-Friday; 421 N. Woodland Blvd. at Stetson University, DeLand; free; 386-822-7270. "Oscar Bluemner's Germany: Juxtaposing Jerichow" (through Monday).
NEWS-JOURNAL CENTER: 8 a.m.-5 p.m. Monday-Friday; 221 N. Beach St., Daytona Beach; free; 386-226-1927. "Transient Motel" works by Bryce Hammond (opening today, through July 26).
SOUTHEAST MUSEUM OF PHOTOGRAPHY: 11 a.m.-5 p.m. Tuesday and Thursday-Friday, 11 a.m.-7 p.m. Wednesday, 1-5 p.m. Saturday-Sunday; 1200 International Speedway, Building 1200, Daytona State College, Daytona Beach; free; 386-506-4475. "Irina Rozovsky: A Perpetual Hold" (through May 12), "Natan Dvir: Eighteen" (through May 12), "Dana Popa: not Natasha" (through May 12), "Departures 2013: A Juried Student Exhibition" (opening with reception 5-7 p.m. Tuesday, through July 28), "UCF Thesis Exhibition" (opening with reception 5-7 p.m. Tuesday, through July 28).
UCF CENTER FOR EMERGING MEDIA: 10 a.m.- 4 p.m. Friday, 1 p.m.-4 p.m. Wednesday; 500 W. Livingston St., Orlando; free; 407-235-3591. UCF Photography Graduation Exhibition (through May 5).
UNIVERSITY OF CENTRAL FLORIDA ART GALLERY: 8 a.m.-5 p.m. Monday-Friday; North Gemini Boulevard, Orlando; free; 407-823-5470. "Under One Roof: BFA Exhibit" (through May 3).
THE CAROUSEL EMPORIUM: 11 a.m.-6 p.m. Tuesday-Saturday; 2000 Alden Road, Orlando; free; 407-228-2791. "An Artist Affair" works by Carol Andreyev (6:30-8:30 p.m. today).
MAITLAND PUBLIC LIBRARY: call for hours; 501 S. Maitland Ave., Maitland; free; 407-647-7700. "Equines and Canines" (opening May 1, through May 31).
THE PEACOCK ROOM: 4:30 p.m.-2 a.m. Monday-Friday, 8 p.m.-2 a.m. Saturday-Sunday; 1321 N. Mills Ave., Orlando; free; 407-228-0048. "Impossibles" works by Brett J. Barr (through Sunday).
SAM FLAX ART AND DESIGN: 8:30 a.m.-8 p.m. Monday-Friday, 10 a.m.-7 p.m. Saturday, 11 a.m.-5p.m. Sunday; 1800 E. Colonial Drive, Orlando; free; 407-898-9785. Works by M. Scott Morgan (through Monday).
THE CASEMENTS, historic John D. Rockefeller home: 9 a.m.-4 p.m. Monday-Friday, 9 a.m.-noon Saturday; 25 Riverside Drive, Ormond Beach; free; 386-676-3216 or thecasements.net.
CENTRAL FLORIDA RAILROAD MUSEUM: 1-5p.m. daily; in former Tavares & Gulf Railroad Depot, 101 S. Boyd St., Winter Garden(with birthday commemoration Samuel F. B. Morse, 10 a.m-4 p.m., Saturday); free; 407-656-0559.
CENTRAL FLORIDA RAILROAD MUSEUM: 1-5 p.m. daily; in former Tavares & Gulf Railroad Depot, 101 S. Boyd St., Winter Garden(with birthday commemoration Samuel F. B. Morse, 10 a.m-4 p.m., Saturday); free; 407-656-0559.
GOLDENROD HISTORICAL MUSEUM, exhibits of local history and early pioneers: 10 a.m.-1 p.m. Tuesday and Friday; 4755 N. Palmetto Road, Winter Park; free; 407-677-5980.
GOLDSBORO HISTORICAL MUSEUM: 1-5 p.m. Tuesday-Friday; 1211 W. 13th St., Sanford; free; 407-416-0416.
HANNIBAL SQUARE HERITAGE CENTER, Winter Park's African American historical archives, with "Preaching to the Trees and the Animals: The Folk Art of O.L. Samuels." Opening reception, 6-8 p.m. Friday. (through Sept. 7), Traditional Craft Festival, 10 a.m-4 p.m. Saturday: noon-5 p.m. Friday, 10 a.m.-2 p.m. Saturday, noon-4 p.m. Tuesday-Thursday; 642 W. New England Ave., Winter Park; free; 407-539-2680.
HOLOCAUST MEMORIAL RESOURCE AND EDUCATION CENTER OF CENTRAL FLORIDA: 9a.m.-1 p.m. Friday, 1-4 p.m. Sunday, 9 a.m.-4 p.m. Monday-Thursday; 851 N. Maitland Ave., Maitland; free; 407-628-0555.
LAKE COUNTY HISTORICAL MUSEUM: 8:30 a.m.-5 p.m. Monday-Friday; 317 W. Main St., Tavares; free; 352-343-9600.
LAKE MARY HISTORICAL MUSEUM: 6:30-8:30 p.m. Thursday, 10 a.m.-2 p.m. Saturday; 158 N. Country Club Road, Lake Mary; free; 407-585-1481.
LARRY E. SMEDLEY NATIONAL VIETNAM WAR MUSEUM: 10 a.m.-5 p.m. Saturday, 10 a.m.-4 p.m. Sunday; 300 N. Tanner Road, Orlando; free; bunkerflorida.org.
MUSEUM OF THE APOPKANS, Native American artifacts and exhibits on the historic industries of Apopka: noon-5 p.m. Tuesday-Friday; 122 E. 5th St., Apopka; free, donations accepted; 407-703-1707.
MUSEUM OF GENEVA HISTORY: 2-4 p.m. 2nd and 4th Saturdays or by appointment; 165 First St., Geneva; free; 407-349-5697.
ORLANDO FIRE MUSEUM, displays and equipment from area firefighting history: 9 a.m.-3 p.m. Friday, 9 a.m.-4 p.m. Saturday; 814 E. Rollins Ave. (behind Lowndes Shakespeare Center in Loch Haven Park), Orlando; free (donations accepted); 407-898-3138.
SANFORD MUSEUM, exhibits on local history and life of city founder: 11 a.m.-4 p.m. Tuesday-Friday, 1-4 p.m. Saturday; 520 E. First St., Sanford; free; 407-688-5198.
ST. CLOUD HERITAGE MUSEUM: 10 a.m.-2 p.m. Thursday-Friday, 1-4 p.m. Sunday or by appointment; 1012 Massachusetts Ave., St. Cloud; free (donations accepted); 407-957-7587.
MUSEUM OF MILITARY HISTORY, historical artifacts: 10 a.m.-6 p.m. daily; 5210 W. Irlo Bronson Hwy., Kissimmee; free; 407-507-3894.ff
WINTER GARDEN HERITAGE MUSEUM, with displays including citrus history and occupations, schools, businesses, transportation, early residents and pioneer living: 1-5 p.m. daily; 1 N. Main St., Winter Garden; free; 407-656-5544. a.m.-4 p.m. Tuesday-Friday, 9 a.m.-2 p.m. Saturday; 200 W. New England Ave., Winter Park; free; 407-647-8180.
ORLANDO WETLANDS PARK: hiking, biking and tram tours: sunrise to sunset daily,25155 Wheeler Road, Christmas; free; 407-568-1706.
DOWNTOWN DISNEY, restaurant and entertainment complex including DisneyQuest, AMC 24 Theatres and more: hours vary; East Buena Vista Drive off I-4, Orlando; free; 407-939-6244.
OLD TOWN, entertainment complex with nightclubs, shopping and thrill rides: from10 a.m. daily (with American Hero Fest, 2-9 p.m. Sunday, Farmers Market 10 a.m.-2 p.m. Sundays, "Old Town Gone Country" events Sunday, "Thursday Night Bike Cruise", 5 p.m.-11 p.m), 5770 W. US Highway 192, Kissimmee; free, ride admissions vary; 407-396-4888


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NASA releases an official gigapixel interactive panorama of the surface of Mars. It's the next best thing to being there.
HandyHTML provides a worthwhile series of standard features and is almost identical to the popular Allaire HomeSite, but it is less than half the price.
Pricing not available
Barnes & Noble's third firmware upgrade (version 1.3) for its Nook e-book reader offers several new features, including wireless streaming of e-books in stores, two basic Android games, and a Web browser.
Jury says SAP owes Oracle $1.3 billion for the theft of Oracle's intellectual property by its now shuttered TomorrowNow division.
This Creative Live Cam is new, not refurbished, and it's fully compatible with Windows 7. Just make sure you get one before they're gone.
Sony is raising money through the sales of custom PS3 themes in its PlayStation Store. The company's fundraising efforts will continue indefinitely.
Apple Modem Update 1.3
Apple releases Xsan 1.3
In an analysis, market research firm Asymco estimates that it costs Apple $1.3 billion a year to maintain iTunes and the App Store.
Utilities Updates: DropCopy 0.2; CalculateSizeCM 1.3; BwanaDik 1.3; more


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Landscape Maintenance WATER, WATER EVERYWHERE—It might seem that way, since much of our earth is covered in water, but we all know that water is an exhaustible resource and we must do our part to conserve. More
WANTED: Sustainable Landscape Services for Savvy Consumers
For decades, Billy Goodnick has been showing people how to create sustainable landscapes – and how to ditch their lawns. But don't think of me as a "bad guy," he says.... more


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The Strong takes play seriously. Play and learning go hand in hand, each building upon the other, and together they help children and adults develop socially, emotionally, physically, and academically. Set in the context of play, The Strong's philosophy for the design, development, and implementation of educational programs is based on five key beliefs:
- Learning happens when there is an emotionally safe climate and a rich, stimulating environment. The Strong's trained educators and its playful, engaging activities and exhibits provide environments conducive to learning.
- Learning happens when meaning is constructed from an array of information or from an experience. The Strong's educators provide opportunities to organize information, look for relationships, and reach broad understandings through interactive problem-solving activities.
- Learning happens when learners know and can ask for what they need to assist in their process and can make choices based on their learning preferences and interests. The Strong's educators incorporate the Theory of Multiple Intelligences and the Reggio Emilia model of early childhood education into teaching to facilitate this process.
- Learning happens when products are created or performances produced that allow learners to apply what they have learned to new situations. The Strong's educators provide opportunities to apply learning through interactive activities in lessons and the hands-on components of exhibits.
- Learning happens through reflection. The Strong's educators encourage learners to reflect and analyze during and after the learning experiences.
The Strong's educational programs are aligned with the Theory of Multiple Intelligences, New York State Learning Standards, and Common Core Learning Standards.


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It's almost time for one of the busiest times of the year here in the beautiful Ozark Mountains: October, fall, and the War Eagle Mill Arts and Crafts Fair! Starting Thursday, October 17th, and running through Sunday, October 20th, on the beautiful War Eagle Mill grounds, professional craft men and women offer original, handmade work such as country decorative items, folk art, watercolor and oil painting, pottery, stoneware, wreaths, potpourris, dried arrangements, quilts, miniatures, country clothing, wearable art, candles, homemade soaps, country furnishings, antique broken china jewelry, bird houses and feeders, collectables and much more. These juried participants come from across the United States. Get there early and bring a vehicle with lots of storage!
War Eagle is a working grist mill on beautiful War Eagle Creek. Every October, the fields on either side of the bridge fill with the craft fair participants – and shoppers! Weather is usually gorgeous, with fall leaves creating a breath-taking panorama.
Visit one of the many food truck vendors at the fair or eat at the Bean Palace Restaurant on the 3rd floor of the mill, which serves breakfast and lunch and offers beans, cornbread, slaw, sandwiches, soups and salads. Shop for a wide variety of organic flours and cornmeals while you're there.
Enjoy the drive between Eureka Springs and War Eagle, out south of Eureka on Hwy 23 (you'll go right past Turpentine Creek Wildlife Refuge, be sure to stop in and see the big cats), turn right on Hwy 12 through Clifty, then catch Hwy 45 to Hwy 412, to Fm 303. All gorgeous hills and fields along the way.
Your drive is only about 30 minutes, so stay in Eureka and hop out to War Eagle for the day. Here at the Bridgeford House Bed & Breakfast, we'll make sure you have a full tummy and directions to keep you from getting lost. Happy fall!
Warmest regards,
Jeff and Nadara (Sam) Feldman – and Sophie, too!


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Jamie Leisy and Dawn Keagy scan estate sales and garage sales in search of furniture and accessories they can refurbish or re-purpose.
The craft started as a hobby. Now it's a business since the two recently decided to peddle such wares at a storefront of their own, opening Forgotten Treasure Chest at 245 Northampton St., Easton.
The quaint shop features a sea of items, such as chandeliers, glassware and luggage, and furniture like dining room sets, chairs and even an armoire.
What sorts of things do they re-purpose? One example is the re-purposing of old barn doors as wall décor.
» The latest on traffic, delays and road construction delivered to your mobile phone. Click to sign up to receive text alerts!
Website: http://www.forgottentreasurechest.com
Speaking of home decor and Easton, interior decorator Ingrid Heil recently opened the store Ingridable Design at 60 N. Second St.
The eclectic shop offers antiques, pottery and accessories such as handbags made by Heil, in addition to interior design and home-staging services.
Website: http://ecirque.com/ingridable
And there's a lot more happening in Easton.
The Game Gallery, a used video game store, has set up shop at the former Christine's Secret Garden space at 249 Northampton St.
The Game Gallery is a gamers dream. The space is stocked with playful nostalgia, a fix for those seeking everything from ColecoVision and Nintendo game consoles to hard-to-find games and accessories.
Website: http://www.the-game-gallery.com
The Valley has added several buy-sell-trade video game stores in recent years. In addition to chains such as GameStop, the region has The Video Game Store in downtown Allentown and Planet Games in Emmaus.
A lot of readers contacted me about a new eatery that is hard to miss on Easton's South Side: Sole Mio Italian Grille at the former Hilltop Cafe at 204 W. Madison St.
Owners spent nearly a year renovating the space, transforming it into a contemporary and bright restaurant with a wrap-around porch. The interior upgrades include new flooring, seating for 100, and an area for private parties and banquets.
The family-run eatery is owned by Frank and Joann Tolotta with daughter Tricia Tolotta-Irving, and son Robbie, owner of Pizzaville in Bath and Northstar Catering.
Owners describe Sole Mio as a traditional Italian restaurant with some flair. The menu includes pizza, ravioli, lasagna, sandwiches, chicken parmigiana, and veal Marsala. The eatery, which is BYOB, also serves some interesting fare, such as surf and turf, dijonnaise crab cakes and osso buco.
These new merchants add to what has been a steady growth of new retailers in Easton in recent months. Months ago I mentioned newbies such as Sweet Girlz Bakery at 40 N. Third St. and The Denim Project in the Eastonian building at 140 Northampton St.
There's more on the horizon for the city since the historic Mount Vernon Ale House building is coming back to life. Popular coffee connoisseur Troy Reynard and his wife, Kathy, have teamed with longtime friends Brad and Judy Nelson to turn the historic building into a pub complete with a micro-brewing operation.
The first phase of the $1.9 million project could be open to the public as early as this summer, Reynard said.


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|40% OFF TOPS | EXTRA 40% OFF SALE. No Code Needed
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Joining the AS30V's new hardware features are a new waterproof housing and several accessories and mounts, bringing it closer to the competition.
The social network adds dietary filters and the ability to search by ingredients.
In its quest to tackle the online grocery delivery market and bulk up its Walmart To Go service, the retail giant snaps up the recipe-minded Yumprint.
The social site makes its first purchase, choosing the food recipe bookmarking network.
Two new Bertazzoni 30-inch ovens feature an Assistant function that can remember cooking sequences. With baking, convection baking, and broiling functions, the ovens offer an easy way to cook complicated meals.
There are so many Android phones on the market, it's sometimes difficult to differentiate one from the next. However, there are the occasional handsets that stand out from the crowd. Here, we tell you why.
Rafe Recommends: Edamam, a refreshingly modern recipe finder that's showed off its wares today at Demo.
Unlike its rivals, Apple was willing to swallow hard and ultimately doom one of its traditional cash cows.
The Web giant tweaks its search results, creating a new ribbon of photos in results for recipes and product queries.
Automotive News reports on Toyota's new design direction.


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10 Brides and Their Fabulous Shoes
These brides showcased their style in a big way, and we can't get enough of their fabulous accessories! > See 600+ accessories ideas > Browse all Wedding Style galleries read more
Accept that you might not actually be able to press pause on the compulsive wedding chatter. Hey, you're excited, and that's cool! But expecting one or two people to listen to all of it? Too much. Share the love. Spread the obsessing out over a wider circle of friends (that's what cubemates are for, right?) and space it out, so you can spare them all, including your fiance, from bride (that would be you) burnout.see more


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The Interagency Federal Collections Alliance was formed in 1992 as the Interagency Federal Collections Working Group to conduct a national survey of all institutions that might hold Federal museum collections. Our continuing interest is the welfare of collections for which Federal agencies are responsible, whether housed in Federal facilities or in partner institutions [non-Federal entities that hold Federal property]. Federal activities have generated museum collections since this country was founded. Implementation of environmental and cultural protection laws is increasing the quantity of museum collections that are the responsibility of Federal agencies and their partners.
Mission Statement:
The Interagency Federal Collections Alliance is committed to enhancing access and use of Federal museum collections by effectively documenting and managing them.
Vision Statement:
The Interagency Federal Collections Alliance will assist Federal agencies, partner institutions, and the American public in recognizing museum collections as resources of national importance. We will encourage agencies to recognize that their museum property is integral to fulfilling agency missions, and will identify and share best practices for managing Federal museum collections. We will actively support the following goals and objectives to achieve our vision.
1. Improve recognition and support for Federal museum property collections.
A. Promote and increase communication among Federal agencies and all who share our vision.
B. Promote and increase partnerships between Federal agencies and non-Federal repositories that manage Federal museum collections.
2. Encourage use of best practices of the museum profession for managing Federal museum collections.
A. Evaluate existing authorities for managing Federally associated museum property.
B. Increase availability of information on best practices among Federal agencies and between Federal agencies and partner institutions.
3. Comply with laws, regulations and other mandates for managing Federal museum collections.
A. Assist Federal agencies in identifying and managing museum collections for which they may be responsible.
B. Assist partner institutions in effectively managing Federal museum property for which they may share responsibility.
Interagency Federal Collections Alliance Steering Committee
Federally Associated Collections
Millions of artifacts and specimens collected as a result of Federal activities are held in public trust by more than one thousand Federal and non-Federal institutions throughout the United States. The IFCA encourages agencies and partner institutions to create new and revive old partnerships, and to strengthen strategies for managing Federally Associated collections of all kinds.
The IFCA has sponsored training conferences to provide a forum to foster communication and cooperation among Federal agencies and non-Federal institutions.
Conference Information:
IFCA sponsored conferences on "Partnership Opportunities for Federally Associated Collections":
- Washington, DC, December 5-7, 2002; co-sponsors:
Smithsonian Institution
U.S. Marine Corps, History and Museum Branch
National Park Service
Marine Corps Heritage Foundation
Navy Historical Foundation
U.S. Navy Museum
- Austin, TX, November 13-15, 2000; co-sponsor Texas Association of Museums
- San Diego, CA, November 18-20, 1998; co-sponsor San Diego Natural History Museum
- University of California - Berkeley, CA, June 5-7, 1996; co-sponsor Phoebe Hearst Museum of Anthropology


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This mandatory course introduces students to concepts of property and focuses on topics relating to real property, intangible property, and real estate law. The Concepts of Property course is a survey course that explores legal relationships that arise in varied contexts of property ownership and in property disputes. The Real Property portion of the Concepts of Property gives an overview of the law of real property. It explores the original acquisition of entitlements to property; different theories of justification for the institution and distribution of property; the Anglo-American system of estates in land; the law of trespass and nuisance; private and public mechanisms of land use control; landlord-tenant law; and public regulation of property, including housing discrimination and eminent domain.
Catalog Number: PPTYTORT 801-L
Course History
|Summer 2013
Title: Property
Faculty: Cameron, David L. (courses | homepage)
Section: 1 Credits: 3.0
Capacity: 8 Actual: 8
|Summer 2012
Title: Property
Faculty: Cameron, David L. (courses | homepage)
Section: 1 Credits: 3.0
Capacity: 30 Actual: 4
|Summer 2011
Title: Property
Faculty: Dana, David A. (courses | homepage)
Section: 1 Type: Lecture Credits: 3.0
Capacity: 30 Actual: 6


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Welcome! If you're new here, you may want to learn what Saving Naturally is all about.
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Swirls Couture Suitcase Wedding Favors
|Multiple Colors and Style Options to Choose From
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Swirls Couture Suitcase Favors
Wedding Favors
Product Description
These fun personalized wedding party favors feature our "Swirls Couture" design on a mini suitcase tin. Suitcase favors have tiny wheels that roll, a handle that pulls up and down and retro travel stickers stamped on one side. Amazing little details make these tins a fun favorite! Fill the tin with anything you'd like. Great ideas include: chocolates, mints, potpourri, or even sea shells.
Simple assembly required.
More Information
You will be able to select the typestyle and ink colors to use for your personalized text during the design process. Start by clicking on the green CLICK TO CUSTOMIZE button. We recommend using the default typestyle and ink colors.
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text: Come see Santa as he visits the park on December 14 & 15. Cookies, punch, music, carolers and crafters are all part of the free fun. There will be collection bins for non-perishable canned food donations for families in need in our community on behalf of the Placer Food Bank. Santa In The Park is brought to you by RCONA.3-6 p.m.Saturday, December 14Roseville Sports Center1545 Pleasant Grove Blvd.3-6 p.m.Sunday, December 15Maidu Community Center1550 Maidu Dr.Download the flier.