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Da Nang, Vietnam, Oct. 10, 2006 – For the first time ever, the ORBIS Flying Eye Hospital – the world's only airborne ophthalmic surgical and training facility – made a historic landing today at Da Nang Airport in Vietnam. The inaugural visit comes at the invitation of the Government of Vietnam and the People's Committee of Da Nang City.
For the past 10 years, ORBIS has worked with Vietnamese authorities and health officials to extend additional continuing medical education opportunities to the ophthalmic community of Vietnam. From October 9–20, more than 90 Vietnamese doctors and nurses will work side-by-side with an international medical team on board the Flying Eye Hospital and within the Da Nang Eye Hospital to restore sight to the blind.
Sponsored by FedEx (NYSE: FDX), the Da Nang Flying Eye Hospital program aims to enhance the skills of the local ophthalmic community so that they are better equipped to treat and prevent eye diseases prevalent among the Vietnamese population. Half a million people currently suffer from blindness in Vietnam.
"We are deeply grateful to the Vietnamese government for taking this historic initiative of inviting ORBIS to bring together people of diverse cultural backgrounds through the Flying Eye Hospital, not only to restore sight and share knowledge and sight-saving skills, which is of great importance, but also to promote cooperation and understanding between Vietnam and all other nations," said Oliver Foot, ORBIS president and executive director. "Our continued support in Vietnam will result in an ever-expanding group of skilled professionals who in turn will bring sight to the many who are needlessly blind."
Vice-Chairperson of Da Nang People's Committee, Ms. Nong Thi Ngoc Minh said, "The collaboration with ORBIS has brought different organizations together to develop blindness prevention programs. We are pleased that Da Nang is the first city to host the Flying Eye Hospital. We are looking forward to similar visits in the future to benefit eye doctors and blind people in Vietnam."
Vietnam Program Sharpens Skills and Deepens Knowledge
In partnership with the Vietnamese National Institute of Ophthalmology (VNIO) and the Da Nang Eye Hospital, ORBIS will conduct an intensive two-week training program to improve local ophthalmic surgical techniques, nursing skills and equipment maintenance practices.
During the program, 50 ophthalmologists and 45 nurses and biomedical engineers will receive training and hands-on instruction. In addition, more than 40 Vietnamese patients will undergo surgery to have their sight restored or preserved.
"The visit of the Flying Eye Hospital to Da Nang moved our hearts as it arrived only one week after Typhoon Xangsane. Doctors from across Vietnam support ORBIS's sight-saving programs. I strongly believe this inaugural visit of the DC-10 aircraft will be a success," said Professor Pham Song, president of Vietnam Union of Medical Associations and former Minister of Health.
FedEx Helps Deliver Sight Worldwide
For more than 20 years, FedEx has facilitated the humanitarian efforts of ORBIS around the world by providing financial, operational and logistical support. FedEx is again committing its resources as the sponsor of the Da Nang Flying Eye Hospital program.
In conjunction with the Da Nang program, FedEx and ORBIS are launching a new fellowship program – the FedEx Fellows – in which ORBIS will award medical training fellowships to ophthalmologists around the world over the next five years. The first fellowship will be awarded to a Vietnamese ophthalmologist who will receive advanced training for one to three months at Indiana University School of Medicine, Department of Ophthalmology in Indianapolis, Indiana. Upon return to Vietnam, the FedEx Fellow will have the opportunity to put newly-acquired skills, knowledge and experience into practice. The first FedEx Fellow will be announced at the conclusion of the Da Nang Flying Eye Hospital program.
"At FedEx, we believe in training to empower our staff to excel in their jobs. The FedEx Fellows Program is in line with our people-first philosophy and represents an exciting way for our organization to help ORBIS extend the value of its medical programs," said David Ross, regional vice president, FedEx Express South Pacific. "By connecting the worlds of business, charity and academia, FedEx can help improve the quality of people's lives in Vietnam and around the world."
Bringing About Lasting Change
The work of ORBIS in Vietnam, which is carried out by a full-time staff based in Ha Noi, concentrates on increasing access to comprehensive eye care among rural communities, building the ability of national institutions to take the lead in blindness prevention services and the provision of training, and addressing preventable childhood blindness.
"ORBIS's cooperation in Vietnam aims to help the country protect and restore vision to underserved communities," said ORBIS Country Program Director, Thinh Nguyen. "We are actively working together with our local partners to strengthen the capacity of three regional eye care centers in North, Central and South Vietnam, develop and manage rural and pediatric eye care networks, and effective implementation of Vision 2020 Initiative: The Right to Sight in Vietnam."
Since 2000, ORBIS's long-term projects in Vietnam have trained 1,460 doctors, 9,820 nurses and community eye health workers. In addition, more than one million Vietnamese have received eye exams and 267,679 patients have received medical treatment and/or surgery through ORBIS-sponsored projects.
About ORBIS International
ORBIS International is a nonprofit humanitarian organization dedicated to saving sight worldwide. Visit www.orbis.org for more information.
About FedEx
FedEx Corp. (NYSE: FDX) provides customers and businesses worldwide with a broad portfolio of transportation, e-commerce and business services. With annual revenues of $33 billion, the company offers integrated business applications through operating companies competing collectively and managed collaboratively, under the respected FedEx brands. For more information, visit www.fedex.com.
Celia Yeung: Public Relations, ORBIS Flying Eye Hospital, +84-90371596, email@example.com
Hue Nguyen: Public Relations, ORBIS Vietnam, +84-904144423, firstname.lastname@example.com
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Jan 14
Creating an On-line communityPosted by Aratus in websites , Twitter , social media , sales , open source , online , marketing , Facebook , community |
Jan 14
Creating an On-line communityPosted by Aratus in websites , Twitter , social media , sales , open source , online , marketing , Facebook , community |
Jan 03
Was it a digital holiday in the last 10 days?Posted by DBS in Xmas activity , social media , Linkedin , Facebook |
I generally go onto facebook and linkedin once a day just to catch up and generally I do not go on to it at work.
Dec 27
Social Media MemePosted by ShackledMuse in Twitter , tumblr , social media , meme , Facebook |
I stole this meme from Nafisa. I'm addicted to these things.
Nov 02
Social Media = Social DepressionPosted by Wolfe in social media , Social Depression , Psychology , Facebook , Emotion |
I popped into Facebook earlier to have a squiz and see what's happening, something I don't do that often. Unlike most people, I don't have the urge to affirm my popularity by checking for new messages and friend requests. I am however sometimes bored...
Sep 16
Fashion Week transformed by Social MediaPosted by Nasreen in wall street journal , Twitter , tumblr , social media , simone oliver , runway , ray alex smith , New York , instagram , fashion week , eva chen , backstage |
The nature and delivery of Fashion Week coverage has been transformed due to Social media platforms broadening and increasing its immediacy to meet a growing demand for step by step coverage of shows and events online.
Aug 30
Viral adverts: special breed of awesomePosted by Howie2.0 in viral adverts , tequila , social media , single ladies , online videos , marketing campaigns , interactive , heineken , entertainment , campaigns , branding , amy allais , advertising |
I'm sure everyone has seen at least one marketing campaign that has gone viral, spread like wild-fire across social networking sites and other channels by the web 2.0's baby – sharing.
Aug 23
Social Media: 6 best practicesPosted by Howie2.0 in ugc , Twitter , strategy , storify , social media , smo , photosynth , online , internet , Google , flickr , Facebook , crowdmap , best practices |
Social media is like Google's elusive Algorithm which keeps search engine marketers on their toes around the clock. It's a constantly changing and evolving species of technology meshed with 2-way communication channels, audience scope and UGC.
Aug 10
Online privacy: Where do we draw the linePosted by sci-tech.chic in Twitter , social media , privacy , Facebook , bbm |
Aug 02
I will sue with 140 charactersPosted by Pumelela Nqelenga in Twitter , soweton , social media , necklacing , julius malema , ferial haffajee , eric miyeni , city press |
Jul 26
Governments embracing social mediaPosted by Nasreen in wikipedia , Twitter , social media , russia , ontario , minister of research and innovation , Linkedin , Government , glen murray , Facebook , dmitri medvedev , crowdsourcing , crowdsourced wiki |
Social media has become an essential part of how we interact with our friends, community and even run our cities and countries. Governments are starting to take serious notice and incorporate social media into their own day-to-day actions.

subset: commoncrawl


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Because of the purchasing power at Bramble Berry, we get some incredible deals for overruns and discontinued items from our vendors. Although these products do not go through the rigorous testing of our regular line, they are high quality and skin-safe unless specified otherwise. It is always best to test all products to ensure they work in your specific recipe.
Out of stock until further notice
Plastic Powder Shaker- These little powder shakers are wonderful for your powders. They hold approximately 1.2 ounces of powder and have a fabulous little ...click to read more
Polysorbate 20 is commonly used to emulsify oils and water...click to read more
High in linoleic fatty acids, Sesame oil is a great moisturizer for your skin...click to read more
Surplus Sienna Shimmer Here for a limited time only....click to read more
Yellow Jelly Color (sold by volume): Here for a limited time only, this semi-liquid yellow color has a jelly like texture and is ideal for melt and pour soap...click to read more


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- Home
- Video Editing
- CyberLink PowerDirector
Product Specifications
License: | 1 PC |
Version: | Full version |
Language: | English |
CyberLink PowerDirector
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Product Description
Professional-Quality HD & 3D Videos
PowerDirector 11 Ultra provides the easiest and fastest way to create home videos. Packed with innovative video technologies to automate and speed up video processing time, PowerDirector 11 Ultra comes with more than 100 built-in effects and access to more than 300,000 free effects at CyberLink's DirectorZone.com online community, allowing you to create pro-looking home videos with ease. Also includes the PowerDirector Windows® 8 App to compliment your editing needs on-the-go.
Revolutionary Editing Experience
NEW! Content-Aware Editing
PowerDirector 11's Content-Aware Editing provides a revolutionary way to edit video projects. The advanced built-in technology magically analyzes major scenes, such as those with faces, motion, zoom or pan, and hones in on imperfections that can be improved using TrueTheater®, such as poor lighting, and shakiness. Editing videos is now easier, faster and more efficient than ever
Analyze entire footage using Content-Aware Editing
Save time tackling hours of footage. Content-Aware Editing quickly and efficiently pinpoints the best scenes automatically. -
Intelligently identify the best and imperfect shots
Automatically finds the best scenes with faces, zoom, pan and motion and pinpoints scenes requiring enhancements. -
Enhance imperfect shots with TrueTheater®
Corrects all imperfect parts of the entire footage, such as poor lighting and shaky videos using TrueTheater Technology. -
Edit Analyzed Footages All at Once
Gather enhanced footage into the timeline of Content-Aware Editing control panel, for additional "across-the-board" editing in one go.
Dynamic Editing Environment
Quality Beyond HD – 4K Video Support
PowerDirector 11 is the first and only consumer video editing software to support end-to-end editing of 4K ultra HD video format. Supports import of 4K videos from the latest camera devices, edit more efficiently with TrueVelocity and produce breathtaking 4K movies on disc or publish online right from your desktop.
NEW! Full HD Preview
Undock the preview window and bring a full HD preview window in second monitor, for a better, close-up view of every detail. -
NEW! Ripple Editing
With new ripple editing, you can easily insert or remove video clips on the timeline while keeping all other items on the track aligned. -
NEW! Customizable Hotkey
Further speed up your video editing skills with several sets of hotkeys to instantly perform commands—even customize your own hotkeys. -
100-Track Timeline
Set your creativity free with the 100-track timeline. Overlay footage, PiP objects, titles and particles to design unique visual effects.
Dynamic Editing Environment
NEW! Design Studio
Need more tools to help make your production look unique? PowerDirector 11's new Design Studio tools come with four new designer tools: Title Designer, PiP Designer, Particle Designer and Menu Designer. You can use the full screen editing interface and timeline for a more accurate animation design, or overlay particle effects over titles. Apply reflection effects to title text or PiP objects, or use the 4-color gradient to make your title text really stand out.
NEW! Title Designer
Create unique, professional-looking titles for just the right finishing touches to your video with 4-color gradients, reflections, or edit the entry points using the timeline. -
NEW! Particle Designer
Includes a built-in particle object library that you can use to design its animation and control the frequency. Create sparkle, fairy dust, rain or snow overlays to your videos. -
NEW! PiP Designer
More flexibility and control to overlay images or videos on top of a movie clip. Comes with an extensive library of animated objects, frames – or design your own. -
NEW! Menu Designer
Produce your movies with a self- made disc menu. You can design menus with titles, chapters, particles and PiP objects with your own unique flair.
Magic Movies in Minutes!
Magic movie tools provides you the easiest and automated way to edit your videos Simple select the videos and photos you want to use in your creation, Magic Movie tool will automatically add stylish templates, transitions and music, then complete your video within minutes!
- Magic Style: Automatically apply Magic Style templates to your movies, complete with effects, titles and credits.
- Magic Music: Automatically create movie soundtracks and sync melodies to fit the length of your video.
- Magic Cut: Edit clips by removing action-less scenes and keeping the best footage.
- Magic Motion: Animate photos to create dynamic photo slideshows.
Enrich Your Videos with 400+ Editing Tools and Effects
Precise Keyframe
Edit effects within a single interface for easy timing and synchronization each effect to take place on the video timeline. A must-have tool to create unique visual effects.
Precise Trim Tool
Together with auto scene detection, PowerDirector provides an easy way to trim videos efficiently. Also supports multi-trim and zoom-in video for more granular control tools.
Time-lapse & Slideshow Creator
Create amazing time-lapse or stop motion videos. Also includes complete tools to customize photo slideshows with animations and background music.
Chroma-Key Tool
Take videos in front of a green sheet or blue sheet and merge with other videos to create special effects like they do in weather broadcasts or Hollywood movies.
Integrated NewBlueFX Effects
Take your editing up a notch with 10 built-in video effects from NewBlueFX. World class effect options help you create masterpiece video productions.
Hand-Paint Animation
Design your own hand-drawn artwork using an array of brushes, then record them or apply distortion effects and action speeds before integrating into your video projects.
3D Videos From Start to Finish
Import, edit and export videos and photos all in 3D! With support for all major 3D video and photo formats, you can produce 3D movies to watch on 3D TV and displays.
FREE! Effects from DirectorZone
Browse thousands of free effects and templates on the largest video editing online community: DirectorZone. Watch tutorials, learn videos created by others with timeline and more.
TrueTheater Enhancement Technology
TrueTheater HD
Upscale videos captured from your SD camcorders to HD-like quality with CyberLink's TrueTheater® HD technology.
TrueTheater Stabilizer
TrueTheater Stabilizer technology automatically fixes shakiness for footages taken from a handheld camcorder.
TrueTheater Lighting
TrueTheater Lighting enhances light issues in your footage, such as. white balance and backlight problems.
TrueTheater De-noise
Use TrueTheater De-noise to eliminate video noise, such as for night shots, to produce clean, smooth visuals.
Blazing Fast Editing Speed
NEW! Multi-GPGPU Acceleration
TrueVelocity® 3 now supports multi-GPGPU so you can maximize performance from multi-graphic cards installed and optimize editing, rendering and effect processing speeds.
Native 64-bit Support
PowerDirector is the world's first native 64-bit consumer video editing software to offer improved system efficiency and faster loading of HD video footage.
Intelligent Smart Video Rendering Technology (SVRT) analyzes an entire project, then selects the best output profile for optimal production speed.
OpenCL Support
OpenCL is the latest technology utilizing the power of your system's GPU and CPU power to boost the speed of the editing process.
NEW! Hardware OptimizationPowerDirector 11 is optimized for new generation hardware from Intel 3rd Generation Core technology and AMD 2nd Generation APU technology.
High Quality Video Productions
AVCHD 2.0 and Enhanced De-interlace
PowerDirector 11 is the world's first video editor certified for both AVCHD 2.0 3D and 50/60p progressive profiles. PowerDirector 11 also enhanced video de-interlacing engine with sub-pixel level processing produces, greatly improved video quality output especially in fast motion and zoomed-in scenes. You can now use PowerDirector to produce DVDs, Blu-ray and AVCHD discs or video files with the best quality.
Vast Output Formats
From burning videos to Blu-ray or DVDs, creating video files to watch on mobile devices and sharing to social sites, you can output videos in just about every format.
Pro Quality Surround Sound
Create pro-quality videos with clear Dolby Digital and DTS 5.1 channel surround sound for a cinema-style movie production.
4K, HD and 3D Movies
Produce movies in 4K ultra HD resolution or even 3D to watch and enjoy on large screens for the ultimate entertainment to share with friends and family.
Share Directly to Social Sites
Upload videos and photo slideshows directly to a host of popular video websites including Facebook, YouTube, DailyMotion, Vimeo and NicoNicoDouga.
CyberLink PowerDirector Videos
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CyberLink PowerDirector Reviews & Ratings
Tell us what you think about CyberLink PowerDirector. Write your own review!
Editor's Review
CyberLink PowerDirector 9 Ultra is a comprehensive video editing and enhancement software specifically designed for professional video editors and home users alike. This incredibly versatile visual utility suite can be used to create, edit, and compile original videos equipped with music, voice-overs, special effects, transition effects and more. Cyberlink has impeccably designed a useful program that transforms mediocre clips and full-length videos into brilliant compilations and vivid high definition masterpieces.
Each and every project created in CyberLink PowerDirector 9 Ultra is enhanced with the patented TrueTheater technology, which noticeably improves video resolution, corrects minuscule playback errors by editing the media in slow motion, and even adds surround sound to each media item automatically. This patented TrueTheater technology also corrects common production errors, such as poor lighting, strong backlighting, and bad white balance.
A newly added feature that is particularly worthy of mention is the one-of-a-kind Zoom In Cut feature, which offers one of the most precise trimming tool in the industry. Users can now create incredible videos with very little effort due to the revamped interface and new selection of automated tools. With CyberLink PowerDirector 9 Ultra Video enhancement and creation has never been easier.
Once the media is created, it can then be shared quickly and easily, either via email or via internet upload to popular social sites such as YouTube or Facebook. Alternatively, users can export the media directly to DVD, Blu-ray or watch it on their iPhone, PSP, Xbox, or Xbox. The software cna export to all stanbdard media formats, as well as the following HD formats - AVCHD, H.264, MPEG-2 HD, and WMV-HD.
Aside from creating their own masterpieces, users can also enhance ordinary media to colorful HD quality with state-of-the-art video enrichment technology. Users can even add incredible effects to their favorite movies, such as floating captions, with no scripts required. This feature can give your movies a narrative theme that enhance the overall entertainment value of them.
Although the software is extremely capable and feature-rich it does not consume an exuberant amount of system resources. This year's edition has been redesigned to optimize GPU and CPU usage, producing videos up to five times faster than other video enhancement and editing software. In fact, PowerDirector 9 Deluxe is the first video enhancement software to be fully optimized for Intel Core i7, ATI Stream and NVIDIA CUDA technology.
CyberLink PowerDirector Ultra: What We Liked
Video enhancement is an automated process that only requires the selection of a few user preferences.
Exporting and/or sharing media is an extremely simple and convenient process.
Correcting video flaws was simpler than one would expect, as the software seems to find these flaws automatically and correct them without instruction.
CyberLink PowerDirector Ultra: What We Didn't Like
Although the software is faster than most other video enhancement software, it does use quite a bit of memory when used extensively.
CyberLink Support
CyberLink offers support for all of their products online via their customer support center. Users can find a plethora of helpful information, ask questions and share information at the online forums, download software updates, view Frequently Asked Questions, and receive technical support via phone or email.
About CyberLink
Since 1996 Cyberlink has built it's reputation as a leading developer and distributor of digital multimedia software. Over the years CyberLink has garnered quite a few accolades, even receiving awards from Forbes magazine. CyberLink has become a crucial contributor to the video software industry with best-selling products like PowerDirector and PowerDVD. CyberLink is headquartered in Taipei, Taiwan.
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CyberLink PowerDirector News
27 Jan
Black Friday Software Discounts by Bibey
If you only shop once a year then you should resist until the day after Thanksgiving. It's a truism for the whole online retail industry really, but especially in software. As the week progresses we will get more and more big discounts… Read more on Black Friday Software Discounts
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Drupal.behaviors.print = function(context) {window.print();window.close();}>
Columbia Team IDs Two Protein Markers to Improve Prediction of Acute Kidney Injury, Adverse Effects
January 13, 2012
Columbia Team IDs Two Protein Markers to Improve Prediction of Acute Kidney Injury, Adverse Effects
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Set in Changi, the most notorious prisoner of war camp in Asia, King Rat is an heroic story of survival told by a master story-teller who lived ... Show synopsis
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Stock Code: CA-123-NX Manufacturers Code: CA-PH630-G1 Presenting the NZXT Phantom 630 a chassis so revolutionary, it may just be the last case youll ever need. Out of Stock You own this product? Write a Review Filter Reviews Period last 2 weeks (0) last 6 month (0) all reviews (3) Reviews 67%(2) 33%(1) 0%(0) 0%(0) 0%(0) "WOWThis case is nothing short of excellent. It looks great, has enough space in it to house a family of four. The build quality is what you would expect from NZXT and and more. "Awesome!Ive previously had the original Phantom (in white) absolutely love the stying of these cases! Showing Reviews 1 - 3 of 3 Sort by:
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Homework Help
Better Students Ask More Questions.
What is the theme of Anne of Green Gables?
Topic: Anne of Green Gables
What is the theme of Anne of Green Gables?
2 Answers | add yours
There are two major themes found in Anne of Green Gables. One is the conflict between imagination and social expectations. This is seen in Anne's struggle with daydreaming getting in the way of her everyday responsibilities and conflict with Marilla's very practical outlook on the world. A second theme is the battle between true emotions and sentimentality, made-up feelings that create a desired effect. Anne often uses sentimentality to distract her from dealing with the true emotions of dealing with her parents' death.
Posted by hjael79 on October 23, 2008 at 5:14 AM (Answer #1)
At the turn of the century on Prince Edward Island, Matthew Cuthbert and his sister Marilla decide to take on an orphan boy as help for their farm. But they get an unexpected jolt when they're mistakenly sent a girl instead: Anne Shirley. Anne's a dreamer with an unusual point of view, far removed from Marilla's pragmatic ways, and it's only on trial that Marilla agrees to keep Anne...if Anne can keep out of trouble, only Anne has a positive genius for it. As Anne falls into a series of scrapes (and off a roof), makes a bosom friend, searches (and finds) several kindred spirits, Matthew and Marilla discover that their lives have become a great deal richer, now that Anne is at Green Gables.
Posted by suvetha on April 16, 2012 at 6:02 AM (Answer #3)
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Warren Ellis
Scenarist Warren Ellis
Available series in store category "Comic books"
Warren Ellis in the
"Warren Ellis lives in southeast England, and is famous for his writing of essays, scripts and comics. Ellis began his writing career in 1990 working for the British independent magazine Deadline. His first serial was 'Lazarus Churchyard', which was illustrated by D'Israeli published in..." [ Read more ]


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We found 3 motorhome sites with 2 bookable in South Yorkshire
Thrybergh Country Park Campsite Rotherham, South Yorkshire Show on map Last booked 22 hours ago |
Hardstanding electric pitch | 6 x | From £16 per night |
Doncaster, South Yorkshire Show on map |
Non-electric grass pitch | 6 x | From £6 per night |
Want to see more? We're only showing the sites that are bookable on Pitchup.com.
Show campsites and holiday parks that aren't bookable through Pitchup.com...
West Stockwith, South Yorkshire Show on map |


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The classic, travel-ready tunic, updated and embellished with textural trims. Our Odelia Dress, made of lightweight tissue linen, takes our signature silhouette and details it around the neckline, cuffs and hem with thick, pleated ribbon and openwork embroidery. A split neckline and three-quarter sleeves add to the bohemian-chic feel.
Style Number: 51131421
Style Tips
For a chic getaway look, accessorize with a pair of strappy sandals. Or offset the crisp navy and white palette with the warmth of a saddle-brown leather bag.
- 100% linen.
- Ribbon detailing at front and back neckline, sleeves and hemline.
- Semi-fitted; mini tunic dress.
- Sleeve length: 28" (71.1 cm)
- Invisible zipper pull at center back.
- 34" (86.4 cm) in length; hits above knee.
- Dry clean only.
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Rated 5 out of 5 by 2
Rated 5 out of 5 by GloryRN Fantastic dress
This is my first Tory Burch dress. I guess the first time's a charm. This dress is incredible. The embroidery is beautiful and it's lined very well. The fabric is of great quality. I ordered my usual size 12 and it fits perfectly. Only thing different is that the sleeves are longer than on the model. they almost reach my wrists. Still looks amazing on. Looking forward to wearing it for the warmer weather. It will definitely be a head turner!
March 3, 2014
Rated 5 out of 5 by englishrose142 Fab, Glam and Gorgeous!
I absolutely love this dress! I ordered it in a 12 but couldn't get it over my bust. With 2 days to go to my Hawaii trip I got onto to the Tory Team & within 24 hours we had flipped the size. Phew! So relieved cos it's the perfectly posh dress that I needed for this glam vacation. I feel & it looks - a million pounds or dollars if you prefer. Mahalo!
February 24, 2014
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Wild. Abstract
Artist description:
Forrrrr art_attack! Completely original excepting a bear and an elephant reference.
Created Jun 12, 2012. Unless noted Copyright 2012
foxluver1 .
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WOW! What a unique style. Interesting lines, and color usage. Just so much to look at and to digest! This just kept my attention for some time. A collector for its uniqueness! Nice work! Love the personal unique design!
Draw all the geometric shapes!!!!! This is so original/gorgeous :) 5/5 I love how simple it is :D
This is really cool... I like how you left the animals uncolored and drew lines and shapes inside them instead. 5/5
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Naruto's Homosexuality
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Kurumaisu Taicho
Join Date: Sep 2010
Location: ny
Age: 28
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Re: Naruto's Homosexuality
[QUOTE=Tzu Men;1769847]
The Homosexual Reading of Naruto
The kiss was for pure comedic value, it wouldn't be the first manga or series in the world where that's happened. Obviously you don't follow bleach very well for although there are no kissing scences between teen boys, there are several scences of blatant homophobic behavior between members of the soul society and arrancar. So you say it's the author I agree its called good story telling, it makes it more interesting it makes for good convo n debate.
Typical universal adolescent behavior… (you also forgot Naruto is a bit of a peeping tom)
Starting back to Pre-Shippuden Naruto, he is between 10 and 13yrs of age what average male child goes into detail of why he "loves" a girl besides the fact(s) she's pretty n smart n is nice. And yes at that point in time of life, love is equivalent to crush. What you're stating is that his crush is void and thats wrong those are his feeling towards her you can't negate that. When sakura confessed her love for him isnt much of a valid example, you say he was blase. I say he was shocked and skeptical, all this time the girl whom he loved and that's been completely infatuated with the person I consider to be my best friend suddenly loves me, something is just not right and he was right. In fact he in deed did have a emotional response he was upset albeit non verbal but yes facial expressions is a form of communication. All Naruto is showing is that he is maturing.
Here's why you and most people don't understand this situation, In many other cultures outside of the united states in this case a far eastern one , boys are raised where this acceptable (personally, I've shared plenty of drunken I love you man moments with my best friends n even more so when I almost died and found out I was partially paralyzed.) Naruto is able to give up his dream because he feels that he failed since hes not able to protect one of the most important people to him. Frankly I say he was just being a self pitying little bitch but he gets over it and moves forward.
You claim there is a romance amongst the two, but there is none, it is human nature for children or adults to bond, grow fond, and respect each other even if they don't initially like each other, especially if they are being made to spend time, work, and risk their lives for one another on a continuous basis. I see you must have done some light research on Japanese Samurai traditions but your wrong it was supposed to be only between master and apprentice not amongst students or any other male (if it did it broke the contract) and you left out the most important part that, that act ONLY happened if both parties agreed, rape was unacceptable. As far as Naruto and Jiraiya there wasn't anything strange, Jiraiya is Naruto god-father, in most all brothel visits you see Naruto studying and Jiraiya drinking and surrounded by women, and as far as spa visits none, they were all bath houses.
It's common for boys and men to compete for position of strongest, fastest, best, the Alpha position. And you have it backwards Sakura has and always is chasing after Naruto and Sasuke so as far as being insightful she feels insufficient for the one she loves. Yes, Naruto is quite oblivious to Hinata but he's teen who is one tract minded so cut him slack, and I don't know if you noticed but the kid almost became the Kyuubi because of what happened to her. You say he hasn't tried but your rushing the author for a storyline that just started, do u want to see a love story or more fights and battles? The books are geared for adults who are somewhat perverted. He still likes Sakura so obviously he cares about her look, you don't see Lee going bonkers over her looks
The fabled sexy-no-jutsu, you're misinterpreting the entire meaning and its purpose. Firstly its hilarious in the manga its 1 thing, but in the anime accompanied by the music it cracks anybody up. Now Naruto is kind of dumb but he's a smart and clever prankster he knows that most all of his teachers are closet perverts and he uses this technique to exploit that fact, therefore it gets him out of trouble sometimes, and gets Jiraiya to train him. In no way does it ever get sexual or insinuate pederasty or anything homosexual EVER. If anything it showed how perverted Jiraiya is. Here's another assumption of yours not , Naruto is clearly is bothered by Konohamaru version of the jutsu what straight male would like to see a homosexual act portrayed in front of them . Naruto has kind of always a peeping tom so him wanting to spy isn't really new.
You don't have to be insecure with your sexuality, to be uncomfortable at someone staring at your penis, hell if you do look keep it to yourself… that's what most of us thought or think in public showers
You need to pay more attention with your study, Naruto is still a child in all the chapters you've just mention…now the 1000 years of pain I agree not cool
Submission moves are a part of martial arts, it's a part of combat. Almost all the characters hold weapons in their mouths so they can use their hands to do justu, and when Naruto farts he's normally trying to concentrate too hard. Research Sigmund Freud's theory on oral and anal fixation, because for the most part your ideas are wrong.
Naruto is a kid who grew up with no one and found a friend, a best friend, a brother, and then lost that brother. Now he's willing to put himself through hell to save his brother.
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Our good buddy, Olivier Desmet and his Amenti Label are doing something great. The Nebu Soku's "Destination: Tokyo" is available now on Beatport. Amenti will donate 100% of proceeds to the Red Cross to support relief efforts for those affected by the earthquake in Japan.
Click Here To Purchase From Beatport.


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Acting Fire Chief Antonio Conte teared up yesterday at the scene of a house fire that killed advertising executive Madonna Badger's three children and retired parents on Christmas morning. "I've been on this job 38 years. It's not an easy day," he said. "There was so much heat and so…
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While I'm away, readers give the advice.
Carolyn Hax
Carolyn Hax started her advice column in 1997 as a weekly feature for The Washington Post, accompanied by the work of "relationship cartoonist" Nick Galifianakis. She is the author of "Tell Me About It" (Miramax, 2001), and the host of a live online discussion on Fridays at noon.
She the People
This woman could turn Texas purple -- and it's not Wendy Davis
While Democratic gubernatorial candidate Wendy Davis has gotten much of the buzz, Leticia Van de Putte, her running mate, is showing crossover appeal with Republicans.
On allowing teenagers to have a boyfriend/ girlfriend sleep over:
None of your business. Get a life and let them have theirs.
Lived in Denmark 40 years ago. Was invited to breakfast at an 18-year-old friend's parents' home. Was stunned when friend and his girlfriend joined us at the table with sleep still in their eyes. Wild-eyed, I must have been, as I watched parents and son and girlfriend interact . . . not a single iota of an indication that anything unusual had just happened.
Spent seven years in Denmark watching with wonder how the Scandinavians allow their children (and one another) independence of thought and action far beyond anything I ever saw in the States. Much healthier environment in my opinion.
I think for me, the distinction I would make with my son (if faced with this question) is that I:
1. Understand he has his own life and choices to make.
2. Want him to be as safe as possible while making those choices.
3. Think the choices he is making are better left to adults.
4. Do not want to encourage choices I think are not timely.
5. Can feel all of these things simultaneously.
Empathy and understanding don't have to equal agreement with a person's choices. Teens are SO good at beating us down with "logic" and persistence, especially if they've been encouraged to disagree and question (a double-edged sword!).
So parents might want to try a huge dose of understanding and even saying to their kids (respectfully): "I know it's what you want. And while it may not make complete sense to you, your [other parent] and I are saying 'no.' Period. You can be as mad as you like and disagree as much as you want. We are not concerned that you agree or disagree with us, although we respect your right to your feelings on the matter."
I tell my kids "I'm not here to win a popularity contest." When I've made any tough decision that I knew in my gut was right for my family/kids, my kids have always (and I don't say that lightly) come to a place where they respect me even more for it, even if it's taken years — although that's never a given and not why I make the tough choices.
My daughter came to me around 16 or 17 years of age to share that she was planning to become sexually active. I took her to the doctor and paid for her birth control pill. At some point after that, she approached me to ask if Boyfriend could spend the night. I told her I wasn't comfortable with that, and then said, "I know what my job as your mother is: I am responsible for making sure — to the extent that I can — that you don't screw up your life by having a child before you are ready. It is not my responsibility to find you a place."
It was pretty easy for her to understand that because I owned the seeming contradiction of getting her the pill.
Write to Carolyn Hax, Style, 1150 15th St. NW, Washington, D.C. 20071, or email@example.com. Subscribe at www.facebook.com/


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At her request no service is planned.
Tommy "Tom" Joe Meeks
August 6, 1935 ~ May 3, 2011
Lost for Now, Loved Forever & Ever
Born in Vaughn, N.M., in the back (living area) of the service station where his Dad was working. The eldest of five children, due to his dad being a pastor, they moved frequently. He attended 17 schools, graduating from Lovington High School in 1954.
During his high school years, Tom was active in boxing, basketball and football. He was New Mexico Golden Gloves Champ in his weight class. Tom was only 5'7" but quite the "scrapper!" He attended college on a basketball scholarship but left to join the Navy, where he was an Aerial Photographer's Mate from 1954-58. He enjoyed bowling, fishing, hunting, and playing poker. After leaving the Navy he attended the University of Alaska-Fairbanks, briefly, and then focused on his lifelong career as an Electrical Power lineman from 1960 to 1997. The first thirty of those years were spent primarily in Alaska. He recently received his IBEW 50-Year membership pin.
He met Clairee, his wife of almost 52 years in China Lake, California in 1957. They married in Wellton, AZ in 1959, with his father officiating. They moved to Fairbanks, AK and adopted their three children in 1961, 1962, and 1968.
They moved to Sequim in 1972 and Tom started golfing. He enjoyed it immensely. After retirement in 1997, you could find Tommy at least three days a week on the Cedars of Dungeness Golf Course.
He is survived by his wife, Clairee at the family home; their son Jeffrey Meeks and companion Peggy Berelc, of Mount Lake Terrace, WA; daughter Michelle Meeks of Sequim, WA, daughter Darcy Meeks Lamb and son-in-law Steven Lamb, grandchildren Amber & Connor Lamb also of Sequim, WA. Also survived by his sister, Betty Jean Brown, Shelton, WA; brother-in-law Larry Branson, Pottsboro, TX, along with several nieces, nephews and cousins. He was preceded in death by his parents, Reta & Vernon Meeks and three siblings, Robert, & John Meeks, & Vernita Meeks Branson.
Tom was known for his sense of humor and quick wit. He will be greatly missed, but never forgotten by his family, friends, and golfing buddies who nicknamed him, "Tap-in Tommy."
A "Celebration of Life" will be held in his honor at his "second home" the Cedars at Dungeness Golf Course, in the Banquet Room. June 6, 2011, commencing at 1:30 p.m.
Robert "Bobby" Scot Morris
August 17, 1981 - May 4, 2011
Robert Scot Morris "Bobby" was born August 17, 1981 in Glascow, Montana to David and Sherry Lenore Morris. Growing up, he traveled with his parents to pipeline jobs all over the country. He attended and graduated from Sequim High School in 1999.
Robert followed the family tradition and went to work for the pipeline out of high school but a severe injury to his foot caused him to change career paths. He attended Peninsula College and earned a degree in graphic design, which he applied at the Peninsula Daily News and for the past 5 years as an award-winning ad designer at the Sequim Gazette.
He was preceded in death by his mother Sherry, his grandfather
Bert Dewey and grandmother Norma Morris. He is survived by father David Morris, brother Brandon Morris and sister in law Kayla Morris and niece Paisley Morris, his grandmother Ann Dewey, grandfather Robert Morris and many loving aunts, uncles, cousins, in-laws and beloved friends.
We at the Gazette will all miss Robert, not just because of what he did and the talents he brought to work, but for who he was. He was always quick with a joke or a smile, and his creative flair shone brightly in our production department each week. He was a friend, a confidant, and a brother.
A Celebration of Life was held Saturday May 7, 2011. In lieu of flowers, a donation may be made to his grandmother Ann Dewey to help cover Robert's final expenses. For more information please call the Sequim Gazette, 683-3311.


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'There are magical moments aplenty here … Smith is in a class of his own when it comes to compelling performances of these pieces. They are by far and away the best recordings of Saint-Saëns' organ music since Daniel Roth's three LP-set in 1982 … Deeply compelling in their interpretative ardour and musical insight. What's more, there's even a touch of true flamboyance … Any composer of integrity, neglected or otherwise, should be profoundly grateful for such compelling and persuasive advocacy as this' (International Record Review)
'Saint-Saëns has an originality and charm all his own … Smith's warm and sympathetic rubato is a consistent delight, and his inspired choice to make the recording on an instrument played regularly by Saint-Saëns means that listeners can relish the authentic Gallic tones of the splendid La Madeleine organ' (Gramophone)
'The excellent performances apart, the main selling point of this disc is the opportunity to hear some of Saint-Saëns's organ works played on the very instrument for which they were composed - the magnificent Cavaillé-Col at La Madeleine, Paris … Performed with flair and sensitivity by Smith who also contributes the excellent booklet notes' (Classic FM Magazine)
'Andrew-John Smith's reappraisal of Saint-Saëns' organ works is a real winner. The Trios Préludes et Fugues, three Fantasies and other works are performed with great sensitivity on the organ of the Madeleine … These pieces illustrate a remarkable synthesis of beauty and structure from France's most outstanding composer of the 19th century' (Choir & Organ magazine)
Despite his modern fame, much of Saint-Saëns's music was under-appreciated in his lifetime, and many of his organ works remain little known. His adherence to Classical principles—enshrined in the works of his idols Bach, Mozart, Schubert and Mendelssohn—and his antipathy towards what he perceived as the louche modernism of the Romantic movement hardly endeared him to congregations or clergy, long gorged on the fripperies offered by contemporary organists and somewhat resistant to being 'told what was good for them'. But as a performer his prodigious talent could not be ignored and by 1858, aged just twenty-three, he found himself at the console of Aristide Cavaillé-Coll's brand-new organ at La Madeleine in Paris—four manuals, 48 stops and an unprecendented symphonic wall of sound lay at his disposal. (He also found the instrument, occupying the entire West wall of this enormous edifice, spacious enough to accommodate a constant stream of stars from the international musical firmament, including Liszt, Sarasate, Clara Schumann and Anton Rubinstein.) He was to hold the post for some twenty years. The earliest works in Andrew-John Smith's programme were composed during Saint-Saëns's tenure at La Madeleine and it is a rare delight to be able to hear them performed on the organ the composer knew and so loved (and using only the registrations available to him at the time). For later compositions Smith employs some of the subsequent additions to Cavaillé-Coll's original conception; the effects are thrilling and reflect contemporary reports of Saint-Saëns's own performance practice—much of it unusual then and now—as his travels took him around France playing Cavaillé-Coll's ever-more gargantuan organistic creations. The English organist and conductor Andrew-John Smith was educated as an organ scholar at New College, Oxford and the Sweelinck Conservatorium, Amsterdam. Described by Choir & Organ magazine as 'a rare pleasure in Britain' he performs regularly in Europe and has recorded and broadcast as soloist and accompanist both for the BBC and abroad. A Fellow of the Royal College of Organists, he has been a finalist for the Grand Prix de Chartres, and a prize-winner at the Royal College of Organists' 'Performer of the Year' and the St Albans' International Organ Festival. This is his first recording for Hyperion. |
Other recommended albums
Purcell: The Complete Sacred Music
11CDs Boxed set (at a special price)
Schumann: The Complete Songs, Vol. 1 – Christine Schäfer
Archive Service
Schütz: The Christmas Story; Gabrieli: Christmas Motets
Helios (Hyperion's budget label) — Archive Service
Vivaldi: The Complete Sacred Music
11CDs Boxed set (at a special price)
Introduction |
Music lends itself wonderfully to expression, and that is what the amateur would expect … it is quite different for the artist (Camille Saint-Saëns) Stephen Studd's claim that Saint-Saëns' fall from grace 'was to be one of the most spectacular in musical history' is one with which few would disagree, especially considering the height from which he fell. Only nine years after his death in 1930 Dandelot wrote of the 'unjust and exaggerated disfavour' into which his work had fallen, and in 1935 Hahn was able to comment that 'for fifteen years he has been walled up in silence as though we were ashamed of him'. There are various reasons for this, not all of them musical and many entirely unjustified. Despite occasional attempts to rectify the situation Saint-Saëns remains a most misunderstood composer of whose many qualities the time has surely come for a serious reappraisal. Born in 1835, just eight years after the death of Beethoven, and dying after the First World War in 1921 Saint-Saëns saw many changes during his long life, some of which he embraced more readily than others. Up until the 1880s he was considered very modern, at times offensively so, but his adherence to classical principles and his clear conception of the parameters within which all art should function meant that during his later years he was increasingly considered old fashioned. The fervour with which he argued his cause in this regard went a considerable distance towards sealing the fate of his reputation. During the twentieth century many composers eschewed the subservience of logic to expression. Saint-Saëns did so at the height of romanticism and earned mistrust, and occasionally outright hostility, from some of his colleagues. Saint-Saëns argued, like the Parnassians he so admired, that 'art is form above all else'. He did not argue that music should have no emotion but rather that this was the 'right' of a composer not a 'responsibility'. Many have inferred from this a total absence of emotion in his music which is not the case, or indeed the point. These views are ultimately philosophical, not musical, but since they diverge so radically from the prevailing aesthetic of his day it is perhaps unsurprising that he was misunderstood. Saint-Saëns was a child prodigy and gave his first concert as a pianist in 1846 at the Salle Pleyel. On this occasion he performed concertos by Mozart and Beethoven, a Bach Prelude and Fugue and works by Handel and Kalkbrenner. Not only did he perform without reference to scores but for an encore he invited the audience to choose any one of the thirty-two Beethoven piano sonatas which he had also committed to memory! It is easy to see how such a precocious talent came to be compared from an early age with that of Mozart whose music he adored, along with Bach, Haydn, Schubert and Mendelssohn. This list is revealingly conservative and Reynaldo Hahn and Alfred Bruneau were not alone in describing him as 'musical art's last great classicist'. Saint-Saëns himself later recollected how 'everything in my youth seemed calculated to keep me far removed from romanticism'. However, despite his continued promotion of German composers such as these throughout the nineteenth century he was fiercely patriotic and spent a great deal of time and effort in the cause of French art. To this end he became a founding member of the Société Nationale in February 1871 which, under its motto ars gallica, set about the promotion of French music and the establishment of a national style in those difficult years that followed the Franco-Prussian war. Indeed Saint-Saëns the conservative was paradoxically also a great innovator. He was one of the first significant composers to write solo music for the harmonium, and was amongst the first French composers of the nineteenth century to write chamber music. Credited with almost single-handedly developing the solo concerto in France, he was also one of the first to incorporate genuine Arabic melodies into his scores (such as those in Samson et Dalila, or the Suite algérienne, Op 60). In 1908 he became the first notable composer to write a film score with L'assassinat du Duc de Guise, Op 128, and whilst his appreciation of early music can be considered unusual in France, his remarks pertaining to performance practice were undeniably way ahead of their time. Saint-Saëns was also a remarkable, largely self-taught polymath and the list of his interests and achievements is as wide ranging as his career. It varies from astronomy, geology, archaeology, history, sculpture, painting and mathematics to anthropology, zoology, animal welfare and travel. Even if occasionally he had to wait longer than he would have liked, his efforts in all spheres did not go unrewarded. He was made a member of the German Association of Musicians, a Grand Officer of the Légion d'honneur and a member of the Académie des Beaux-Arts. He was also awarded the German Order of Merit, an honorary doctorate from Cambridge University, was made a Commander of the Victorian Order, and even had a museum devoted to him in Dieppe. Given such undeniable success it seems all the more remarkable that Saint-Saëns became so marginalized both by his peers and by history. Certainly his aesthetics were often not those of his age but this alone is not sufficient to explain the wilful neglect he has received. The reasons for this may well have more to do with personality than with music. It is true that he experienced at times a 'sea of injustice' in his struggles to stage his dramatic works and the scandalous duplicity surrounding the cantata competition of 1867 in particular. The mistrust of institutions this engendered might have been a very healthy one though had he not remained so desperate for their approval. He suffered almost constant ill health and the deaths of close friends, his children and his mother left him in a depression causing insomnia, an inability to work and, at times, contemplating suicide. Today he would doubtless have been medicated. As it was he didn't always behave in his own best interests, and his career and reputation would doubtless have been better served had he left many opinions unvoiced. Had he not criticized the formation of orchestral unions, for instance, the players might not have refused to play his music! Unfortunately history has chosen those occasions on which he was rude, opinionated or abrupt by which to remember him, overlooking those not infrequent instances of great benevolence. There are numerous examples of his not only encouraging the performance of younger composers' works but also of his using influence to secure appointments or introductions for them. Henri Malherbe claimed to know personally at least two organists whose rent was paid by Saint-Saëns after they lost their jobs following the 1903 Moto Proprio of Pius X. This is clearly not the man that Martin Cooper described as 'full of years and malice'. In the current climate of objective musicology it can only be hoped that Saint-Saëns' music will finally be appreciated for what it is and not what it stands for, or worse still, what others have chosen it to stand for. Rollin Smith has observed that from Saint-Saëns' very first biographer, Jean Bonnerot, writing in 1922, the composer's relationship to the organ has been almost entirely ignored. Most discussion of nineteenth-century French organ culture has concentrated, with good reason, on the decadence of the early years of that century and the renaissance that followed Lemmens' first visit to Paris in 1852. Saint-Saëns' contribution does not lie in either field and so, as with so much else of his work, has been overlooked. He was, however, the significant figure in the transition between the two and thus helped to transform the status of the organ in France. That there was a cultural crisis in French organ lofts in the years following the revolution is clear. 'It is a sad fact, but we must face it', read an 1838 review in Revue Musicale: 'organ playing is in utter decadence today'. There are numerous accounts of the poor taste and low standards to which organists had stooped. As Italian opera became the staple diet of the concert-going public congregations expected the same. Organists could regularly be heard playing drinking or hunting songs, waltzes and arias, often at the express instruction of their clergy. Montalembert wrote in 1839 that 'there was nothing more grotesque or irreligious than the practices of the Parisian organist'. In fairness to the organists of the day, the instruments they were faced with were by then in varying states of disrepair. Mendelssohn visiting Saint-Sulpice in 1832 wrote that the organ 'sounded like a full chorus of old women's voices … but they maintain that it is the finest organ in Europe if it were put in to proper order, which would cost 30,000 Fr'. From his first completed organ in 1838 and for the next sixty years many of these old instruments were either rebuilt or replaced by Aristide Cavaillé-Coll with whose name French organ culture remains inextricably linked. He very quickly established his new concept of the 'symphonic' organ with characteristics that we have come to associate with French instruments of the period. An abundance of unison stops, high pressure reeds, harmonic stops, combination pedals and the boite expressif all contribute to a new sound world which, Saint-Saëns argued, required a new music. As a young student Saint-Saëns was largely influenced by earlier instruments and the music which had been written for them. His early piano studies were with Camille Stamaty who taught Kalkbrenner's technique of control, precision, strength and the minimal movement more readily associated with the harpsichord than the emerging modern piano. Similarly his first organ studies were with the classically minded Alexandre Boëly who presided over the 1771, four-manual Clicquot organ at Saint-Germain-l'Auxerrois. Boëly was something of a Bach specialist, a rarity in France at this time, and had fitted a German pedal board in 1838 for the performance of his music. When in 1853, aged only seventeen, Saint-Saëns was appointed organist at Saint-Merri he found there also a four-manual Clicquot, built in 1791 and now much in need of repair. The restoration was finished in 1857 and incorporated many of the modernizations we have come to associate with Cavaillé-Coll. It was surely an unusual appreciation of historical value however that led the organist to ask for the mutations of the positif and the cornet of the grand orgue to be left alone, 'without which the instrument would certainly have lost its couleur ancienne at the hands of the modern builder' (Norbert Duforcq). When Saint-Saëns moved to La Madeleine the following year it was to one of the most prestigious positions in Paris and Cavaillé-Coll's largest instrument to date that he went. In contrast to the instruments he had known earlier, the four-manual, forty-eight-stop organ that he found there had been built new in 1846. Most notable were its almost total lack of mutation stops and phenomenal power. We know that Cavaillé-Coll was pleased with the instrument and that Saint-Saëns was a great admirer of the 'new possibilities' that his work opened up. Franz Liszt, Robert Franz, Pablo Sarasate, Anton Rubinstein and Clara Schumann were among the many distinguished guests that came from all over the world to visit him in the organ loft, but despite the prestige and security it provided him Smith has observed that 'there was little romance connected with the honour of being organiste titulaire du grand orgue, and the artistic satisfaction gained from providing musical 'interruption' was slight indeed'. Saint-Saëns was neither the first nor the last musician to find frustration and misery working in the church and by the time he tendered his resignation in April 1877 both his faith and his good will had been considerably eroded. Religion is 'the poison of falsehood' he wrote; 'it takes for its ideal an impossible rapture, falsifying nature and simple happiness'. One of the recurring issues was Saint-Saëns' refusal to embrace the poor taste which the parishioners and clergy had so admired in his predecessor, Lefébure-Wély. His belief that both clergy and public needed protection from their own ignorance may not have won him many friends but his uncompromisingly high standards set a new benchmark for French church music. He clearly took his role as the official organist of the Société Académique de Musique Sacrée seriously. Whilst Widor, Vierne and Dupré all studied the new methods of Lemmens, Saint-Saëns' technique was, like so much in his life, the result of a far more classical outlook. He continued, for example, to pedal using only toes long after the use of heels had become commonplace. His registrations, according to Jean Huré and Alexandre Cellier amongst others, were reminiscent of the classical masters; 'the charm of a nasard combined with a gambe or bourdon, a cornet solo, a grosse quinte or a carillon in the pedal and a récit de tierce en taille or en dessus' (Huré). Liszt however was not alone in describing his style as 'orchestral' and it seems credible to suggest that he was simply discerning and unusually willing to use each instrument for its strengths. In response to a London critic's objection that he used too many orchestral effects he replied that the organ evolves with each generation and so does the music written for it. He compared this development with that of the harpsichord to the piano and implied further that each instrument must be treated differently. Fugues he says are more suitable for those organs where the sound is clear and intelligible than for the 'modern' instrument. If performed on the latter it will be necessary therefore to register them very differently. He even suggests that if we don't like this we should blame the organ builders who have given us the instruments that need to be played this way! Even today this view can be considered enlightened and it flies in the face of both classical French practice and the symphonic tradition. Insofar as such accounts can be trusted—it should be remembered that such information nearly always tells us more about the source than the subject—his playing was dignified, tasteful and controlled. Writing for La Revue et Gazette Musicale in 1844 Henri Blanchard wrote of the young pianist: 'His slight alterations of tempo are always felicitous and come from a musical feeling that is inborn … expressiveness without mannerism.' Over sixty years later Louis Kelterborn commented on a performance in Basel that it was 'elegant and graceful yet always virile, absolutely free from sentimentality and an excess of rubato, which so many modern virtuosi seem to hold indispensable for an exhibition of 'taste of feeling''. Eloy de Stoklin in Le Ménestrel spoke of a performance 'full of taste and moderation, controlled emotion and magisterial simplicity'. This was by no means to everyone's liking and there exist numerous examples too of reviewers who found his playing dry and emotionless. Whereas Studd has argued from such reports that the 'expressive quality' demonstrated in his youth 'had all but disappeared' later on, it should be recognized that such criticisms only tell us how his performances compared with the expectation of them. In the same way we can learn something of him by what he said of others. He complained of the 'perpetual legato, so false and monotonous' and of 'abuse of small nuances' and perhaps most significantly 'continual expression applied without discernment'. On Chopin's playing he spoke of the 'maintaining of the beat in the accompaniment of rubato' and affirmed it to be 'as far removed from any show of bad taste as it is from cold bitterness'. As a youth Saint-Saëns had been forbidden by Stamaty from going to hear Chopin play for fear that he would be influenced by this control and understatement and so reject the excessive displays of expression which he had been encouraged to develop. Saint-Saëns went anyway and Stamaty's fears proved founded. During his years at La Madeleine Saint-Saëns almost always improvised and as a consequence perhaps there are fewer organ works from this period than we might suppose. Many of them were written either before or in the early years of his tenure there or after his interest in the instrument was renewed in the mid 1890s. The catalyst for this may well have been the appointment of his former student Albert Perilhou as organist of Saint-Séverin in January 1891. Saint-Saëns became accustomed to arriving at the end of Mass to play the voluntary, and in recognition of this he was made honorary organist of the church in 1897. The Trois Préludes et Fugues, Op 99 were written in 1894 and are Saint-Saëns' first significant organ pieces for nearly thirty years. Dedicated to Widor, Guilmant and Gigout respectively they should, in the opinion of Vierne, be in the repertoire of every serious organist, both for their style and virtuosity. They combine characterful preludes with well-worked fugues which Saint-Saëns expressed some hesitation in writing. He was clearly satisfied with the results however as he included them in his 1899 recital in front of the academics at Trinity College, Cambridge. Whilst the preludes of Nos 1 and 2 are both gentle and graceful, the third is a brilliant, if economical, toccata; the fugue which follows it is based on a sweeping and eminently singable subject that builds to a rousing conclusion not out of place in the opera house. The second of the set, arguably the best known, sets off a somewhat jaunty fugue subject against the refined salon music of its prelude. In contrast the fugue subject of the E major derives its material from the elegant lines of the prelude itself and is a beautiful example of Saint-Saëns' understated style. During 1896/7 he played Op 99 No 1 together with the Bénédiction and the fantasies of 1857 and 1895 in his Swiss concerts. This latter, the Fantaisie in D flat major, Op 101 was dedicated to Queen Elisabeth of Romania who was known in Paris as a writer under the pseudonym Carmen Sylva. Amongst the organ music it is perhaps in this piece above all others that Saint-Saëns shares the bench with romanticism. Whilst in each of the fantasies the sectionalized structure is highly organized, in this piece the musical language itself adds a further element of cohesion to the whole. The last work from his period of renewed activity in the 1890s recorded here is the Marche religieuse, Op 107. In November 1897 Saint-Saëns gave a private performance for Queen Marie Christine of Spain at the church of San Francisco in Madrid. His short recital included the Rhapsodies, Op 7, the 'mon cœur' aria from Samson (transcribed on the spot) and a Marche religieuse. Whether this piece was written previously, was written specifically for this occasion or improvised here and notated later is unclear. In any event it was published the following year with a dedication to Marie Christine. This exuberant, powerful and elegant piece was one of two organ pieces that Saint-Saëns included in what is supposed to have been his last public recital, at the Salle Gaveau on 6 November 1913. The Fantaisie in E flat major is the earliest work recorded here and was Saint-Saëns' first published organ work. It is certainly his most enduring and is the only organ piece that still appears regularly on concert programmes. It was written in May 1857 as the restoration of the Saint-Merri organ was nearing completion and was first performed at its inauguration on 3 December that year. The manuscript bears a dedication to the composer's friend Georges Schmitt, organist of Saint-Sulpice. Known primarily as a scholar, this is the same Georges Schmitt that Cavaillé-Coll was so singularly unimpressed with at the inauguration of the Saint-Sulpice instrument! This score makes technical demands quite exceptional for 1850s France and problematic in any age. It is written in two contrasting movements. The first is full of the charm and elegance so typical of its composer whilst the second provides a strong and confident conclusion. The critic Henri Blanchard did not think it particularly 'fantastic' but rather 'serious, elegant and religious, all at the same time'. When A M Henderson visited Paris in 1908 Saint-Saëns insisted that he hear the piece on the organ for which it was written. The composer was probably anxious that Henderson appreciate fully the spatial arrangements of that organ which would have given the first movement a particular charm. That he performed it in his concerts of 1896/7 would attest to his own fondness for the piece and he must surely have played it with some regularity at La Madeleine. The Bénédiction nuptiale, Op 9 of 1859 was written specifically with the organ of La Madeleine in mind. Its occasional registration markings refer specifically to the instrument for which Cavaillé-Coll provided his first voix céleste. Here it contains both ranks and is housed unusually on the unenclosed positif. Saint-Saëns gives to it the undulating introductory motif that opens the piece and answers this with the enclosed flutes of the récit. This is a rare instance of the composer calling for a specific effect in such a way. This piece clearly enjoyed some degree of popularity as it was performed even after the composer's death (for instance, on 28 February 1922 at the wedding of HRH Princess Mary and Viscount Lascelles at Westminster Abbey). Saint-Saëns himself performed it at the inauguration of La Trinité in March 1869, and again in his programmes of the 1890s. Dedicated to Madam la Marquise de Mornay it was referred to by Vierne as 'that little masterpiece of written-out improvisation'. Whereas the Revue et Gazette Musicale described it rather miserably as 'a piece of little effect and few ideas' it is surely a beautiful example of that complicity of melody and harmony which Saint-Saëns so espoused. Cyprès, Op 156 and the Fantaisie No 3, Op 157 both date from 1919 and share many features of Saint-Saëns' late style in common. Op 157 in particular contains passages that, like the late wind sonatas, juxtapose music reminiscent of Ravel with that which might seem old fashioned even next to the 1857 fantasy. Indeed, this piece perhaps more than any other organ work encapsulates the problem that scholars have in trying to place Saint-Saëns' style. As we would expect, it is carefully put together and, as with Op 156, makes use of sparse, minimal textures and a thinly accompanied hautbois solo. It is easy to understand on hearing this piece how Saint-Saëns came to be regarded as such a musical anachronism in a world that had already witnessed the first serialist experiments. The funereal Cyprès is the first section of a two movement work, the second of which, Lauriers, is with orchestra and provides a triumphant if not cathartic conclusion. Written at the end of February to commemorate the armistice and dedicated to President Poincaré, it was premiered at Ostende on 18 April. Later performances followed in Paris, Liège, Brussels and Rouen conducted by Saint-Saëns with Gigout at the organ. Had this work been written in the 1860s it might well have been considered a masterwork to rival those prophetic works of Liszt which it so reminds us of. Originality was never a concern for Saint-Saëns however, and in the twentieth century's search for novelty it was almost entirely ignored. The work is in one sense at least very much of its epoch as it reflects the devastation of the First World War. The composer commented that such grief left little room for rejoicing and even on the eve of the war he had written to Lecocq: 'One asks oneself whether it would not have been better to die young than to see so many evils and horrors.' It is a great irony that had he done so he would quite possibly have been afforded far more of the respect he deserves and his work would surely be better known today. However, we would have been deprived of some wonderful music, much of which is still awaiting discovery should we care to look. Andrew-John Smith © 2008 |
Other albums in this series
Saint-Saëns: Organ Music, Vol. 3 – La Madeleine, Paris
Studio Master:
Studio Master FLAC & ALAC downloads available


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The past is transitory. It's hard to place any thought on the past and fathom it as the real, true happening to be equated to this very moment. It's due to growing and changing as a people, as nations, at an alarming rate. However, Martin Luther King, Jr., and his day of celebration next Monday is a past historical remembrance of a Great Soul where no doubt real changes and shifts in consciousness took place to bring us to a time to where, even not so in the distant past that it was, is hard to believe such hate ever occurred.
America has made countless moral mistakes in it's past and current, through slavery, American-Japanese concentration camps, unnecessary wars, segregation, the treatment of Native Americans, and most recently, it's disconnected spending in Government, banking systems, and their corporate conglomerates with using the very people who make it run.
Martin Luther King, Jr. was a man of the people, beyond his race. He stood up at a time in the name of God in Peace and Love on a topic that alarms us just to think about it ever existing. It shows how far we've come, and how much his work matters. Dr. King sought justice for a people being unjustly viewed and ruled by a system due to the color of their skin. In today's issues by removing the skin color and adding your bank statement, you'll find the universal Truth that Dr. King stood up for with us all.
He was a man of awareness. A clear voice and heart, and when he yelled, "I have a dream…" we listened, because God spoke through his very core.
At Manchester Wood, we open the discussion on Martin Luther King, Jr. a little shy of a week from this day of celebration to open the conversation. What this man stood for, and how can we continue to apply it today?
We're growing as a nation, we as a people are becoming more aware, through shopping American Made products, occupying our hearts in demonstration for a brighter future, and growing to an age of empowerment.
I believe Dr. King would be proud, and would ask us to keep having dreams for a brighter day for all of God's inhabitants.
God bless you Dr. King, and God bless the consumers of our justly made American furniture, and God bless the power coming to the American people.
May our past escape us, and our future amaze us!


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1" Gold & Smoky Rhinestone Button (Made in Italy)
1" gold metal and rhinestone button, with an open scroll-like design, and a mixture of clear and smoky grey teardrop-shaped rhinestones. This would be lovely on a jacket. Made in Italy. Metal loop shank backing. This button measures 1" by 3/4".$29.95 -
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the nerd in me loves this postStem cells in muscle tissue + Androgens = New Muscle
So how do you activate stem cells to turn into muscle? -- Androgens. (24)
"Very small embryonic-like stem cells" (VSELs) -- were deposited into your muscle tissue before you were born. (23) There VSELs are basically small cells with an undetermined lineage -- meaning they can convert into just about anything -- such as new muscle cells or fat cells. Through most of your adult life, these little cells sit in a dormant state until something activates them to turn into something meaningful Like New Muscle.
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Illusionist David Blaine started his career as a street magician, wowing onlookers and assembled crowds with elaborate sleights of hand and card tricks. But he became internationally famous when he started doing what he calls "endurance art"—death-defying stunts that test the limits of the human body.
From The Oprah Winfrey Show David Blaine Risks His Life to Break a World Record
Published on June 02, 2008
Keep ReadingMusical Legend James TaylorThe hall of fame singer/songwriter visits Oprah's stage for the first time! James Taylor opens up about his music, fatherhood the second time around and what he's most grateful for. Weight Loss Follow-Up: Loving Yourself at Any SizeIn 2002, Kathrine Lee strutted her 175-pound weight loss across Oprah's stage. By 2009, she had gained 150 pounds back. How she lost another 100 pounds by simply learning to love herself. Backstreet Backstage: Q&A with the Reunited FivesomeThe Backstreet Boys reunite to talk about their first performance, touring and what they've been up to. Celebrity ReadersActress Marlee Matlin, former Miss America Heather Whitestone McCallum and singer Moby love 'The Heart Is a Lonely Hunter.'
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Hi all, Just wanted to share some info on our band, we're currently working on our 2nd album with Ken Stringfellow (of The Posies, R.E.M., The Disciplines, and Big Star) We're big fans of Weezer and thought some of you might enjoy our music as well. Here are a few links where you can find free downloads from our first demo 'Lunatic Frame.' http://last.fm/music/The+Velvet+Ants http://thevelvetants.bandcamp.com http://reverbnation.com/thevelvetants We've released 2 songs from the upcoming album so far.. One's called 'Shebore' the other is an instrumental called 'Let's Go With Alice.' If you like what you hear check us out on Facebook Thanks! TVA
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Canada Post strike
George Smith, a fellow in the Queen's University School of Policy Studies and labour relations expert, and sociology professor emeritus Robert Pike are both availabl to tak about the Canada Post strike.
George Smith, a fellow in the Queen's University School of Policy Studies and labour relations expert, is available to discuss Canada Post locking out its union employees this morning.
"The only surprise with this move by management is that it took this long. The union declared a strike at the beginning of June and slowly escalated it over the days. Canada Post management tolerated it for a while in hopes a settlement could be reached without a full-scale strike," said Mr. Smith. "The next major issue is whether or not the federal government will pass back-to-work legislation, which I don't think should be done. Now that both parties have imposed economic sanctions against each other, they should work it out – that's the way the system works. No matter what happens, the relationship between Canada Post and CUPW workers has been harmed and it will take time to heal."
Mr. Smith was a senior vice-president with CBC/Radio-Canada and vice-president at CP Rail before coming to Queen's last year. He has extensive experience in labour relations and collective bargaining.
Queen's University sociology professor emeritus Robert Pike is available to talk about the history of postal service in Canada.With a looming Canada Post strike, some people are reflecting on the need for a postal service in the age of electronic communication. Dr. Pike, who has studied and written about Canadian postal history, says mail delivery was a fundamental and cheap means of long-distance communication up until the 1960s.
"Mail delivery was very important for national development," says Dr. Pike. "Before the 1960s, postal service was vital for settlers in remote communities to receive newspapers from outside and keep in contact with loved ones in other parts of Canada. People still use the postal service for mail, such as bills, but its use as a personal means of communication is limited now to special occasions, such as Christmas, when people send cards. Internet and cheaper telephone costs have largely replaced the mail."
To arrange an interview, please contact communication officers Michael Onesi at 613.533.6000 ext. 77513 or firstname.lastname@example.com or Christina Archibald at 613-533-2877 or firstname.lastname@example.com at Queen's University News and Media Services Department in Kingston, Ont., Canada.
Follow Queen's News and Media Services on Twitter: http://twitter.com/QueensuMedia
Attention broadcasters: Queen's has facilities to provide broadcast quality audio and video feeds. For television interviews, we can provide a live, real-time double ender from Kingston via fibre optic cable. Please call for details.
- 2014-03-15: Free Observatory Public Tour
- 2014-03-15: Hockey (M) vs OUA Semifinal
- 2014-03-14: Basketball (W) vs OUA Championship
- 2014-03-14: Hockey (M) vs OUA Semifinal
- 2014-03-10: Staehli and Wilkie named Pizza Pizza Queen's Athletes of the Week
- 2014-03-09: CIS Women's Basketball Championship: Gaels seeded No.6, will open up against Saskatchewan Friday at 3pm
- 2014-03-09: CIS Women's Basketball Championship: Gaels seeded No.6, will open up against Saskatchewan Friday at 3pm
- 2014-03-08: No. 10 Gaels drop OUA Championship 73-48 to No. 1 Lancers
- 2014-03-08: No. 10 Gaels drop OUA Championship 73-48 to No. 1 Lancers


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Search results for : | sifon atreyu |
Topics linked your research : | sifon atreyu |
Zed Karma. I think Atreyu's gonna love this one.
Name: Karel Molenaar (Carl Miller) Superhero/Villain Name: Zed Karma, often made fun of as the Karmanator Age: 35 Gender: Male Race: Draug (Undead Human) Looks: Hero/Villain: Renegade with villainous tendencies. He just shoots up


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I thought why not post the backside of the Funky sketch since it look pretty cool when it bleed through?
On the right: Blind Contour drawing of my chair and desk lamp, my travelling pencil case, and my weapon of choice: Pure Squirrel Brush.
All done in 03mm fine line pen
2010Mar 27


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Human Resources Department
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The Human Resources Department's mission is to attract, develop and retain qualified candidates for the City's workforce. The City is proud of the diverse, well-qualified and professional workforce that serves the community of Brisbane.
Staff and Contact Info
- Maria Saguisag-Sid | Principal Analyst | (415) 508-2115 | firstname.lastname@example.com
Here on the HR site you can find:


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This publication contains an overview of the Plug In and Living Archive presentations with images, short informative texts, discussions with the makers and a look into the future. The book shows the experimental journey that has lead the museum from Plug In and Living Archive to the new 18-month project Play Van Abbe. Play Van Abbe consists of exhibitions, projects, performances, lectures, discussions, and new ways to explore critical reflection by the audience on the relations between art and society.
Van Abbemuseum | Bilderdijklaan 10 | 5611 NH Eindhoven | Netherlands | t +31 40 238 10 00 | f +31 40 246 06 80 | e info[at]vanabbemuseum.nl | Disclaimer | Colofon
Opening times: Tuesday to Sunday, 11:00 to 17:00. The museum is closed on Monday, with the exception of public holidays. The museum is closed on New Year's Day, King's Day and Christmas Day. The Van Abbemuseum is open until 21:00 on the first Thursday evening of the month, admission to the museum is free from 17:00 on those nights. The museum cafe is also open until 21:00 on these evenings. We offer an internet connection via WIFI in the whole museum.


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Praying the Psalms: Psalm 19
The Psalmist is saying that when we walk outside and look up, the heavens are telling us two things about God: they tell us about his glory, and they tell us about what his hands can do.
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The Psalmist is saying that when we walk outside and look up, the heavens are telling us two things about God: they tell us about his glory, and they tell us about what his hands can do.
Scripture gives us multiple ways of looking at things, and a classic example of this is the parables of Jesus. Many of these involve looking at nature. For example, natural events like seeds growing—and what Jesus seems to be saying is look there is a surface reading of nature—and then there is the deeper reading, where you begin to realize there are levels of meaning that we don't pick up on our first acquaintance.
Sometimes, out of fear or some sense of being required to defend our position, Church leaders and teachers have hastily set up a boundary marker around some doctrinal theory which they have confused as a core doctrinal issue.
As a Christian, I can't think of a more beautiful process for God to have blessed the production of the elements that we need for life than the beauty of stars. In fact, we are told that we shine like stars in the universe.
We can understand why man, modern man in particular, would like to mop the floors and bleach the walls. We might not be able to tame reality, but we can tame our perception of reality. We intellectualize in order to feel in control.
"It's tempting to think that the church needs to decide quickly which of these [original sin] scenarios is right, and which ones must be wrong. I believe the church is better served by taking its time, holding several different scenarios in tension for a while as we think through the implications of each."
"For a few moments, it felt like our little church community was surrounded by glory. The wisdom of Christ in the hypothalamus was illumining the wisdom of Christ in the prophets and gospels."
What can a practicing scientist in the 21st century—even a "bench scientist" like me whose scientific forays are confined to a laboratory—glean from a 19th century wanderer like Thoreau?
This entry was originally posted on February 17, 2010. In this video conversation, Jeff Schloss makes the observation that when we use the term "evolution", it is not always exactly clear what we are actually discussing unless we denote the intended usage.
Critics of Christianity look to evolution to show how the emergence of human life on earth demanded enormous ruin and ravage, billions of years of apparent waste and futility, species extermination and organism road kill. Not only was the massive dying off rampant, it's mandatory too.
As I read The Voyage, I often thought about Darwin's other famous work, The Origin of Species, and the delight that Darwin clearly took in the natural world. Writing about a tropical forest in Brazil, he found himself at a loss for words, "…it is not possible to give an adequate idea of the higher feelings of wonder, astonishment, and devotion, which fill and elevate the mind."
Considering my own stance on the satisfying harmony of science and faith, you might be surprised to find on my shelves nearly everything written by Richard Dawkins (including "The God Delusion") and my late friend Christopher Hitchens (including "God Is Not Great"). One must dig deeply into opposing points of view in order to know whether your own position remains defensible. Iron sharpens iron.
How do metaphors impact the dialogue between faith and science? We might start by asking: what are the framing metaphors at work in the current debates? Even using the word "dialogue" here suggests an implicit metaphor that frames my approach to the relationship between faith and science. Imagine substituting "dialogue" with "war;" that would conjure a completely different metaphorical framework.
The gift of Love must be the gift of freedom, the gift of a degree of letting-be, and this can be expected to be true of all creatures to the extent that is appropriate to their proper character. It is in the nature of dense snow fields that they will sometimes slip with the destructive force of an avalanche. It is the nature of lions that they will seek their prey. It is the nature of cells that they will mutate, sometimes producing new forms of life, sometimes grievous disabilities, sometimes cancers.
These excerpts from Origins: Christian Perspectives on Creation, Evolution, and Intelligent Design, written by BioLogos president Deborah Haarsma and her husband Loren Haarsma, offer a sampling of the book's many topics, from exploring our disagreements and agreements on origins as Christians to explaining scientific processes to looking at how we read Genesis.
With so many issues to discuss, Christians can easily get the feeling that science is always attacking the faith. It is essential to balance such conversations with positive responses to God's creation. After all, the primary response to the natural world in the Bible is to praise the God who made it.
Written by BioLogos Fellow of Biology Dennis Venema, this series of posts is intended as a basic introduction to the science of evolution for non-specialists.
The evidence suggests that God has chosen to work through a random process, one which involves the routine creation and destruction of millions of cells that never get used. This is the ordinary means by which God maintains our health. The miracles of healing recorded in the Bible are miraculous precisely because they don't occur by this normal, natural process.
God shows himself not just in the orderliness of nature, but powerfully, joyously and always surprisingly in its beautiful "non-order" as well.