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From Wikipedia, the free encyclopedia - View original article
Sir Cecil Maurice Bowra (/ˈbaʊrə/; 8 April 1898 – 4 July 1971) was an English classical scholar and academic, known for his wit. He was Warden of Wadham College, Oxford, from 1938 to 1970, and served as Vice-Chancellor of the University of Oxford from 1951 to 1954.
He was born in Jiujiang, China, to English parents.[1] His father was Cecil Arthur Verner Bowra (1869–1947) of the Chinese Imperial Maritime Customs.[2] Bowra's father had been born in Ningpo,[3] and his paternal grandfather Edward Charles Bowra had also worked for the Chinese Customs, after serving in the Ever Victorious Army under "Chinese Gordon".[4] Soon after Bowra's birth his father was transferred to the treaty port of Newchwang, and the family lived there for the first five years of Bowra's life.[5] During the Boxer Rebellion, in the summer of 1900, Bowra was evacuated to Japan, along with his mother, elder brother Edward, and other women and children of the European community.[6] The family returned to England in 1903, travelling via Japan and the United States, and settling in the Kent countryside.[7] Bowra later said that he had been fluent in Mandarin, but forgot the language after returning to England.[8] Bowra's parents went back to China in February 1905, leaving their children in the care of their paternal grandmother, who, having been widowed, lived with her second husband, a clergyman, in Putney.[9] During this time the boys received tuition from Ella Dell, sister of the writer Ethel M. Dell.[10] The boys also attended a preparatory school in Putney, where, before the year was out, Maurice was coming top in all classes but arithmetic.[11] During his time at this school Bowra began his classical education with lessons from Cecil Botting, a master at St Paul's School[12] and father of the writer Antonia White.[13]
In 1909, the brothers journeyed across Europe and Russia by train to visit their parents in Mukden, where they visited the battlefield and encountered Lord Kitchener.[14] Their return journey was made in the company of their father and took them through Hong Kong, Colombo, Suez, Naples and Algiers.[15]
Bowra then boarded at Cheltenham College, where he began his studies in April 1910, his father returning to China a couple of weeks later.[15] He did not enjoy such features of the school curriculum as outdoor games and OTC,[16] but won a scholarship in the internal exams held in June 1911.[17] It became clear that he had a particular aptitude for Classics, for which the college laid a thorough grounding in Latin and Greek.[17] During his final two years in the sixth form Bowra, becoming bored with his school work, acquired sufficient French to read Verlaine and Baudelaire, studied a bilingual edition of the Dante's Divina Commedia and began to learn German.[12] In 1916 he won a scholarship to New College, Oxford.[12]
Bowra was to maintain a connection with the school in later life, being instrumental in the appointment of Cecil Day-Lewis as a master there and serving on its governing body from 1943 to 1965.[18]
By the time Bowra left Cheltenham College, his father was Chief Secretary of the Customs Service, residing in Beijing with a household employing thirty servants.[12] In January Bowra's mother came to England, to visit her sons, who were both about to see active service in the army.[19] In May, Bowra departed with his mother for China, travelling through Norway, Sweden, and Russia.[20] In Beijing Bowra visited the Great Wall of China and the Ming Tombs, and witnessed the funeral ceremony of Yuan Shikai.[20]
Bowra departed Beijing in September, and on his way home spent three weeks in St Petersburg (then called Petrograd), as the guest of Robert Wilton.[20] During this time he attained a working knowledge of Russian[12] and attended opera performances in which Feodor Chaliapin performed.[21]
On returning to England Bowra trained with the OTC in Oxford,[22] before being called up and sent to the Royal Army Cadet School in March 1917.[23] Bowra served in the Royal Field Artillery, on active service in France from September 1917.[24] In 1917, he saw action at Passchendaele and Cambrai, and in 1918 participated in resistance to the Ludendorff Offensive and the following allied counter-offensive.[25] During this time he continued to read widely, including such works as The Wild Swans at Coole and The Love Song of J. Alfred Prufrock, and Greek and Latin authors.[25]
Bowra was left with a lifelong hatred of war and military strategists, to an extent that he seldom mentioned the war afterwards.[26] Bowra later told Cyril Connolly, "Whatever you hear about the war, remember it was far worse: inconceivably bloody – nobody who wasn't there can imagine what it was like."[27] Anthony Powell wrote that Bowra's wartime experiences "played a profound part in his thoughts and inner life",[28] and records that when a cruise ship on which they were travelling held a ceremony to place a wreath in the sea as it passed the Dardanelles, Bowra was so affected that he retired to his cabin.[29] Following the Second World War he would be accommodating to returning servicemen who wished to study at Oxford, telling one applicant who was worried about his deficiency in Latin, "No matter, War Service counts as Latin."[30]
Bowra went up to New College, Oxford, in 1919, and took a first class in Honour Moderations in 1920 and a first class in Literae Humaniores in 1922.[2]
Though an outstanding student, Bowra was very sociable, and his circle as an undergraduate included Cyril Radcliffe (with whom he shared lodgings),[31] Roy Harrod,[31] Robert Boothby,[25] L. P. Hartley,[25] Lord David Cecil,[25] J. B. S. Haldane,[25] and Christopher Hollis.[31] Bowra also became a friend of Dadie Rylands.[25] The teachers who influenced him included Gilbert Murray and Alic Smith.[32] The treatment he received from one of his tutors in philosophy, H. W. B. Joseph, was said by Isaiah Berlin to have "undermined his faith in his own intellectual capacity."[33]
In 1922, he was elected a fellow of Wadham College, Oxford,[2] with the support of the Regius Professor of Greek, Gilbert Murray.[34] When Murray vacated his chair in 1936, Bowra and others believed that Bowra himself was most likely to succeed his patron.[34] Murray however, recommended E. R. Dodds as his successor, ostensibly rejecting Bowra for, "a certain lack of quality, precision, and reality in his scholarship as a whole".[35] Some believed that the real reason was a whispering campaign over Bowra's "real or imagined homosexuality".[36]
He became a Doctor of Letters of the University of Oxford in 1937.[32]
Being passed over for the Regius Chair proved to be a cloud with a silver lining for Bowra.[37] In 1938 the Wardenship of Wadham fell vacant and Bowra was elected to the post, keeping it until 1970,[2] when he was succeeded by Stuart Hampshire.[38] Bowra was supported in the election by his colleague Frederick Lindemann.[39][40] Lindemann had initially opposed Bowra's election as a fellow of Wadham, proposing that a scientist should be preferred, but had warmed to Bowra because of his vociferous opposition to the Nazi regime in Germany and the policy of Appeasement.[39][40] The election was held on 5 October 1938,[36] and coincided with the Oxford by-election campaign, in which Bowra lent his support to the anti-Appeasement candidate, Sandy Lindsay.[41]
During the Second World War Bowra served in the Oxford Home Guard.[42] His friends were variously employed by the government, Isaiah Berlin, for example, being posted to the Washington embassy, but Bowra was offered no war work. When Berlin canvassed to find Bowra a position, the file was sent back to him stamped 'unreliable'.[42]
Bowra was Professor of Poetry 1946–51.[32] He wrote of the election that, "The campaign was very enjoyable and C. S. Lewis was outmanoeuvred so completely that he even failed in the end to be nominated and I walked over without opposition. Very gratifying to a vain man like myself."[43]
He spent the academic year 1948–9 at Harvard as the Charles Eliot Norton Professor of Poetry[32] and gave the 1955 Andrew Lang lecture. He delivered the 1957 Earl Grey Lecture in Newcastle on 'The Meaning of a Heroic Age' and the 1963 Taylorian Lecture on 'Poetry and the First World War'.[32] In 1966 he gave the Romanes Lecture.[44]
Bowra was at Harvard when the post of vice-chancellor fell unexpectedly vacant in 1948 on the sudden accidental death of William Stallybrass.[45] When the most senior head of house, J. R. H. Weaver, declined the post, Bowra could himself have succeeded to it.[45] He chose to stay in America, and Dean Lowe filled the post until 1951, when Bowra served his three-year term.[45] His briskness as chair of the Hebdomadal Council was legendary, the business of meetings that customarily occupied a whole afternoon being dispatched in as little as fifteen minutes.[46] When T. S. R. Boase was indisposed by an eye problem in 1959, Bowra returned to the chair of the committee,[47] privately quipping that "jokes about his 'beaux yeux' are not thought funny".[48]
Bowra was President of the British Academy 1958–62.[2] His tenure was marked by two achievements.[49] Firstly, Bowra chaired a committee that produced the Report on Research in the Humanities and the Social Sciences, which resulted in a grant for those purposes from HM Treasury.[49] The second was the establishment of the British Institute of Persian Studies in Tehran.[50]
In his long career as an Oxford don, Bowra had contact with a considerable portion of the English literary world, either as students or as colleagues. The character of Mr Samgrass in Evelyn Waugh's Brideshead Revisited is said to be modelled on Bowra.[51] Waugh attended Hertford College (1922–24), and so was in no sense Bowra's pupil; indeed they scarcely knew one another at that time, whereas Cyril Connolly, Henry Green, Anthony Powell and Kenneth Clark knew Bowra quite well when they were undergraduates, Clark calling Bowra, "the strongest influence in my life."[52][53] However, it was Waugh who marked his friend's election as Warden Of Wadham by presenting him with a monkey-puzzle tree for his garden.[54]
For all that they had in common, Bowra and George Alfred Kolkhorst were avowed arch-enemies,[citation needed] though both were friends of John Betjeman. Betjeman records his appreciation of Bowra in his verse autobiography Summoned by Bells; he evokes an evening spent dining with Bowra in a passage which concludes: "I wandered back to Magdalen, certain then,/ As now, that Maurice Bowra's company / Taught me far more than all my tutors did."
Though not in any sense religious, Bowra signed the petition (in favour of the Tridentine Catholic Mass) that became informally known as the Agatha Christie indult and regularly attended the Church of England services of his college chapel.[55]
Bowra had learnt the value of poetry during his experiences of the First World War,[54] and Cyril Connolly wrote that, "He saw human life as a tragedy in which great poets were the heroes who fought back and tried to give life a meaning".[56] Bowra was an important champion of Boris Pasternak, lecturing on his work and nominating him repeatedly for the Nobel Prize in Literature.[57]
Though he was a friend and supporter of poets, and was respected as a critic, Bowra was never able to fulfil his wish to be accepted as a serious poet himself.[54] His own output consisted of "sharp satires, in verse, on his friends (and sharper still on his enemies)".[58] His friend and literary executor, John Sparrow, once commented that Bowra had cut himself off from posterity, "as his prose was unreadable and his verse was unprintable."[59] This was set half-right by the publication in 2005 of New Bats in Old Belfries, a collection of satires on friends and enemies written between the 1920s and 1960s. (Two poems on Patrick Leigh Fermor were omitted in deference to their subject's wishes, but were published after his death in 2011.) Here is his parody of John Betjeman, who had become choked with emotion on being presented the Duff Cooper Prize comprising a cheque for £150 and a copy of Duff Cooper's memoirs bound in leather, by Princess Margaret on 18 December 1958:
Green with lust and sick with shyness,
Let me lick your lacquered toes.Where my privy parts congeal.
Gosh, oh gosh, your Royal Highness,
Put your finger up my nose,
Pin my teeth upon your dress,
Plant my head with watercress.
Only you can make me happy.
Tuck me tight beneath your arm.
Wrap me in a woollen nappy;
Let me wet it till it's warm.
In a plush and plated pram
Wheel me round St James's, Ma'am.
Let your sleek and soft galoshes
Slide and slither on my skin.
Swaddle me in mackintoshes
Till I lose my sense of sin.
Lightly plant your plimsolled heel
The judges on that occasion had been Lord David Cecil, Harold Nicolson and Bowra himself as chairman. Duff Cooper's widow Lady Diana Cooper observed that "Poor Betch was crying and too moved to find an apology for words." (Philip Ziegler, Diana Cooper: The Biography of Lady Diana Cooper, Hamish Hamilton Ltd, 1981, p. 310.)
The Telegraph, echoing poet Cecil Day Lewis on the man himself, warned that the book, like strychnine, was best taken in small doses.[59]
As an undergraduate in 1920s Oxford, Bowra was fashionably homosexual, and was known to cruise for sex.[60] He used the term 'the Homintern',[60] and privately referred to his leading position in that, or 'The Immoral Front' or 'the 69th International'.[61]
Bowra retired in 1970, but continued to live in rooms in the college, which were granted to him in exchange for a house he owned.[38] He became an honorary fellow of Wadham and was awarded, honoris causa, the degree of Doctor of Civil Law.[32] He died of a sudden heart attack the following year,[62] and was buried in Holywell Cemetery, Oxford.[63]
In addition to his Oxford degrees, he received honorary doctorates from the universities of Dublin, Hull, Wales, Harvard, Columbia, St Andrews, Paris and Aix.[32]
Bowra was knighted in 1951, and was appointed a Companion of Honour in 1971.[2] He was also a Commandeur of the Légion d'honneur in France, a Knight-Commander of the Royal Order of the Phoenix in Greece, and recipient of the order "Pour le Mérite" in West Germany.[32]
In 1992, Wadham College named its new Bowra Building in his honour.
|Academic offices
|Preceded by
John Frederick Stenning
|Warden of Wadham College, Oxford
|Succeeded by
Stuart Hampshire
|Preceded by
The Very Reverend John Lowe
|Vice-Chancellor of Oxford University
|Succeeded by
Alic Halford Smith


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Title: Black tea extract for
prevention of disease
United States Patent: 7,238,376
Issued: July 3, 2007
Inventors: Chen; Kuang Yu
(Belle Mead, NJ), Ho; Chi-Tang (East Brunswick, NJ), Rosen; Robert T.
(Monroe Township, NJ), Ghai; Geetha (Murray Hill, NJ)
Assignee: Rutgers, The
State University (New Brunswick, NJ)
Appl. No.: 10/870,187
Filed: June 17, 2004
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Compositions and methods for preventing
and treating disease are provided. The compositions are extracts of black
tea that include a mixture of theaflavin-3-gallate and
Description of the Invention
Epidemiological studies have suggested
that tea may have a protective role in disease, including certain human
cancers. Catechin polyphenols isolated from green tea have been shown to
inhibit proliferation of cultured mammalian cells including colon
carcinoma, lung carcinoma, breast carcinoma, melanoma, and leukemic cells
(Lea, M. A. et al. 1993. Cancer Lett. 68:231-236; Valcic, S. et al. 1996.
Anticancer Drugs 7:461-468). It has been reported that a major green tea
catechin polyphenol, (-)epigallocatechin gallate (EGCG), inhibits growth
of human tumor cells, including Caco-2 colorectal cancer cells, Hs578T
breast cancer cells, and SV40-transformed W138 cells, but has little or no
inhibitory effect on the growth of their normal counterparts (Chen, Z. P.
et al. 1998. Cancer Lett. 129:173-179).
Black tea extracts have also been shown to be potent in inhibiting
tumorigenesis in several animal model systems, including skin (Javed, S.
et al. 1998. Biomed. Environ. Sci. 11:30-7-313), lung (Yang, G. Y. et al.
1997. Carcinogenesis 18:2361-2365), colon (Weisburger, J. H. et al. 1998.
Carcinogenesis 19:229-232), esophagus (Morse, M. A. et al. 1997. Nutr.
Cancer 29:7-12), and mammary gland (Rogers, A. E. et al. 1998.
Carcinogenesis 19:1269-1273). The major black tea polyphenols have been
characterized to be theaflavin (TF-1), theaflavin-3-gallate and
theaflavin-3'-gallate mixture (TF-2), and theaflavin-3,3'-digallate
(TF-3). These theaflavin polyphenols are fermentation products derived
from green tea polyphenols and are responsible for the characteristic
color, fragrance and taste of black tea.
The biological effects of each individual black tea polyphenol have not
been well-studied in terms of their molecular mechanisms. TF-3 has been
shown to be as potent as EGCG from green tea inhibiting the growth of
human A431 carcinoma cells and in reducing autophosphorylation of EGF and
PDGF receptors (Liang, Y. C. et al. 1999. Carcinogenesis 20:733-736).
There are no reports of the activity of any other black tea polyphenols.
An object of the present invention is an
extract of black tea which comprises a theaflavin-3-gallate and a
theaflavin-3'-gallate mixture. Also included in the present invention is a
composition which comprises the black tea extract in combination with at
least one other compound selected from a rosemary extract, a Mexican
Bamboo extract, a Huzhang extract, resveratrol, a green tea extract, an
orange peel extract, and a hydroxylated or methoxylated resveratrol
Another object of the present invention is a method for inhibiting tumor
cell growth in an animal which comprises administering to an animal the
extract of black tea.
Yet another object of the present invention is a method for preventing or
treating disease associated with Cox-2 gene expression in an animal which
comprises administering to an animal an effective amount of an extract of
black tea and wherein the disease is selected from the group consisting of
cancer, inflammation, and arthritis. Also included in the present
invention is a method wherein the black tea extract is administered in
combination with at least one additional compound selected from a rosemary
extract, a Mexican Bamboo extract, a Huzhang extract, resveratrol, a
hydroxylated resveratrol analog, a green tea extract, an orange peel
extract or a methoxylated resveratrol analog.
The black tea polyphenol extract known as
TF-2, a mixture of theaflavin-3-gallate and theaflavin-3'-gallate, has
been found to inhibit both cancer cell growth and apoptosis in cancer
cells. None of the other black tea polyphenols tested showed this
activity. Additionally, TF-2 was shown to specifically inhibit expression
of the Cox-2 gene, a gene known to be associated with both inflammatory
reactions and carcinogenesis, at both the mRNA and protein level. The
present invention provides both compositions and methods for prevention
and treatment of disease, including cancer.
The effects of black tea polyphenols on proliferation of W138 and W138VA
cells was examined. W138 diploid fibroblasts have a finite life span
whereas the virally transformed W138VA cells are cancerous in nude mice.
Both cell types were grown in 24 well plates in the presence of increasing
doses of the theaflavin polyphenols, TF-1, TF-2 and TF-3 (0, 1, 5, 10, 25
and 50 .mu.M). Viable cells were stained with crystal violet 4 days after
plating. A decrease in staining intensity relative to the untreated
control cells were indicative of growth inhibition by the polyphenol
compound. Of the three theaflavin polyphenols tested, only TF-2 had
significant effects on cells growth. Growth of W138VA cells was inhibited
significantly by TF-2 at doses in the range of 10 to 50 .mu.M, while there
was no significant effect on cell growth in W138 cells. The other 2
polyphenols tested did not exhibit this differential growth inhibition of
W138 versus W138VA cells. The IC.sub.50 value for TF-2 and growth
inhibition of W138VA cells was estimated to be 3 .mu.M.
To determine whether the differential inhibitory effect of TF-2 is general
for other types of cancerous cells, the effects of TF-2 on Caco-2
colorectal cancer cells were examined and compared with effects of TF-2 in
their normal counterpart, CCD-33Co colorectal cells. In control cells,
there was a slight decrease in the density of cells in the CCD-33Co
culture in the presence of the highest dose of TF-2 only, 50 .mu.M. In
contrast, the presence of TF-2 at wither 10 or 50 .mu.M in Caco-2 cultures
resulted in a significant reduction of cell number as well as a dramatic
morphological change in the cells. These data demonstrate that TF-2 has
effects to inhibit cell growth in more than one type of cancer cell.
Since apoptosis is a major cause underlying growth inhibition in cells,
the effects of TF-2 on apoptosis induction in transformed cells was
examined using a TUNEL (terminal deoxynucleotidyl transferase-mediated
dUTP nick-end labeling) assay. It has been reported that theaflavin and
theaflavin digallate can induce apoptosis in human lymphoid leukemia cells
and human stomach tumor cells (Hibasami, H. et al. 1998. Int. Mol. Med.
1:725-727). Using the TUNEL assay, TF-2 treatment (100 .mu.M for 18 hours)
caused almost every cell in the W138VA culture to exhibit apoptosis, as
indicated by green fluorescence in the assay. In contrast, almost no cells
in the normal W138 culture exhibited green fluorescence after TF-2
treatment. DNA fragmentation analysis was then performed to determine the
time course of the apoptotic effect. DNA fragmentation was observed within
4 hours following TF-2 treatment in W138VA cells. There was no significant
DNA fragmentation in TF-2-treated W138 cells over a 24 hour period. These
results indicate that transformed W138VA cells had a greater propensity
for apoptosis in response to TF-2 as compared to non-transformed cells
(W138). This observation likely accounts at least in part for the
differential inhibitory effect of TF-2 in the growth of transformed
cancerous cells.
As a result of the significant effects of TF-2 on growth of Caco-2 cells
in culture, the potential role of the Cox-2 gene in the growth suppressive
effects of cancerous colon cells was examined. Cox-2 gene expression has
been shown to be linked to the development of colon cancer, with increased
expression observed in about 90% of human colorectal cancers and 40% of
premalignant colorectal adenomas (Eberhart, C. E. et al. 1994.
Gastroenterology 107:1183-1188). A direct link between Cox-2 expression
level and polyps formation has been demonstrated in APC knockout mice,
indicating a direct role for this gene in colon cancer formation (Oshima,
M. et al. 1996. Cell 87:803-809). The Cox-2 gene encodes an inducible form
of cyclooxygenase that has been shown to be a key enzyme in prostaglandin
biosynthesis. Therefore, the effect of black tea polyphenols on Cox-2
expression was examined.
All three polyphenols were tested, TF-1, TF-2 and TF-3. Of the three
compounds tested, only TF-2 significantly suppressed Cox-2 gene expression
in Caco-2 cells. Effects were seen at doses of 50 to 100 .mu.M TF-2.
Despite their structural similarity, both TF-1 and TF-3 failed to affect
Cox-2 gene expression. The green tea polyphenol EGCG was also tested and
although it suppressed Cox-2 gene expression it was not as potent as TF-2.
The effect of TF-2 on the time course of Cox-2 gene expression in Caco-2
cells was then examined. Cox-2 mRNA was detectable in quiescent Caco-2
cells, consistent with the finding that colon cancer cells have elevated
Cox-2 gene expression. Fresh serum induced a 2- to 4-fold increase in
Cox-2 expression in Caco-2 cells as early as 4 hours after stimulation;
this was expected because of the known stimulatory effects of serum
factors. The presence of TF-2 during serum stimulation, however, not only
completely blocked the serum-induced increase in Cox-2 gene expression but
also abolished the basal level of Cox-2 mRNA.
The effect of TF-2 on Cox-2 gene expression was also examined in W138 and
W138VA cells following serum stimulation. Unlike Caco-2 cells, no Cox-2
mRNA was detectable in quiescent W138 or W138VA cells. However, serum
stimulation significantly induced the production of a 4.5 kb Cox-2
transcript in both W138 and W138VA cells within 4 hours of stimulation.
The levels of induced Cox-2 mRNA in W138VA cells were higher and more
sustained than that seen in W138 cells, suggesting that Cox-2 may be more
stable in transformed cells. In both transformed and non-transformed
cells, TF-2 blocked the serum-induced increase in Cox-2 gene expression.
To demonstrate that the inhibition of expression resulted in a decrease in
Cox-2 protein product, the relative levels of Cox-2 protein was measured
in W138 and W138VA cells. TF-2 treatment produced a substantial decrease
ion the levels of Cox-2 protein in both W138 and W138VA cells. TF-2 at a
concentration of 40 .mu.M reduced the Cox-2 protein level in W138 cells by
about 50% and completely eliminated Cox-2 protein levels in W138VA cells.
To determine whether the effect of TF-2 on Cox-2 gene expression was
specific for this gene or part of a global suppression of serum inducible
genes, the effects of TF-2 on the expression of several other genes were
determined (e.g., c-fos, c-myc, thymidine kinase, BRCA1, BRCA2, PCNA,
Cox-1). Of the genes examined, the only one affected significantly by TF-2
was Cox-2. Expression of the Cox-1 gene was completely unaffected by TF-2,
indicating that the effects of TF-2 were Cox-2-specific.
The data provided herein for black tea extracts, specifically TF-2,
support the development of foods and dietary supplements which comprise
TF-2 for animal consumption. For purposes of the present invention by
"animal" it is meant to include humans. These foods and supplements are
referred to by those of skill in the art as "nutraceuticals". Based upon
the experiments described herein, it is expected that compositions
comprising TF-2 will be useful as nutraceuticals for prevention or
treatment of cancer, as well as for other diseases associated with Cox-2
including but not limited to inflammation and arthritis. One of skill can
use the results of experiments in cells and animals described herein to
determine effective amounts to be administered to other animals, including
humans. By "effective amount" it is meant a concentration that inhibits
tumor growth, or another appropriate pharmacological endpoint, either in
vitro in cells or in vivo in animals. For example, human test doses can be
extrapolated from effective doses in cell studies, such as IC.sub.50
values, or from effective doses in vivo by extrapolating on a body weight
or surface area basis. Such extrapolations are routine in the art.
Compositions comprising TF-2 can be formulated for administration as a
food supplement using one or more fillers. Alternatively, compositions
comprising these extracts can be administered as conventional
pharmaceuticals using one or more physiologically acceptable carriers or
excipients. Nutraceutical compositions can be formulated for
administration by any route including, but not limited to, inhalation or
insufflation (through mouth or nose), oral, buccal, parenteral, vaginal,
or rectal administration. In one embodiment, oral administration, the
compositions are added directly to foods and ingested as part of a normal
meal. Various methods are known to those skilled in the art for addition
or incorporation of nutraceuticals into foods.
Compositions for use in the present invention can also be administered in
the form or tablets or capsules prepared by conventional means with
pharmaceutically acceptable excipients such as binding agents, fillers,
lubricants, disintegrants, or wetting agents. Examples of specific
compounds for use in formulating tablets and capsules are described in
detail in the U.S. Pharmacopeia. Tablets comprising the extract can also
be coated by methods well known in the art. Liquid preparations for oral
administration can also be used. Liquid preparations can be in the form of
solutions, syrups or suspensions, or a dry product for reconstitution with
water or another suitable vehicle before use. Such liquid preparations can
be prepared by conventional means with pharmaceutically acceptable
additives such as suspending agents, emulsifying agents, non-aqueous
vehicles, and preservatives. Again, specific additives are well known to
those of skill and are listed in places such as the U.S. Pharmacopeia. In
one embodiment, the oral preparation is formulated to provide controlled
time release of the active nutraceutical components. For buccal
administration the extract can be formulated as a tablet or lozenge.
For administration by inhalation, compositions for use in the present
invention can be delivered in the form of an aerosol spray in a
pressurized package or as a nebulizer, with use of suitable propellants.
In the case of a pressurized aerosol, the dosage unit can be determined by
providing a valve to deliver a metered dose.
Parenterally administered compositions are formulated to allow for
injection, either as a bolus or as a continuous infusion. Formulations for
injection can be prepared in unit dosage forms, such as ampules, or in
multi-dose units, with added preservatives. The compositions for injection
can be in the form of suspensions, solutions, or emulsions, in either oily
or aqueous vehicles. They may also contain formulatory agents such as
suspending agents, stabilizing agents, and/or dispersing agents. The
active ingredient may also be presented in powder form for reconstitution
with a suitable vehicle before use. Specific examples of formulating
agents for parenteral injection are found in the U.S. Pharmacopeia.
For rectal administration or vaginal administration, compositions for use
in of the present invention can be formulated as suppositories, creams,
gels, or retention enemas.
For dietary supplements, the extract can be added in concentrations up to
5% by weight and mixed according to methods routine in the art. Dietary
supplements for animals can be prepared in a variety of forms including,
but not limited to, liquid, powder, or solid pill forms. In the present
invention, TF-2 can administered either alone or in combination with other
phytochemicals known to affect tumor cell growth, where combining
compounds or extracts would lead to synergistic effects. Examples of other
phytochemicals which can be used in combination with TF-2 include, but are
not limited to, resveratrol and its hydroxylated and methoxylated analogs,
rosemary extract, green tea extracts, orange peel extracts, Mexican
Bamboo, and Huzhang extracts.
Claim 1 of 15 Claims
1. A method of treating or
preventing inflammation in an animal comprising, administering orally to an
animal in need thereof a composition comprising an ethyl acetate extract of
black tea, said extract comprising theaflavin-3-gallate and
theaflavin-3'-gallate in an amount effective to suppress Cyclooxygenase-2
(COX-2) gene expression in the animal so as to thereby treat or prevent
inflammation in the animal.
If you want to learn more
about this patent, please go directly to the U.S.
Patent and Trademark Office Web site to access the full

subset: commoncrawl


text:
Mars Science Laboratory (MSL) Candidate Landing Sites ReleasedThursday, April 9, 2009
The USGS and Arizona State University have released THEMIS-derived daytime infrared (IR), nighttime IR, visible, and thermal inertia mosaics of the MSL candidate landing sites, and all mosaics are available for download in ISIS, PNG, and Geo-TIFF formats. The objective of this work is to improve our understanding of the physical characteristics of the surface at the Mars Science Laboratory (MSL) candidate landing sites and to aid in the selection of a final landing location. This objective is addressed by using these mosaics to interpret the surface characteristics of these sites and identify potential hazards for lander safety and trafficability. These mosaics are generated in collaboration with Arizona State University (Philip R. Christensen), and their development is funded by the Critical Data Products program through the Jet Propulsion Laboratory.


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Up to
24 Channels of simultaneous AE features and waveforms
notebook based
Fast PCI/PCMCIA
2.5 hours
of standard battery operation, 8 hours optional
advanced software
system high-tech cards
size chassis
200 kHz
The microSAMOS (Sensor based Acoustic Multichannel Operation
System) is a small, truly portable, battery (optional) and notebook
operated, acoustic emission system. It is similar in size to a notebook
computer, and contains up to three PCI-8 cards to form a powerful 8, 16
or 24 channel acoustic emission system. Key advantages of the microSAMOS
over conventional AE system chassis�s include its small size yet high
channel density (up to 24 channels), its portability and light weight
(less than 10 lbs), its connectivity to a notebook computer, all while
maintaining very good AE acquisition performance and field ruggedness.
An external connector allows connection of up to 2 parametrics, control
input and Alarm output functions.
Notebook computers have become a common and necessary tool
for all professionals. That is why PAC is now capitalizing on this and
making it a part of your AE system. The notebook computer,
used in the AE examination as a microSAMOS Controller, contains the collected
AE data. After the AE test, the same notebook can be used to do the analysis
of the data, or for preparing the report, whether on-site, in a hotel
or on an airplane.
The microSAMOS comes complete with a PC-Card and cable
to plug into the notebook computer�s PCMCIA connector port. Most Notebook
computers are compatible with the microSAMOS PC-Card interface. The system
requires a notebook with Windows 98 (Second Edition), ME, 2000 or XP to
operate and will run with PAC�s AEwinTM
WINDOWS software. While the majority of "name brand" notebooks
are compatible with the microSAMOS� PCMCIA Card, PAC will provide our
customers with "best effort" service to interface your computer
to our system. PAC advises that the customer purchase the notebook from
PAC or call in advance to determine if their existing notebook is compatible
for the microSAMOS.


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Campaign aims to educate students about manufacturing jobs
Updated On: Jan 28 2013 01:34:10 PM EST
Members of the Manufacturing Association of Maine, joined Gov. Paul LePage, business leaders and students to talk about a statewide campaign to attract more Maine students to consider manufacturing jobs in Maine.
The campaign is intended to educate middle and high school students about the possibilities of "highly-skilled, good-paying jobs", ranging from IT to the medical field
Maine businesses are contributing $300,000 over two years to get the campaign under way.
Copyright 2013 by WMTW.com All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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Vianté CUC-16CG Cheese Grater
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Cheese Grater
The Vianté Cheese Grater prepares freshly grated cheese without the hard work. Grates cheese, nuts, or chocolate and it's equipped with two feeding tubes that allow users to grate two different cheeses at the same time.
- Three cutting discs for various cheeses and nuts
- Two chambers for grating multiple cheeses at once
- Storage container for easy refrigeration
- Long lasting battery
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We offer a range of memberships to suit you.
mycareerpath is the online professional development tool for members to track their evidence of continuing professional development.
We produce 3 publications, covering all aspects of aeronautics and aerospace. Click to browse latest editions.
The world's only learned society dedicated to the entire aerospace community
The European Rotorcraft Forum (ERF) is one of the premier events in the rotorcraft community's calendar, bringing together manufacturers, research centres, academia, operators and regulatory agencies to discuss advances in research, development, design, manufacturing, testing and operation of rotorcraft.
This Forum will be the 40th in a series of meetings, which take place annually across Europe, rotating around the United Kingdom, Germany, France, Italy, the Netherlands and Russia. The first ERF was held in Southampton, England, in 1975, and the most recently in Moscow, Russia in 2013.
The 40th European Rotorcraft Forum will be organised by the Royal Aeronautical Society. In celebration and commemoration of 40 successful years, the Forum will return to its birthplace in Southampton from the 2-5 of September, 2014.
Join the ERF2014 LinkedIn Group for all the up to date news and discussions.


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Department of
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Programs Offered· Master of Arts in Public Policy (One Year)· Master of Arts in Public Policy —(Mundus MAPP) (Two Years)· Doctor of Philosophy in Political Science—Public Policy Track
The latest QS survey ranks CEU 42nd in the subject of politics and international studies, represented by various departments including the Department of Public Policy.
CEU moved up from a ranking in the 51-100 category in 2012 and 2011.
With a ranking of 42, CEU came in above Universite Paris 1 Pantheon-Sorbonne, City University of Hong Kong, and University of Oslo, among others.
Maha Eskandar, DPP alumna
Year of graduation: 2005
Current position: Advisor on public policy and reform, Iraq, USAID Tarabot, MSI
Read about Maha's career after CEU by clicking here
'...DPP is my most favorite environment. It is very interdisciplinary, with faculty coming from fairly different backgrounds, which makes the seminars very lively and interesting to attend. And it is very informal too, which makes it a fun place to work at...'
Dr. Youngmi Kim, Assistant Professor, DPP
Please download our brochure here
e-Learning site


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Walking into this Christopher Street shop is like stepping inside our fantasy closet: The leather wares are lusciously soft, the equestrian-style pants fit like a dream, and we'd absolutely live in every single sweater on offer. Merging the very best of everyday and wardrobe classics with the standout gowns and tuxedo jackets every smart woman wants, it's no wonder Rag & Bone is a regular stop on our retail rotation (and the men's wares are equally as exceptional...if not stealable!). Photo: Courtesy of Rag & Bone.
Bags / Link Love / Men's / Women's / Worth A Splurge
104 Christopher Street
New York, NY 10014
Get directions >
Open: Monday through Saturday, 11 a.m. to 8 p.m., Sundays, 12 p.m. to 7 p.m.


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The four deceased in the Sibu murder all died of blunt object smashed to their heads as a post mortem conducted by Sarawak Hospital pathologist consultant revealed. The post mortem started from 8.30 am to 11.30 am at the Sibu General hospital.
Dr. Jamil Dol Kadir who conducted the post mortem did not speak to the reporters. It was later revealed that the four, Ling Tong Huat, 36, mother, Leong Nguk Lan, 76, David Ling Chei Qi, 10 and Amy Ling Zi Jiun, 7 all suffered broken skulls. Leong and Tong Huat suffered some hands injuries like they were trying to defend themselves. The killing took place in the morning of Monday at RTM Lane, Jalan Oya Road.
The only surviving child, Kevin Ling aged 8 is now in the intensive care in Sarawak General hospital fighting for his life. He also suffered head and body injuries. His mother who flown in from Singapore refused to talk to reporters. She is said to be married and stayed in Singapore.
According to a family member, the four would be buried in Bukit Aup cemetery. Their mother had already bought a plot of land. Tong Huat and his two children would be buried together.
The children's step mother, a Chinese nationality was ordered to be remanded for a week pending investigation. She had climbed through the window to a neighbour for help as she alleged that there were sounds on the ground floor.
A family member also called up a Chinese papers for revealing their family photos. She said it was not fair as they too feared for their lives and asked for privacy for the family to grieve.
A friend of Tong Huat who requested for anonymity said two days before the killing, he had met him and the latter was his usual self. Describing Tong Huat as a nice man, the friend said he had worked hard and was considered a wealthy man.
At midnight , a neighbour aged 48 had been pulled in for questioning.


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I'm going through a sheer clothing phase. The MinkPink tunic caught my eye early on, but I really became obsessed with the Cheap Monday top. I mentally went through my closet, discovering dress after dress that would be totally re-imagined when paired with a sheer blouse. Oh the possibilities! It almost became mine yesterday but at the last minute I stopped short.
$12 for shipping?! What?? For one sheer blouse?! I just couldn't bring myself to do it. The shirt was originally $50, on sale for $35, then discounted to $21, so technically I'm still paying less than full price – and less than the sale price. But STILL. $12 for shipping. That's just obscene. This isn't the first highly-desired item I've abandoned due to shipping costs.
I had also convinced myself that this Anthropologie top was essential (perhaps a precursor to my sheer phase?), but I couldn't bring myself to pay $8.95 for shipping. So what am I willing to pay?
Mmmhmm. Victoria's Secret and Shopbop have my online business. I might even pay up to $6, but no more than that. If SSense had free shipping for purchases of $50 or more, I'd rather spend another $30 than pay for $12 shipping. Is this crazy? I hate feeling like I could buy another item for the price I'm paying for shipping. Even if nothing else could be found for $12 it just feels like too much. On the other hand, I'm still obsessing over this top and all the outfit transformations it would create! I've been watching it online for a couple of months and haven't found anything like it (at the same or better price) in stores (or on other websites).
This is quite an unsatisfactory shopping situation, no? What would you do? Do you mind paying for shipping?
Guest blog submitted by The Fashionista Lab


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From on stage, back stage and the theater seats, the Performing Arts blog illuminates the intersecting worlds of dance, theater, and music.
Exclusive Video: Dessa's "Fighting Fish" as Remixed by The Hood Internet
For a woman bringing a distinctive voice to the male-dominated world of hip hop, Dessa says it was both "brain-scrambling" and grafifying to hear herself as a man—or, more accurately, to witness her voice slowed down so much that it sounded like that of a male rapper. That's what Chicago's The Hood Internet did with […]
For a woman bringing a distinctive voice to the male-dominated world of hip hop, Dessa says it was both "brain-scrambling" and grafifying to hear herself as a man—or, more accurately, to witness her voice slowed down so much that it sounded like that of a male rapper. That's what Chicago's The Hood Internet did with her single "Fighting Fish": for an album released this June, the Minneapolis poet, writer, and Doomtree emcee shared the vocal tracks from her 2013 release Parts of Speech with other musicians and producers for reimagining. Offering The Green Room's readers an exclusive first look at the new video for the "Fighting Fish" remix—alongside the original—Dessa shares her thoughts, both on the remix project and on that first time listening to her voice slowed to man-like levels:
The beat for the original "Fighting Fish" was produced by my labelmate, Lazerbeak. It's got a driving, aggressive sound; the lyrics I wrote for it are about going for the big win, even against long odds (music career, anyone?). In the Midwest, bold ambitions are often perceived as presumptuous: Who are you to think you can do or be something special? This song swims against that current.
We released "Fighting Fish" on my album Parts of Speech last year. This summer Doomtree released a remix project: we sent a cappella versions of the songs to producers around the country and asked them to build new production around the vocals. My favorite remix came from the The Hood Internet, based in Chicago. The remixed version of "Fighting Fish" is chopped and screwed, the vocals slowed down enough to sound as if they were recorded by a male artist. When I first received the file, I listened to it on repeat in my one-bedroom apartment, stunned. The new version seemed to change the emotional center of the song completely–more melancholic, an added gravitas. To hear my lyrics delivered in a man's voice was brain-scrambling. The male voice is the featured instrument in most rap music; it's the instrument to which I'm most accustomed as a listener and a fan. The transposition was at once gratifying (I sound like the artists I like!) and sobering as potential evidence of my own ingrained sexism (Do I grant male voices an authority that I don't grant female voices–including my own?) After all the sociopolitical considerations subsided, however, I continue to love this remix because it kicks ass musically and it's a big, bold departure from the original.
We recorded a music video for each version of the song. Both were directed by the team Isaac Gale and David Jensen. A big thanks to those two and to all the artists that contributed on this project. Hope you dig it, too.
Dessa, "Fighting Fish (The Hood Internet Remix)"
Dessa, "Fighting Fish" (Original)
For more from Dessa at the Walker, watch her perform "Bangarang" with Doomtree at Rock the Garden 2012; view the Rock the Garden 2014 time-lapse; see video of the October 2013 reading/book-launch party for her poetry chapbook, A Pound of Steam; or read "2013: The Year According to Dessa." To see Dessa live, check her out on tour, starting later this week, or at Minneapolis' Orchestra Hall, where she'll make her choral debut in October.
2013: The Year According to Dessa
Dessa. Photo: Bill Phelps To commemorate the year that was, we invited artists, designers, and thinkers across disciplines — from interdisciplinary artist Ralph Lemon and ebook publishers Badlands Unlimited to design firm Experimental Jetset and musician Greg Tate — to share a list of their most noteworthy ideas, events, and objects of 2013. See the […]
To commemorate the year that was, we invited artists, designers, and thinkers across disciplines — from interdisciplinary artist Ralph Lemon and ebook publishers Badlands Unlimited to design firm Experimental Jetset and musician Greg Tate — to share a list of their most noteworthy ideas, events, and objects of 2013. See the entire series 2013: The Year According to .
As her bio says, Dessa has been described as "Mos Def plus Dorothy Parker." As her lyrics say, she's "half Dorothy Parker, half April O'Neil" (a nod to the famed poet and the Teenage Mutant Ninja Turtles' truth-seeking sidekick, respectively). However you categorize her — scrappy, rappy, or writerly — the Minneapolis-based emcee, poet, writer, activist, and veteran member of the hip hop collective Doomtree is busy. In the last year, she's published a chapbook of poetry (launched at the Walker in October), released the solo album Parts of Speech, performed an NPR Tiny Desk concert, performed in the ninth annual Doomtree Blowout, published the "miniature book" Are You Handsome?, conducted some excellent interviews on music and food for the beer magazine The Growler and gave some excellent interviews on topics from homophobia to humanism, toured the country with her band, and got going on a new project, a collaboration with classical composer Jocelyn Hagen: commissioned by Minneapolis Public Schools, it'll be performed in April by a student choir and orchestra. To name a few.
Given the nature of the work she did last year, Dessa — aka @dessadarling on Twitter — offers a fittingly diverse best-of-2013, covering her favorites in religion and TV, politics and hip hop.
Marriage Equality in Minnesota
The "Control" Verse
Kendrick Lamar wrote a guest verse on a Big Sean track and sent the question "Did you hear it yet?" ringing 'round the world. In this verse Kendrick challenges the rap community, even calling out good friends by name, to up the bar. His contemporaries scrambled to write responses and recorded them before morning; veterans spoke of a healthy jolt to the system. Rap is a contact art.
I left the Catholic Church pretty early, but it's been heartening to watch the first few months of Pope Francis' term. (Term? Appointment? Reign? I dunno. I left early.) He declined the opulent papal apartment, skipped the gold ring, and emphasizes the centrality of mercy, compassion, and humility — big things. (Though of course Pope Francis would not have been with me making 'happy eyes' in the van.) Plus, we all got to watch CNN cover smoke signals.
The hype. It's for real.
Kanye West BBC Interview
This recording artist has been active for years, but I only discovered her in 2013. Her song "Between Two Trees" and the one-take video that accompanies it reminds me how well rules can be broken.
2013: The Year According to Ralph Lemon
To commemorate the year that was, we invited artists, designers, and thinkers across disciplines — from photographer JoAnn Verburg and design firm Experimental Jetset to writer Greg Allen and "conceptual entrepreneur" Martine Syms — to share their most noteworthy ideas, events, and objects of 2013. See the entire series 2013: The Year According to […]
To commemorate the year that was, we invited artists, designers, and thinkers across disciplines — from photographer JoAnn Verburg and design firm Experimental Jetset to writer Greg Allen and "conceptual entrepreneur" Martine Syms — to share their most noteworthy ideas, events, and objects of 2013. See the entire series 2013: The Year According to .
During a 2010 visit to the Walker, Ralph Lemon told us of his future plans: "Going forward, I'm looking at the meaning of being an artist, and what might be my place in that." The notion of constantly redefining what a performing artist is and does has been consistent throughout Lemon's nearly 40-year career. Starting out in Minneapolis in the mid-1970s, he danced with Nancy Hauser and helped co-found Mixed Blood Theatre. After a stint working with Meredith Monk in New York, he founded his celebrated eponymous dance company — only to disband it at the height of its critical success. At that point he went "enthusiastically into freefall," as Marcia Siegal wrote in 2000: "Concerned about the way technology had been reconfiguring American art, he set out to look at alternative practices in other parts of the world; he wanted to see how his own artmaking — as dancer, writer, photographer and graphic artist — would evolve if he played by different rules. Soon he became involved in a web of people and projects that could be easily modified to accommodate his agile and curiously moral imagination."'
Lemon's projects since the have been increasingly more global and interdisciplinary, involving collaborators met during his decade of travel and media including text, dance, video, visual art installations (including a set design by Nari Ward), and music (with artists as diverse as Christian Marclay, Tracy Morris, DJ Spooky, and a group of Chinese folk musicians). Like his ambitious ten-year Geography Trilogy, all three parts of which were presented at the Walker, his more recent works have pushed boundaries of both form and content. In recent years, his diverse activities have ranged from curating a performance series at MoMA to collaborating with Jim Findlay on the two-channel video installation, Meditation (acquired for the Walker collection in 2012), and publishing three books on the Geography Trilogy, among many other projects.
In September 2014, Lemon returns to the Walker for a residency concluding with the world premiere of what may be his boldest experiment yet: Scaffold Room. Using a two-story structure erected in Burnet Gallery, this live multimedia performance installation will explore ideas of contemporary performance through archetypal black female personae in American culture.
For his best-of-2013 list, Lemon chooses a fittingly diverse array of works, books, and ideas from across disciplines.
Paul McCarthy at Park Avenue Armory
The exhibition WS was emphatic, vast, brilliant, puerile, perverse, beautiful, funny, and, from what I've heard, very very expensive to put together.
Night Stand
The US premiere of Lisa Nelson and Steve Paxton's Night Stand at Dia Art Foundation took me away. The wide wide world of Paxton and Nelson: Beckett, Faulkner, Fassbinder, Ono, Laurel and Hardy, Fred and Ginger…
Thomas Hirschhorn's Gramsci Monument
I thought I would hate it. A very famous (and very good) Swiss artist, who lives and works in Paris, goes to the South Bronx, with major support from Dia Art Foundation and does what? Well, the Monument, its specific functionality, became a vital and inspired gathering place, and a good part of the community bought into it and everyone involved seemed grateful for the life of it. Too bad it was primarily a temporary art piece (Gramsci, who?). From the outside it seemed like it belonged there.
Boris Charmatz at MoMA
Boris, the "prince of French dance," his exuberant (and privileged) generosity. A kind and generous event, dance. His Levée des conflits extended felt infinite. Perfect in the vastness of the Atrium.
Now Dig This!
Now Dig This! Art and Black Los Angeles 1960-1980, MoMA PS1: A most elegant curation. (I also had fun at Blues for Smoke at theWhitney Museum of American Art.)
Rick Owens' Spring Show
The video and online buzz of Rick Owens' Paris Spring 2014 show, with choreography by Lauretta and Leeanet Noble and danced by members of Soul Steps and Momentum, of NYC, and the Washington Divas and the Zetas from the D.C. area: Oh gosh! I loved how little of what I loved about the buzz and the video had to do with fashion.
Sonali Deraniyagala's Wave
Devastating. A true story that couldn't be true.
The Grey Album
Kevin Young's The Grey Album: On the Blackness of Blackness is smart, poetic and vibrantly apocalyptic. Pop culture, a (fantastic) (decorative) snake forever eating its tail.
Whistle-blower Edward Snowden
Honorable mentions
In memoriam: Sage Cowles. Lou Reed.
Listen: "Calm It Down," by Sisyphus (Sufjan Stevens, Serengeti, Son Lux)
As we announced this morning, the trio S/S/S — comprised of singer/songwriter Sufjan Stevens, rapper Serengeti, and producer/composer Son Lux — is putting out a full-length, self-titled LP in February and taking on a new name: Sisyphus. (As Stevens told us, the new name speaks to both the the nature of collaborative music-making and to the […]
As we announced this morning, the trio S/S/S — comprised of singer/songwriter Sufjan Stevens, rapper Serengeti, and producer/composer Son Lux — is putting out a full-length, self-titled LP in February and taking on a new name: Sisyphus. (As Stevens told us, the new name speaks to both the the nature of collaborative music-making and to the art of Jim Hodges, which inspired the name change. Also, "S/S/S started to sound like the Nazi Schutzstaffel with a lisp, so we had to change it. Eff those Nazis.")
Commissioned by the Walker Art Center and The Saint Paul Chamber Orchestra's Liquid Music series, Sisyphus will available on limited-edition vinyl exclusively at the Walker Shop on February 14, coinciding with the opening of the exhibition Jim Hodges: Give More Than You Take. It goes into wide release (CD/LP/digital download) on March 18. In anticipation of its release, here's the first track from the new recording, "Calm It Down":
You can download it here:
In 2014, Rock the Garden Expands to a Two-Day Festival
A rain delay that turned into an impromptu parking-ramp rave with Dan Deacon. Low's now-infamous 27-minute, one-song, "drone-not-drones" set. A homecoming for former Hüsker Dü front man Bob Mould. After Rock the Garden 2013, it's hard to imagine the event getting any more memorable. But next June, we'll try: In 2014, the Walker and 89.3 […]
A rain delay that turned into an impromptu parking-ramp rave with Dan Deacon. Low's now-infamous 27-minute, one-song, "drone-not-drones" set. A homecoming for former Hüsker Dü front man Bob Mould. After Rock the Garden 2013, it's hard to imagine the event getting any more memorable. But next June, we'll try:
In 2014, the Walker and 89.3 The Current are expanding Rock the Garden to a two-day festival for the first time in the event's history. Mark your calendar for Saturday, June 21 and Sunday, June 22, 2014.
Held nearly every summer since 1998, Rock the Garden has welcomed a diverse array of bands to its stage. including David Byrne, Stereolab, Sonic Youth, Wilco, Bon Iver, Doomtree, Trampled by Turtles, and the New Pornographers, to name a few. Be the first to get the announcement this spring about the on-sale date and lineup for 2014's two-day festival by following Rock the Garden on Facebook and Twitter. Or sign up to receive Cross Currents, The Current's weekly newsletter, and Walker emails.
Tickets to the two-day event will be available to Walker Art Center and MPR members first, with an exclusive pre-sale to be announced at a later date. To purchase Walker memberships visit http://www.walkerart.org/membership; The Current/MPR memberships can be purchased at mpr.org/support.
"Ecstatic Music Love Fest": Poliça's Channy Leaneagh Interviews Jherek Bischoff
Assembling an international all-star cast for his October 18 concert Jherek Bischoff: Composed, Bischoff tapped musicians at the top of their form, from Icelandic vocalist Ólöf Arnalds to Bay Area drummer Greg Saunier (Deerhoof), Norwegian singer-songwriter Sondre Lerche to the Twin Cities' own Channy Leaneagh. Performing with Bischoff just days before her own nationally acclaimed […]
Assembling an international all-star cast for his October 18 concert Jherek Bischoff: Composed, Bischoff tapped musicians at the top of their form, from Icelandic vocalist Ólöf Arnalds to Bay Area drummer Greg Saunier (Deerhoof), Norwegian singer-songwriter Sondre Lerche to the Twin Cities' own Channy Leaneagh. Performing with Bischoff just days before her own nationally acclaimed band, Poliça, releases its sophomore album, Leanagh agreed to lead an email conversation with Bischoff. Their casual exchange hit topics from the nature of collaboration to musical inspirations, nervous nail-biting to bedtime music.
Channy Leaneagh: I'll start.
Jherek Bischoff: Oh good! Starting is always the hardest part! Thank you.
Leaneagh: Hello, Jherek,
Bischoff: Ahoy, Channy!
Leaneagh: I'm biting my nails at the thought of interviewing another musician because it's my least favorite part of this line of work.
Bischoff: I feel you! I every once in awhile say yes to a thing and then realize it's pretty far out of my comfort zone, and then I freak out a little bit. Funny about biting your nails. Do you really do that? I do. It's a disgusting habit. I have quit several times and then something really intense happens, like a big show or something, and I go back to it. Yuck! Darn!
Leaneagh: Ha, yes I do bite my nails. Thought I'd quit, but this relaxed interview seems to have brought it out in me again! My hands were well washed and my nails will grow back, so no harm done really. Now, let's get on with this. You did a beautiful piece for the Kronos Quartet this past July called A Semiperfect Number. Did you have any specific imagery or story behind the composition?
Bischoff: Were you there!? Man, if you were I wish we would have hung!
Leaneagh: I wasn't there, but thanks to the Internet I have been able to watch and listen to it a bunch.
Bischoff: Well, thanks for the nice words. A Semiperfect Number is another one of these tunes that has been kind of floating around my head for a long time. The song is sort of like two songs with a little connecty bit. The first half of the tune is the part that has been stewing. I wrote it, like a lot of my tunes, on ukulele! The second part came to me a couple days before my deadline. I wrote that part on violin and cello.
The name of the tune refers to the number 40. We played the piece at Lincoln Center in celebration of their 40th anniversary. I was truly hoping people were not going to think I was referring to my own piece… I thought that could sound pretty egotistical! No one said anything…
It's funny that you mention imagery. This, like most of my music, sounds pretty cinematic, but I rarely have a connection to anything visual until long after I write a piece. I'm not a visual person at all. I am just a feel or mood kind of music maker. My orchestral writing is certainly informed by soundtracks more than classical music so a lot of people mention getting pictures in their heads when listening to my music.
Leaneagh: I've been enjoying your collaboration with David Byrne on "Eyes" and Soko and Zac Pennington on "Young & Lovely." When you are entering into collaboration do you usually work with people you know or have met before, starting the collaboration out of friendship, or do you seek people out from afar and then get to know them through the collaboration?
Bischoff: I love to do a lot of both! Zac and Soko are both friends of mine, and we have a long history of collaborating with each other, but in the case of David Byrne, I had never met him. My big influences as a collaborator are Björk, Duke Ellington, and Mingus. These people could put together these monster bands and utilize people with extremely different backgrounds and musical vocabularies, yet at the end of the day it still sounded like a Mingus composition or a Björk song. So when I set out to collaborate, I do it in basically two ways.
1. I write some material, and then I try to imagine the absolute perfect person to sing the song. Then I reach out to them and cross my fingers that they'll give me the time of day. This has worked really well for me, and I think it is the fact that I am asking these people to do what they are great at. I'm not asking David Byrne to sing in a strange octave or to bust out an oboe solo or something. I am asking him to do something that I know that he is totally awesome at. So, when people have listened to the tunes and heard what I have to say, I think it feels natural for them to say yes.
2. Sometimes I play a show at a festival or something and I have an opportunity to have a guest vocalist that has a voice that I am not entirely familiar with, but they seem like rad folks, or they are friends or friends of friends. In this case, I will listen to some of their recordings and really try to think of things in my repertoire where I think they could really feel natural. I also, most of the time, will arrange a tune or two for the ensemble so that they can get in their comfort zone and have fun with it. That way they can sing some of their own music in a new way and sing a new tune!
So I do both in hopes that it will lead to longer relationships and friendships. I just try to be around awesome people and I try to make it really easy and fun for them!
We haven't met yet! But I'm listening to your music and getting a feel for your range and the sound of your voice so I can try to have an informed idea of what is going to work best for us. I am excited about it. I like your voice!
Leaneagh: I agree with that sentiment: "Try to be around awesome people and make it really easy and fun for them." It's a beautiful way to go about most things.
How will you go about the Liquid Music Series collaboration? Are you building pieces around specific musicians in the group or will each piece involve all the musicians?
Bischoff: Well, most of the ensemble members I don't know and will probably not get the chance to become familiar with, besides Greg Saunier, who will be playing drums. I am extremely familiar with that wild man! He is one of my favorite musicians on the planet, and he always just makes stuff sound like real music.
Most of the pieces will involve all of the musicians and one singer at a time. I try to write my arrangements to leave a lot of room for individuals to express themselves if they want to. We usually discuss at rehearsal and decide who is excited about playing a certain solo and stuff. It's just like how I work with the singers. I would never ask a person to shred an atonal, disgusting-sounding solo if they were not excited about doing it, because then it's just going to sound stupid. So, I try to identify who in the group is the goofball, who's the improviser, who's the shy one, etc. Then we decide together to make everyone comfortable and excited! It's a lot of little decisions, but when you try to stay on your toes and use your knowledge and experience, all of those decisions can really result in an ecstatic music love fest.
I am really excited about the vocalists for this show! I feel like they each bring something totally different to the table and everyone is a total one of a kind voice and personality. That is always super exciting to me! I will be doing some arrangements of the singers own tunes and they will sing a tune of mine. It's super fun to get my hands on other peoples songs and arrange for them. Even though each singers project is vastly different, because I am doing the arranging for a specific ensemble, it all becomes very cohesive and it works really well together.
Leaneagh: So glad we did this interview, in fact, because now I am less nervous and way more excited for the show. Are there questions you wish interviewers would ask you, but never do, in relation to your music?
Bischoff: What was your favorite music in 8th grade? Cannibal Corpse and John Coltrane. You?
Leaneagh: There isn't really a question I wish for but I am always happy to hear a new question.
Last question: Do you listen to music when you are going to sleep? What is the most soothing music to you these days?
Bischoff: I used to all the time. Do you?
Leaneagh: The producer of Poliça, Ryan Olson, turned me on to listening to [NASA's] The Symphonies of the Planets while going to sleep. It's really helpful on the road to make any place feel like home.
Bischoff: I honestly don't listen to a ton of music. I work on music all day and all night, so lately I just like silence. On tour I listen to a lot more music and a lot when I go to bed. That is because it's really hard for me to write or get work done on tour, so I use that as my time to soak in new. I am pretty into ambient music in general. I like Colleen, William Basinski, Eno, all that type of stuff.
Jherek Bischoff: Composed – copresented with the SPCO's Liquid Music series and in association with the American Swedish Institute and Minnesota Public Radio — takes place Friday, October 18, 2013, at the Fitzgerald Theater in St. Paul.
"Drone, not Drones": Behind the Slogan that Capped Low's Infamous 27-Minute Set
Arguably the most buzzworthy moment of Rock the Garden this year — competing with Dan Deacon's parking ramp rave and a homecoming set by native son (of sorts) Bob Mould — was a controversy-stirring performance by Low. Instead of giving an audio tour of its latest release, The Invisible Way (Sub Pop), the Duluth indie […]
Arguably the most buzzworthy moment of Rock the Garden this year — competing with Dan Deacon's parking ramp rave and a homecoming set by native son (of sorts) Bob Mould — was a controversy-stirring performance by Low. Instead of giving an audio tour of its latest release, The Invisible Way (Sub Pop), the Duluth indie trio filled its entire 27-minute set with one song, expanding the 14-minute 1996 tune "Do You Know How to Waltz?" by nearly double. As if by way of explanation, Low front man Alan Sparhawk concluded the set with three now-infamous words: "Drone, not drones." Asked about it later that night, he told journalist Chris Riemenschneider, simply, "I got it off a friend's bumper-sticker, and thought it was fitting." Now that the dust has settled, we got in touch with that friend — Minneapolis' Luke Heiken — to hear more.
A fixture in the Twin Cities music scene for years, Heiken ran ScheduleTwo.com, a site (and record label) that up until mid-2008 livestreamed concerts from local music venues. One day in February, Heiken was playing around with an industrial sticker maker and came up with a phrase he liked: "Drone, not drones." That same night, Sparhawk tweeted, "Mim sez these drones are bullshit. That's all I gotta know. #potus" — presumably a response to news of a leaked white paper on the Obama administration's justification for "targeted killings" using unmanned aerial vehicles. Heiken tweeted back, sharing his slogan and, the next day, an image of his sticker. He liked the phrase so much he bought the URL dronenotdrones.com and hatched a plan to do something with it — a benefit show or compilation album to raise funds for groups working to help the innocent victims of the war on terror. On June 12, he tweeted to Low, asking if the band might be interested in such a project.
Fastforward three days, when Sparhawk on stage "dropped that
#TruthBomb on #rockthegarden," as Heiken put it on Twitter. He wasn't in the crowd, but Sparhawk's words — which he later credited to Heiken — prompted action: "I really need to get on it now that Al has forced my hand by tipping it."
"I was inspired by people caring about the message and wanted to strike while the iron was hot, so knowing releasing music would take a while to put together, I made the t-shirts," he says. Proceeds from the shirts, as well as the compilation and benefit concert he's hoping to pull off, will go to either Doctors Without Borders or the Red Crescent, or both. With bands and labels approaching him, he's making good progress towards his dreamed-of Drone Not Drones recording, which, like the benefit show, he hopes to see released this winter. He's hoping it'll be released on vinyl, but acknowledges it may have to be a digital release instead. He's already confirmed the participation of Twin Cities artists Take Acre, Paul Metzger, and Peace Drone (a side project by members of Flavor Crystals and Magic Castles), German musician/sound artist Stephan Mathieu, and Sparkhawk himself, and he hopes to have more confirmed bands to announce soon.
While Heiken's stance on drones is nuanced — his personal view isn't as bumpersticker-ready as the slogan on his t-shirts — his take on the mini-controversy over Low's Rock the Garden set isn't.
"I'm told [drones] are important to track down terrorists and to keep me and my family safe," he says. "But there is a line crossed when we fly these things into sovereign nations and use explosives to kill people, without a trial, who are believed to be present and write off the loss of life and limb for any people caught in the blast." He takes issue with the lack of clear governance of drone use. While manned flights are heavily regulated, he says it's the "wild west" where drones are concerned.
He calls the flap over Low's droning set, however, purely "ridiculous."
"If I got on the Internet every time I saw a band I was bored by," he says of the online furor, before trailing off. "This shouldn't be a tragedy. People creating Twitter accounts for it? I've never seen people dislike a set so much they'd go out of their way to do that."
Heiken has seen Low perform "Do You Know How to Waltz?" before. "It's one of my favorite musical memories: sitting with my now-wife under a blanket in the dark listening to that song. It's ridiculous that so many are complaining about that at a modern art museum. Even without that, if Low played their normal set, the squares would've been turned off. Nothing they could've done would've made people who where there for Metric or Dan Deacon happy. But it made lots of Low fans happy."
Magnetic Force: Remembering Tim Carr
Record label exec and music curator Tim Carr's successes on the national level are well known: as an A&R rep for Capitol, Warner Bros., and Dreamworks he worked with bands from David Byrne to Megadeth to Cibo Matto, and, most famously, he's credited with signing the Beastie Boys to Capitol. But news of Carr's death in […]
Record label exec and music curator Tim Carr's successes on the national level are well known: as an A&R rep for Capitol, Warner Bros., and Dreamworks he worked with bands from David Byrne to Megadeth to Cibo Matto, and, most famously, he's credited with signing the Beastie Boys to Capitol. But news of Carr's death in Thailand last week at age 57 hit us closer to home: Carr got his start in the Twin Cities, including a stint at the Walker Art Center from 1978 to 1981, during which he produced the M-80 festival, widely noted as a key moment in Minneapolis' rise as a music mecca.
Raised in Hopkins, Carr started out as a music critic for the Minneapolis Tribune in the late '70s, before coming to the Walker as associate director of Performing Arts. He worked on programs still talked about today, including projects with Brian Eno, David Byrne, and the Art Ensemble of Chicago. But he's perhaps best remembered for his role as organizer of M-80 (Marathon '80: A New-No-Now Festival). Music writer Jim Walsh recently reflected on the Walker-sponsored festival, which was held at the University of Minnesota Fieldhouse on September 22 and 23, 1979:
With the scent of sawdust permeating the airplane hangar-size barn, the weekend served to simultaneously bid adieu to the '70s and light the fuse on the '80s with performances from new music pioneers the Contortions, DEVO (performing as DOVE), the Fleshtones, the Suburbs, NNB, the Girls, the Commandos, the dB's, Fingerprints, Monochrome Set, and many more, all joined under the same flag of raw, no frills, forward-pushing rock-as-art.
The festival was hugely influential for a generation of musicians, notes Walsh, including Hüsker Dü's Bob Mould, who said it felt like "something historic was happening." Mould wrote: "In my mind, it was equal to Woodstock or Altamont or the Beatles at Shea Stadium. There was a great scene building in the Twin Cities."
A focus on that scene and the artists at the center of it are what Chuck Helm remembers of his time working at the Walker with Carr. Now director of Performing Arts at the Wexner Center for the Arts, Helm is the former technical director for Walker Performing Arts (and, later, music consultant). "As an A&R rep, Tim could hustle with the best of them anywhere, anytime but also champion the artists he cared so deeply about with a passion few could match," he recalled. "He was a fun-loving force, always with his finger firmly on the pulse of what was happening and with an incredible entrepreneurial flair for spreading his enthusiasm to others.
"He stirred up action at the Walker as well as all around the Twin Cities where his presence at the Longhorn or First Avenue meant that the party was truly on. As fantastic as his knack was for what was breaking in the world of music, Tim was equally at home with artists in all fields like Cindy Sherman and Bill T. Jones, among many others, who all greatly respected his spirit and skills."
After moving to New York in the early '80s, Carr stayed connected to the Minnesota music scene, including through his work with Minneapolis-based alt-rock band Babes In Toyland. Drummer Lori Barbero recalls that Carr, who signed the band to Reprise, was friends with many contemporary artists, eventually introducing the band to Cindy Sherman, who appeared in a Babes video and whose photographs appear on the covers of two albums.
Philip Bither, the Walker's Senior Curator of Performing Arts, didn't overlap with Carr at the Walker, but he's long admired him, both in Bither's pre-Walker years as associate director/music curator at Brooklyn Academy of Music and after Carr moved to New York. "He had a real impact both as a music curator in the not-for-profit world and in the commercial recording business, not easy worlds to straddle," he said. "He kind of defined the free-wheeling, deal-making, fiercely independent A&R guy, but one who retained a very strong artistic sensibility and a deep love for vanguard music and art makers."
Carr's career saw diverse music projects, from a few music programs he curated at BAM before Bither's stint there to, most recently, Ramakien, a "rak opera" directed by Rirkrit Tiravanija that Carr ultimately produced at the Lincoln Center Festival (with Festival Director Nigel Redden, for whom he had curated a number of music events when Nigel was the Walker's director of Performing Arts).
"Tim was a force and an intriguing, magnetic presence," Bither said. "He made a lot of great things happen for musicians and artists, especially from the '70s through the '9os. He will be missed."
Where (Sō Percussion) Lives
In its newest performance, Where (We) Live, Brooklyn-based Sō Percussion gets personal, looking at the physcial, emotional, and symbolic manifestations of "home." As the chamber quartet (Eric Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting) writes on its website, "Using our studio in Brooklyn as a laboratory, we often create music that is about 'place:' […]
In its newest performance, Where (We) Live, Brooklyn-based Sō Percussion gets personal, looking at the physcial, emotional, and symbolic manifestations of "home." As the chamber quartet (Eric Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting) writes on its website, "Using our studio in Brooklyn as a laboratory, we often create music that is about 'place:' a city, our immediate sonic environment, even how the past resonates where we are today." In advance of Friday and Saturday's world-premiere performances of the Walker-commissioned piece (and Thursday night's artist's talk with the group), Sō's Adam Sliwinski invites us into the intimacy of the Sō Percussion studio and shares snapshots of the objects there and the stories they tell.
I bought these shelves a few years ago. Every once in a while, we become completely overloaded with gear. The place is a gigantic mess most of the time, no matter how much we organize it. So like all New Yorkers, vertical storage is the name of the game. Top shelf is a lovely assortment of tin cans; next down are old planks from Reich's Music for Pieces of Wood and [David] Lang's The So-Called Laws of Nature. They really come in handy. After that are almglocken and glass bottles, and finally a cymbal rack.
Eric's table setup. When So creates music together from scratch, each of us fills our tables with stuff that interests us. Then, as the occasion arises, we fit it in to the music that's congealing. Inevitably, each of us needs to have a little spread of toys handy. The keyboard here is from an insane piece that Dan Trueman wrote for us. He started the laptop orchestra at Princeton. Eric has been delving into Ableton Live within our pieces.
Toy piano from my setup. I have a little woodblock there for one of the songs in particular. I found myself coming back to the sound of the toy piano over and over again during this project. There's something naïve about the instrument, but it also creates this perfectly percussive color.
Josh's table setup. I wouldn't say that Josh is a "hoarder," but let's just say that he has a certain obsession with collecting and placing bits of gear in his setup. As I understand it, these pedals chain to each other in a gnarly flow of causality. On the left is a little notebook that he's been keeping since the beginning of the project: every sketch, every little experiment is in there. I, on the other hand, am lucky to have the same music in my hand from last week.
Jason's table setup. Jason is the Paganini of the deskbells. Some days, equal parts Brooklyn coffee and Sweet Action beer are required to get through.
A door. Jason makes really beautiful Rauschenberg-esque collages and objects. We've been using this door as a projection surface for the videos in Where (we) Live. Jason once made a collage for Merce Cunningham as a gift that Merce placed in John Cage's rock garden in their apartment. Also, we visited Robert Rauschenberg's younger sister in Louisiana. Her husband is a big game hunter, so their walls are decorated equally with priceless works of art and giant bear heads.
A view out of our window in the studio. That's the Empire State Building. When we first moved into this space, I set my desk up with this view and stared out the window, especially at nighttime. I grew up in the South and the Midwest, and the idea that the Empire State Building might be outside the window of my own percussion studio where I made this amazing music was beyond my capacity to imagine. It still strains it.
Introducing The Green Room
It's been seven years since we launched the Walker Blogs, and with the release of our new homepage back in December we thought it was finally time for a refresh. You'll notice that the design has changed to align with our new website, and we've used the opportunity to rebrand each of our core blogs, […]
It's been seven years since we launched the Walker Blogs, and with the release of our new homepage back in December we thought it was finally time for a refresh. You'll notice that the design has changed to align with our new website, and we've used the opportunity to rebrand each of our core blogs, focus our offerings, and give readers a better sense of what they'll find inside. Don't worry though, the name might have changed, but this is still the blog of the Performing Arts department. And as such, we remain committed to bringing you views of Walker performance and performers, both onstage and backstage, plus the space for community discussion through our ongoing series of overnight reviews penned by Twin Cities artists and critics. We hope you like the new look and come back to see what we're up to!


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Contact: NCI Office of Media Relations
NIH/National Cancer Institute
Caption: This is a nude mouse with a grafted human prostate tumor (indicated by white bump near shoulder blade). XMRV arose from recombination event in this breed of mouse.
Credit: NIH/National Cancer Institute
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Related news release: Origins of XMRV deciphered, undermining claims for a role in human disease


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Number of features work simultaneously to make a business venture successful but if you don't have an exclusively professional logo, you are on the wrong track. Undoubtedly, getting a perfect logo design is an exhilarating task because we fail to convey our exact requirements to the designers. Therefore, today I would like to recommend you one of the finest providers of do-it-yourself (DIY) logos, which allows you to get quality logos for FREE. LogoYes.com and ...
Hey guys, it's Wednesday and now please don't say what big deal if it's Wednesday. I hope you all remember that last week I started a new segment of "Wednesday Design Share" on GDB where I list most interesting links from net. So today also I have collected some exciting design related stuff for you all to enjoy….let's begin the trip. ...
Yawn, yawwn, yawwwn. Hey friends…getting back to work after a relaxing weekend is the most difficult task for me:( I am sure, most of you will agree with me ;) Therefore, to keep myself motivated towards work for rest of the week, I try searching for extremely interesting topics on Mondays. So, here is an exciting logo compilation of ...
Over this long weekend, grocery shopping was on top in my to-do-tasks but as usual I failed to buy the entire essentials in my first trip. Actually, it happens with me always…while dragging my trolley around in different sections of the supermarket; I couldn't stop myself from buying products in amazing packagings. Have you ever bought something just because of its package? I always do this and that is ...
Considering the calendrical anomaly of todays date 09/09/09, everyone seems to be celebrating it in their own way. After all we will get to see this repetition of single digit dates after a century (until January 1, 2101) However, I decided to use the rarity of today's date by doing something different and memorable on my blog. Being this date today has made "Wednesday" a special weekday. Therefore, from now onwards, every week I will ...
I won't say that freelancing is a new trend of earning but yes it won't be wrong claiming that it has become one of the most popular and common way of making income. Considering the advantages of working as a freelancer, literally thousands of people are switching from a full time job to freelancing. There are different interesting reasons why people are ...
After the chaos created on internet in 2007 by the release of terrible London 2012 logo (a 'branding' that cost £400,000) once again Olympic logos are the hot topic. Two months from now, on 2 October 2009, the International Olympic Committee will announce the host city for the 2016 Summer Olympics at a secret ballot. Therefore, today I have compiled 7 new logos of cities applying for the 2016 Summer Olympics. ...
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Fall is in the air, and red-wine season is here. This year, so are red-wine values from California. A string of good vintages in California, a grape glut and shifting perceptions about prices in the wine industry have boosted the availability of budget wines.
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Evangelical Lutheran Church in America to install first female bishop
BY FRANCINE KNOWLES Religion Reporter September 27, 2013 7:04PM
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Updated: October 30, 2013 6:27AM
Schisms are nothing new to churches.
And when the Rev. Elizabeth Eaton, the first woman elected to head the nearly 4-million-member Chicago-based Evangelical Lutheran Church in America, becomes presiding bishop Saturday, she'll inherit a church still tending wounds from its 2009 decision to allow openly gay clergy — a move that contributed to the loss of nearly 600,000 members.
But Eaton, who supported the gay clergy decision, says the church learned from the experience and will move forward while addressing challenges that include staying relevant and building membership.
"We've learned it's really clear we're not all of one mind," she said.
The question, Eaton said, is "how do we find ways to continue to love and talk to each other, to help the church be a model of how to have a civil discourse in a [political] culture that's sort of winner take all, or if you don't agree with me, you're wrong, but not only are you wrong, you're probably on the side of Satan."
The church hasn't figured out the answer but has learned "we've got to find a way to have deep disagreements but still see Christ in the other," she said.
Eaton, 58, is a native of Cleveland. She was ordained in 1981 and first elected bishop of the ELCA Northeastern Ohio Synod in 2006. She holds a Master of Divinity degree from Harvard Divinity School.
Listening will be key to increase relevancy and build the church's membership, she said, noting that she has been encouraging people in her synod to go outside the church and ask people what their communities need and what gives them hope "instead of us telling people what we think they need to know."
Thinking outside the pew also will be important.
"Do we have to have services at 10 o'clock on Sunday morning?" Eaton said. "For a huge demographic, that doesn't work. How do we say we're going to be more creative about when we invite people to be part of worship?
"We have some congregations who have worship services in restaurants, at coffeehouses. Those creative approaches are things we have to try."
In targeting younger members, she said, "It's not just about talking about what we believe. They want to see justice combined with faith."
Building diversity remains a challenge and will be a priority.
"We still have congregations who will not interview a woman to be a pastor, and we've been ordaining women as pastors in the ELCA since 1970," she said. "We have folks who will not interview a person of color if it's a predominantly white congregation. Those are some huge barriers."
Only 23 percent of clergy in ELCA are women, according to the church's website.
Eaton's "presence will bring greater inclusivity," said the Rev. April Ulring Larson, who was the first woman bishop in the ELCA.
Becoming a more diverse church is important because the country is more diverse and because "that's God's vision," Eaton said.
Her focus on inclusiveness will address members who, because of their scriptural convictions, are opposed to the church's homosexuality stance but decided to stay.
"This was a very costly decision for us," she said. "Families were divided. Congregations were divided. It's important to acknowledge the sacrifice of people who stayed even though they don't agree with the decision. We need to make a space for them to have a voice."
Asked if she plans to forge a relationship with the North American Lutheran Church, the group that formed out of the controversy, she said: "They're our brothers and sisters. They're always welcome. But the manner in which that denomination was formed caused a lot of pain for this church, and that's not quickly forgotten."
Humility is required of both sides, she said.
Representatives from the breakaway group did not return calls for comment.
"Her synod had a really tough time," said the Rev. Wayne Miller, bishop of the ELCA's Metropolitan Chicago Synod, who noted that the gay issue wasn't a big deal in Chicago.
As synod bishop, Eaton spent a lot of time in church fellowship halls dealing with angry crowds, Miller said. "She was incredibly steadfast and faithful."
Among her priorities will be helping the church live out key Lutheran themes.
"Our first and highest goal . . . is to be where there is suffering, where there is hurting," Eaton said.
"We're church first, church for the sake of the world," she said. "Of course worship is primary and the thing we do. But if we're just having our little conclaves and our own little congregations and say, 'Well, too bad about everyone outside,' we are completely missing the point."


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Through a mutual aquantance, I met a woman that I connected with immediately. She is smart, easy to talk to and we have a wide range of similar interests. Like me, she is divorced.
Our connection was undeniable and we quickly realized that we were very compatible in virtually every way.
We were both honest with each other about what we were looking for and about our pasts from the very beginning. Everything from venting about our ex spouses to mistakes we both made when we were younger.
During one of our conversations, she tells me that she used to be a "dancer" at private events. After I asked her to elaborate, she basically said that she had an opportunity to dance nude for high end customers in a city that is far enough away that she wouldn't have to worry about anyone finding out. After the initial shock, I tried to see things from her point of view at the time. A mother at 17 who has the opportunity to make more $$ than she would at a regular job. Hmmm...? I don't know what I would have done given the same opportunity, so I justified it as a mistake that was made in her past. She assured me that she never slept with anyone and that it was limited to just "dancing."
During another conversation we had shortly thereafter, the subject of menage trois comes up and she informes me that she has had multiple 3-way experiences. I stopped asking questions after finding out that she has had the two girl and two man experience. She said that it was something she did when she was younger and basically wrote it off as another misstep of her youth. Okay...
She has also done nude modeling and has told me that she came close to getting into other things. The fact that she has three children stopped her.
Which brings me to my next point: Her children.
As I mentioned before, she got pregnant for the first time at 17 by her then boyfriend who had no interest in being a father. She got pregnant for the second time with twins at 19 by a guy that seems to have been a short fling. He turned out to be abusive to her and the twins, so she gave them up for adoption. At 26, she got pregnant for the third time by her then boyfriend who wound up getting killed in car accident when she was 6 months pregnant. About a year later, she was pregnant again by her now ex husband. Her two youngest children are 18 months apart.
As I said before, I really enjoy spending time with her and have deep feelings for her, but her past leaves me with a gut feeling that I might regret getting more involved with her. The dancing, nude modeling and multiple pregnancies by multiple men are all mistakes that I feel could have and probably should have been prevented. What if anything, does this say about her character now?
Am I overreacting?