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I think it's crazy, but you never know with these teams.
I really just want us to hit, if locker hits then its smart, if he doesnt its retarded thats just the way of things...I would not blame them trying to fix the QB position, I just would rather trade back about 10 spots
just the other day...http://www.walterfootball.com/forum/...420#post872420
ive been saying it for a couple weeks at least, its very possible
Last edited by vikingfan; 04-11-2011 at 03:21 AM.
2010 WF.com PPR Champion
2011 WF.com PPR Runner-Up
2014 WF.com PPR Runner-Up
2013 VF Fantasy League Champion
CMD II Champion [co-owner with simmonds]
CMD IV NFC North Champion
LOL. If so, the Vikings will be at the bottom of league for the next 5 years or so.
2010 WF.com PPR Champion
2011 WF.com PPR Runner-Up
2014 WF.com PPR Runner-Up
2013 VF Fantasy League Champion
CMD II Champion [co-owner with simmonds]
CMD IV NFC North Champion
I like the vikes guy s around here, but I would love this, just more players that would drop to my Rammys if this would happen. I hope 4 or 5 QB's go in the top 13.
I'm the greatest.
And by that they mean he likes to show his Danny Woodhead to hot girls with fake boobs that work for the team in a "real job"The Minnesota Vikings like Jake Locker. His makeup has yielded comparisons internally to Brett Favre.
(edit: or should I call it his Greg Cox )
Michael Floyd > Justin Blackmon
I've been advocating the view that lots of QBs will go earlier than people think for a while. I could definitely see this. I could even see him going at 10.
1.5- Tom Brady, QB, 2.28- Brian Orakpo, OLB, 3.28- Marcell Dareus, DT, 4.5- Percy Harvin, WR, 5.28- Tyrann Mathieu, CB/FS, 6.5- Justin Smith, DE, 7.28- Jerry Hughes, OLB, 8.5- Brian Cushing, ILB, 9.28- Tyvon Branch, SS, 10.5- Larry Warford, OG, 11.28- Jermichael Finley, TE, 12.5- Arian Foster, RB, 13.28- DeAngelo Hall, CB, 14.5- Chris Clark, OT, 15.28- Sidney Rice, WR, 16.5- Dominic Raiola, C, 17.28- Carl Nicks, G, 18.5- Marcel Reece, MN, 19.28- Jabari Greer, CB, 20.5- Nick Roach, MLB, 21.28- Charles Woodson, FS, 22.5- Khalif Barnes, OT, 23.28- Brett Keisel, DE, 24.5- Asante Samuel, CB, 25.28- Jacoby Jones, WR, 26.5- Jonathan Stewart, RB/TVHost, 27.28- Tommy Kelly, DE, 28.5- Jonathan Martin, OT, 29.28- Thomas Keiser, LB 30.5- Darrius Heyward-Bey, WR 31.28- Mike Brisiel, OG, 32.5- Dustin Keller, TE
There might be a race between Washington and Minnesota. If Shanahan likes Locker, which is very possible, things will get interesting, maybe to the point where Minnesota would have to consider moving up ahead of Washington.

subset: commoncrawl


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In 1926, beautiful Aileen Gallaher left California to join trapper "Slim" Williams in Alaska's Copper River Valley. Theirs was a perilous existence spent in isolated cabins, bucking heavy snow, uncertain river ice, and fierce cold. Yet, Aileen fell in love with Slim and with the country, missing only female companionship. Enter Samme, her tenacious fifteen-year-old sister. Their lively and honest story details their emotional coming of age in a part of Alaska that is till considered remote.


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Spending all day – every day – immersed in sports is a bit like working at Pizza Hut and eating nothing but pizza. If one is unburdened by such matters as personal health and waistline size, pizza is a wonderful thing. Unfortunately, too much of a wonderful thing is likely to leave one no longer believing the wonderful thing to be all that wonderful.
Sports are really, really great. However, the more time you spend reading and writing about a topic, the greater the chance its ugly little cracks and cobwebs will begin to emerge. This is why, over time, the focus of writers and fans alike becomes embittered by the more negative aspects of sports. The cheating. The discrimination. The exploitation. The inequality. It becomes overwhelming. We forget why sports are so great, and why they fascinated us long before we grew caustic to what they could offer. And so, that's where The Week In Sports Happiness enters.
Every week, I'll present the ten things that are making me happy from the world of sports. It might be an inspiring story, it could be a winning streak, it may even be an animated GIF. No matter what, it's from sports, it made me feel good inside, and I hope it does the same for you.
So, without further ado, sports the good:


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I also question funding of projects to invest in kitchen equipment to serve local products year-round through processing and freezing techniques.
Really? For the sake of argument, do New Jersey kids really want frozen "local" zucchini in mid-winter rather than fresh baby carrots from California?
"I got rocks," Charlie Brown will say as he goes through the lunch line.
I do think there are some solid ideas in the farm-to-school grants, particularly relating to funds supporting nutrition education efforts, school gardens, field trips to local farms and cooking classes.
Other smart investments were used for grants to programs that use food hubs, or partner with mainline distributors.
The USDA, like Linus, is trying too hard to convince us about the value of the farm to school program.
"There are three things you must never discuss with people: religion, politics, and the Great Pumpkin," Linus concluded in "It's the Great Pumpkin, Charlie Brown."
Though we shouldn't add the "farm to school program" to that list just yet, the blind faith of the USDA leadership in farm-to-school program is troubling.
Do kids really care about farm to school produce? Are kids in Iowa going to be more thrilled with a California grape cluster or a turnip from the next county? Let the market lead, not ideology.
If there are great opportunities in fresh produce growers finding opportunities to service school districts with local food, a government-funded farm to school program won't be the key to success.
Profit potential is all the sincerity fresh produce growers and distributors need.
What's your take? Leave a comment and tell us your opinion.


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200 search results for Red Hot Chili peppers
'Abracadabralifornia' is an epic Red Hot Chili Peppers prank
Type: Article | Date: Wednesday, Jan 29, 2014
Courtesy of the great Jon Daly -
Axl Rose weighs in on Red Hot Chili Peppers' 'karaoke' Super Bowl performance
Type: Post | Date: Wednesday, Feb 5, 2014
My thoughts on 'Peppergate' -
Flea admits Red Hot Chili Peppers mimed playing their instruments at the Super Bowl
Type: Article | Date: Tuesday, Feb 4, 2014
Bassist says NFL requested a pre-taped track -
Flea: NFL made Red Hot Chili Peppers pretend to play our instruments
Type: Post | Date: Tuesday, Feb 4, 2014
Flea: NFL made Red Hot Chili Peppers pretend to play our instruments "Lost's" Dominic Monaghan is set to star in Swedish-set "100 Code" Stan Lee: My "Agents of S.H.I.E.L.D." cameo tonight is bigger than usual -
Red Hot Chili Peppers joining Bruno Mars for Super Bowl halftime show
Type: Article | Date: Saturday, Jan 11, 2014
Something tells us they won't be shirtless -
Red Hot Chili Peppers will perform at Super Bowl halftime with Bruno Mars
Type: Post | Date: Friday, Jan 10, 2014
Red Hot Chili Peppers will perform at Super Bowl halftime with Bruno Mars Mindy Kaling talks to Letterman about the "weird reaction" to her Elle cover Chace Crawford joins "Glee's" 100th episode -
Red Hot Chili Peppers announce single series details: First pair arrive in August
Type: Article | Date: Monday, Jun 18, 2012
18 songs released over 9 singles, with a 7" surprise -
Amazing News: RHCP's Chad Smith has challenged Will Ferrell to a drum battle
Type: Article | Date: Thursday, Feb 6, 2014
Musician tells the 'Anchorman' star to stop 'impersonating' him -
Review: Bruno Mars delivers a fun, soulful halftime show at Super Bowl XLVIII
Type: Post | Date: Sunday, Feb 2, 2014
Were the Red Hot Chili Peppers necessary? -
Top 10 Super Bowl Halftime Performances
Type: Post | Date: Wednesday, Jan 29, 2014
Who belongs in the Halftime Hall of Fame?


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Sr. Software Developer
Written by CK-12 Foundation on May 7, 2014
We at CK-12 are challenging traditional model of Education. There has never been more exciting time to be in Education. Digital transformation has opened up unique opportunities to disrupt education for the benefit of students, teachers and parents.
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Landmarks Commission OKs video scoreboard, right-field sign for Wrigley Field
BY FRAN SPIELMAN City Hall Reporter firstname.lastname@example.com July 11, 2013 7:21PM
Wrigley Field as the Cubs play the Miami Marlins on Tuesday, July 17, 2012, in Chicago. | Chandler West~Sun-Times
Updated: August 13, 2013 6:45AM
Like a flame-throwing closer summoned from the bullpen, Mayor Rahm Emanuel got the save Thursday in delivering the biggest win yet in the Cubs' quest to renovate Wrigley Field without a public subsidy.
Over the emotional objections of local Ald. Tom Tunney (44th), the Emanuel-controlled Commission on Chicago Landmarks unanimously approved a 4,560-square-foot video scoreboard in left field; a static, 650 sqaure-foot see-through sign in right field, and a "sign matrix" that will guide future stadium advertising.
The Jumbotron will be 95 feet wide and 48 feet tall. That's down from a width of 100 feet, meaning five feet less of rooftop blockage. But the script sign atop the Jumbotron and the light standards above that would take the entire video board to 5,700 square feet.
That's way too big to satisfy Tunney and rooftop club owners, whose 17 percent revenue-sharing agreement with the Cubs has 10 more years to run.
Thursday's meeting was delayed for two hours, in part, to allow the mayor's political point man, Matt Hynes, to huddle privately with Tunney in hopes of softening his opposition. It didn't work.
The alderman choked back tears as he declared his opposition to a video scoreboard with lights that, he warned, would be visible from "blocks and blocks away" from Wrigley.
"I can't support a proposal that so dramatically affects the quality of life for residents," Tunney said, his voice breaking with emotion.
"It is 6,000 square feet — just short of it. It's also 12 feet thick and it is to be erected within 30 feet of residential homes. . . . The enormity of this sign in your front window is obviously something that I have to be very attentive to. The Cubs often point to large signs at Fenway and U.S. Cellular. . . . These signs back up to expressways — not people's living rooms."
Tunney's plea struck a chord with Landmarks Commission members.
Former Ald. Mary Ann Smith (48th), a Tunney friend, tried to "stir it up," as she put it, by suggesting that the vote be postponed until there's an estimate of how much revenue the outfield signs would generate for the Cubs.
Commission member Jim Houlihan fretted about a 20-year "sign matrix" that appears to give the Cubs carte blanche to go around the Landmarks Commission and could someday allow the team to fill the outfield with signs.
That's even though Cubs Executive Vice President Mike Lufrano said the team has no such plans.
"Most of us have some restraint and don't take everything from the buffet," but what if there is none, Houlihan said.
But after more than four hours of testimony, the Landmarks Commission followed the mayor's marching orders.
Emanuel was forced to do what he spent months trying to avoid — ride herd over a local alderman determined to go to bat for his community — after becoming convinced that Tunney was having trouble making a deal, sticking to it and selling it to his constituents.
"The mayor agreed to a framework [with the Cubs] and he was true to his word," said a top mayoral aide, who asked to remain anonymous.
Emanuel's decision to reprise the closer's role he perfected in Washington, D.C., allows Tunney to play the hero who fought the good fight for his constituents and small businesses only to run into the political version of an ivy-covered wall.
It's a role Tunney will continue to play as the $500 million plan to renovate Wrigley and develop the land around it wends its way through the Chicago Plan Commission and the City Council.
Tunney has demanded that the Cubs scrap a pedestrian bridge over Clark Street connecting a Cubs-built hotel to the team's new office building; drop the hotel's outdoor patio deck over Patterson Street, and shift hotel "lobby activity" from Patterson to either Clark or Addison.
But the Cubs now have their biggest and most lucrative political victory. Emanuel gets the save.
"The Ricketts family trusted the mayor to get us through this process," Cubs spokesman Julian Green said after the vote. "We trust in the mayor's leadership to get us to the finish line."
Lufrano added, "These signs . . . are a critical part of the restoration project. The expected revenue from signage overall will fund much of the plan for Wrigley Field restoration and will keep Wrigley Field competitive for modern-day Major League Baseball. As you look around sports, every team in baseball has signage in their outfield."
Marc Hamid, owner of Skybox on Sheffield, left little doubt that rooftop owners would follow through on their threat to file a lawsuit to block the outfield signs. If they succeed, Cubs Chairman Tom Ricketts has threatened to move the team out of Wrigley.
"If you . . . grant permission to the Ricketts family to place a sign in right field, you will block the views of my customers," Hamid said. "This commission is supposed to protect the historic nature of Wrigley Field — not pick winners and losers. . . .You're on the cusp of ripping up the landmark ordinance that was the basis for a multimillion dollar investment by rooftop owners . . . without considering a viable alternative."


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Making sense of John Axford
milwaukee brewers July 19th, 2012
JOHN AXFORD IS THE WORST PITCHER EVER AND I HATE HIM AND IF IT WASN'T FOR HIM AND HIS STUPID BLOWN SAVES WE WOULD PROBABLY BE IN FIRST PLACE AND BE BIG TIME BUYERS AT THE TRADE DEADLINE LIKE WE'D PROBABLY GET PRINCE BACK AND COLE HAMELS AND PAUL MOLITOR AND JESUS AND BATMAN AND A NEW MANAGER WHO COULD PROBABLY JUST BE BATMANS BUTLER ALFRED BECAUSE HE SEEMS REALLY SMART. MAN CAN YOU GUYS BELIEVE THAT ROBIN DIED IN DARK KNIGHT RISES? ANYWAYS IF IT WASNT FOR STUPID AXFORD PULLING A derrick turnbow THEN WE'D PROBABLY HAVE ALL THOSE GUYS AND JOSH HAMILTON TOO AND THEN WIN LIKE A MILLION WORLD SERIES. WE COULD HAVE LIKE REALLY COOL COMMERCIALS WITH AARON RODGERS AND RYAN BRAUN BEING LIKE YO CHECK OUT MY RING DUDE, NO YOU CHECK OUT MY RING DUDE LOL. THE POINT IS I HATE JOHN AXFORD AND HIS STUPID MUSTACHE AND I HOPE HE FALLS OFF A BRIDGE INTO A MILLION GALLONS OF WATER THAT IS ON FIRE AND IT BURNS HIS HAIR OFF BECAUSE HE NEEDS TO CUT IT OFF ANYWAYS BECAUSE IT ANNOYS ME WHEN HE IS ON TV BLOWING A SAVE AND I DON'T WANT TO SEE HIM PITCH EVER EVER AGAIN.
I don't know maybe I'm just defensive about people who overreact to things, but that's how everyone sounds to me when they talk about John Axford. Crazy, irrational, stupid; basically like any girl who has ever dated me for over three months.
Not that a lot of the vitriol towards John Axford is undeserved. He hasn't really done his job all that well this season. He's had trouble locating his pitches which leads to walks and bad counts which lead to big homeruns. It's not been a real fun time to be John Axford this season and he knows it, just like you know that watching John Axford has not been very fun. But has he really been that bad? Read the rest of this entry »


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10 Dream Offices
Whether its a desk set in the corner of a room or an elegant private library, a home office is the place where ideas come to life
By Elle Decor Staff
Calm and Collected
A spacious work area in the master bedroom of decorator Darryl Carters Washington, D.C., townhouse is outfitted with a demilune desk of his own design grouped with such eclectic finds as a porters chair, a 19th-century mirror, a vintage Parsons table, and a bronze sculpture of galloping horses.
A Perfect Pair
Identical workstations are set up along a brick wall in photographers Laura Resen and Cloud Devine's New York City loft, which they designed with Thomas O'Brien. Shelving holds boxes filled with art and film supplies, the Eames chairs are vintage, and the floor is coated in Benjamin Moore industrial paint.
Beauty Mark
The sophisticated study in Estée Lauder executive John Demsey's Manhattan townhouse was decorated by Bibi Monnahan using a slipper chair by Andrée Putman, an antique Venetian mirror from Demsey's family, and a table lamp and mahogany desk from Wyeth. The painting is by John Clem Clarke and the wall color is Ebony Slate by Benjamin Moore.
Light Show
At artist Stephen Antonakos and scholar Naomi Spector's pared-down loft in New York City, Neon Table No. 2, a 1990 work by Antonakos, serves as a desk. The glowing art piece on the wall, titled Sky of Jerusalem, 1989, is also by Antonakos.
Keeping Cool
An old celestial chart from Rand McNally overlooks the cozy, tailored study in designer Thomas O'Brien's Manhattan studio. The desk and tubular chrome chair are vintage, the sofa is by Hickory Chair, and O'Brien created the round blue table lamp for Visual Comfort & Co. The wall color is Ever Classic by Pratt & Lambert.
Wonder Wall
A burlap-covered wall serves as an inspiration board inside the sunlit family office at Ellen Rakieten's Chicago apartment, which was decorated by her friends Anne Coyle and Nate Berkus. The custom-made desk holds one of Rakieten's Emmy awards and the vintage Chippendale chairs are upholstered in a Madeline Weinrib fabric.
History Class
Fashion designer Roberto Cavalli's antiques-filled studio at his villa outside of Florence, Italy, contains a circa-1400 reading table, a 17th-century Savonarola chair, and a pony-skin-upholstered armchair that dates from 1910.
Vantage Point
The sleek West Hollywood loft of Will Kopelman features a bright and airy mezzanine office with a pair of vintage Bertoia chairs and a desk that was purchased in the 1960s by Kopelman's father, Chanel's Arie Kopelman.
Punched Up
A mix of art and accessories, including framed prints by Andy Warhol, brings bold doses of color to the sunny study at interior designer Ernest de la Torre's Chelsea apartment. The desk is a custom design by de la Torre.
A Dose of Style
For the home office at their house in Sharon, Connecticut, designers Richard Lambertson and John Truex installed an apothecary cabinet above a custom-made desk, which holds vintage commercial artworks and paintings by Truex. The factory lights are from Privet House, a home shop that Lambertson co-owns.


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- Parents Community
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What age do you start letting your kids play with iPad or go on the internet supervised?
With my 10 year olds, they have tablets but know the rules. Their devices are password protected and only my husband and I know the password so if they want to download any new apps or games, they have to come to us. I can't remember at what age...I think maybe around 8? That said, my daughter who is special needs has been using an ipad since she was 3/4. However, she does not know how to get on the internet and every app she has is approved by us.
Its all about being with them at least until age 14. Think about it this way: When would you let them walk alone in town - and when would you let them walk in any area they choose? Not before they are able to make the right judgement. Same goes for cyberspace. Lots of good areas out there, and lots of places where you need to know where you're going.
My 4-year-old is well versed on my iPad. It's helped him learn how to write, spell and sound out small words. It also helped a lot with hand-eye coordination and a child who we thought at 2 was NOT going to be very athletic, at four seems to have a lot more hand-eye coordination needed for athletics.
He's not completely unsupervised, but he's generally on the couch while I'm across the room or cooking dinner and can see him. He knows the code to unlock the iPad, but not the password to purchase items.
This is becoming quite the issue for me, we have a laptop in the kitchen, which is really for everyone's usage except my son's. Now he's starting to ask why can't he play and I'm beginning to feel forced to work on it after he goes to bed so I don't have to go through that conversation all over again with him. But my wife is right, eventually we need to allow him his own windows account so he can play, but these parental settings in Windows are a bit tricky and seem way too permissive for me and I dread at the thought of him browsing the web and finding all sorts of filth. I don't how easy it is to circunvent the system, but you hear stories.
An ipad is even more out of the question for me, although he has already mentioned his friends having one. Personally I find it insane. Those kids are only 4-5 years old! In a single generation we get this huge leap in expectations, that I am having a bit of trouble swallowing, because these devices are not made for them! And I think it's unfair that the overall industry seems to be pushing this more and more without providing anything appropriate for them. I don't say we should bar computers to children altogether, but let's face it. Their design is anything but kid friendly. Oh and did I mention the internet is full of filth and ill-intentioned people? I must have, because it scares the living daylights out of me, that the first contact my kid will have with the world at large will be angry, violent, insane people who post all sorts of deeply damaging stuff for posterity, disguised as humor. There is something deeply wrong with is world if we are forgetting that children need their innocence in their early years to develop into good-natured adults.
Anyone with me on this? If I strike you as a deeply worried dad, well, that's because I am one.
My oldest is 5 (almost 6) and we have not let her do that. She has friends her age that DO have their own iPads or some other tablet type of thing. I just cannot fathom spending $100+ on a tablet for a child. It is ridiculous to me. She has an Innotab and I think that will quite enough for her until she is older. As for the actual computer? I tried once to let her play games on a site like Nick Jr, but using the mouse was too complicated for her. We, as her parents, don't even have tablets or iPads, so no, I don't think we will be getting her one anytime soon.
This house is full of technology, I think that is the key problem with our son. He wants to use it, because he grew up around it, and although he is too young to understand the concept of double standards (or is he?), he already feels like he's getting the short end of the stick and it's a very difficult conversation to have, because he just comes back with and endless string of "whys". I have a computer in the kitchen and he can't use it, I have a laptop and an iphone for work, tucked away in our bedrrom, an xbox in the office, my wife has her android phone and he gravitates around these devices whenever we're using them. The xbox was simple, I just close all the adult games in a cabinet and let him play kiddy platformers with adequate ratings, plus the console has parental settings in place, which thankfully work. The problem is the other devices and I keep explaining that the xbox is the best of the lot, but he knows there's a lot more to do on these other devices.
My brother told me this weekend there are safe browsers for kids, so I'll look into that. If I find anything I'll share here, because I'm sure this is now a common struggle with parenting, that my parents, for example, didn't have (I only had access to a computer when I was 14).
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CArl T Hayden Medical Center
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Failing gym?
Isn't that like failing nap time in Kindergarten?
Failing gym?
Isn't that like failing nap time in Kindergarten?
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I just bought plane tickets to NYC for the next summer
I'm sooooo happy. First time in my working life I see something good come out. I usually just spend everything on hookers and blow.
I hope we suck next season so I don't have problem finding tickets :P
"Mr. Martin Tanner, Baritone, of Dayton, Ohio made his Town Hall debut last night. He came well prepared, but unfortunately his presentation was not up to contemporary professional standards. His voice lacks the range of tonal color necessary to make it consistently interesting. Full time consideration of another endeavor might be in order."
Notre Dame is #1 in the country...
It's good to see them back.
Thank God. I wouldn't be able to withstand a Kansas State - Oregon National Championship.
Texas needs to win out and Oklahoma State needs to beat OU next week for the Longhorns to have a shot at the Big 12 Championship, which is all I really care about. Of course, OU could lose out and OKC could lose to Baylor and Texas would be in no problem. Gotta hope for the best
Last edited by MetsFanatic19; 11-18-2012 at 11:58 AM.
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That would be a pretty neat matchup. I just hope Texas plays in January. They'll end up in something like the Cotton Bowl, unless they somehow get an AT-LARGE bid.
Just saw Lincoln.
Great film.
Daniel Day Lewis exhibits another brilliant performance.
Mets Dieharder Since '63
Broncos Dieharder Since '73
Los Angeles Kings Dieharder Since 1987
Los Angeles Kings 2012 and 2014 Stanley Cup Champions -
Denver Rockets/Nuggets Dieharder Since '73
ua you're gone, but never forgotten, R.I.P.
Skyfall was good too, saw that on Thursday night.
Daniel Craig plays an excellent Bond.
Last edited by metswon69; 11-25-2012 at 06:14 AM.
Btw Go Notre Dame
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Sicilienne and Riguadon in the style of Francoeur : Work information
- Composers
- Fritz Kreisler ( Music, Images,)
- Performed by
- Joseph Seiger (Piano), Mischa Elman (Violin)
This work
- Work name
- Sicilienne and Riguadon in the style of Francoeur
- Work number
- n/a
- Key
- n/a
- Genre
- Composed
- 1920-01-01 02:01:00
This recording
- Label
- Artemis-Vanguard
- Producer
- Seymour Solomon
- Engineer
- Marc Aubort
- Recording date
- 1960-06-01 01:00:00
The Composers
Fritz Kreisler
Born in Vienna, Fritz Kreisler attended the conservatoire there from the age of seven, studying theory under Anton Bruckner. At the age of ten his violin playing won the gold medal, and he progressed to the Paris Conservatoire, receiving no instruction after the age of twelve. However, an unremarkable tour of the USA, two years in the Vienna Gymnasium, medical training and military service came between him and a concert career and it was by no means certain that he would make a living from music. After failing at an 1896 audition for the Vienna Opera Orchestra (allegedly owing to poor reading at sight), he eventually joined the Vienna Philharmonic and made his solo debut under Nikisch with the Berlin Philharmonic in 1899. Edward Elgar wrote his violin concerto for Kreisler, and they gave the first performance together in 1910.
During further military service in the First World War, Kreisler was wounded and discharged. He travelled to America in 1914, but due to virulent anti-German feeling was unable to forge a career until 1919. After spending the years 1924 to 1934 in Berlin, he moved first to France then back to America to escape Naziism. He took American citizenship and spent the rest of his life there, performing and recording until semi-retirement in 1947.
As a composer, Kreisler had to fight the prevailing mood of modernism, which he felt was at odds with the manner in which he wanted to write. His many cadenzas for classical concertos were one avenue for him, but eventually he took to writing in the styles of composers such as Pugnani and Martini and passing off his works as long-lost masterpieces, mysteriously "found" on his travels. As such his efforts were greatly appreciated, although many felt cheated when he revealed the hoax in 1935. However, these pieces and others of a similarly capricious nature have since become popular violin encores and showpieces.


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noun \ˈvek-tər\mathematics : a quantity (such as velocity) that has size and direction
: the course or direction of an airplane
biology : an insect, animal, etc., that carries germs that cause disease
Full Definition of VECTOR
Examples of VECTOR
- a mosquito that is the principal vector of yellow fever
Origin of VECTOR
verbDefinition of VECTOR
First Known Use of VECTOR
noun (Concise Encyclopedia)In mathematics, a quantity characterized by magnitude and direction. Some physical and geometric quantities, called scalars, can be fully defined by a single number specifying their magnitude in suitable units of measure (e.g., mass in grams, temperature in degrees, time in seconds). Quantities like velocity, force, and displacement must be specified by a magnitude and a direction. These are vectors. A vector quantity can be visualized as an arrow drawn in a specific direction, whose length is equal to the magnitude of the quantity represented. A two-dimensional vector is specified by two coordinates, a three-dimensional vector by three coordinates, and so on. Vector analysis is a branch of mathematics that explores the utility of this type of representation and defines the ways such quantities may be combined. See also vector operations.
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Previous Word in the Dictionary: vectograph
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With Brantley Gilbert and Love and Theft
♦ 7 p.m. May 24
♦ First Midwest Bank Amphitheatre, 19100 S. Ridgeland Ave., Tinley Park
♦ Tickets, $30.25 for lawn, $30.25-$70 for second pavilion, $45-$70 for first pavilion and $70 for pit
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Updated: June 25, 2013 6:11AM
NASHVILLE, TENN. — It's no coincidence that Tim McGraw's latest album opens and closes with highway songs.
"There's a sense of acceleration on this record, a sense of freedom," the country singer said of "Two Lanes of Freedom."
"I feel energized, like I'm at the cusp of my career."
Even though McGraw, 46, released his first album 20 years ago, "Two Lanes of Freedom" marks a new start.
It's McGraw's first album for Big Machine Records, recorded and released after years of disputes and legal wrangling with his previous label, Curb Records.
For once, the different parts of the singer's life are firing on all cylinders.
He's excited about his partnership with Big Machine; he's been playing concerts in Las Vegas with his wife of 16 years, Faith Hill; and he's nearly five years sober.
During a day spent in a photography studio, McGraw practically wears his newfound contentment and independence on the sleeve of his tight black shirt.
"I feel like I'm starting to figure out what it is that I do," he said, sounding excited, almost playful.
"As an artist, I feel like I've grown more musically over the last year-and-a-half than I have in my entire career."
With its wide-open melody and hair-in-the-breeze ambience, the title track from "Two Lanes of Freedom" was recorded during the first session for the album and sets the tone for the music that follows.
"It was a fist-pump song in the studio," McGraw said.
"When we finished laying the track down, everyone knew that we had something really cool. It became the song we built everything around."
McGraw teased his new music last summer with "Truck Yeah," a single with heavy rock guitar riffs that coincided with a tour of stadiums with Kenny Chesney.
The track polarized some listeners, but "it completely achieved the goal of screaming, 'New Tim McGraw song, new Tim McGraw album, new Tim McGraw energy,' " said Big Machine label head Scott Borchetta.
"We took that as a total success."
The album offers plenty to get radio programmers revved up including the album-closing "Highway Don't Care," a duet with Taylor Swift that also features guitar work from Keith Urban.
When McGraw heard the song, he said he knew instantly that he wanted Swift, who launched her career in 2006 with a single called "Tim McGraw," to sing the female part.
"It was perfect for us to sing together because it wasn't this love-interest song from her point of view," he said. "I didn't want to do that."
McGraw said he's been looking for a way to get Urban on one of his records for a long time: "He's one of the most talented guys we have in our genre."
The emotional crux of the album, though, is "Book of John," in which a son learns about his father's life through a scrapbook he left behind.
"I don't have a deep well of father-son relationship knowledge," McGraw said.
He grew up with an abusive, alcoholic stepfather and didn't get to know his biological father, major-league baseball pitcher Tug McGraw, until he was an adult.
Now, he's the father of three daughters.
"That song really had an impact on me because of that. It was a way for me to explore that emotionally.
"Even now when I sing it, I don't get all the way through it sometimes. If I let myself, I can really get too emotional in it."
He said he doesn't have anything like a "Book of Tug" but did inherit several keepsakes from his father, who died in 2004: his father's ring and trophy from the 1980 World Series and a framed presentation of all of Tug's baseball cards that now hangs in his house.
"We got to be friends, for sure, but I didn't know him until later in life," McGraw said. "We never really got close to each other."
Continuing the story might not have been a possibility if McGraw hadn't stopped drinking five years ago this May.
"I was probably a high-level, functioning drinker," McGraw said. Occasionally, there was more than alcohol. "I had my moments where I experimented with things, but nothing crazy."
In the past, McGraw would have been drinking when he went in the studio to record or took the stage for a concert.
"I always had at least a drink or two before I went on stage, and sometimes more," he said.
"So there were times when I was drunk, for sure. When you're sort of a rock star, I guess you feel like that's part of the program."
Byron Gallimore, who produced "Two Lanes of Freedom" and has worked on all 12 of McGraw's studio albums, said the singer's drinking never became an issue while recording.
"If Tim was that far along, he was able to hide it pretty well," Gallimore said. "It didn't affect the music, and it didn't affect his performances."
But McGraw said the drinking did affect his life, as well as his marriage to Hill.
"I think she got worried that I was going to keep going further and further down the wrong road," he said.
Sobering up also allowed McGraw to be more engaged in his career, he said. And there's a lot to engage with at the moment.
McGraw won't discuss specifics of the 19 years he spent at Curb because some legal issues are still open.
And both he and Borchetta decline to specify his new contract's duration — one of the sticking points with his previous label.
"It's not long, I can tell you that," McGraw said.
The Big Machine deal also gives McGraw ownership of his recordings, "which was very important to me."
While the new contract covers a set number of albums, "it's as long as he wants it to be," Borchetta said.
"If he says he's unhappy in a year, I don't need an unhappy Tim McGraw. I'm having too much fun with the happy Tim McGraw."
Gannett News Service
For what you need to know about First Midwest Bank Amphitheatre in Tinley Park, check out blogs.southtownstar.com/fmba.


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During Super Bowl blackout, John Harbaugh was a rantin' Raven
BY SEAN JENSEN firstname.lastname@example.com February 4, 2013 9:44PM
- PHOTOS: Beyonce's amazing performance at Super Bowl XLVII
- PHOTOS: The lovely cheerleaders and die hard fans of Super Bowl XLVII
- Super Bowl commercials: Touchdowns and fumbles
Updated: March 6, 2013 6:28AM
NEW ORLEANS — John Harbaugh — the older and calmer of the Super Bowl XLVII head coaches — didn't garner much attention after the Baltimore Ravens' victory Sunday evening.
The focus was on Ravens quarterback Joe Flacco, the game's MVP; Ray Lewis, the latest Hall of Fame player to walk away a champion; Jacoby Jones, the New Orleans native who scored two touchdowns; and 49ers coach Jim Harbaugh, who criticized officials in his postgame comments for calls his team didn't get.
But as Monday morning quarterbacks sifted through the Ravens' exciting 34-31 victory against the San Francisco 49ers, a Harbaugh's blasting of an NFL official during the 34-minute delay shifted into the spotlight.
Only it was John and not Jim as the antagonist.
Deadspin consulted a lip-reader to figure out what John Harbaugh was saying to Mike Kensil, the NFL's vice president of game operations, and the coach's comments were aggressive and profane.
Harbaugh apologized Monday morning during the traditional winning head coach's news conference.
"The whole blackout thing, I way overreacted," John said. "It wasn't anything to do with the blackout. The blackout had nothing to do with the game. The 49ers just outplayed us for a stretch.
"A total overreaction on my part and I feel bad about it. It was the one thing I look back on the game and I am disappointed in myself about, because I didn't have very much poise in that moment."
The ranting Harbaugh is Jim, the former Bears quarterback who had memorable and theatrical reactions in the NFC title game and Super Bowl.
Perhaps the stage and stakes got the best of John Harbaugh, especially if you consider his players' perspective.
"I think Coach Harbaugh, he's just a positive influence all the time," outside linebacker Paul Kruger said. "He's always uplifting. Every day he has some insight for you, keeping you on the right track.
"He will bring you back down to reality if he needs to. He's usually always pumping me full of good information and positive feedback. He's been the man that's led us here, got us to this point and won us this championship. I can't say enough about him. He's been a huge role model for me and the team."
Added veteran center Matt Birk, "Playing for him is better than I imagined."
So are his results.
He has led the Ravens to the postseason in all five of his seasons as head coach, and he has developed players and wisely selected coaches.
And on Sunday, Harbaugh and his staff made some great calls and moves.
During the blackout, Lewis said Harbaugh called the players together to provide a message.
" 'Whatever goes on here, it doesn't matter,' " Lewis recalled Harbaugh saying. " 'We are here to finish this race,' " and we finished it."
Harbaugh was blasted on Twitter for approving a fake field goal in the second quarter that failed. But in the final minute, Harbaugh also approved a safety that chewed up eight seconds off the clock.
Offensive tackle Bryant McKinnie said Harbaugh has a mind-set his players embrace.
"He wanted to be aggressive, and we were very aggressive the first half," McKinnie said. "That was our mind-set coming here, and being physical.
"He put that in our heads."
After the game, John and Jim shared the obligatory handshake and hug. But John had mixed emotions in his news conference after the game.
"There is no greater competitor and no greater coach in the National Football League or in the world, as far as I am concerned, than Jim Harbaugh," John said. "The way that team played proves it. What they have done the last two years is unprecedented."
What John has done, though, isn't too shabby either.


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"It's not a complete victory for the Cleveland School District," said Turnage, explaining that a lot of progress has been made in the district recently and without the lawsuit hanging over the district he believes progress may not have been made.
"I feel like the legal complaint opened the door for the creation of Bell Academy and the faculty reassignment," he said.
On Thursday, Senior U.S. District Court Judge for the Northern District of Mississippi Glen H. Davidson handed down his opinion on the 48-year-old desegregation case.
Davidson, who visited the Cleveland School District in December before making his decision, did not order consolidation of the high schools and middle schools.
"The Court notes that the predominantly African-American junior and high schools — East Side High School and D.M. Smith Middle School — are actually housed in newer and probably superior facilities than their counterparts located on the west side of the former railroad tracks," wrote Davidson.
However, Davidson did abolish the high school and junior high school attendance zones, which forced children to attend schools in the neighborhood where they lived, and he abolished the majority-to-minority transfer program, which allowed a student of majority race at one school to transfer to a school where the student's race was a minority.
In addition, Davidson wrote, "Cleveland School District is encouraged to continue developing and expanding its magnet school programs, specifically with its proposals to establish magnet programs at D.M. Smith Middle School and East Side High School. In the opinion of the Court, the District has clearly demonstrated with its two magnet elementary schools, Bell Academy and Hayes Cooper Center, that magnet schools can result in increasingly racially integrated public schools."
The abolished practices allow students to choose which high school or junior high school they want to attend.
Davidson ruled preregistration must be completed by April 1 for the 2013-2014 year and if "in the event that the existing facilities are inadequate to meet the projected registration, the Court will then address the matter with the parties as to an appropriate utilization of existing facilities."
"I think this opens up an avenue for more change," said Turnage, who explained that whether it was true or not, many students are being told that the west side of town is getting a better education.
"It causes rifts in the community and in families," he said, adding he believes the judge wanted to see how many students wanted to attend schools on the west side of Cleveland.
"I'm hoping the proposed classes at East Side High School attract students from Cleveland High. Only the future will tell," he said.
The plaintiffs in this 48-year lawsuit have the opportunity to appeal Davidson's decision.
Asked if he thought there would be an appeal, Turnage said, "My prediction … it's a continuing saga."
See www.bolivarcom.com, for Davidson's complete order.


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Rejoin the Crawley family for a fifth season of intimately interlaced stories centered on the English country estate.
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Funeral service will be at 11 a.m. Wednesday, May 15, 2013, at Charleston First Baptist Church with Rev. John Price and Rev. Gary Adams officiating. Burial followed in Rice Cemetery near Charleston with Womble Funeral Home in charge of arrangements.
Born July 10, 1990, in Clarksdale, she was the daughter of Jody Smith and the late Betty Gayle Shook Smith. She was a member of Clarksdale Baptist Church and was actively involved in the Chrysalis Community of the North Mississippi Emmaus.
She was also preceded in death by her grandparents Paul and Jean Smith and Phil and Mamie Shook.
Survivors include her father "Jody" Smith of Charleston; and brother Dave Smith of Charleston.
Pallbearers will be Blake Campbell, Brett Campbell, Greg Fillyaw, Michael Sims, Jonathan Sykes and Bubba Williams.
Memorial request may be made to the Tallahatchie County American Cancer Society, 854 Enid Teasdale Rd., Enid, MS 38927


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Kick Start: 6 Choreographers Pushing Boundaries
Februrary 9 – 11, 2012
Winchester Street Theatre
Commissioned works by six emerging, mid-career and independent artists supported with dramaturgy and mentorship.Emily Cheung, Toronto, working with Peter Chin, Toronto
Susan Lee, Toronto, working with Elizabeth Langley, Montreal
Hiroshi Miyamoto, Toronto, working with Guillaume Bernardi, Toronto
Tomomi Morimoto, Montreal, working with Elizabeth Langley, Montreal
Meena Murugesan, Montreal, working with Janet O'Shea, Los Angeles
William Yong, Toronto, working with Tedd Robinson, Ottawa -
Kick Start: 6 Choreographers Pushing Boundaries
April 23 – 26, 2014
Dancemakers Centre for Creation
Commissioned works by six emerging, mid-career and independent artists supported with dramaturgy and mentorship.Robert Abubo working with William Yong (Toronto)
Michael Caldwell working with Susie Burpee (Toronto)
Natalie Tin Yin Gan working with Lee Su-Feh (Vancouver)
Ziyian Kwan working with Barbara Bourget (Vancouver)
Emily Law working with Michael Trent (Toronto)
Bageshree Vaze working with Christopher House (Toronto) -
About Us
CanAsian Dance presents and cultivates exceptional dance inspired by Asian ideas and expressions. Led by Artistic Director Denise Fujiwara, CanAsian has earned critical acclaim for its world-class programming. This includes the biennial CanAsian International Dance Festival – a weeklong festival of performances, matinees, films and workshops that reflect dance traditions from across Asia; as well as annual artistic, educational and professional development activities.
Staff- Denise Fujiwara, Artistic Director
- Adina Herling, General Manager
- Farheen Beg, Manager of Audience Development
Board of Directors- Anne Yourt, President
- Allen Kaeja, Past President
- Menon Dwarka, Secretary-Treasurer
- David Gonzales, Director
2010 Museum Dances: Ancient Inspiration, Contemporary Interpretation
May 7 – 9 & May 14 – 16, 2010
Royal Ontario Musuem
Natasha Bakht, Ottawa, with composer Alexander MacSween, Montreal
F.A.M., Toronto
Soojung Kwon, Toronto with composer the Opaque Ensemble, Toronto
Moving Dragon Dance Company, Vancouver, with composer Michael Vincent, Toronto -
"Good art should satisfy on every level – emotional, spiritual, aesthetic. The two programs of the CanAsian International Dance Festival fulfilled that mandate."
- Paula Citron, Globe and Mail, February 26, 2011"Where cultural distinctions are concerned Toronto's biennial CanAsian International Dance Festival casts the net generously wide."
- Michael Crab, Toronto Start, February 24, 2011"The dance evening is profoundly moving on every level – physical, visual and emotional. …This first program of CanAsian is not to be missed."
- Paula Citron, The Globe and Mail, May 8, 20093 1/2 STARS out of 4!
"Program A, repeating tonight at the Fleck Dance Theatre, has as its centrepiece a moving and quite astonishing Butoh dance, quick silver, performed by Tokyo-based performer Ko Murobushi."
- Susan Walker, Toronto Star, May 8, 2009"The three dance pieces bring together Korean, Japanese and hybrid contemporary experiences, performed by artists of the highest caliber in their respective area of expertise. – Pure rapturous delight for an audience."
- Keith Garebian, Stage and Page Website, 2009"Toronto's dance scene is going to be hard pressed to meet this level of performance. Forget Lord of the Rings, or the National Ballet of Canada, or the opera – Transformations is performance that must not be missed."
- Kristine, blogto.com"…bigger and better than ever before"
- Toronto Star, 2005"A triumphant celebration of Asian roots"
- The Globe and Mail, 2005 -
Dora Mavor Moore Award Nominees and Winners
Congratulations to the following artists who were nominated for a Dora Mavor Moore Award for their performances at CanAsian!
Peter Chin, Sirijwa
Nominated for Outstanding Performance 2011
Natasha Bakht, Dafeena
Nominated for Outstanding Choreography 2010
Alexander MacSween, Dafeena
Nominated for Outstanding Original Sound Design/Composition 2010
Charles Hong, Joo Hyung Kim, Sosun Suh, Choonengmu
Winner of Outstanding Sound Design/Composition 2008
Cokaseki, TooBoe – The Howl
Nominated for Outstanding Production 2007
Keiko Ninomiya and Kinya "Zulu" Tsuruyama, You See the Tree, You Don't See the Forest
Nominated for Outstanding New Choreography, 2007
Sudarshan Belasare, Uma
Nominated for Outstanding Performance 2007
Andrea Nann, SOURCE
Nominated for Outstanding Dance Performance 2005
Fisherman's Art Factory YAN-SHU, HA-SU – breath of lotus flower
Nominated for Outstanding Choreography and Outstanding Dance Performance 2005
Roger Sinha Danse, LOHA/Thok
Winner of Outstanding Dance Performance (Tom Casey) and nominated for Outstanding Choreography 2004
Tedd Robinson, Heroic Garb and Intimate Marching
Nominated for Outstanding Choreography and Outstanding Dance Performance 2001 -
Get Involved
Want to get more involved with CanAsian Dance? Here's how:
CanAsian Dance has many exciting volunteer opportunities. Join a large group of individuals who donate their time, expertise and special skills to help make the Festival run. Have fun, meet new people, enjoy performances, and participate in a range of activities.
Board of Directors
Do you have a passion for the arts? Do you have expertise in arts management, marketing, fundraising, financial management, law or non-profit governance? Consider joining our dynamic Board of Directors. For more information, email info(at)canasiandancefestival.com.Call to Artists
CanAsian Dance's Programming Committee is interested in the outstanding performance of traditional dance art forms, distinctive new choreography that comes out of traditional dance vocabularies and original contemporary dance works that integrate Asian principles and concepts. Artists are chosen based on a call to artists, which is distributed approximately 18 months prior to each Festival. To be notified of our call to artists please join our mailing list. -
2005 CanAsian International Dance Festival
February 19 – 27, 2005
Premiere Dance Theatre
Peter Chin, Toronto, with Didik Nini Thowok, Indonesia, and Gamelan Toronto, Toronto
Denise Fujiwara, Toronto, with Mayumi Seiler, Toronto
Shobana Jeyasingh (choreographer), London, Natasha Bakht (performer), Ottawa
Hari Krishnan, InDance, Toronto
Lu Min, Shanghai
Andrea Nann with George Gao, Toronto
Alvin Tolentino, Vancouver
Yan-Shu, TokyoAsia Toronto Dances
Peter Chin (choreographer), Toronto for Canadian Children's Dance Theatre (performer)
Joanna de Souza (choreographer), Toronto for Chhandam Dance Company (performer)
Folklorico Filipino
Keiko Ninomiya
Cynthia Tsang, Art of Dance Academy
Sashar Zarif -
choreography by Roger Sinha
April 1 – 3, 2004
Betty Oliphant Theatre
Presented by CanAsian Dance Festival and Sinha Danse, MontrealExcerpt from interview with Glenn Sumi of NOW Magazine:
In his double bill Loha and Thok, opening as part of the CanAsian Dance Festival, (Sinha is) using elements of Indian classical dance and combining them with his forte, modern. "I feel that Indian dance is too weighed down by tradition," says the Montreal-based choreographer, who's studied with everyone from Peggy Baker to Trish Beatty. "There's a devotion to a certain way of learning the art form. I'm not interested in that. I didn't have a guru. It's hard for me to find legitimacy in that since I wasn't brought up with that form." Instead, he uses Bharata Natyam, the ancient Indian dance form, as a technique "in the same way," he tells me, "that La La La Human Steps' Edouard Locke uses pointe as a technique, although he wasn't trained in ballet." His new pieces were inspired by his desire to work with dancer/choreographer Natasha Bakht, who had firm training in Bharata Natyam; she's one of Menaka Thakkar's former star pupils. He wanted to marry the two dance vocabularies – Natasha's Indian with his contemporary Western – into something cohesive. "I wanted to take what I thought was lacking in Indian dance, the use of the pelvis, spine and torso, and what was lacking in contemporary dance, the fact that the energy stopped at the wrists. "I'm combining my yang," he laughs, "with Natasha's yin." -
Sustaining CanAsian Dance
CanAsian Dance has played an increasingly vital role in the artistic life of Toronto over the past 16 years. A few good reasons to support CanAsian Dance:- Artistic Director Denise Fujiwara and her colleagues have presented an extraordinary level of artistic excellence over the last 15 years. The CanAsian International Dance Festival continues to showcase some of Canada's finest and most innovative artists together with international dancers.
- CanAsian Dance works to create an atmosphere of understanding and acceptance, crossing boundaries of all kinds through its presentations of contemporary, classical and traditional dance forms, and drawing from the heritages of many Asian countries.
- We stimulate Toronto's wider dance community by bringing master dance artists from around the world to inspire and teach, and by celebrating our own masters and providing opportunities for them to share their work.
- We help to build Toronto's future audiences by welcoming youth into the theatre and by bringing both dance artists and study guides into their schools.
- The creative energy and community feeling generated by CanAsian Dance are an important part of what makes Toronto a great city to live in.
2003 CanAsian International Dance Festival
March 22 – 30, 2003Commissions
Yvonne Ng (choreographer) with Lee Pui Ming (composer), Toronto, ON
Devraj Patnaik, Burlington, ONMainstage
Mi Young Kim, Toronto
William Lau, Toronto
Roger Sinha (choreographer) for Natasha Bakht (performer), Montreal
Lee Su-Feh, Vancouver
Yumiko Yoshioka, Germany/JapanAsia Toronto Dances
Gunaseelan Dance Company, Toronto
Maxine Heppner. Toronto
Yan Lam, Toronto
Rina Singha, Toronto
Jeng Yi, Toronto -
Contact Us
Email: info (at) canasiandance.com
Phone: 416.593.8455
Mail: 5998 Bathurst Street,P.O. Box 8039Toronto, ON M2R 1Z1
Facebook: https://www.facebook.com/CanAsianDance
Twitter: https://twitter.com/canasiandance -
2001 CanAsian International Dance Festival
March 17 – 24, 2001Commissions
Peter Chin (choreographer) for Chan Hon Goh (performer), TorontoPerformances
Maria Darmaningsih, Lethbridge, AB
Gamelan Toronto, Toronto
Kokoro Dance, Vancouver
Devraj and Ellora Patnaik, Burlington, ON
Tedd Robinson (choreographer), Ottawa, ON for Denise Fujiwara (performer), Toronto -
1997 - 1999
May 1997
Jahanara Akhalaq, Toronto
Peter Chin, Toronto
Joanna Das and Esmeralda Enrique, Toronto
Yvonne Ng, Toronto
Mariko Tanabe, Montreal, QC
Carly Wong, TorontoMay, 1998
Jay Hirabayashi, Vancouver
Studio Performance
Denise Fujiwara, Toronto
Jay Hirabayashi, Residency work-in-progress, Vancouver
Mi Young Kim Dance Company, Toronto
Ellora Patnaik, Toronto
1999 CanAsian International Dance Festival
April 29 – May 1, 1999
Mi Young Kim, Toronto
Choreography Residency
Roger Sinha, MontrealMainstage
Peter Chin, Toronto
Hari Krishnan, Toronto
Ziyan Kwan/Barbara Bourget, Vancouver
Alleluia Panis Dance Theatre, San Francisco
Sinha Danse, Montreal
Mi Young Kim, TorontoAsia Heritage Month Matinee
Sukalyan Bhattacharjee, Edmonton, AB
Folklorico Filipino, Toronto
Hari Krishnan (choreographer) for Nova Bhattacharya (performer), Toronto
Yan Lam, Toronto
Roger Sinha (Residency work-in –progress), Montreal, QC -
Bageshree Vaze
← backThrough invasions and migrations – political and personal – a sense of displacement has influenced Indian dance performance, and the boundaries of movement and rhythmic aesthetics in Kathak dance have continually been redefined through individual interpretation and improvization. 'In my (dis)place' explores Vaze's search for a time and space in Kathak dance that is sometimes sacred, often personal, and ultimately uplifting in discovering a fantasy of rhythm and movement.
Bageshree Vaze (choreographer)
Bageshree Vaze has trained in the South Indian style of Bharatha Natyam with the late Guru T. K. Mahalingam Pillai in Mumbai, & studied vocal music with her father, Damodar Vaze. She later trained in Kathak dance with Jai Kishan Maharaj in New Delhi, & studied vocal music with Veena Sahasrabuddhe. Bageshree has choreographed numerous Kathak dance works & has performed in major festivals in North America & India. In 2004, MTV India named her an 'ubbharta sitara' (rising star), & in 2010 she was awarded the K.M. Hunter Award in Dance.
www.bageshree.comChristopher House (dramaturg)
Christopher House was born and raised in St. John's, Newfoundland. Resident Choreographer of Toronto Dance Theatre since 1981 & Artistic Director since 1994, he has contributed over fifty works to the repertoire. He has also created works for Lisbon's Ballet Gulbenkian, the National Ballet of Canada and Les grands Ballets Canadiens, directed two collaborations with The Hidden Cameras & made several short films and videos. Christopher has received many awards for his work. He is an Associate Dance Artist of Canada's National Arts Centre. www.tdt.org
Emily Law
← backThis work researches the question of how to find spontaneity and freedom while also developing intricacies. The two performers interact with popular images of classic Kung Fu cinema, while utilizing movement concepts from various street dances.Emily Law (choreographer)
A graduate of The School of Toronto Dance theatre, Emily has dedicated her life to dance. She has extensively trained and competed in house dancing and waacking. She is a founding member of the house dance crew Warehouse Jacks and Mix mix Dance Collective. Emily has worked with companies and artists such as: Kaha:wi Dance Theatre, Valerie Calam, D.A. Hoskins, Brendan Jensen, Alias Dance Projects, Gadfly, The Chimera Project, the Parahumans Dance Theatre, Event Horizon Dance, Piotr Biernat and was a resident artist at Sound Travels 2006. She has been nominated for a Gemini and 3 Dora Mavor Moore awards including outstanding female performance.
Michael Trent (dramaturg)Michael Trent has been Artistic Director of Dancemakers and the Centre for Creation since 2006. Works to date for the company include new versions of things in between, Random Access, and Acts of Light as well as new creations Dark, Quiet & Cool, Constructing Doubt, Double Bill #1 with Ame Henderson, It's about time: 60 dances in 60 minutes, Double Bill#2 with k.g. Guttman, The Adaptation Project, loveloss and Night Shift, a 12-hour site-specific work for Toronto's Scotiabank Nuit Blanche created with visual artist Brendan Fernandes.
Robert Abubo
← backRobert Abubo (choreographer)
Robert Abubo has been a member of Dancemakers and a part of Michael Trent's artistic team since September 2008. Abubo worked with Le Groupe Dance Lab from 1994 to 2006, under artistic director Peter Boneham. As an independent dance artist he has worked with Tedd Robinson, Louise Lecavalier, Sylvain Émard, Lynda Gaudreau, Shannon Cooney, Bill James, Luc Dunberry, Winnipeg's Contemporary Dancers, Heidi Strauss, Kate Hilliard, Ame Henderson and Dana Gingras. Abubo's own choreographic works have been presented by the Canada Dance Festival, Tangente, Dancer's Studio West, Kaeja d'Dance, Dancemakers and Nuit Blanche (Toronto). Abubo graduated from David Moroni's class of the Royal Winnipeg Ballet School's professional division.William Yong (dramaturg)
William Yong was trained at the London Contemporary Dance School in England and was admitted to the Master of Arts with distinction by University of Kent. He has worked with Wayne McGregor's Random Dance, Matthew Bourne's Adventures in Motion Pictures, Toronto Dance Theatre, CORPUS, Theatre Rusticle, Lina Cruz's Fila 13 and many others. William has performed in eleven dance films. Currently William is the artistic director and choreographer of Zata Omm Dance Projects (www.zataomm.org). William is a double Dora Mavor Moore Award nominee. William was also nominated for the Young Centre Performing Arts Multidisciplinary Dance Artists Award and K.M. Hunter Artists Award. He is recently awarded the winner of 2013 Canadian Dance Assembly's 'I love dance/J'aime la danse Award for Innovation'. Currently he is working on Zata Omm's next full-length production vox:lumen premiering in March 2015.
Michael Caldwell
← backInspired by personal visits to temples/pagodas throughout Japan and Vietnam, Caldwell's new duet examines the act of worship through the lens of a dysfunctional pair of lost souls. With a strikingly expressive movement score, the work explores the structures that we invent to help define our lives – the pedestals that we erect and the temples that we create in each other.
Michael Caldwell (choreographer)Michael Caldwell's work has been presented in the dance: made in Canada Festival, Dance Ontario Weekend, Dusk Dances, Porch View Dances, and the Toronto Fringe Festival, and he has been commissioned by opera vocalist, Patricia Ruggles. He is a graduate of The School of Toronto Dance Theatre's Professional Training Program, and holds a bachelor's degree in film / art history from Syracuse University. He sits on the board of The School of Toronto Dance Theatre, is co-chair of the Canadian Alliance of Dance Artists – Ontario Chapter, and is associate curator for Older & Reckless.
Susie Burpee (dramaturg)
Susie Burpee creates 'fully human characters, struggling for connection' (The Toronto Star). She works in contemporary dance & theatre, and has received Dora Awards for choreography and performance. Recent credits include Someone Else (Crow's Theatre) and the Dora-winning Road Trip. A recipient of the K.M. Hunter Artist Award, Susie was a company dancer for Dancemakers and Le Groupe Dance Lab. She completed her professional training at the Professional Program of Contemporary Dancers in Winnipeg, and studied at L'Ecole Philippe Gaulier in Paris (Character and Bouffon). Susie teaches and mentors emerging professional artists.
Natalie Tin Yin Gan
← backAs an Asian-Canadian artist I am driven by questions about embodied knowledge, identity and loss in an era of globalization, mass immigration, and hyper-mobility. NINEEIGHT (working title) is an exploration of Mo Lei Tau, a phenomenon of absurdist, comedic film that emerged in Hong Kong in the 1990's and earned international acclaim through the work of actor/director Stephen Chou. NINEEIGHT will aim to dissect the elements of this sub-genre to inquire what they express given a new time, place, and medium.
Natalie Tin Yin Gan (choreographer)
Natalie Tin Yin Gan is a contemporary dancer, choreographer and instructor based in Vancouver. She holds a double major in Dance and International Studies from Simon Fraser University. Natalie is drawn to interdiscplinarity, cultural politics, and identity crises. She explores these with her company, Hong Kong Exile.Lee Su-Feh (dramaturg)
Lee Su-Feh is a dancer, choreographer, dramaturge and teacher born and raised in Malaysia, where she studied with teachers who strove to find a contemporary Asian expression out of the remnants of colonialism and dislocated traditions. In addition to dance and theatre, Su-Feh has studied and practiced Chinese martial arts for more than 30 years. Since arriving in Vancouver in 1988, she has created a body of work that interrogates the contemporary body as a site of intersecting and displaced histories and habits. In 1995, she co-founded battery opera performance with writer/performer David McIntosh. Her latest work is Sweet Gyre (2013), her second collaboration with Montreal choreographer Benoît Lachambre and Juno Award-winning composer Jesse Zubot.
Ziyian Kwan
← backZiyian Kwan (choreographer)
Ziyian Kwan lives in Vancouver where she has worked and played as a dance artist since 1987. As an interprète she has performed close to 100 original creations by an eclectic range of artists on international stages. In January 2012, Ziyian formed dumb instrument Dance, a collage of activities that comprises her creative life: commissions, site-specific installations, unorthodox dance actions and experiments with choreography. www.dumbinstrumentdance.com
Barbara Bourget (dramaturg)
Barbara Bourget is the Co-Producer of the Vancouver International Dance Festival and the Artistic Director of Kokoro Dance, the post-butoh dance company that has been named by The Georgia Straight as one of the ten best reasons to live in Vancouver. Barbara has choreographed over 150 dance works including more than 40 full evening works. Barbara's art is characterized by its continual exploration of the feminine, the dark, and the theatrical. Her critically-acclaimed works include Crime Against Grace, Dance of the Dead, Sunyata, the trilogy of works Sade I, II, and III, F, and four collaborations with the Vancouver Symphony Orchestra. Barbara has a Master of Fine Arts – Interdisciplinary Studies from Simon Fraser University. In September of 2011, Barbara was awarded the Mayor's Arts Award in Dance from the City of Vancouver.
CanAsian Dance presents and cultivates exceptional dance inspired by Asian ideas and expressions.
Thank you to everyone that made KickStart a great success! All the best to this year's choreographers as you develop & share your new works.
Do you have a passion for the arts? Interested in becoming a Board member or festival volunteer? Click here for more info.


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Date: 06/04/2013 - 08/31/2013
Time: All Day
Share a postcard or photo of your summer vacation fun: here or afar. We will display them in the library. Mail to Gordon Avenue Library 1500 Gordon Avenue
Charlottesville, VA 22903 or email to firstname.lastname@example.com or just bring it in on your next visit.


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New York Mysteries: Secrets of the Mafia Collector's Edition
New York, 1955. It's become dangerous in the city. The mafia is trying to seize power. But recently, a new force appeared. A far more terrible force. Over the last few days, five mafia bosses have disappeared in mysterious circumstances. A strange liquid and a butterfly were found at the scenes of the disappearances. But this isn't what scared the citizens... Children started to disappear in the city. All of them drew exactly the same butterflies before they disappeared. This forced detectives and journalists alike to start their investigations.
This is a special Collector's Edition release full of exclusive extras you won't find in the standard version. As a bonus, Collector's Edition purchases count toward three stamps on your Monthly Game Club Punch Card!
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We named this American-made collection of natural, eco-friendly, hand-made, solid wood bedroom furniture after Dr. Rosalind Renfrew, a dedicated wildlife biologist in Vermont. We first encountered Roz when she was leading the Vermont Breeding Bird Atlas project. We're grateful for her passion and expertise in ornithology, and her commitment to the conservation of Vermont's birds and the forest habitats they live in.
The upscale Renfrew Shaker Furniture Collection features integrated design details such as fluted legs, thumbnail edges and raised panel drawer fronts. We have many additional sizes and styles, and of course we are always happy to create unique custom furniture pieces just for you!
Learn more about buying online, our woods and finishes or give us a call at 888-390-5571/contact us with your questions. Read more about our story and fine furniture craftsmen or about our green mission on our Eco Blog.


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Funeral service will be at 11 a.m. Saturday, November 17, 2012, at William Chapel in Ruleville with Rev. W.E. Williams officiating. Burial will follow in Green Grove in Doddsville.
Visitation will be from 2-6 p.m. Friday, November 16, 2012, at Byas Funeral Home in Ruleville and beginning at 10 a.m. Saturday at the church.
Survivors include sons, Tonil Clarence Jones and Eddie Lee Jones, both of Ruleville, Willie Earl Jones of Chicago, Ill.; daughters, Lottie M. Willis and Ida Mae Jones Truss, both of Chicago, Catherine Jones and Silver Jean Jones, both of Ruleville, and Dorothy Gene Jones of Moss Point; 23 grandchildren; and a host of great-grandchildren and great-great-grandchildren.
Online guestbook may be viewed at www.byasfuneralhomes.com


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The Cleveland School District recognizes that children do not control their social conditions and therefore it strives to ensure that each child has what he needs to achieve academically.
According to standards outlined by the state, the Cleveland School District has a significantly high homeless rate.
"Homeless is a very broad definition — we are not just talking about children that are out on the streets. If two single mothers decide to move in together, then they both are considered homeless," said Brenda Ellis, parent liaison and assistant superintendent.
Ellis said that the Cleveland School District usually determines whether or not a child is homeless during the registration process.
"When parents come in to register children, they must provide two proofs of residency and if they don't have those two proofs of residency because they are staying with someone, then we don't investigate it further. We choose not to further investigate because they are automatically classified as being homeless," Ellis said.
Mississippi utilizes standards outlined in the McKinney-Vento Act to determine whether or not a child is deemed or considered homeless.
Homeless children according to the act includes children and youth who are sharing the housing of other persons due to loss of housing, economic hardship or similar reason; living in motels, hotels, trailer parks, or camping grounds due to lack of alternative adequate accommodations; living in emergency or transitional shelters; abandoned in hospitals; or awaiting foster care placement.
Ellis said she came across a child whose mother was on drugs, his father was incarcerated and he lived with his grandmother.
According to federal regulations, the child was considered to be an unaccompanied youth, which is considered homeless.
Ellis said the Cleveland School District provides homeless students with supplies, uniforms, transportation, personal hygiene items and tutoring services.
These services are funded through Title I and Homelessness grant programs.
Due to regulations outlined by Mississippi, these services may be provided through programs on school grounds or at other facilities; and these programs and services shall not replace the regular academic program and shall be designed to expand upon or improve services provided as part of the school's regular academic programs.
Ellis said that Hurricane Katrina caused an influx of what the state describes as homeless students to migrate into the district.
"We were more than happy to service the students but we were unable to receive their school records," Ellis continued.
"In this case, we could only use information that the parent had on them when they evacuated. For the most part, all of the school records had been destroyed. We had to literally take the parent's word and try to find placement for the children," she said.
The district also used placement test, age and physical size to determine an appropriate placement for the children.
"The placement of children is considered and reviewed by the Placement Review Committee. We do not require children to have any records because sometimes it is hard for them or their caregivers to obtain records," said Ellis.
"By law, any child has the right to attend school — they cannot be discriminated against," she added.