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PUBLISHED: 17 Jul 2012 00:32:08 | UPDATED: 17 Jul 2012 00:47:16PUBLISHED: 17 Jul 2012 PRINT EDITION: 17 Jul 2012YouTube is emerging as a major platform for news, a US study shows. The Pew Research Centre's Project for Excellence in Journalism has released a review of 15 months of the most popular news videos on the site.
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female looking for quality resources
female looking for quality resources
Hi! My girlfriend is 31 and suffers from hypothyroidism. She is currently taking synthroid and has been tossing the idea of steroid use around for a while since she has a really hard time losing any weight. Right now she's 200 and can't break below this. So, could anyone help us out and point us to some good resources that cover female use while dealing with hypothyroidism, if possible? Appreciate any help we can get. Thanks! Love the site.
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What's her exercise regime?
Steroids will just make her fatter.
Diet an exercise will make her skinny.
Hypo/hyper, well then she's gonna have to eat a little cleaner and exercise a little harder than a normal healthy person.
If you think she's eating clean, an working out 1-2hrs 5-6 days/week an can't loose weight, don't let her fool you, she's sneaking in some little Debbie snack cakes somewhere.TGB SUPPLEMENTS REP
Pm me for recommendations jbry5 to save 5%
www.tgbsupplements.com -
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More thyroid should do the trick. Stacked with more cardio
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You and I both know this may not be the case man.
Other underlying issues insufficient calories along with hypothyroid or excess calories
Look into blood work.
Full thyroid panel that includes thyroid binding globulin and pre albumin along with free t3/4 and rt3
Stress generally raises rt3 and may negate the effects of a decent t3 readingEnhanced Body Formulations Product Educator
For any questions on our products that need a quick response, please email me directly
EnhancedBodyFormulations@gmail .com - 01-25-2014, 12:46 PM
yea, but it isn't as humorous. gotta get all serious on us.
ultimately what it comes down to seriously, is this isn't a place to be seeking that kind of advice. the doctor is where you'd want to discuss this issue.
steroids aren't magic, and they will also negatively impact her thyroid.TGB SUPPLEMENTS REP
Pm me for recommendations jbry5 to save 5%
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Malibu may only have a population of 12,645 but a good percentage of the residents, renters and weekend warriors happen to be celebrities. And seeing that Malibu is gorgeous, has fabulous beaches and is very proud of it's "27 miles of scenic beauty," it just happens to be a great place for their families.
Stars go to their beach houses, the Malibu Country Mart, and their own local neighborhood Nobu. But most of all, they go there for the beaches.
Check out these 14 Malibu Moms (and Dads) right here.
Who hangs out in this movie star Mecca?
Photos: PCN


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Opens 7 a.m. on Monday, Feb. 23 to midnight March 6. Choose up to three design concepts, the results will be will used by the Pier Selection Committee for final ranking and selection to Mayor and City Council on March 20.
Seven shortlisted design teams presented their concepts to the Pier Selection Committee on February 11 and 12 at The Coliseum. Those presentations are now available in their entirety online.
The public is invited as the seven shortlisted design teams for the new city Pier present their concepts to the Pier Selection Committee on February 11 and 12 at The Coliseum. Each team will have fifty minutes to make their presentation followed by a question and answer session by the Selection Committee. The public will have the opportunity to make comments at the close of each day's presentations.
The technical review report will be provided to the Pier Selection Committee who will use the findings to assist them with developing the short list of Design Teams and ranking for their recommendation to the Mayor and City Council.
The city has received 8 preliminarily design concepts from the teams. Each team received a $30,000 stipend to submit initial design concepts, complete with reports, renderings, cost estimates and a description of how the programmatic elements meet the findings of the Pier Working Group.


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By Elizabeth White | Article Rating: |
October 8, 2012 07:45 AM EDT | Reads: |
4,553 |
Cloud Expo Silicon Valley $500 Savings here!
SYS-CON Events announced today that RightScale Inc, the leader in cloud computing management, will exhibit at SYS-CON's 11th International Cloud Expo, which will take place on November 5-8, 2012, at the Santa Clara Convention Center in Santa Clara, CA.
Explore Cloud Expo Sponsorship & Exhibit Opportunities !
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A Rock Star Faculty, Top Keynotes, Sessions, and Top Delegates!
Cloud Expo 2012 Silicon Valley, November 5-8, at the Santa Clara Convention Center in Santa Clara, CA, will feature technical sessions from a rock star conference faculty and the leading Cloud industry players in the world.
The growth and success of Cloud Computing will be on display at the upcoming Cloud Expo conference and exhibition in Santa Clara, CA, November 5-8, 2012.
The recent Cloud Expo at the Javits Center in New York City, NY, was the largest Cloud Computing conference ever produced with more sponsors, exhibitors and delegates than all other Cloud events of the year combined!
Cloud Expo Silicon Valley will attract more than 10,000 delegates from 48 countries and over 200 sponsors and exhibitors!
All main layers of the Cloud ecosystem will be represented at the 9th International Cloud Expo - the infrastructure players, the platform providers, and those offering applications, and they'll all be here to speak, sponsor, exhibit and network.
"Cloud Expo was announced on February 24, 2007, the day the term 'cloud computing' was coined," said Fuat Kircaali, founder and chairman of SYS-CON Events, Inc. "Cloud has become synonymous with 'computing' and 'software' in two short years, and this event has become the new PC Expo, Comdex, and InternetWorld of our decade. By 2012, more than 50,000 delegates per year will be attending Cloud Expo."
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Cloud Expo 2012 Silicon Valley "show prospectus" has shipped. Sponsorship, exhibit, and keynote opportunities can be obtained from Carmen Gonzalez by email at events (at) sys-con.com, or by phone 201 802-3021.
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Cloud Expo delegates can pre-register for Cloud Expo Silicon Valley with $500+ savings here.
About SYS-CON Media & Events
SYS-CON Media (www.sys-con.com) has since 1994 been connecting technology companies and customers through a comprehensive content stream at www.sys-con.com - featuring over forty focused subject areas, from Cloud Computing to Web Security - interwoven with market-leading full-scale conferences produced by SYS-CON Events. The company's internationally recognized brands include among others Cloud Expo (www.CloudComputingExpo.com), Big Data Expo (http://BigDataExpo.net), Virtualization Conference & Expo (www.VirtualizationConference.com), Government IT Conference & Expo (www.GovITExpo.com), Cloud Computing Bootcamp (www.CloudComputingBootcamp.com), and UlitzerLive! New Media Conference & Expo (http://events.sys-con.com).
Cloud Expo, Cloud Expo East, Cloud Expo West, Cloud Expo New York, Cloud Expo Silicon Valley, Cloud Expo Europe, Cloud Expo Tokyo, Cloud Expo Prague, Cloud Expo Hong Kong, Cloud Expo Sao Paolo are trademarks and /or registered trademarks (USPTO serial number 85009040) of Cloud Expo, Inc.
Published October 8, 2012 Reads 4,553
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More Stories By Elizabeth White
News Desk compiles and publishes breaking news stories, press releases and latest news articles as they happen.
One of the biggest impacts of the Internet of Things is and will continue to be on data; specifically data volume, management and usage. Companies are scrambling to adapt to this new and unpredictable data reality with legacy infrastructure that cannot handle the speed and volume of data.
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By Carmen Gonzalez Wearable devices have come of age. The primary applications of wearables so far have been "the Quantified Self" or the tracking of one's fitness and health status. We propose the evolution of wearables into social and emotional communication devices. Our BE(tm) sensor uses light to visualize the skin conductance response. Our sensors are very inexpensive and can be massively distributed to audiences or groups of any size, in order to gauge reactions to performances, video, or any kind of present... Mar. 1, 2015 12:00 AM EST Reads: 2,942 |
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By Carmen Gonzalez Skeuomorphism usually means retaining existing design cues in something new that doesn't actually need them. However, the concept of skeuomorphism can be thought of as relating more broadly to applying existing patterns to new technologies that, in fact, cry out for new approaches.
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Examples of perhaps some of the worst care in other staff reports since 1999 include: a Chicago nursing home where dozens of residents were found in physical restraints, many in violation of federal health and safety standards, and a San Francisco nursing home where inspectors found hundreds of ants crawling over the body and in and out of the mouth of an 83-year-old resident.
Nursing home representatives argued that the "overwhelming majority" of nursing homes meet government standards and that many violations causing actual harm are actually trivial in nature, the report said.
The report countered that many allegations were examined in detail, documenting harmful violations, including at least one incident that contributed to a death.
Many other incidents were documented that, the report said, "would be of great concern to families, but were not classified as causing actual harm … "


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Umami Burger is a new burger concept by Los Angeles-based restaurant creator Adam Fleischman, a self-taught chef and successful food and wine entrepreneur. Umami is a Japanese word describing the pleasant and savory taste imparted by glutamate, a type of amino acid,...
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Visit Howie's Cantina for some of the best Mexican & American food in Simi Valley. On August 10, 17, 31 the 70's and 80's dance band Flashback Express will be entertaining from 8pm to 11:30. There is no cover charge and kids...


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Tyler Confirms Bandmate Is Back In Hospital
Rocker Steven Tyler has confirmed reports bandmate Joe Perry is back in hospital undergoing another round of knee surgery.
Aerosmith have been forced to cancel a festival appearance in Venezuela next month (Feb09) after guitarist Perry fractured his knee during rehearsals.
Tyler tells WENN, "Playing Venezuela was my idea of a perfect way to start the New Year. But, having heard Joe had to revisit the hospital this month, the band are truly disappointed we cant be in Caracas, and we hope to see everyone there soon."
The surgery will correct unforeseen complications from a previous surgery on the same knee.
In March 2008, Perry underwent total knee replacement surgery - an operation he put off for two years so that he could fulfil the bands live commitments.


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Wagner was fascinated by outcasts and wanderers for much of his operatic career – think of the remorseful Tannhäuser or the 'pure fool' Parsifal. The Dutchman is one of Wagner's earliest wanderer-heroes. The passion and introspection of his Act I aria anticipates Wagner's later intense solos for bass-baritone, including the monologues of Hans Sachs (Die Meistersinger von Nürnberg) and Wotan (Der Ring des Nibelungen).
The Dutchman's aria pays tribute to the structure of the Italian bel canto aria (Wagner was an admirer of Bellini) while subtly subverting it. It follows a traditional pattern: dramatic opening recitative; first section of the aria; arioso transitional section (halfway between recitative and song); and a rapid closing section. However, both parts of the aria are quick (unlike many Italian two-part arias, which have slow, reflective opening sections), and the divisions between sections increasingly blurred. The rapid fluctuations in mood are also uniquely Wagnerian.
The aria opens with dark-toned chords for double basses, tuba and bassoon and chromatic wave-like figures in cellos and violas as the Dutchman takes his first steps on land. The chromatic sextuplets imply his unsteadiness after seven years on board the ship – Wagner noted in his precise stage instructions how 'his rolling gait… is peculiar to sailors who have spent a long time away at sea'. The Dutchman sings his first lines unaccompanied as he meditates that 'The time has come': once again he is cast up on land to try to find redemption. Surging scales in the orchestra illustrate his despair as he remembers past disappointments. His mood remains volatile throughout the following recitative, shifting rapidly from resigned exhaustion to bursts of anger.
A drum-roll leads from the recitative to the first part of the aria, based on material from the overture associated with the Dutchman's endless voyaging. To a storm-tossed accompaniment the Dutchman describes his perpetual wanderings, and his attempts to end his suffering by wrecking his ship or attacking pirates. The rich, dark-hued orchestral textures thin out dramatically as the Dutchman remembers how even the fiercest corsairs fled his ship making the sign of the cross, then build up again in a furious climax as the Dutchman, in rising, strongly accented phrases, cries: 'Nowhere a grave! Never death!' Fragments of the storm motif are heard in the strings as the music quietly subsides.
The Dutchman's mood shifts again, from agony to earnest beseeching, reflected by a move from the 6/8 time signature to a slow 4/4. The Dutchman begs his guardian angel to tell him if the promise of salvation was merely offered in mockery; he sings in sustained, almost hymn-like phrases, accompanied by delicate string tremolos and held chords in the wind. This gentler mood does not last. To another orchestral outburst the Dutchman cries out in anguish 'Vain hope! Terrible, futile folly!'. A sudden silence, underpinned by quietly rolling timpani, is broken by growling chords in the low strings and tubas as we move into the aria's final section.
In long, ascending phrases the Dutchman yearns for Judgement Day, in a vocal line that veers between sustained singing and furious declamation. The dark orchestral timbre, of furious swirling strings and vehement interjections from the brass and percussion, adds further force to this vivid aural picture of the Dutchman's nihilistic despair. After his final declaration 'Eternal Destruction, take me!' trombones sound the opera's opening 'Dutchman motif', over demonic major chords. Then, terrifyingly, we hear the ghostly crew quietly echo their captain's words. A brief sighing figure in the strings highlights their misery. The aria closes with the 'Dutchman motif' played very quietly on the horns – an unsettling end to this brilliant depiction of a mind in torment.
Der fliegende Holländer runs 5–24 February 2015. Tickets are still available.
The production will be broadcast live to cinemas around the world on 24 February 2015. Find your nearest cinema.
The production is given with generous philanthropic support from Marina Hobson OBE and the Wagner Production Syndicate.
Alexander Pushkin's verse novel Eugene Onegin is anything but an ideal subject for a dramatic, operatic or choreographic adaptation. Apart from the metric structure of the writing, the events are related by an anonymous narrator, who takes constant care to provide the reader with an often amazingly detailed wealth of information. In other words, Pushkin's work is not just an engagingly tragic story, but also a richly woven and somehow complex psychological portrayal of characters living, like the author himself, in an era of change.
Choreographer John Cranko had a unique talent in dealing with the seamless and theatrically effective juxtaposition of pure storytelling and the psychological portrayal of the various characters. In his 1965 ballet Onegin, such juxtaposition reaches high levels thanks to a constant use of choreographic and dramatic shadings that allow the viewer to appreciate in full the relationship between the inner microcosms of each character and the twists of their everyday reality.
Every single character in the ballet expresses himself or herself through a powerful language of dramatic gestures. And yet none of these movements stems from the well-established tradition of what is normally referred to as 'ballet mime'. Nor are these gestures too literal, even though they remain readable, immediate and accessible throughout the whole work.
Look at the way Onegin repeatedly 'encircles' Tatiana with his arms in the final duet. It is not a common, everyday movement, nor does it stem from any theatre-related convention. It is primarily a choreographic gesture, created in line with the steps and the dynamics of the dancing it complements. And yet that repeated motion speaks volumes about Onegin's final attempt to rekindle Tatiana's lost love. It is a gesture that combines remorse, passionate desire and reverential, almost religious respect for the now unattainable object of his desire.
Similarly, the arm that Lensky extends towards the sky while performing the brief trio with Olga and Tatiana in the duel scene is an instantly readable gesture, though not a strictly conventional or literal one. The contrasting dynamics of the movements performed by the two women – keeping close to each side of the man – turn that theatrically effective movement, albeit disarmingly simple and brief, into a highly expressive one. It is both an invocation of a superior entity, begging for mercy, and the typical expression of sorrow, despair and rebellion against fate typical of those who sense an impending tragedy.
A few minutes earlier, Lensky's breathtaking solo has transmitted the young man's doubts, fears and sadness through a number of similar gestural devices. The right hand rests gently either at the forehead or at the heart while the dancer balances with a leg fully extended backwards: this is synonymous with the lyrical nature of the young man, a would-be poet living in a world made mostly of dreams and extreme passions. The gesture, in its two variants, makes an immediate reference to both the tragic thoughts (the forehead) and the strong emotions (the heart) that underscore Lensky's turmoil.
It would be wrong to credit Cranko with the 'invention' of these theatrically effective movements. Innovative as they may be within the context of the 1965 ballet, they are simply an ingenious adaptation of similarly expressive, non-conventional and non-literal gestures that had already been explored by a number of British-based choreographers. But there is little doubt that, together with a unique sense of dance-making that allowed Cranko to delve further into the inner depths of his own characters, that language of gesture soon became one of the distinctive traits of his art and one of the most significant innovations of modern ballet. As such, it stands as a splendid reminder that ballet, after all, is theatre, and not just meaningless steps.
This is an extract from Giannandrea Poesio's article 'Gestures that Speak' in The Royal Ballet's programme book, available during performances and from the ROH Shop.
Onegin runs 24 January–27 February 2015. Tickets are still available. The production is given with generous philanthropic support from Simon and Virginia Robertson, David Hancock, Lady Jarvis, Lindsay and Sarah Tomlinson, The Artists' Circle and The Royal Opera House Endowment Fund.
]]>Giordano's opera Andrea Chénier contains different ways of matching music and drama. There's the Act I Improvviso, a famous and lyrical section in which the character of the eponymous hero is established. But Act III shows another very different use, more like a film score, in which the music responds to each twist of action to heighten its impact. Expansive melody is reserved for the lead characters, for intense emotional statements. But the sequences of short scenes that race us through the action require a different, strongly kinetic style.
Threat, violence and war provide the atmosphere for the whole opera, and the portentous chords that begin Act III conjure up a sombre mood indeed. The instructions for the stage picture include those for a large banner that proclaims 'Citizens! Your country is in danger!'. They further describe the room for a tribunal in Paris in 1794, during The Terror of the French Revolution, where men and women will be judged. If – or more likely when – found guilty, they are sentenced to death by the guillotine.
The French Revolution, though not listed as a member of the cast, is as good as one. The politics and events of it give us the actions of the story – but it is the atmosphere drenched in suspicion and danger that heightens the central love story. Each act has some sort of central conflict between the individual and the state, and in Act III this is presented head on in a series of encounters that include Chénier's trial.
Some genuine music from the Revolution is included. In the first part of Act III, an elderly woman offers her sole surviving grandson up to fight for the Revolutionary cause. Her music is expressive against the haranguing and harshness that has come before it, where two characters drum up support for the Revolution. Then a crowd outside sings La Carmagnole, a genuine peasant dance tune that had words added in about 1792 to become a song of the Revolution. Giordano includes this melody in his score to give a precise sense of place and time and portray in sound the historical authenticity included in the opera.
Insistent music in continuous triplets underpins the curious and even bloodthirsty mob as they assemble to watch the Tribunal and chatter. But the murmurings die down as sustained low chords mark the arrival of the jury and a return to the atmosphere from the start of the act. With a sombre low melody in the orchestra, the populace comment on the arrival of the jury and finally the Public Prosecutor himself, Fouquier-Tinville. Prisoners are announced, and scorned by the public – 'Aristocrats!'. Chenier is accused of being against the Revolution – 'A traitor'.
The broken up, aggressive, non-melodic style turns heroic for Chénier's defence of himself. There is no sustained melody, but declamatory statements to the accompaniment of loud chords with tremolo strings and sudden changes of register or volume that convey the weight of each of Chénier's phrases. He proclaims his patriotism, accepts that his life can be taken, but not his honour! The response from Fouquier-Tinville is a passionless, unaccompanied intoned sentence: 'Call the witnesses'.
The final part of the trial has Gérard attempt to save Chénier by revoking his invented accusations against the poet, but the crowd shout him down. As the sound of drums of soldiers passing by intrudes, Gérard uses it to point the contrast between the soldiers fighting for their motherland and a tribunal that kills poets. The verdict is returned, spoken, not sung: 'Morte!' – death. The orchestra rushes in, an immediate and dramatic contrast to the sparse and unmelodic fragments of sound of the trial, as a swift conclusion in sound – a musical exclamation mark to the act's fateful turn of events.
Andrea Chénier runs 20 January–6 February 2015. A limited number of tickets are still available; there are also 67 day tickets for each performance, and returns may become available.
The production is a co-production with the National Centre for the Performing Arts, Beijing, and San Francisco Opera, and is given with generous philanthropic support from Mrs Aline Foriel-Destezet, Mrs Susan A. Olde OBE, Simon and Virginia Robertson, Spindrift Al Swaidi, Mercedes T. Bass and Mrs Trevor Swete.
]]>Italian opera of the fin de siècle is characterized by dramatic, fast-paced action. But there are also more lyrical sections, which provide us with an invaluable glimpse into the principal characters' emotional lives. It is unlikely that we would care so much about Mimì and Rodolfo in La bohème if Puccini had not written Rodolfo's passionate aria 'Che gelida manina' and Mimì's tender response 'Mi chiamano Mimì' in Act I. Likewise, the charisma of Cilea's actress-heroine Adriana Lecouvreur owes much to her radiant first-act aria 'Io son l'umile ancella'. Giordano too opens up his main character through song, in the process rendering his hero Andrea Chénier irresistible – to us as well as to heroine Maddalena di Coigny – through the noble aspirations and yearning for love that he explores in the Act I 'Improvviso'.
Chénier sings the 'Improvviso' (literally, an improvisation) in response to a flippant comment from Maddalena. He feels out of place at the Contessa di Coigny's snobbish party, and when the Contessa and Maddalena ask him to recite a poem he refuses, telling them that the Muse cannot be commanded. Maddalena laughs mockingly at the Muse's absence from the party. Chénier is roused to anger, and declares that she has wounded his soul. To sustained string and woodwind chords, he solemnly declares that Maddalena will now hear a poem about the meaning of love.
Accompanied by woodwind, solo strings and shimmering harp, Chénier gently recalls the beauty of a day in the countryside. The free-flowing style of the vocal line reminds the listener that Chénier is improvising – almost like a stream of consciousness. Chénier bursts into full-throated lyricism (accompanied by translucent harp arpeggios and shadowed by solo clarinet) as he remembers how the earth seemed to caress him that day. The music reaches an ecstatic climax, with rich orchestral textures, as Chénier proclaims: 'I love you who kiss me, divinely beautiful, my homeland!'
There is a moment of calm as to ecclesiastical woodwind chords Chénier describes how he went to church to pray. But suddenly the mood darkens. Chénier recalls the priest who adorned the altars but shunned the poor man begging for bread at the door. His vocal style abruptly changes: rapid fierce phrases, with dramatic pauses, are accompanied by string tremolos. The mood grows still darker: the brass enter the aria for the first time, with stabbing figures, and the agitated string tremolos continue as Chénier remembers his encounter with a workman who cursed both God and man for causing his poverty. All lyricism has vanished: Chénier's voice rises to an anguished near-shout as he recalls the tears of the man's children.
The mood shifts again, to melancholy. Accompanied by dark-toned woodwind chords and a throbbing string figure, Chénier asks sadly why the aristocracy ignore such misery. He appeals to Maddalena. The rhapsodic mood and warm major harmonies of the aria's opening return as he tells Maddalena how her sympathetic eyes moved him when they first met. But melancholy minor harmonies return in the strings as he remembers the sting of Maddalena's laughter. He gently chides her for mocking him, and warns her not to disparage love. The phrase that Chénier sang to declare his love for his country – which will return poignantly later in the opera – returns to close the aria as he effusively describes love as 'the life and soul of the world'.
In just under seven minutes, Giordano tells us all about his hero: he is idealistic, impulsive and full of yearning for love. We long to know what will happen to him, and to his budding romance with Maddalena. It is a wonderful introduction to the charismatic poet who dominates Giordano's operatic masterpiece.
Andrea Chénier runs 20 January–6 February 2015. A limited number of tickets are still available; there are also 67 day tickets for each performance, and returns may become available.
The production is a co-production with the National Centre for the Performing Arts, Beijing, and San Francisco Opera, and is given with generous philanthropic support from Mrs Aline Foriel-Destezet, Mrs Susan A. Olde OBE, Simon and Virginia Robertson, Spindrift Al Swaidi, Mercedes T. Bass and Mrs Trevor Swete.
]]>Eugene Onegin by Alexander Pushkin is a seminal work of Russian literature, admired for its artful rhyming structure and for the author's explorations of the thoughts and desires of his protagonists. When choreographing Onegin as a ballet, John Cranko employed a distinctive dance language and inventive system of leitmotifs that – in the absence of Pushkin's omniscient narrator – create an insightful, compelling version of this heartbreaking tale.
Cranko's most ingenious addition is the mirror motif. In the ballet's first scene, sisters Olga and Tatiana play an old folk game in which they each look into a mirror, hoping to catch sight of their true love. Olga sees the reflection of her fiancé, Lensky; while Tatiana spies Onegin – Lensky's dashing friend from St Petersburg. Cranko later expands upon this moment to give a vivid portrait of Tatiana's burgeoning desire for Onegin.
This famous 'Mirror' pas de deux occurs in scene 2, in Tatiana's bedroom. She has fallen head over heels for Onegin during their brief meeting in the garden, and sits down to write him a love letter. The nurse enters to put her to bed, but Tatiana is restless and returns to her desk, eventually slumping fast asleep where she's sitting. Dreaming, she goes over to the large mirror at the back of the room. Suddenly, we see a vision of Onegin beside her reflection, which steps into the room as the stage is bathed in haunting blue light.
Staring in wonder at this figment of her imagination, Tatiana reverts to the girlish timidity she displayed in her first pas de deux with Onegin, soutenuing coyly away from his grasp. But he persists, and she – far bolder in her dreams than in reality – soon gives in to his touch, melting into his body in an arabesque par terre that matches his. Sensing her compliance, Onegin sweeps Tatiana off her feet, and she arches over his head in a daring lift before falling into his arms. He offers her one hand and then the other, which she grasps with confidence, allowing him to fling her into deep cambré.
As the Tchaikovsky score becomes increasingly ardent, so do Tatiana's reveries. The pair fly around the stage as he repeatedly grasps her waist and flings her in wide arcs around his body while she kicks one leg and then the other into high, reckless grands battements. In a moment of repose they return to the arabesque par terre from the beginning of the pas de deux, Onegin sensually stroking and kissing Tatiana's arm. Then they're off again, he supporting her weight in a penchée, before lifting her off the ground as her feet quiver with ecstasy.
Transformed from the childlike teenager we saw at the beginning of the ballet, the dreaming Tatiana becomes increasingly flirtatious, scampering away from Onegin and spinning just out of his reach before eventually falling into his arms once more. As the pas de deux builds to a climax she soars through the air in ever-more acrobatic lifts – in arabesque, her arms open wide; balancing on one hand high above his head; in the splits, hanging upside-down over his shoulder – before prostrating herself at his feet in a fit of adoration and desire. Then, as quickly as it began, the dream is over.
The mirror motif will recur once more during the ballet – in the final scene, some ten years later. Tatiana – now Princess Gremin – has never forgotten Onegin, and has been disquieted by his appearance at her St Petersburg palace, and by a letter he has sent her. Reminiscing, she stares into her table mirror as her husband enters. She starts at his reflection – a tiny movement but one that, in the context of previous reflections, says so much.
Onegin runs 24 January–27 February 2015. Tickets are still available.
The production is given with generous philanthropic support from Simon and Virginia Robertson, David Hancock, Lady Jarvis, Lindsay and Sarah Tomlinson, The Artists' Circle and The Royal Opera House Endowment Fund.
]]>Can you beat Orpheus as an operatic hero? At the dawn of opera, composers sought heroes and stories that would let them demonstrate the unique power of music and drama. The mythical Orpheus, a musician of extraordinary power, was the ideal candidate. For Monteverdi and his contemporaries, the myths of a man able to charm all living things (even stones!) with his music was the perfect vehicle to explore the supremacy of song. It was also a gauntlet-throw to themselves to write music that could represent the all-conquering song of Orpheus himself.
The first great opera, Monteverdi's Orfeo (1607) contains much music of exquisite beauty. But its undeniable centrepiece – both literally and figuratively – is Orfeo's Act III aria 'Possente spirto' ('Powerful spirit'). In this virtuoso display, Orfeo musters all his god-given powers in an attempt to charm the unyielding Charon into taking him across the river Styx, so that he may rescue his wife Euridice from death. For Monteverdi, it is an opportunity to demonstrate both his mastery of traditional forms and his many musical innovations.
Like much of the music in Orfeo, 'Possente spirto' is sung in verses separated by instrumental ritornellos (returning musical passages). The instrumentation of Orfeo is broadly split between strings connoting the sunlit lands of Thrace and brass reflecting the dark and sombre underworld. But 'Possente spirto' is a demonstration of musical power, and accordingly Monteverdi draws on all three of the main classes of instruments of his time. So the first instrumental interruptions are played on two violins (bowed); the second on two cornetts (wind); and after a return of the violins, finally by a harp (plucked). What the ritornellos share is a sense of ghostly echo – an unmistakeable suggestion of Orfeo's isolation at the gates of Hades.
The first four stanzas of Orfeo's vocal line are in the form of a traditional – if virtuoso – late Renaissance song. Above a modified passamezzo antico chord progression in the bass (a recurrent structure that the audience of the premiere likely would have recognized), Orfeo sings a vocal line that transforms in each stanza, and which is to be sung with glorious ornamentation.
As a largely improvisational decoration, ornamentation is not something for which there is much written evidence – but the 1609 score for Orfeo (our earliest musical source for the opera, and available to view in full) is a rare and invaluable example. Monteverdi wrote two lines for the singer: one plain, which the singer could ornament himself, and one with the ornamentation written in, in a demonstration of what the composer might expect to hear (and which is usually performed in modern productions). This ornamented line is not only a crucial resource for the manner of ornamentation in Monteverdi's day; it also demonstrates the use of increasing ornamentation to further the aria's growing intensity.
But both 'Possente spirto' and Orfeo itself are about much more than the mastery of traditional forms. Monteverdi was a leading advocate for what came to be known as the seconda pratica (second practice), a compositional process that sought to use music to further a story. Thus, Orfeo's mention of Euridice's name in the fourth stanza leads him to abandon the florid ornamentation and relatively consistent structure that had gone before. He sings the final stanzas in simple, passionate, urgent declamation. It is a powerful and painful expression of Orfeo's anguish, and a forthright statement by Monteverdi on the potential of the seconda pratica.
It is an oddity of Orfeo that Monteverdi seems to suggest all this mastery and innovation comes to nothing. Charon is unmoved by Orfeo's song, and, in the same music with which he greeted him, declines to let him pass – Orfeo and Monteverdi have met their match. Perhaps it is meant as an indictment of the inattentive listener, or a simple plot device to increase our sympathy with Orfeo and our joy when he finally finds a way through. Either way – Charon is surely alone in his unimpressed response to this aria of great beauty, imagination and emotional truth.
Orfeo runs 13–24 January 2015 at the Roundhouse. Limited numbers of tickets are available from the Royal Opera House and Roundhouse websites.
The production is a new collaboration between the Roundhouse and The Royal Opera.
]]>Of all Verdi's great duets – and there are many – the seduction duet in Act II of Un ballo in maschera is one of his finest. At the heart of this idiosyncratic, multi-genre opera, Verdi constructs an Italian lyric duet of the finest pedigree – one that celebrates the human voice and opera's dramatic potency.
It's midnight. Amelia, wife of Renato, has come alone to a gloomy place. She's hunting for a herb that she hopes, despairingly, will cure her of her love for Riccardo, the country's leader and Renato's closest friend.
Agitated strings and a roll on the timpani interrupt her prayerful solitude as in runs Riccardo, who without her knowledge has followed her to this dreadful spot. Their initial rapid exchange – 'I am with you'; 'Great God!' – is accompanied by a breathless, urging melody. This soon gives way to a new theme as Amelia attempts to rally her forces; with martial double-dotted rhythms she reminds Riccardo of his position. But he usurps the new theme and colours it with the anxiety of the first, as he accuses her of cruelty.
The instability of this passage, both melodically and in its rapid movement between keys, is a hallmark of the tempo d'attacco – the first movement of the traditional Italian grand duet, as codified by musicologist Abramo Basevi in 1859. As the passage that connects the preceding scena (here, Amelia's aria) to the following duet, it is turbulent by necessity – the introduction of another character of an opposing view, the set-up of the dispute to come.
Basevi's solita forma (customary form) predicts that the tempo d'attacca should be followed by a slow cantabile (singing, lyrical) section, and Verdi obliges. In a lilting 6/8, Riccardo sings softly of the pain he suffers, accompanied by gentle strings and woodwind. But for all this new sweetness, Riccardo's earlier ardour is never far away; it bursts through in high held notes sung con espressione. When it's Amelia's turn to sing, Verdi gives her no simple repeat; instead he engineers an ingenious key change and gives her an inverted form of the melody, while an accompanying staccato clarinet motif confirms the differences between them.
There follows the tempo di mezzo, another transitional section that allows the composer the flexibility to introduce another dramatic event. Verdi moves seamlessly from the cantabile section with a 6/8 melody that recalls the yearning motif from the duet's opening, as Riccardo gently prompts Amelia for 'just one word'. Verdi then makes every musical change he can – in key, dynamic, tempo and orchestral texture – to flag her revelation: 'Well – yes – I love you'. Riccardo responds with such rapture that he sings with Amelia for the first time in the duet. There's then yet another transition, as Riccardo takes up the double-dotted melody from the tempo d'attacca, now in love triumphant.
Rapid string movement takes us into the duet's final passage, the cabaletta. With harp accompaniment, Riccardo sings a simple melody of almost childlike delight, based around the C major arpeggio. This new melody also incorporates that earlier double-dotted theme, now very far from Amelia's original intentions. Amelia takes up the second stanza with this time a nearly identical repeat that both suggests her seduction and gives the finale musical stability. After the ritornello – a conventional break in the cabaletta, which Verdi uses to restate Amelia's declaration of love – the lovers sing an entire stanza together for the first and only time. Mounting orchestral forces beneath them bring the duet to a glorious end.
Amelia and Riccardo's rapture will be immediately undercut by the arrival of Renato, as we know it must be. This wonderful duet shows us the intense love between these two characters, but also foretells the tragedy that will follow in Act III. It brings drama and music together in true Verdi style.
Un ballo in maschera runs 18 December 2014–17 January 2015. Tickets are sold out, but there are 67 day tickets for each performance and returns may become available.
The production is a co-production with Theater Dortmund and Scottish Opera and is given with generous philanthropic support from The Royal Opera House Endowment Fund.
]]>The Story Begins…
Riccardo, the idealistic and liberal ruler of a troubled country, has fallen in love – with Amelia, the wife of his advisor and best friend, Renato. Will he renounce her for the good of his people? Or will his recklessness prove his undoing?
Changes of Location
The story of Un ballo in maschera is based on a real event – the assassination of King Gustav III of Sweden by the military officer Jacob Johan Anckarström at a masked ball. The censors, first in Naples and later in Rome, refused to let Verdi depict the murder of a king onstage. Verdi and his librettist Somma came up with alternative scenarios – with locations including 17th-century Pomerania and Gothenburg in the 18th century – before agreeing with the censors to move the action to 17th-century Boston.
A Turbulent Setting
Katharina Thoma draws parallels between the environment of Riccardo's court and the political uncertainty in Central Europe in the years immediately prior to World War I, with an old regime teetering on the verge of collapse. Riccardo's premonition of his approaching death is reflected in his people's growing fascination with the supernatural and attempts to communicate with the dead. This obsession with death even pervades Riccardo's relationship with Amelia, the woman he loves.
An Opera of Contrasts
Un ballo in maschera is an opera of musical extremes: the frivolity of the page Oscar, the elegant dance music of the masked ball, the lyrical despair of Amelia's arias and the 'jocular macabre' style of the conspirators. Particularly striking is the dark music of the witch Ulrica, including her terrifying aria 'Re dell'abisso affrettati'. These extremes are outlined in the opera's prelude, which explores a vast range of musical ideas and introduces recurrent themes.
A Showcase for Great Singers
Un ballo in maschera has featured regularly in the repertory at the Royal Opera House since its Covent Garden premiere in 1861. Many great singers have sung the lead roles here, including Enrico Caruso, Plácido Domingo, Luciano Pavarotti and José Carreras (Gustavo/Riccardo) and Eva Turner, Joan Sutherland, Montserrat Caballé and Karita Mattila (Amelia).
Un ballo in maschera runs 18 December 2014–17 January 2015. Tickets are sold out, but there are 67 day tickets for each performance and returns may become available.
The production is a co-production with Theater Dortmund and Scottish Opera and is given with generous philanthropic support from The Royal Opera House Endowment Fund.
]]>At the end of Act III of Verdi's Un ballo in maschera, laughter seems to dominate the character of the music. It's not uproarious mirth, but wry chuckles. In a graveyard at midnight, a band of men with a sinister purpose (conspiring in an assassination, in fact) come across a man apparently enjoying a secret assignation with a woman. Definitely some embarrassing extra-marital affair, they all think.
The man is Renato, and the woman turns out to be his wife, Amelia. The clandestine meeting now looks like a couple trying to spice up their relationship – hence the chuckles. The words of the first of the conspirators, beginning 'Ve', se di notte', describe the scene mock-heroically: an enamoured hero bringing his bride to lie on bed of dew in the honeyed moonlight. However, the lewd undertones are unmistakable.
The music of this mockery includes the effect of a laugh, as the voice line suddenly leaps up and immediately comes down again. This first conspirator's voice is soon joined by a second in repeated, rhythmic laughter. The risible tone is amplified with little slides up to each note of the same tune as it is played by the violins. Quickly, the whole gang of conspirators joins in with this laughing theme.
What the conspirators don't know is that Renato has been equally shocked to discover the woman is Amelia. He found her (face hidden) with Riccardo, Renato's best friend and master, and by now is wrongly convinced she is having an affair. As this Act II finale builds, the chortling music of the men is contrasted with long, anguished melodic phrases from Amelia – she feels completely misunderstood – and bitter, muttered words from Renato. All three elements come together in a central choral section, which includes a moment of musical group reflection developed from a familiar Italian opera form, the pezzo concertato (this 'little concerted number' is a convention you often find in finales of 19th-century Italian operas).
Before the chorus of conspirators arrives, there had been a tense scene between Renato, Amelia and the 'other man', Riccardo. Verdi underscores it with a little repeating rhythmic pattern of a crotchet and two quavers, in reference to the ominous, inexorable march of fate. This musical motif returns prominently near the end of the Laughing Chorus as Renato plans to meet the conspirators to join their assassination plot against Riccardo. The motif we keep hearing is suggestive of impending doom and links to the equally simple, repetitive patterns of laughter: in essence, it is a single musical quality used in one place for tragedy, and in the other for comedy. At the end of the act the even, rhythmic laughter of the conspirators fades away as they go off into the night – but by now the fact of such insistent rhythmic repetition in itself has an association with inevitable disaster.
Such use of comic qualities to heighten the tragic recurs in Verdi's operas. There is a notable parallel in his earlier opera Rigoletto, where comedy and tragedy combine in the story of a cursed and taunted court jester. At the end of Act I scene 2, courtiers blindfold Rigoletto and convince him they are kidnapping the wife of another courtier. In fact, they are kidnapping Rigoletto's own daughter under his very nose, although they think she is his mistress. Another case of mistaken relationships leading to uncomfortable revelations – and tragic consequences – counterpointed by a wry, comic chorus.
When comedy and tragedy are so blatantly juxtaposed on stage, the audience can respond to the tensions between these emotional poles. The reactions and fates of the unhappy central characters – the butt of the misplaced humour – are more poignant as a result. And we know that the laughter will inevitably be followed by tears.
Un ballo in maschera runs 18 December 2014–17 January 2015. Tickets are sold out, but there are 67 day tickets for each performance and returns may become available.
The production is a co-production with Theater Dortmund and Scottish Opera and is given with generous philanthropic support from The Royal Opera House Endowment Fund.
]]>There's a deliberate untidiness to the way Wagner presents his suffering Irish princess at the beginning of Tristan und Isolde. The original 1865 set design for Isolde's tent, set up on deck of the ship bound for Cornwall, was to involve myriad hanging cloths amid sails and rigging. Angelo Quaglio the Younger's designs bear remarkable similarity to the front cloth of the Cuvilliéstheater in Munich, where Tristan und Isolde was to have its premiere (until the size of Wagner's orchestra prompted a move to the larger Court Theatre). Wagner's original stage image played with the very elements that comprise the mechanics of the theatre. Isolde's tent clearly appears as a stage within a stage, with its own front and rear curtains.
Such self-conscious design gambits are hardly the only indication that Wagner was experimenting with representational modes of theatre. Take the Sailor's song that we hear as this opening tableau is revealed. Realistically enough, the song has no orchestral accompaniment and the Sailor is out of view, so that we might imagine him singing by himself perched up high on the lookout. But the song poses questions to an unnamed Irish maid that provoke Isolde. Her eruptive, defensive response establishes what will become the crux of the drama, but Brangäne – the only other person visible onstage – does not even seem to hear the song. Isolde's outburst hints at a kind of theatre of the mind.
Through Isolde, we learn that the story of a glorious fairytale marriage of an Irish princess to the King of Cornwall is not what will unfold. Instead, it is the probing of an unspoken love – a story that privileges musically-constructed interiority over a superficial world of appearances and social norms. Wagner's adaptation of the medieval Tristan legend thus addresses music's unique expressive strengths, and the powerful reach of the unconscious circulated in the writings of Carl Gustav Carus, Arthur Schopenhauer and others during the composer's lifetime.
Cycles of progressive revelation unfold across the opera's first act. The opening scene - as conceived - used a foreshortened stage until Isolde, feeling suffocated, calls out for air. At that moment, Brangäne is to draw open the tapestries that form the rear of the tent, so that we see the full depth of the ship and a view of the sea. With Tristan now in view, Isolde can name the source of her discontent. When Brangäne dutifully approaches Tristan and invites him to visit her mistress, Kurwenal tells all within earshot that Isolde is but booty in the aftermath of conflict. As the other men join in to offer a raucous reprise of Kurwenal's final phrases, Brangäne shields Isolde from the offensive outburst by closing the rear curtains of the tent. By only the opera's second scene, we see that the world surrounding Isolde is deceptive, unsympathetic and even coarse.
Isolde's tent is the only interior physical space in an opera that otherwise takes place entirely outside, and yet it redefines the dramatic parameters so that the external world is devalued. The conflict between Isolde's reflective realm and the outside world is made strikingly palpable when her tent is finally re-opened at the end of Act I, as the ship docks at Cornwall. The musically jubilant, celebratory arrival signals tragedy for the lovers who have just disclosed the depths of their feelings for one another. Wagner repeats this strategy with the return of Marke's hunting party at the end of Act II, and his arrival at Kareol at the end of the opera. The last unwelcome intrusion, however, is eclipsed by Isolde's 'Transfiguration' – her ecstatic fusion with the realm of sound as a potent expressive medium of the heightened human condition.
This is an extract from Katherine Syer's article 'A Stage Within a Stage' in The Royal Opera's programme book, available during performances and from the ROH Shop.
Tristan und Isolde runs 5–21 December 2014. Tickets are still available.
The production is a co-production with Houston Grand Opera and is given with generous philanthropic support from Peter and Fiona Espenhahn, Malcolm Herring, Bertrand and Elisabeth Meunier and Lindsay and Sarah Tomlinson.


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Advanced care planning in the final year of life led to 75% of patient dying in their preferred setting, according to a U.K. study in BMJ Supportive and Palliative Care. Researchers followed 969 patients. Those who created advanced care plans spent fewer days in the hospital, and 11% of them died in a hospital.
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Learn how MacUpdate Desktop can install apps on MacUpdate with the simple click of the icon. Plus, keep all your apps updated.
Here are the basic Sketchpad features:
Add any number of the following objects to a drawing: Attacking Players, Defending Players, Neutral Players with any color jersey, Soccer balls, Cones, Flags, Text labels of any size, font, font color, Straight arrow, Curved arrow, Dotted arrow, Wide arrow, Rectangle, Oval
Additional functions with objects:
- Rectangles and ovals have transparency more...
What's New
- Fix: Fixed a bug that caused a new install to create the database for the Sketchpad.


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Artist Abhishek Singh's graphic twist to the deity on his canvas became the centre of attention in Varanasi
Police said that investigations had revealed a history of litigation between the girl's family and the accused.
Modi will visit Assi Ghat to inspect the progress of cleanliness drive launched by him last month.
The girl was allegedly waylaid by three persons identified as Babudin, Pappu and Gappu.
A short, sweet and simple trip to Banaras, the city of light can refresh your soul.
He weaves not just silk but words too. Like Kabir, he does poetry when he weaves and finds inspiration for his words from the weave and waft.
A day in the life of: Ashok Kumar, 35 who has been cleaning the banks of the Ganga for 15 years.
Mayawati claimed that social justice is nowhere on the agenda of PM Narendra Modi.
Before him, visits by Uma, Kalraj and others for brainstorming on projects.
Modi is likely to take stock of the office during his two-day visit to Varanasi that starts Friday.
Modi will visit the village on November 7 and is likely to announce some new schemes for its development.
Levelling allegations of indiscipline, Krishna Patel removed Anupriya as party's general secretary.
For its 25th anniversary, Gallery Espace celebrates with the medium of drawings, tracing its trajectories in Indian art
This will be Narendra Modi's first visit to Varanasi, a constituency he won by 3.37 lakh votes in last year's Lok Sabha elections.


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MDM December 12, 2012 - Traitors Of My Holy Word
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Animated logo -- from jgstudios.photoshelter.com A vista de pajaro-Vocacion By MeTronomoS www.jamendo.com Images from Google Search Please say this short prayer before viewing the video: O Jesus, cover me with your precious blood and fill me with the Holy Spirit, so that I can discern whether these words come from you. Humble me in spirit. Receive my pleas with mercy, and open my heart to the truth. I amnot the visionary, but please pray before viewing. These are the messages, given to a visionary in Europe on December 12, 2012. According to Decree of the Congregation of the Doctrine of the Faith approved by HH Pope Paul VI (the 14th October 1966) Article 1399 and 2318 of Canon Law where abrogated. No imprimatur is required for publishing Divine Revelation, prophesies or miracles. For the complete list of messages, go to: www.thewarningsecondcoming.com And find them on Facebook www.facebook.com ~I do not own the messages, images, nor the music~
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Dallas Cowboys Jay Ratliff DWI Case Postponed
TARRANT COUNTY (KRLD) - A Tarrant County judge has postponed the drunk driving case against Dallas Cowboy defensive tackle Jay Ratliff until after the current football season.
Ratliff was arrested January 22 after his pickup truck collided with a 18-wheeler before running into a guardrail on State Highway 114 in Grapevine. Ratliff failed his sobriety test and declined to submit to a Breathalyzer test. Police secured a search warrant, took him to the Grapevine jail and took a blood sample. Grapevine Police say the results of Ratliff's blood test showed a BAC of 0.16, twice the legal limit.
Ratliff's case was up for a hearing Thursday morning, but the judge continued it until February 20th….well after this season is over.
Jeff Miracle of MADD would rather see this settled quicker, but he notes it isn't out of the ordinary for cases like this to be delayed.
"In this case, fortunately there was not a victim outside that was injured. In any case, we really want to see things get settled quickly because what we want to see is the person who is the accused offender to get over that, to get help," said Miracle.
Ratliff is eligible to play but is currently sidelined with a hamstring injury.
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Oregon Mastiff Rescue |
Mastiff Rescue Groups | Volunteer | New Location ▼ | Change Breed ▼ | |||||
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Donate to Mastiff Rescue as a gift or memorial, and we will mail a free acknowledgement card within 24 hours. |
3,056 Mastiff Dogs have been adopted on Rescue Me! |
Oregon Mastiff Dogs for Adoption | ||||||||||||||||||||||||||
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Rescue Me ID: 15-02-13-00008Sally (female)
Sally is 4 yrs old, 90 lbs and a sweet, mellow girl. She is good with most other dogs. She loves to play ball and wrestle with dog friends. No cats!! She is cautious around strangers, but warms up quickly. She is eager to please but can be stubborn. Fill out application here: http://www.connectingwithk9s.com/contactmeadoptapplication.htm Lane County Springfield, OR MAP IT!
Rescue Me ID: 14-11-22-00118Hammy (male)
Search no further for the happiest dog out there! Hammy is a two and a half year old neutered male pit bull mix who has no idea what the word stranger means when it comes to people or other dogs. Hammy is crate trained and has wonderful manners on the leash. Hammy does have one downfall, he has yet to learn that we don't mark in the home, so he will need work on this. Available at the Josephine County Animal Shelter, 1420 Brookside Ave. 1.5 miles off I-5. in Merlin. Oregon. hours: Tues-Fri 10-3pm Saturday 10-4. Please visit the shelter or if need special arrangements for meet and greet please email me. If you have a dog- encourage you to ... (Read More)bring also. Staff may be unable to answer calls right away, so you may contact me via email if you cannot get to shelter right away! You are encouraged to make your best effort to go during normal business hours. Note: Often times we are asked 'what about cats'?' Please be advised that we cannot guarantee a dog's behavior with a cat; sometimes the dog is fine with a cat- but cat not so happy about his canine intruder! If we know emphatically that a dog could take issue with a cat, livestock or chickens- will be stated in body of biography! Shelter Friends editor is not an employee of the Josephine County Animal Shelter. The editor is a member of Shelter Friends Josephine County an all volunteer not for profit Charitable organization supporting the animals of the Josephine County Animal Shelter. General Adoption fees: $125. with $25 voucher toward spay or neuter if needed; Veterans with presentation of government issued ID half price. Senior dogs $50. From time to time the Shelter does authorize special fees... Visit www.savethewhiskers.org contact: firstname.lastname@example.com Note: If you have accessed rescueme.org from your iPad sometimes photos are scrambled with wrong dog biography- clear your browser cache temporary files and restart the iPad it will probably solve the problem. (Less) Josephine County Grants Pass, OR MAP IT!
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Mastiff Dogs can make good pets in Oregon if they match your IifestyIe. The Old English Mastiff is a massive breed. Mastiffs are very gentle toward their families. This is an intelligent, protective breed that makes a good guard dog but is unlikely to attack unless severely provoked. Mastiffs behave well with children but should be watched with little ones because of their large size. Mastiffs need gentle training and socialization from an early age. Mastiffs can live in an apartment or a home with a small yard.
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Location: Austin, TX | Tickets: 0 | RSVP Tweet
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The U.S. will clean a Vietnam War site contaminated with an Agent Orange byproduct for the first time since fighting ended 37 years ago, boosting ties with a former enemy that blames the herbicide for poisoning millions.
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On his first full day in office, President Barack Obama ordered federal officials to "usher in a new era of open government" and "act promptly" to make information public.


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Burton's Spooky Beginnings
by WENN | 06 February 2004
Madcap director Tim Burton has always been fan of horror since his father used to mimic werewolves to entertain him as a child.
The American movie-maker has directed a series of spooky films, including Beetlejuice, Edward Scissorhands and Sleepy Hollow.
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06/02/2004 13:33Contactmusic


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NEA/NEACRP/L(1988)305 | An Overview of SMORN-V Munich
compiled by R.C. Kryter, La Wanda E. Klobe, S.P. Hendrix, ORNL from summaries provided by Symposium Session Chairmen
OECD Paris, March 1988 |
NEA/NEACRP/L(1988)306 | Standard Problem Exercise on Criticality Codes for Dissolving Fissile Oxides in Acids. A Report of the NEACRP Criticality Working Group.
Prepared by the Oak Ridge National Laboratory (Editor: Elliot Whitesides)
issued April 90
1988 |
NEA/NEACRP/L(1988)307 | Proceedings of the Specialists' Meeting on the Application of Critical Experiments and Operating Data to Core Design via Formal Methods of Cross Section Data Adjustment.
Host: Argonne National Laboratory. Jackson Hole Wyoming, 23-24 Sept.1988
Editor: David C. Wade
Jackson Hole, Wyoming, Sept. 23 and 24 1988 |
NEA/NEACRP/L(1988)308 | Reactor Physics Activities in NEA Member Countries
October 1987 - September 1988
NEA Committee on Reactor Physics |
NEA/NEACRP/L(1988)309 | Summary Report on the International Comparison of NEACRP Burnup Benchmark Calculations for High Conversion Light Water Reactor Lattices.
October 1988
JAERI-M- 88-200
Hiroshi Akie, Yukio Ishiguro, Hideki Takano |
NEA/NEACRP/L(1988)310 | Proceedings of the Seventh International Conference on Radiation Shielding
Bournemouth, 12-16 September 1988
Editors: John Butler and Atholl K. McCracken, AEE Winfrith |
NEA/NEACRP/L(1988)311 | Investigation of Importance Weighted Infinite Multiplication Constants
in Clean and Poisoned LWHCR Lattices.
L.H.D. Berger, R. Boehme, R. Chawla, K. Gmuer |
NEA/NEACRP/L(1988)312 | Experimental Studies of Macroscopic and Cell Heterogeneities in LWHCRs
R. Seiler, K. Gmuer, H. Hager, J.M. Paratte |
NEA/NEACRP/L(1988)313 | Analysis of PROTEUS-LWHCR Phase-II Experiments Performed Using the AARE Modular System and JEF Based Libraries
S. Pelloni, J. Stepanek, P. VonTobel |
NEA/NEACRP/L(1988)314 | Summary Record of 31st Meeting of the NEACRP (Technical Sessions)
O-arai, Japan, 17-21 October 1988
Compiled by F.N. McDonnell |
NEA/NEACRP/L(1988)316 | Proceedings of a Specialist's Meeting on In-core Instrumentation and Reactor Assessment
Cadarache, 7-10 June 1988
Editor: OECD Nuclear Energy Agency
Available from OECD: 260 FF |
NEA/NEACRP/L(1988)317 | Reactor Physics Activities in NEA Member Countries
October 1988 - September 1989
NEA Secretariat (Editor) |
NEA/NEANDC(1988)242/U | Summary of the technical sessions of the 26th NEANDC Meeting held in Rome, Italy, May 1987; P. Young. |
NEA/NEANDC(1988)245/U | Proceedings of a Specialists Meeting on Preequilibrium Nuclear Reactions Semmering, Austria, 10-12 February 1988 (also NEACRP-302-L) |
NEA/NEANDC(1988)246/U | International Comparison Study of Codes used in Decay Heat Calculations; C.Nordborg and B. Duchemin. (Incorporated as Annex 1 in Doc. NEANDC-275/A) |


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If you have submitted a review of an ISP, and you later wish to modify it, read on:
You can update your ISP review and have it show only once per week. It won't "take" if you don't update it a certain percentage. If you make changes a second time, it will take seven days to show the most recent update. got feedback? by KeysCapt


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ABQ Beer GeekBrews NewsSergio Salvador salvadorphoto.com Portland may be considered beer heaven, but forgive me if I spend eternity in beer purgatory here in Albuquerque. Portland (the hipster city, not the lobster city) is reputed to have 30 breweries in a city of 580,000 residents. Albuquerque is catching up quickly with three more breweries looking to open in the coming months. The only question is whether our city has enough craft drinkers to support that growth. ABQ Beer Geek Tractor Brewing Taproom118 Tulane SE | Today's EventsTasty Wednesdays: Caramels at Los Poblanos Historic Inn & Organic FarmTomorrow's EventsNew Mexico Piñon Coffee Grand Opening at Piñon Coffee HouseScotch 101 at Fat Squirrel Pub & GrilleMore Recommented Events ›› | |
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- Commentary: Walker's budget calls for schools to stop reporting sexual assaults
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The Pines perform at Severson Dells April 3
Staff Report
Charlotte's Web for the Performing Arts and "Some Days Feathers" are co-sponsoring a show for music and nature lovers this weekend. The Pines will be appearing from 2:30 to 4 p.m., Sunday, April 3, at Severson Dells Nature Center, 8786 Montague Road, Rockford.
Benson Ramsey and David Huckfelt both grew up in the middle of Iowa's folk-music scene, but they didn't meet until they'd both moved to Tucson, Ariz., as a way to find their own artistic path as The Pines. After moving back to the Midwest, the pair worked with some of the region's most notable folk and country musicians (including Benson's father, guitarist Bo Ramsey) and has released three albums of finely-wrought folk music strongly evocative of their Midwestern milieu (Jake Mohan).
In a world swimming with singer/songwriters, it's difficult to rise above the masses and create a truly unique sound that captures ears and stimulates the mind. The Pines are a band that has taken on this feat, honing their musical craft to near perfection with a sound that wavers on the edge of traditional acoustic/roots music, but embraces the nuances of today's indie-rock and blues music.
Tickets are $12 in advance, $15 at the door. Advance tickets are available at: Rockford Area Arts Council, 713 E. State, (815) 963-6765; both Postal Shoppe locations: Edgebrook Center, (815) 397-7301 and 2205 S. Perryville, (815) 484-0940 and JustGoods, 201 Seventh St., (815) 965-8903. For this show, also call Severson Dells at (815) 335-2915. New Outlet: Nikki's Café, 604 Pleasant St., Beloit, Wis., (608) 207-3101; or by mail: send a check and SASE to 306 Theodore St., Loves Park, IL 61111. Indicate artist or performance date on check. Credit card payment accepted only at www.charlotteswebofrockford.org via PayPal. There is a $1 ticket processing fee included. Print your receipt. Info: Call (815) 964-2238 or visit www.CharlottesWebofRockford.org.
From the March 30-April 5, 2011, issue


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Spotlight: Los Angeles Modern Auctions
Featured: Jim Kempner Fine Art
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View Catalogue: Betsy Weis
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Asharej 714, 2012
Opening Reception: Saturday, March 29, 2014 11:00am- 9:00pm Enigmas, an exhibition of new large-scale drawings by Jake Gilson, will be on display March 29-April 26, at William Campbell Contemporary Art. An opening reception will be held on Spring Gallery Night, Saturday, March 29, 11:00 a.m.-9:00 p.m. The show will feature Gilson's bold yet delicate abstracts that entice and engage with palpable color fields, kinetic mark making, and an ostensible path to transcendence. "I want them to have a real presence," Gilson remarks about his drawings, which are, in fact, brilliantly tactile and luscious-evidence of his own physicality and energy. His media include powdered graphite, charcoal, dry pigment, and pencil, and these materials appeal to the artist largely because of their immediacy. Instant, potent marks and strokes reveal his process, while visually connecting the artist's intentions with their external realization, and eventually, with the viewer. Although somewhat identifiable, the principal shapes in Gilson's drawings surpass simple functionality. Inspired by such forms as arches, vessels, and even sarcophagi, the artist focuses on each one's identity as an object-an entity unto itself, rather than one thing constructed to define or qualify another. He "shuffles" the shapes, stripping them of environmental or geographic reference, only to re-present them as indeterminate. In this vein, they become objective and universal, elevated and transformed.


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Hi! My name is Sheba.
I am a spayed, small, gorgeous, silver marten dwarf girl with a big personality.
Here's what my foster parents want you to know:
"Sheba is an absolute dream come true!" She is one of the most affectionate bunnies we have ever met. She will follow you around the house until you pick her up, then snuggle contentedly on your lap for pets and kisses. If she had her way, she would be on your lap for hours. What a love sponge!. And she gives the love right back with nudges and bunny kisses.
When she's not busy at her day job of "remodeling" her cardboard hidey box, she loves to do battle with her slinky and other toys.
Then she tosses her head and dances to show us how proud she is of her accomplishments. She is a very happy and confident bunny.
Sheba has excellent litter box habits, and would do well as a free-range house rabbit.
The lucky person who adopts her will get to share their home and life with a very special and incredibly affectionate little girl.
This beautiful handcrafted vase is beige with terra cotta brown and cream colored accents in a swirling pattern. Vase has a matte finish. Would make a beautiful accent piece for any home, and would be perfect for displaying dried flowers, or branches of the season. Vase is signed by the artist on the base. Each piece is unique and slight variations in size, glaze and smoothness is part of the beauty of artisan pieces. Artist wished to remain anonymous.