text:
Chelsea kits up for grabs this weekend
This weekend Chelsea fans can get the chance the grab the latest Adidas home and away kits for the 2011/2012 season. Not only have that but, relive the glory days of years gone by with the Toffs retro range. From Jimmy Greaves to Gianfranco Zola the retro range has kits from the greatest eras in Chelsea history.
The football shop delivers to every country in the world and for this weekend only to celebrate the launch of the shop delivery will be FREE! Just redeem the voucher code OPEN to claim the free delivery, available this weekend only.
Save yourself a couple of quid in the build up to Christmas with FREE delivery.
Click here to visit the Chelsea shop
Sponsored links
Related Chelsea News


text:
Intra-club team lists
Check out the teams for Friday's intra-club match at Henson Park, Marrickville.
11:50am Feb 27, 2015
Smith excited for intra-club
Swans defender Nick Smith can't wait for Friday night's intra-club match.
2:17pm Feb 26, 2015
Strong line-up for intra-club
A host of senior players will play in Friday's intra-club match at Henson Park.
12:13pm Feb 26, 2015

subset: commoncrawl


text:
Sulit.PH - Find the best Sulit Deals and Stores online or open one now! Official Sulit Philippines Website
Already a member?
Sulit Philippines!
Share the Shopping love! Invite your friends to start their online business!
Open your store with Us! We now have more than 3,700++ sulit.ph signups (As of Feb 21, 2015) for online stores! Join us and fill out the form below to get a special invitation to the launch!
Come visit The Sulit Blog -
Sulit.ph store signup - Start selling your goods online!
Definition of Sulit:
We surveyed more than 100 people about the definition of sulit and a majority of them answered that it meant "worth it" or "good buy" the others answered that sulit means affordable, cheap, value for money, sakto lang, tipid and to a few others it means savings.
How big is the sulit market?
The market for buy and sell items is growing with the population. people dont keep much junk anymore.. they sell it and earn.
To date we have more than 3,700++ stores listed and still growing.
Where do the visitors come from?
Sulit visitors are from all over.. that is why we are finding the optimal solution to getting online and selling faster.
Mobile devices used to Access Sulit.ph
The mobile device is the quickest way for anyone to sell, ipoint, ishoot, ibenta!
The real story of
The story of Sulit.com.ph and sulit.ph on the wipo page:
News on gmanetwork.com:
News on iplaw:
In what is arguably a landmark case in local cyberspace history, a world body has rejected a complaint by Sulit.com.ph against another website which carries the domain name Sulit.ph, saying the term "sulit" is generic in nature and cannot be registered as a trademark.
Sulit is a Filipino term that means "value for your money," "worth it" or "a good buy."
Sulit is for Everyone.
FREE, FAST, EASY and SAFE!
Start selling in a few easy steps!
Sulit Visitor Map.
What can you find on SULIT.PH? Everything from buying and selling of goods, Used books, Cds, Dvds, Collectibles, Furniture, Pets, Sports and hobbies, Tools, and Toys. We also have everything about cars and sedans, Motorcycles and scooters. Find Jobs, a place to live, a condo or some beach property down south! Find Services online from advertising to education, from Computer services to Marketing and Sales. Rental, repair or retail.. and dont forget cars, and more cars... you will find all of them here! We try to make online shoppping easy for you! Brand new or 2nd hand items ..
Basta SULIT!
Quick Facts about sulit.ph
Sulit is popular in the following Cities and markets.
1. Quezon City
2. Makati
3. Manila
4. Pasig
5. Cebu
Top Mobile devices used to access sulit
1. Apple iPhone/ Apple iPad
2. Samsung
3. Nokia
4. Lenovo
Operating System used by sulit users
1. Windows
2. Android
3. Macintosh
4. Blackberry
5. Linux
Popular days to visit sulit website.
1. Saturday
2. Sunday
3. Friday
4. Monday
5. Tuesday
Popular time people visit the website.
1. 9:00Pm
2. 1:00Pm
3. 8:00Pm
4. 2:00Pm
5. 3:00Pm


text:
Had car at dealer for an intermittent not starting when cold. Picked it up after they did nothing...
Lincoln Q&A
Ask Your QuestionAll Lincoln Mark VIII questions
Went through car wash and my fan stopped working.
check exterior lamps & headlights r really dim changed bulbs already
The dash says to check exterior lamps and so I changed the bulbs in headlights and they are still...
will run for about to week and then will not start set about to week and then up
will run for about two week and then will not start set about to week and then start back up
There is a loud noise coming from the engine ever since the master cylinder went
all my taillights work except the one that goes across the trunk and the two
small ones closest to trunk onboard system check says everything ok if on any ideas thanks
I have no heat. The blend door works, and the blower works. What to check next?
I get no heat from heater. Blower works, blend door works.
I decided the control module was bad, replaced it with a used one, still no warm air. I also hav...
engine turns normally but no startup. minutes later it starts n runs fine.
2014 dec. << for the past 2 years a few times now the engine turns and no ignition. 4 times...
Is there a high presure hose line that would leak when car is running
I don't get a signal to the air condition compressor. I suspect the AC module.
Where is the module located?
my 1994 mark VIII just started vibrating bad, even when i'm not moving. Help
Electrical issues & "check charging system." Can I bypass to get headlights?
The headlights stopped working (come on sporadically), air bag light comes on once in awhile, &qu...
Blend door actuator is replaced and its still blowing cold air. What can it be?
I just replaced the blend door actuator and that is working. The air started out getting hot and ...
Front air bags leak after system is turned down. Over 4 days all the way down
I recently had both front and rear bags replaced. I wasn't having trouble but with 120k on i...
My Lincoln vibrates at times while driving. What could be the cause of this.
can't close out ck eng lite
repaired evap system, clear codes 443 443 pending. Ck eng lite off as long as i drive car. After...
My 98 mark viii will not start starter will not ingage when key is turned
I know starter is okay, believe the second key which tried was not programmed properly and this s...
why cant I get a low beam headlight bulb for my 1998 Lincoln Mark VIII
why has the auto headlight feature stopped turning lights on,must do it manually
worked for 19 yrs now the headlights don't come on without using switch..auto switch is on
driving lights does not come on when switch is turn on. but the brake lights
and the turn single works and I have not found a blown fuse.
Power seats don't work on either side. Checked & cleaned fuses, OK
Not sure where to start looking since fuses are okay and all seat electrical connectors are conne...
How do I adjust the sensitivity of my anti-theft system on my '95 Mark VIII?
When the alarm is set, a slight breeze will set it off. I have to push both lock knobs every time...
What happens if you don't turn off the air suspension before jacking up the car?
I changed the oil and didn't know about turning off the air suspension. The only change I...


text:
On Television
On the Radio
USF is just the second university in the U-S to sign on with a British company that helps schools better recruit international students. This week's University Beat on WUSF 89.7 FM takes a closer look at the deal with "INTO University Partnerships," and how it will benefit USF and all of its students—from both here and abroad.
Program Schedule
Radio - During "Morning Edition" on WUSF 89.7 Tuesday after the 6:45 AM and 8:45 AM newscasts | During "All Things Considered" on WUSF 89.7 Tuesday at 5:44 PM | After "Florida Matters" on WSMR 89.1 Monday just before 10:30 PM
Television - Tuesdays at 11:55 AM and 8:55 PM, and various times throughout the rest of the week
Video extrasDr. Gary Arendash, Research Professor at the USF Florida Alzheimer's Disease Research Center, talks about the testing procedures used on the mice, who are implanted with the human genes known to lead to Alzheimer's. Dr. Arendash says these findings DON'T mean humans should start chatting away even more on their cell phones! |
Audio extras |
TV: Related Links |
Radio: Related Links |
For more information
Alzheimer's-Cell Phones
Gary W. Arendash, Ph.D., Florida Alzheimer's Disease Research Center
813-974-1584 firstname.lastname@example.com
Glen Besterfield, Ph.D., Center Director, INTO USF
813-905-4681 (INT1) or 813-905-INTO (4686)


text:
Christian Morris talks to Irish-born violinist Gregory Harrington, an emerging soloist based in New York, who has just released A Different World, an album of music by James MacMillan.
Tell us something about your background. Well, I started violin when I was 4, studying at the Royal Irish Academy of Music with Kevin Kiely until I was 18. I then went to University College Dublin and studied International Business with an arts degree in Spanish, working in Dublin doing finance in a multinational to pay for lessons once a month in London with the wonderful Russian violinist Marat Bisengaliev. Eventually I did the auditions for New York, and came over to study at the Mannes College of Music with Sally Thomas, from whom I learnt a tremendous amount, and finally finished studying with Erick Friedman for a period of three years, who was a really wonderful teacher. How did you become interested in contemporary music? Unexpectedly actually... I was looking for a piece to perform at my London debut in the South Bank Centre back in 2000. So I had just come over to study in New York and spent a few days going around music stores here in New York looking for a contemporary piece to perform. I came across Kiss on Wood by James MacMillan, and was just so drawn to the sonorities and the musical language that he uses. I remember after putting down his score saying to myself "Yep, this is it…" and it has really taken off since then.
Read the rest of the interview with Gregory Harrington here
(Photo: Jeffrey Hornstein)
I said in one of my earliest blog posts that I didn't envy the job of concert reviewers. Having to make a snap judgement about a piece of music strikes me as a thankless job, especially if, after a few years have passed, the work you said was a failure is acknowledged by everyone as a masterpiece (or vice versa). CD reviewing might be considered rather easier - one can listen to a piece many times to form a judgement - but even then you often form an opinion in a relatively short period of time. Sometimes it has taken me years to get to know, understand and finally love a piece of music, making me nervous when I come across something I don't like.
Which brings me to Deutsche Grammophon's new release of music by Wolgang Rihm, Krzysztof Penderecki and Sebastian Currier featuring violinist Anne-Sophie Mutter. I found myself, at best, perplexed by the two pieces by Wolfgang Rihm. The first, Lichtes Spiel for solo violin and orchestra (New York Philharmonic), has an attractively languorous Bergian romanticism but, seemingly, very little sense of direction or shape. And in one seventeen-minute movement it feels hopelessly spun-out. The double bass player Roman Patkoló joins Mutter in Rihm's Dyade, for unaccompanied double bass and violin. They both play with commendable commitment, but, though there is much more drama and variation in this work, it still feels insufficiently focused. As if to emphasize this point, it is prefaced by Penderecki's Duo Concertante, for the same two instruments. At less than half the length of the Rihm it is brilliantly purposeful and urgent, an object lesson in writing for limited resources. The final piece on the disc is Currier's Time Machines, a concerto for violin and orchestra in seven movements, each inspired by an element of time. I loved the work's colourful orchestration and minimalesque pulsating rhythms, but also its moments of extended lyricism, as in the last movement Harmonic Time, which seemed to evoke something of the vast and unknowable cosmos. Mutter and the New York Philharmonic play with both laser-like clarity and emotional commitment. I would be happy to own this disk, but, in the first instance at least, only for the Currier and Penderecki.
Naxos has released a new disk of piano music by Arvo Pärt, played by Ralph van Raat. It offers a fascinating overview of the composer's changing style. The first works - Piano Sonatine, No.1 and No. 2 and Partita - come from the end of the fifties and are in a tonally rich neoclassical style influenced by Shostakovich and Prokofiev. The central work of the disk is the exquisitely poised Für Alina in the pared down manner made famous in such works as the Passio Domini Nostri Jesu Christi secundum Joannem. If, like me, you found that work just a little too cold and ascetic, it is worth checking out the last work on the disk, the both violently impassioned and lyrically introspective Lamentate for piano and orchestra, written in 2002. Pärt describes the work as a lamente 'not for the dead, but the living.' It makes for powerful listening, especially in this excellent recording.
Also on Naxos is something that, for me, was a bit of a discovery: a disk of music by Canadian composer Jeffrey Ryan. It contains his Linearity of Light, the triple concerto Equilateral and Symphony No. 1, Fugitive Colours. The first and last works are played by the Vancouver Symphony Orchestra, who are joined by the Gryphon Trio for the second. The inspiration for Linearity of Light, writes the composer, 'is visual-the qualities and properties of light', a premise that gives birth to a highly engaging work of often dazzling orchestral colour. Breathless, the first movement of Equilateral, begins rather like a speeded up version of the second of Knussen's Two Organa, developing into a movement as restless as its title suggests. This is followed by a beautifully contemplative second movement that makes reference to Anglican plainchant and the Hebrew words of the Mourner's Kaddish. The final movement is a 'vibrant affirmation of the dance of life' that is, nevertheless, so relentlessness that it might also suggest a hurtling towards the grave. Symphony no. 1: Fugitive Colours, continues the composer's interest in colour. The first movement builds an effective structure out of a knitting analogy in which 'one colour of thread, about to be dropped is woven in and wrapped around another colour about to begin'. The brooding and enigmatic second movement, Nocturne, essays rich reddish-purple, contrasting with the rapidly changing colour in the aptly named scherzo third movement Light: Fast. The last movement, Viridian, is based on a cool green. The music throughout this disk is marked by brilliant orchestration, pulsating (often ostinato) rhythms and a lucid tonal style. The performances are excellent .
Other Releases
Nimbus's The Bad Tempered Flute features the flute music of Andy Scott with flautists Paul Edmund-Davies, Clare Southworth and Andy Findon, pianists Tim Carey and Peter Lawson and harpist Lauren Scott. Steve Reich's WTC 9/11 (see contrasting reviews here and here), featuring the Kronos Quartet, is now available on Nonesuch. Robert Daugherty, a composer known for the approachability of his style, has a new disk, Fire and Blood, out on Warner Classics. Naxos's clutch of new music recordings this month include: a double-disk set of chamber music by Robert Helps; James Whitbourn's Living Voices and Son of God Mass; Penderecki's Viola Concerto and Cello Concerto No. 2; a disk of Azerbaijani Piano Concertos; and Jenny McLeod's Emperor and the Nightingale.
Nimbus is currently taking pre-orders (up to 31st October) for a recording of Richard Blackford's Not in Our Time (see review here) at a reduced price of £9.99 (£14.99 thereafter). Also soon to be released will be a disk of music from the winners of the Abbey Road Studios 80th Anniversary Anthem Competition. The winners, who in the classical category were Daniel Brinsmead, Daniel Elder, Tina Andersson and Zhangyi Chen, were given the chance to record their works with professional singers and the London Symphony Orchestra. I hope to be able to review the disk when it is released.
The North Wales International Music Festival begins on 24th September. The programme focuses largely on older repertoire, though there is a composer portrait concert dedicated to the music of Paul Mealor, he of Ubi Caritas royal wedding anthem fame, on 29th September. Earlier in the day he will also give a talk with conductor Nicholas Cleobury entitled 'Is Modern Music For Me?' The Tetbury Music Festival opens its doors on 6th October. Only lasting a few days it does, however, include a concert in which Steven Isserlis will play Thomas Adès's Lieux Retrouvés and Geörgy Kurtág's Four pieces for solo cello.
Two European festivals caught my eye. In Madrid the Festival Internacional de Musica Contemporánea de Tres Cantos begins on 8th October. The seven concerts in the festival programme focus largely on the music of living Spanish composers such as Sergio Blardony, Raquel Rodríguez and Jesús Legido. Featured performers include pianist Jean-Pierre Dupuy, violinist Manuel Guillén and the group Sonido Extremo (Extreme Sound), conducted by Salvador Rojo. Three of the concerts, on 8th 15th and 29th October, are also preceded by round table discussions at 6 pm. Spanish required. Wien Modern runs from 28th October to 25th November 2011 in Vienna. Again dedicated to contemporary music, the festival will focus on the music of Austria and the United Kingdom. The festival opens on 28th with a concert given by the ORF Radio-Symphonieorchester Wien featuring music by Bernhard Kerres, Lothar Knessl, Andreas Mailath-Pokorny and Friedrich Cerha. Subsequent October concerts include music by James Clarke, Brian Ferneyhough, James Dillon, Hilda Paredes, Zahra Mani, Mia Zabelka, George Benjamin and Luke Bedford. More information on the festival's November concerts next month.
Aside from festivals there is a wealth of other concerts to choose from this coming month. On 26th October at Hoddinott Hall the BBC National Orchestra of Wales will give a portrait of the Dutch contemporary music scene, featuring music by Robin de Raafm, Willem Jeths and Klas Tortenson. The BBC Scottish Symphony Orchestra will give the Scottish première of James MacMillan's St. John Passion at City Hall, Glasgow on 29th September and a concert of Sceisi, Cage, Skempton and Cardew on 29th October at Old Fruitmarket, Glasgow.
At the Bridgewater Hall the Hallé will perform concerts that will include Stravinsky's Le Sacre du Primtemps on 13th October and Magnus Lindberg's Violin Concerto on 27th October. In Birmingham, Oliver Knussen conducts a programme of Birtwistle, Milstein, Dallapiccola and Schoenberg at the CBSO Centre on 25th September. The concert features the Birmingham Contemporary Music Group, who will also, on October 29th and 30th, be running Feel the Buzz, a composing and improvising project for 14-18 year olds. Talking of youth, the CBSO Youth Orchestra, conducted by Jac van Steen, will give the première of Leckey by Ben Foskett at Symphony Hall on 30th October. Also at Symphony Hall, on 21st October there will be a semi-staged performance of Bartók's chilling Duke Bluebeard's Castle, with the Philharmonia under Esa-Pekka Salonen.
In London ENO continues its run of Mieczyslaw Weinberg's The Passenger, based upon a semi-autobiographical novel by Auschwitz survivor Zofia Posmysz, until 25th October 2011. On 1st October at the Queen Elizabeth Hall the London Sinfonietta will give a concert of music by Pierre Boulez, who will also appear onstage beforehand to talk about his life and work. The group will also present two concerts of electroacoustic music on 21st and 22nd entitled Sonic Explorations at Kings Place. The first features music from Europe, the second from South America and Britain. The London Symphony Orchestra, finally, will give two performances at the Barbican of Britten's War Requiem on 9th and 11th October and an all-Steve Reich concert, also at the Barbican, on 15th.
After a visit to some Basque friends in Northern Spain last week I found myself with a day to spare in Bilbao. The city used to be faceless and industrial until the Guggenheim Museum of Modern Art, Frank O. Gehry's breathtaking postmodern masterpiece, was constructed on the river estuary next to the city's classical district or 'Ensanche'. Now civic confidence is everywhere, marked by the perfectly kept flowerbeds and armies of mechanised pavement sweepers. I've visited the Guggenheim before, so I went round several other museums first, also taking my time over tapas, cerveza and manzanilla in the Casco Viejo. By the time I got to the Guggenheim, swallowing my pride at the €13 entrance cost, I had four hours in the building before it was to close at 8pm. Ample, I thought.
At first I was disappointed, since the first things one comes across are items from the permanent exhibition in, and leading off, the central foyer, which I'd already seen. Though these are certainly worth a second view, I wondered if my money might have been better spent. But, after walking around Richard Serra's monumental The Matter of Time, I then came to a room that marked the beginning of a new collection. The first piece was Kutlug Atman's Küba, which contains 40 televisions of varying types and ages sat upon a variety of sideboards, tables and small chests of drawers with a single easy chair facing the television. On each television a person from Küba, a socially marginalized district of Istanbul tells a little bit about their lives. Apart from the light from the television screens, the room was dark. One could only hear the bubble of chatter from each of the forty people from the town. I sat in chair after chair, mesmerized by the atmosphere in the room and the sometimes moving, sometimes banal, stories being told.
And though, inevitably, some subsequent installations were hit, some miss, this was roughly my experience as I went round the rest of the collection. There was Thomas Hirchhorn's Cavemanman, a cave installation lined totally in packing tape with various detritus from every day life strewn around - a commentary on contemporary society; Paul McCarthy's Tomato Head, based around the old children's toy of Mr. Potato Head, except with the option to attach or insert sexual organs or, indeed, other items into the various available orifices - an allegory, perhaps, on how we adapt our personalities to suit the situation; and Rivane Neunschwander's Contingente, a film showing ants devouring a map of the world made of honey - obviously a statement upon man's similarly voracious consumption of the earth's natural resources.
I write about this here because of the musical trains of thought this exhibition provoked in me. As I went around I quickly realized that the four hours I had allocated to it were not nearly enough, and that other members of the public, of all ages, were being similarly gripped. And this likewise provoked feelings of artistic envy. I know I'm not the first person to say it, but it is striking how the most challenging of modern art is so easily enjoyed by the average person. The same people who will, at the same time, deride or ignore the best efforts of contemporary composers. As I thought of this I realized that I was, perhaps, guilty of the same fault. In a single day in Bilbao I had visited, including the Guggenheim, four visual arts museums. It had not even crossed my mind to try to find a concert hall.
One could easily say that visual art has an advantage over music in these days of quick fixes and short attention spans because, if one doesn't like a work of art, one shakes one's head sniffily and moves on to the next. Music has to be understood in time. But I don't think that this is the whole truth. Visual art has to be understood in time too. One has to engage with the work, think about the layers of meaning on offer, unravel its mysteries. The real difference is the way we present music: there is nothing worse than that sense of being trapped in one's chair in a concert hall listening to something that bores or offends our ears, with starched collars staring at you if you cough. The experience of the Guggenheim underlined to me the importance of the work of our most pioneering composers to get the work out there; in the street, café or nightclub, places where the public can listen in an environment that is more relaxed, or where one can listen for as little or as much time as one feels necessary. People should be allowed to walk away from music they don't like.
One other thing. Yes, it was a visual art exhibition at the Guggenheim, but many of the installations contained elements of sound. But they were unbelievably, almost laughably limited in scope. Do we collaborate enough with artists? Not only does this strike me as a potentially fertile and exciting area to work but, cynically put, might allow composers at last to participate in the modern art gold rush.
Since writing my review of Biophilia last week, I've thought a lot about what makes a good CD release. Not everyone is able to release an app or rely on a huge marketing effort to get them noticed. But if one follows the 'three Ps' - programming, performance and production - one can't go wrong.
A new disk of music by James Macmillan featuring the brilliant young violinist Gregory Harrington and two equally gifted colleagues, pianist Simon Mulligan and cellist Caroline Stinson illustrates what I mean. The programme is organized in a way that subtly draws the listener in and then provides the changes of pace necessary to keep one interested. The opening trio of pieces for violin and piano, Kiss on Wood, After the Tryst and A Different World, whilst certainly not straightforward in their expressive intent, have an approachable harmonic idiom. This prepares the ground for what feels like the centre-piece of the disk: the challenging but superb Fourteen Little Pictures, featuring violin, cello and piano. A change of pace then takes us to a trio of pieces for piano solo. The first two, Walfrid, On His Arrival At the Gates of Paradise and 25th May 1967 (which derives from a set of two pieces by the same name), are both world première recordings and both inspired by football. I was particularly struck by the boyish gusto of the second, a celebration of the day Celtic won the European Cup. It also acts as the perfect palette cleanser for what follows: in anguistis... I, for solo piano and, the last piece on the disk, in angustis... II, for solo violin (also a world première recording). These last two pieces, written in response to the events of September 11th, form a dark and melancholic close to the programme. The performances from this young group of musicians are consistently first class. Harrington's playing is marked by its veiled richness in the lower register and incredible control into the sometimes stratospheric higher registers employed by Macmillan. Caroline Stinson only features in Fourteen Little Pieces, but proves very much to be Harrington's equal, whilst Simon Mulligan provides both sensitive accompaniment and soloistic virtuosity as required. Production too is excellent, with very immediate, warm and well-balanced recording. Talking of production, the disk is available on iTunes, Amazon and CD Baby as downloads. But if, like me, you are a lover of the physical product, it is worth purchasing this handsomely made CD in hard copy. Björk eat your heart out...
A slightly more curious piece of programming can be found on Joanna MacGregor's new disk of music by Harrison Birtwistle, Hugh Wood and Lou Harrison released on Warner Classics. The disk opens with Birtwistle's uncompromising Antiphonies for Piano and Orchestra, a work that, with its abrupt interactions between soloist and orchestra, seems to completely tear up the concerto rulebook. I found it intriguing, mysterious but impenetrable. Repeated listening required, I think. More immediately engaging were his virtuosic, and often urbane and witty, Harrison's Clocks. Though more obviously conceived as one entity (it has recurring material at the beginning of each movement, for example) it reminded me a little of Ligeti's Piano Etudes, probably because the evocation of clocks also fascinated the Hungarian composer. The third work, Hugh Wood's Piano Concerto, is jazzily appealing (especially in the third movement), but also quite hard-edged. Which makes the final work in the programme, Lou Harrison's luscious and tonal Piano Concerto, feel a bit out of place. Which is not to say I didn't like the piece; on the contrary I found its totally idiosyncratic East meets West style very infectious. Programming issues aside, however, MacGregor performs brilliantly, adapting herself to the wide range of styles on offer and she and Warner are to be congratulated for bringing us these new recordings.
Quick round-up
Naxos continues its tradition of strong support of contemporary composers with six new recordings this month: a recital of contemporary American repertoire for violin and piano, featuring music by Puts, Glass, Kernis, Zhurbin, Danielpour, Bolcom and Higdon; violin and saxophone concertos by James Aikman; Linguae Ignis, Vesalii Icones, Fantasia on a Ground and Two Pavans by Maxwell Davies; the opera Guru, by French composer Laurent Petitgirard; a disk of flute chamber music by Ned Rorem; and Year in the Catskills, Gardens, Dream Dances and Diversions by Peter Schickele.
Also worth checking out are three recording that will be released at the end of the month: ASM 35 on Deutsche Grammophon, a selection of mostly older repertoire played by Anne-Sophie Mutter that will, however, also include Lutoslawski's Partita for Violin and Orchestra; also featuring Sophie Mutter on DG, a new disk with world première recordings of Wolfgang Rihm's Lichtes Spiel and Dyade, Sebastian Currier's Time Machines and Krzysztof Penderecki's Duo Concertante; and a new disk on EMI that includes Schoenberg's transitional work par excellence, Chamber Symphony No.1, conducted by Simon Rattle.
Despite her international musical profile, and the praise heaped upon her by such people as John Tavener and Alex Ross, I confess that Björk's career has mostly passed me by – just another name in the vast and unknowable musical firmament. I was even unsure at first whether I should be including her in a blog about contemporary classical music. But the eclectic style of her music making, which admits influences from punk to Stockhausen, suggests a type of crossover composer very common these days. Her latest project, Biophilia, is described as 'an interdisciplinary exploration of the universe and its physical forces – particularly those where music, nature, and technology meet – inspired by these relationships between musical structures and natural phenomena, from the atomic to the cosmic.' This sounds a little bit like either hubristic marketing or the abstract for a PhD thesis. In fact, it is, in the words of the BBC's Mark Lawson, 'one of the most complex multimedia projects in musical history.' Biophilia explores the 'love for nature in all her manifestations, from the tiniest organism to the greatest red giant floating in the farthest realm of the universe.' But this is not just an album of songs about Mother Nature; just as Wagner wanted to unite the various aspects of music drama so that they were all consistent with his own artistic vision, Björk, in Biophilia, seems to be attempting to do the same, but in the digital age. The songs are explored through live shows, through digital record releases and lavish boxed sets, and in an iPhone and iPad app. If you are an owner of either an iPhone or an iPad I suggest you stop reading now and download the app, especially as the mother app itself is free. It opens with an inspiring, if slightly tree hugging, voice-over from Sir David Attenborough, as we slowly zoom in on what appears to be a constellation of stars. A mysterious choir sings downward, clustered glissandi. Just by itself the constellation is a fascinating multimedia project of its own. As you zoom in on 'constellation' names, which turn out to be the names of embedded multimedia projects, you hear snippets of sounds associated with them. The effect is totally beguiling. Apart from Cosmology, which comes free with the app, the projects themselves are in-app purchases. As yet, just two, Virus and Crystalline, are available to buy, but the project will gradually expand. Each project (song doesn't seem the word) starts with a description that links the idea to music in a fairly convincing manner. But, despite Björk's avowed wish to perform these pieces in science museums, this is art not science; I was prepared to take the metaphors on face value and enjoy the dazzling multimedia presentations. In Crystalline this takes the form of a crystal game, which perhaps reflects the idea of building blocks that make up the hypnotic song that accompanies it. Virus, which at first seems like a love song, is in fact a rather disturbing take on how a parasite feeds off its host. The interactive video shows a virus slowly devouring a cell. Cosmology features a rolling graphic score that recalls twentieth century electronic scores by composers such as Stockhausen, Ligeti and Cage. It would probably be a good learning tool in school music lessons, even more so because all the projects also come with a rolling score of the music in proper staff notation. Biophilia is being brilliantly marketed. I mean that as a compliment. As well as the app and live concerts, one will be able to own special versions of the music in CD, vinyl or two custom-made editions. This aspect is something of a revelation to me. When I first started buying music as a teenager I hankered after the physical form almost as much as the music itself. Gradually, bit-by-bit, it feels as if no-one owns recorded music any more; people download or subscribe to cloud services like Spotify. But here, even the electronic form has so much added value it evokes the excitement of buying the actual physical product. But more importantly it makes me want, for the first time in a long time, to purchase the physical product too. It feels like something special, just like that moment when, as a teenager, I first received the complete CD boxed set of Beethoven symphonies through the post. In a world crowded with music, I wonder whether composers have much to learn from Björk's Biophilia. Useful links: Mark Lawson on Biophilia on BBC Radio Four's Front Row Biophilia on Nonesuch's website Björk's website Wikipedia's entry on Björk Björk on Stockhausen
Music by living composers at the BBC Proms continues in August with performances of Robin Holloway's Fifth Concerto for Orchestra (4th Aug), Gabriel Prokofiev's Concerto for Turntables and Orchestra (6th Aug), Joby Talbot's Chacony in G Minor (14th Aug), Georges Aperghis's Champ-Contrechamp (20th August), Stevie Wishart's Out of the World (27th Aug) and a series of concerts that include the music of Dutilleux (3rd, 13th, 22nd and 23rd August). If you are near the Bregenz Festival, you may also be able to pick up tickets for Judith Weir's Blonde Eckbert (6th August). The Schleswig-Holstein Festival also continues until 28th August, with some concerts featuring contemporary music and jazz. The Edinburgh Festival gets underway on 12th August. Contemporary music featured at the festival includes an all Jonathan Harvey concert (13th Aug), Cage's Sonatas and Interludes (15th Aug), Tan Dun's Water Concerto (16th Aug), Unsuk Chin's Fantaisie Mécanique (18th Aug) and Concerto for Sheng and Orchestra (24th Aug), the world première of Toshio Hosokawa's Blossoming II (21st Aug) and (not a première) Blossoming (1st September), Anders Hillborg's Cold Heat (29th Aug) and Dai Fujikura's String Quartet No.2 (1st September). There is also the chance to hear Philip Glass and his ensemble perform music to the visionary films of Godfrey Reggio (13th, 14th and 15th Aug).
The innovative and exciting Tête à Tête Opera Festival gets going on 4th August and might just be this month's best new music ticket. The festival, which focuses entirely on contemporary music, features 40 different productions that include the work of 52 different composers. Productions that caught my eye include: Fables – A Film Opera with music by Emily Hall, Paul Sartin and Andy Mellon (4th and 5th August); SensoryO by Rachel Drury (13th and 14th August), which is aimed at children between 18 and 36 months; Brunch by Max Charles Davies (7th August), a flash opera that will also be performed unannounced throughout the festival; and The North Wind was a Woman (18th August), a collection of songs by C:T founder David Bruce. The full programme may be found here.
In 2004 the Office of Fair Trading asked the British Academy of Songwriters, Composers and Authors (BASCA) to stop providing guidance about commission fees paid to composers, saying it was anti-competitive. To get around this (and, perhaps, illustrate the absurdity of the request) BASCA have instead published a table of the average amount paid to composers writing for various forces both inside and outside the UK between January 2005 and December 2009. Whilst BASCA have protected themselves by pointing out that the information is not to be taken as advice as to what to charge, the table is, nevertheless, both extremely helpful (if you are lucky enough to be receiving commissions) and interesting (if you are hoping to). The full breakdown can be found on the BASCA website. The table is best read in conjunction with the Commissioning Survey Report, which provides useful further analysis. For example, it shows that the majority of commissions that those questioned reported were for more traditional categories such as chamber music, orchestral and choral works. The number of commissions drops off rapidly with categories such as symphonic wind ensemble, brass band, 'electronica', jazz band and jazz orchestra. This surprised me – I've always been led to believe that there was a great deal of commissioning activity for these sorts of groups – and so wonder whether the report is skewed towards composers working in traditional genres. I also notice that large scale electronic music, 'Electronica (A)', only had two respondents, so the relatively high commissions fees per minute (£742.05) paid in this category could easily be a statistical anomaly. Perhaps most interesting of all is that BASCA find that the average non-UK commission is £10,431, the average UK commission only £4,579, whilst tantalisingly saying that the report 'does not investigate why this may be the case.' It may simply be that commissioners abroad pay more money to composers, though I suspect not. The proportion of commissions in the report that derive from outside the UK was only 17%. This reflects the bias of the report towards UK respondents (it's hardly likely that 83% of worldwide commissions derive from the UK). Following this logic I wonder, therefore, whether the commissions received from outside the UK were actually for British composers. So it would make sense that these figures would be higher, since a composer with an international profile is likely to command higher fees.
Christian Morris talks to Adrian Hull, director of Arcomis, Arts Commissioning
What is Arcomis? I set it up in 2007 when I'd finished my PhD in composition at Cardiff. The name is derived from Arts Commissioning. Whilst pursuing my doctorate I was lucky to have been commissioned to write eight pieces for a large firm of Chartered Accountants that were performed around the country and then culminated in a concert at Covent Garden. I didn't know much about corporate commissioning – it felt almost like a dirty word, as if you were selling your soul. But actually it wasn't like that at all; it was a very positive experience where I got to do artistically exactly what I wanted. Arcomis was essentially set up to replicate that process, whereby with a whole pool of composers we could then go to businesses and offer their services. Perhaps composers aren't business-like – we want to write music – so I thought Arcomis could go to companies and individuals offering the opportunity to commission works. How did you go about setting it up? Setting up a business is a relatively straightforward process: you do it with Companies House in the UK. We also had some initial assistance in the form of a grant from Cardiff Council and Cardiff University. Part of this gave the opportunity to attend business training courses and workshops. At first I thought these sessions would be dreadful, but actually the training was incredibly useful, since it included things like knowing how to write business and strategic marketing plans. A business-like approach is essential to what we do, since I felt really strongly that Arcomis shouldn't rely on any exterior funding
Read the full interview here
After looking round the big recording companies' websites this morning I felt a sense of disappointment; music by living composers was very thin on the ground. Major record labels don't really seem very interested in contemporary music any more (coming to think of it, were they ever?). I think it is safe to say that their 'Classical' releases have a habit of falling into one of the following categories:
It is easy to see what binds all of these categories together: the need to make money. Whilst this is understandable – a record company is a business not a charity – I wonder whether record sellers might be missing out on something in the longer term. They pour all their huge marketing resources into a few predictable pots, completely missing out on all of the other talent around. Why not continue their promotion of a few big names but at the same time allocate a proportion to deserving lesser-known composers? Lesser names are cheaper today but they may become the cash cows of tomorrow.
If a big record company does not believe that this is viable they need to look at the work of labels such as Hyperion and, in particular, Naxos. I confess that when I first started seeing Naxos discs around 20 years ago I tended to ignore them, believing that their prices reflected lower quality recordings. A stupid attitude. Not only do they have, by a substantial margin, more new recordings on offer this (and every) month than the major classical record labels, but a high proportion of these contain music by living composers. Some of these are well-known, some half-forgotten and some quite obscure. It makes the Naxos new release page an exciting place of discovery. What's more (and here they differ from Hyperion), they release all of their discs on to Spotify – fast becoming my first port of call for all of my listening – and are even helpful enough to publish sleeve notes and excellent composer biographies on their site at no charge.
So here, at last, are my totally Naxos new music recordings picks this month.
Pride of place goes to their new disc of organ music by Judith Bingham. I've often wondered why so many contemporary composers do not write for this instrument. This magnificent disc shows what they are missing. It contains a good cross-section of her work for the instrument, from the superb, granite-hewn concerto for organ, Jacob's Ladder, to two delightfully simple works originally intended for children, Gift and Hope. Bingham's language is often dissonant and chromatic but always very expressive and, actually, extremely approachable. The performers and recording are first-rate. This is a recording I will return to again and again.
If I were to say 'Howard Blake' most people would probably think of The Snowman. If, like me, you are unfamiliar with his other work, why not try Naxos's new disc of string chamber music featuring the Edinburgh Quartet? It includes Spieltrieb, a cogently argued and substantial single movement work for quartet; A Month in the Country, a suite formed from his film score that packs quite an emotional punch (listen for example, to the heart-rending third movement); and Leda and the Swan, the score for a television ballet that, due to its erotic nature, caused a bit of a stir when it was broadcast. This is probably not the disc for those looking for hard-edged contemporary music, but the quality of the writing is undeniable. The only thing I could have done without is the final piece on the disc, a string quartet version of The Snowman. Even Naxos can succumb to commercial pressures.
Finally, something a little bit 'left-field'. A disc released as part of their 'American Classics' series containing music for saxophone quartet. The composers included are entirely unfamiliar to me though that could, of course, be simple ignorance on my part. The disc contains: Elias Tanenbaum's Sax Quartet, David Sampson's Breathing Lessons, Morrill Dexter's 6 Bagatelles, Eddie Sauter's Piece for Tuba and Saxophone Quartet and Eric Ewazen's Rhapsody for Saxophone Quartet. The style of the works tends to be jazz/minimalist inspired but with moments of real expressive intensity. I was particularly taken, for example, by the sometimes pensive, sometimes bitingly sardonic Piece for Tuba and Saxophone Quartet. The New Hudson Quartet have made promoting and expanding this repertoire their mission. Their performances, with an impressive range of nuance and fine ensemble, are excellent.


text:
The white Canon PowerShot SX600 HS Digital Camera is a compact point-and-shoot camera featuring a 16.0 megapixel CMOS sensor with the DIGIC 4+ image processor to create the Canon HS SYSTEM. This allows you to capture high quality images and video even in low-light conditions. This works with an 18x optical zoom lens with Intelligent image stabilization that features a 35mm equivalent focal length of 25-450mm to provide a versatile shooting solution for many conditions.
For shooting and viewing is a 461,000 pixel 3.0" LCD screen on the rear of the camera. Here you can access all of your settings, creative modes, take photos, and record full HD 1080p video. This can be done quickly with the use of a dedicated movie button. Another dedicated button is the Mobile Device Connect Button. This allows you to connect to your compatible iOS or Android device right away for easily sharing your images.
The SX600 features Wi-Fi and Near Field Communication connectivity for transferring images to a computer or mobile device. Also, this allows you to remotely shoot using a smartphone or tablet. Additional modes offered include a Creative Shot mode that can change the color and lighting of your image for more artful effects as well as a Smart AUTO mode that chooses the proper settings from 32 pre-defined situations. Also, there is a Hybrid Auto mode that records video clips before a still image and compiles them together to create a highlight reel.
- 16.0 MP CMOS Sensor and DIGIC 4+ Image Processor
- The 16.0 megapixel CMOS sensor and DIGIC 4+ image processor work in concert to produce high resolution still imagery and full HD 1080p video recording with notable low-light sensitivity and quality. The combination of these two technologies creates the Canon HS SYSTEM which provides a high sensitivity to light and reduces noise in the image. The processor also contributes to the overall speed of the camera, leading for very responsive shooting, autofocus, and menus.
- 18x Optical Zoom Lens
- The 18x optical zoom lens provides a 35mm-equivalent focal length of 25-450mm. This wide-angle to super-telephoto perspective makes this a useful camera is a large variety of situations.
- Built-In Wireless Connectivity
- Built-in Wi-Fi and Near Field Communication (NFC) allows you to quickly connect with computers and mobile devices. This setting allows for the easy transfer of images to compatible devices, social networking sites, and computers. Wireless connectivity makes moving images simple and immediate.
- Other Camera Features
Full HD 1080p video recording is supported
A dedicated movie button ensures you won't miss a shot
A 3.0" LCD monitor is available for live view monitoring, image playback, and menu navigation
Smart AUTO is an intelligent auto mode that selects from 32 pre-defined shooting situations and applies the proper camera settings to ensure accurately detailed and exposed imagery
Hybrid Auto combines video and stills to create highlight reels
Mobile Device Connect Button allows for immediate connection to your Android or iOS device


text:
Natural World: 75/100 of 832
« back
next »
America's wild mustangs cannot be left to manage themselves
J. Edward de Steiguer
7th August 2014
Wild mustangs are a potent symbol of pioneer spirit in the old West, writes J. Edward de Steiguer. But with few natural controls on their numbers, the population of almost 100,000 is rising by 20% a year. Now it's up to humans to control their numbers - one way or another. more...Can 'Public Interest' protect Britain's wildlife?
Lesley Docksey
8th August 2014
Last week the Upper Tribunal of the Royal Courts of Justice ordered Defra to release key information about the badger cull based on a 'public interest' argument, writes Lesley Docksey. Could this judgment open a new era of transparent and accountable government? more...Fracking go-ahead on UK's National Parks, World Heritage Sites, nature reserves
Oliver Tickell
28th July 2014
The UK has just opened a bidding round for fracking licences. But the rules contain only weak protections against fracking in National Parks and AONBs - and none at all for even the most important wildlife sites and drinking water aquifers. more...Carry on Culling - the fiasco continues
Lesley Docksey
28th July 2014
'We need to look at the best scientific evidence' on badgers and bovine TB, says Environment Secretary Liz Truss. But as Lesley Docksey writes, the 'best scientific evidence' appears to mean only that which supports the cull - and there's precious little of it! more...A quarter of 361 newly-recognised birds are 'threatened'
The Ecologist
24th July 2014
A global taxonomic review of birds has 'discovered' 361 new species that were previously considered 'races' of existing bird species - but many of them are endangered, forcing a rethink of conservation priorities. more...The beguiling magic of badgers at dusk
Lesley Docksey
25th July 2014
To live sustainably we must learn to live with wildlife, Patrick Barkham argues in his book Badgerlands. To do this we have much to learn from our ancestors - but we must also discard their barbaric practices and outrageous myths that, even today, some are so keen to perpetuate. more...Simplifying the sea - ecocide in the English Channel
Horatio Morpurgo
25th July 2014
A new report on the Channel's fisheries is a timely reminder of the ecological trend to 'simplification' as whole trophic levels are stripped away by over-exploitation, writes Horatio Morpurgo. Yet the government's profit-focused vision of 'sustainability' is missing the essential element - allowing the recovery of marine ecosystems. more...Badger Trust's High Court cull challenge
The Ecologist
21st July 2014
The Badger Trust will challenge the trial badger culls in the High Court next month, claiming that Environment Secretary Liz Truss and Natural England are acting unlawfully in failing to appoint an expert panel to oversee the experiment. more...Protect our inshore seabeds to allow fish stocks to recover!
Jason Hall-Spencer
18th July 2014
The UK's coastal waters are producing little but tiddlers and scallops, writes Jason Hall-Spencer - and to blame is the endless gouging of the seabed by trawlers and dredgers - even in 'marine reserves'. We must allow our marine ecosystems to rebuild! more...Truss - the badgers must die!
The Ecologist
17th July 2014
The new Environment Secretary Liz Truss flunked her first 'Green test' today as she told Parliament that the badger cull goes on. We run this excerpt from the Parliamentary record in which she states 'We are progressing with our programme!' more...Bill launched to ban wild animals in circuses
The Ecologist
17th July 2014
A former Defra minister will introduce a new Bill to Parliament in September to ban wild animals in circuses. It reflects Government policy since 2012 and the Prime Minister has promised 'We're going to do it'. But will he keep his word? more...It's not just the bees! 'Neonic' pesticides linked to bird declines
Helen Thompson
17th July 2014
A study published today in Nature shows a strong correlation between concentrations of a popular neonicotinoid pesticide in water, and bird declines, writes Helen Thompson. Regulators are under pressure to tighten up, but the industry still claims there's 'no substantiated evidence'. more...
Natural World: 75/100 of 832
« back
next »
Great snakes! Football fans, explore at your peril
Natasha Geiling
15th July 2014
Brazil's Ilha de Queimada Grande is the only home of one of the world's deadliest, and most endangered, snakes, writes Natasha Geiling. Just the place for Brazil's disgraced football team to escape the wrath of furious fans, if they can only get a permit ... more...Red wolf extinction fear as US budget cuts bite
Joseph Hinton
7th July 2014
The US Fish and Wildlife Service has done pioneering conservation work to save North America's endangered Red Wolf, under threat from shooting and inter-breeding with coyotes. But now federal budget cuts are putting all that - and the Red wolf itself - at risk. more...Badger cull High Court challenge goes ahead
The Ecologist
2nd July 2014
The Badger Trust has been granted leave for a Judicial Review of Environment Secretary Owen Paterson and Natural England over their 'irrational' decision to conduct the 2013 badger cull with no independent expert scrutiny. more...Let England's wild beavers be!
Oliver Tickell
1st July 2014
A family of wild of beavers has established on an English river for the first time since Henry VIII. But now the Government has decided to trap them and consign them to captivity in a zoo or wildlife centre. Defenders of wilderness are now demanding: keep our wild beavers free! more...Eat lead! Condor survival versus National Rifle Association
Dawn Starin
7th July 2014
Ample peer-reviewed science says that the number one threat to condor survival is lead poisoning from eating bullets and pellets in carcasses, reports Dawn Starin. But the powerful NRA is fighting hard against bans on lead ammunition. more...Brazil and FIFA have failed to protect their World Cup mascot
Robert Young
12th July 2014
The choice of the armadillo as World Cup mascot could have led to great conservation gains in Brazil, writes Robert Young. Results so far are deeply disappointing - but it's not too late for FIFA and Brazil to create a natural endowment to be proud of for decades to come. more...Tasmania's forests will remain World Heritage
Tom Fairman & Rod Keenan
27th June 2014
UNESCO has refused to 'de-list' 74,000 hectares of the Tasmania Wilderness World Heritage Area as requested by the Tasmanian and Australian governments, following a 'feeble' presentation. more...The Arctic shipping boom - a bonanza for invasive exotic species
Natasha Geiling / Smithsonian
27th June 2014
As the Arctic warms and its ice melts, growing numbers freight ships are reaping big savings from the 'Arctic short cut'. But this is creating a huge risk of invasive species spreading in ballast water and on hulls - disrupting both Arctic and temperate ecosystems. more...Okovango Delta is 1,000th World Heritage Site
The Ecologist
23rd June 2014
Botswana's Okavango Delta, one of the most iconic natural areas on the planet, has been listed as 1,000th World Heritage site today. The decision follows the advice of IUCN, UNESCO's advisory body on nature. more...Africa's ecosystems imperilled by mining frenzy
William Laurance
24th June 2014
Africa sustains some of the most spectacular ecosystems on the planet - from the Sergengeti to the Congo Basin to the Eastern Arc forests. But those ecosystems and their iconic wildlife are now facing their greatest peril, writes William Laurance - a mining boom of unprecedented intensity. more...Russia's wildlife protector is on a mission of destruction
Mikhail Kreindlin
5th July 2014
Russia is rich in nature reserves and national parks, writes Mikhail Kreindlin. But the government body meant to be protecting them is in fact promoting logging, building and mining projects. Conservationists are fighting back, but the odds are stacked against them. more...Only 80,000 giraffes left in Africa
The Ecologist
21st June 2014
On the first-ever World Giraffe Day, the world's tallest land mammal is threatened by conflict with humans, habitat loss, war, and disease. One subspecies, the West African giraffe, is down to 400 individuals. more...Wild heart of the Yukon in gravest peril
Jill Pangman
3rd July 2014
Next week the indigenous peoples of the Yukon challenge their Government in the Territory's Supreme Court, writes Jill Pangman. At issue, its plans to open the Peel watershed, a vast unspoilt ecosystem rich in wildlife and cultural meaning, for industrial development. more...ECOLOGIST COOKIES
Using this website means you agree to us using simple cookies.


text:
Benoni Small Farms, Gauteng
Large house devided into 2 house or on big house situated in the best area on Benoni smallPlot size is 8684 sq m Borehole with cement dam, 2 serv quatersHas 4 Horse sheds municipal water property has a lot of treesModern kitchen lovely and spaciouse rooms spaciouse.One side of house Mod kitchen diningroom large lounge 2 bed mod bathroom2nd side is
Cape Town, Western Cape
A great apartment in a small, secure block, high up in Vredehoek. Available immediately. Can be taken furnished or unfurnished.
Queensburgh, KwaZulu Natal
Spacious 2 bedrooms, 1 x bic, open-plan lounge, dining, kitchen, small garden and carport Tel Sharon on 0844642413 to view
Bellville, Western Cape
Lovely, neat, safe security complex with lawn all round apartments and townhouses. Situated in a family neighbourhood of Oak Glen. Open plan kitchen and lounge, balcony over looking lawn, 2 bedrooms and family bathroom. Situated on 1st floor. Parking bay, remote controlled access This is a rare find and well sought after. Rental is negotiable
Melkbosstrand and surrounds, Western Cape
Imagine staying in town, but being part of the country and you are only 12km from Melkbosstrand, the BEACH and other shopping centres. After a tough day at work; you can relax and enjoy the tranquillity and enjoy watching your beautiful smallholding overlooking your horses from the deck with a lovely glass of wine. Safe and quiet with lots of pote...
Johannesburg, Gauteng
New Prestigious Development - Secure Family Living from as little as R420 000 all costs included!!! R5000 Secures. Hibiscus Gardens Phase 2 now selling off plan. Show Unit Available for viewing. 2 bed, 2 bath, Modern fittings, quality kitchen, under cover oven, floor tiles throughout, patio, covered carport & downstairs units include a small
Warmbad, Limpopo
2 Bedrooms with aircon and blinds2 Bathrooms. One spabathCarport with space for 3 vehiclesWendy house includedPrivate braai areaScullery with space for 3 appliancesSmall garden in frontOpen plan kitchen with dining and living room also with aircon
Pretoria, Gauteng
Townhouse to rent in Pretoria East. Two bedrooms, one bathroom (With bath and shower), dining room, living room, open plan kitchen, patio and car port. Water and lights included
Stellenbosch, Western Cape
Sunny, north facing grounfloor apartment, open-plan living area with space for dining room table, kitchen with white melamine cupboards, 2 bedrooms and two bathrooms. Shade net parking. Ample visitors parking. Walking distance to shopping centre.
Cape Town, Western Cape
Brand new ultra modern 2 bedroom 2 bathroom duplex penthouse apartment in Upper Woodstock with modern features. Stunning views of the city can be seen from the terrace and mountain views from the bedroom. The bedrooms are carpeted with built-in cupboards and open plan en-suite bathrooms. Upstairs en-suite is full bathroom with a shower and bath


text:
DOCTOR WHO Review: "Into the Dalek"
By Kyle Anderson on August 30, 2014
When is a Dalek not a Dalek? When it's the Doctor, perhaps? That might not be as exact a notion as the Doctor himself thinks, but it's very much the central theme of this week's Doctor Who episode, "Into the Dalek". It's all about, in the broadest possible terms, good and evil, and what makes someone one thing and not the other. It also plays with the idea of whether being a soldier is a detriment to a person as a person, if being trained to kill negates someone's ability to exist in peacetime. There's some really deep things going on here. Oh, and it's a Fantastic Voyage pastiche, Clara gets to slap the Doctor, and we meet Mr. Danny Pink. Quite an episode, and one I think was bloody brilliant.
Co-written by Steven Moffat and Phil Ford, who hadn't written for the series since "The Waters of Mars," but who show-ran The Sarah Jane Adventures, and directed again by feature filmmaker Ben Wheatley, "Into the Dalek" is a complete tonal shift from much of "Deep Breath." There was a lot of establishing that needed to be done in the series opener and as a result it had to also be a bit of a big rompy comedy piece. There's really good stuff in it, but also a lot of not great stuff. Here, however, we've gotten over most of the post-regenerative getting-used-to-people pleasantries and can get into some of what I hope Capaldi's tenure will include more of. Oh, Capaldi… he did go on a journey, didn't he?
We begin with a ship being chased down and ultimately destroyed by a Dalek saucer. At the last second, the Doctor materializes the TARDIS around the only survivor of the massacre, a soldier named Journey Blue (Zawe Ashton), whose brother died in the explosion and who immediately holds a gun on the Doctor and demands to be taken back to her main ship, . Being a badass (yes, the Twelfth Doctor is a badass), the Doctor tells her to try again until she finally asks nicely and says please. Politeness as a form of badassery; I love it. Anyway, he takes her back to her ship, the Aristotle, where her commanding officer and uncle Morgan (Michael Smiley) says thank you, but that he can't let the Doctor breach the security of the ship and get away with it and so must be killed. But oh wait! He's a Doctor and the soldiers have a patient… it turns out to be a Dalek who screams that all Daleks must be destroyed. DUN DUN DUN!
Moffat has said that the cold opens for this series were some of the best in the show's history, and I think this one definitely lends credence to that claim. From an awesome space battle scene to the Doctor being cool, to a really fabulous twist with the Dalek.
Then we're introduced to the new recurring character this year, Danny Pink (Samuel Anderson), a new maths teacher at Coal Hill School, and someone who we're immediately told is a lady killer, but who displays himself to be anything but when he meets Clara and has THREE opportunities to go out with her and blows them all. Luckily for him, our Ms. Oswald is quite persistent. He's also a soldier, who it's very clear through his reaction to things that he has killed more than one person, and at least one who wasn't a soldier. He begins to cry in class about it as well. I think from these scenes we're meant to glean that there's a stereotype of bravado and playerness about soldiers but that Danny doesn't display these qualities the way people expect him to. Very interested to see more of him.
And we come to the main thrust of the episode. The Doctor goes to get Clara and on their way back to the Aristotle he asks her a very serious question: is he a good man? That's a very heavy question as well and Clara admits that she doesn't know. That'll have to wait because they're going "into darkness," though they didn't Star Trek there so I don't think it counts. The problem of a "good" Dalek is an interesting one and the Doctor can't resist wanting to go inside of it thanks to the military ship (which used to be a medical ship) having a shrinking chamber. That's handy. The Doctor and Clara are shrunk down along with Journey and two other security officers (in case the Doctor is a spy) and they end up inside the Dalek's metallic infrastructure.
Trouble starts when one of the officers (played by Game of Thrones' Ben Crompton) fires a cable line into the Dalek and its antibodies appear. The Doctor seems like he's helping when he gives the soldier a pill, but it's actually just so he can track the man's remains in the ship. They follow it down a shaft and end up in a pool of protein goo, made from liquified bodies of the Daleks' victims. Gross. This is all in order to reach the Dalek's "problem." It has seen beauty, a star being born, and it doesn't want to destroy things that aren't Daleks anymore. But the Doctor is distraught when it's discovered that it's just a radiation leak that caused the malfunction. He fixes it, and the Dalek goes back to being a regular Dalek.
The Doctor seems almost relieved by this, because he was right. There's no such thing as a good Dalek, but Clara slaps him and tells him there has to be a way of making the Dalek remember the beauty it once saw and made it change. The Doctor says they'll need to get up to the memory banks to do this and the only way is for the other security person shoot cables and sacrifice herself to the antibodies (Holy crap, she ends up in "Heaven" also. Missy is a weeeeeeird character) so that Clara and Journey can go up, while the Doctor goes to talk to the Dalek and reason with it. All this while the Dalek ship begins to invade the Aristotle to kill the humans and retrieve its comrade.
Ultimately, the Doctor is able to show the Dalek his own mind and his own reverence for the beauty of the universe, but on top of that, the Dalek sees the Doctor's own capacity for hate, and specifically the hatred of the Daleks. He said earlier that he used to just be the Doctor until he met them on Skaro, and then he knew the Doctor was not the Daleks; the opposite of them. But he's heartbroken to learn that he has just the same amount of hate as a Dalek does, facing the other way. The newly-Dalek-hating-Dalek then kills all his brethren and tells the ship to turn away. The Doctor said he thought he'd found a "Good Dalek," but the Dalek replies that he, the Doctor, is a GOOD Dalek.
Clara, as always, says the right thing when the Doctor needs it. Not only the slap and making him see he was being an idiot, but at the end when she tells him she doesn't know if he's a good man but he tries to be and that makes all the difference. That's what separates him, an ancient world-destroying entity, from the Daleks, a race of world-destroying entities. Intent is everything. And the Doctor turns Journey away from wanting to join the TARDIS, because she's a soldier. Surely this will not be a good thing when he inevitably meets Danny.
"Into the Dalek" has so many great ideas and themes to ponder that I've completely glossed over some very sparky and delightful dialogue from the main characters. This IS the episode that I wanted it to be, and definitely feels like the Twelfth Doctor hitting his stride, finding his "The Ark in Space." I can only hope it continues in this vein. If "Deep Breath" was a 7, I think "Into the Dalek" has to be a 9 for me.
Next week, surely a big ol' romp with the Mark Gatiss-penned "Robot of Sherwood," a sci-fi pastiche of the Robin Hood story. Cannot wait!
Let me know what you think of "Into the Dalek" in the comments below. Did I get all the pertinent information and theme-deconstruction?
Loved it! Really enjoying the interactions between Clara and the Doctor. And very excited to see where the Missy/Heaven arc goes as well as how the Doctor will react towards Mr. Pink
I must say, after being rather underwhelmed by Deep Breath, this is exactly what I wanted it to be. Capaldi, Coleman, the Daleks, and Phil Ford's script (I'm assuming Moffat's primary input was Missy) every single thing was what I dreamed it would be.
12th may be my new favorite Doctor if he keeps up this stride.
No, he did much more otherwise his name wouldn't be on there. For example, Phil Ford has already mentioned that the 'She's my carer' exchange was by Moffat.
This "Good Dalek" seems very much like Dalek Caan, perhaps courtesy of some wibbly-wobbly, timey-wimey, stuff.
No more of those silly childish "wibbly-wobbly, timey-wimey, stuff" explanations from this Doctor, thank goodness. None of the Doctors from 1 to 9 would be caught dead speaking like that. Please let that nonsense rest for good, Moffat. Also, the sonic screwdriver hasn't been used like a magic wand by 12, I hope it lasts.
well, someone doesn't like humor.
Humor has its place. But if one is trying to present serious sci-fi the the yuk-yuks and belly laughs really have to diminish then go!
Otherwise you end up with 'Morons from Outer Space' or "Mork and Mindy' or 'The Hitchhiker's Guide to the Galaxy'.
Sure serious Sci-Fi can have a smile or chuckle moment it and still be taken seriously. Serious? Battlestar Galactia, Lost, Fringe, Falling Skies, etc
I think the underlying themes of is a good Dalek possible and is the Doctor that much different from a Dalek are done better during the "Dalek" from the ninth Doctor's run. But this episode was fun. I wish there was no romantic subplots in this season.
I absolutely loved this episode and I'm diggin Capaldi as the new doctor. I have to admit that with past regenerations I've had the typical "I wonder if so-and-so will be as good as the previous…" but with Capaldi I knew I was going to enjoy him after seeing one of the videos that he did shortly after the announcement that he'd be taking over the role. He won me over from the start, and he just keeps getting better and better. I am loving this season so far.
I feel like Doctors 10 or 11 would have found a way to save those soldiers from the antibodies but this guy is colder about it, reminds me of the early dyas of 9 in that way.
They have rebooted the Doctor. He is most like Dr #1 Hartnell. He was kind of a dick
"Everything has its time and everything dies".
Yeah, this guy's not half as cuddly as 10 and 11, much more of 9's long view callousness. I did wonder if the end would have him going back to save Blue's brother but nope.
Interestingly, it looks like they're bringing a soldier with PTSD into the Tardis too, maybe another shadow of the 9th Doctor.
They're getting deep into the psychology of The Doctor this time around. I think it's because a large part of the audience has better memory for the previous Doctors than the Doctor himself, so we can get past adventure and cuteness sometimes to tackle his deep troubles. Goodness knows, he's chock full of them!
loved the episode and was relieved/excited as it felt like a step up (forward?) from Deep Breath. I thought the exchange between The Doctor and the Dalek when he was in the Dalek's head was kickass and the "You are the good Dalek" line definitely spoke to the darkness/light balance in The Doctor. im proly reaching big time but I also felt like the radiation leak The Doctor sealed up on the Dalek looked a little bit like the shape of the crack in time from 11. Again, could be reaching for connections where they aren't any (maybe the crack was just a crack, but I never trust anything to just be what it is when Moffat is writing the episode!)…can't wait for next week!
Well, now that we know that the"crack". Was actually the Time Lords of Gallifrey. I would expect more of them to show up.
I was screaming at the TV that it was the same crack.
I've never liked the recent way the Doctor pops into his companions' lives, after having a number of years of adventures on his own, to have an adventure with an Earthling, then drops them off again until the next time he wants to have a non-solo adventure. I also don't really like the companions getting to live their lives, developing relationships and having adventures without the Doctor, at least not without it being a spinoff show. If you're the Doctor's companion you're with him all the time, until you leave. Capaldi's first episode barely had any of him, it was all the other characters who have glommed on to the Doctor. Let them have their own show, this is Doctor Who.
The dropping off/picking up thing is a simple consequence of the Tardis working more or less properly now – if you really could go anywhere/when then why _wouldn't_ you just go home sometimes ?
What I would like to see though is an episode about Clara dealing with the real-life/Doctor adventures juxtaposition because the question that occurs from typing the above is, OK, go home sometimes but why on Earth would you _stay_ there when you could be off having adventures in time and space ? Why do an everyday job knowing what's out there or even _how_ do that everyday job knowing what's out there ? That seems like it might be worth explaining.
I think that is why I've never liked Clara. If you *could* go off with the Doctor, why on Earth would you just sort of look in your diary and see if you can fit him in on Tuesdays?
It seems a waste of a huge chance and opportunity.If I had the health and opportunity I would go travelling until no longer able to do so (with the Doctor or otherwise).-
This isn't a Clara activity only. Remember, the Ponds decided to stay away for periods of time to live their own lives. Also, the Doctor said he was going to get coffee for Clara and came back three weeks later, so I think this one's more on the Doctor than her.
Journey BLUE and Mr. PINK? Colors?
I think it's an important plot point that the female soldier was named blue and the male soldier was named pink. I think it will be part of the season resolution.
I was thinking that Mr. Pink is the brother and maybe he was tossed through time when the TARDIS picked up Journey. That'd make the soldier bit make sense.
That's what I was thinking too.
it's not exactly subtle.
I was waiting for Clara to remember some of her other "lives" from her experiences in "Name of the Doctor" and recall Oswin Oswald being a Dalek that was "good" to be like "really, no good Daleks?"
Possibly because Oswin was a converted human rather than a true Dalek plus,as a fragment of Clara, her total (subconscious) reason for existing was to protect the Doctor.
With this and the last episode it really seems like clara doesn't fully (or at all) remember all those other lives. I'd have to watch Name of the Doctor again to be sure was she supposed to remember?
Maybe, or Moffat realized it was a terrible story arc and just want to forget about it.
I don't think she's meant to remember. In "The Day of The Doctor", when she meets the past regenerations, she says "So these two are you, then?" and 11 said "Yes. You've met them before, don't you remember?"…
Her reply was something like "sort of" so she remembers what she did in general terms but the specifics are hazy.
I especially liked the "Resistance is futile" nod. Maybe we will see a ST/DrW crossover. Sweeeeeeet
there is one already dude. At least on comic. Picard and 11th with Amy and Rory and Kirk with 4th Doctor
Read it already I am cool with a Capaldi /Chris Pine crossover.
Loving Capldi so far. The "She cares so I don't have to" line made me love the direction this Doctor is going
Absolutely loved that line too. If Capaldi continues too be this ruthless, he's going to be MY Doctor. It's such a nice change of pace from all the over the top melodrama that was 11.
Loved the episode but is it just me or is BBC America BUTCHERING the episodes with their commercial placements this year. They have always been choppy, but the past two episodes have just been ridiculous. Might have to just watch the next day via iTunes.
Glad I'm not the only one!
Good episode, the dalek brain remind me of HAL 9000 memory bank, i dont know if it was a nod to them but it was good. I wonder if the distraction that made the doctor to be "late" will not surprise us later on the season, that won't be something unusual.
Am absolutely LOVING it. And am absolutely stupified by those who are NOT into it. Makes me want to pull a Clara and face-five those people really hard!!
I thought it was amazing that this episode had a "power of hate" resolution instead of another, sappy "power of love" ending, as we've seen so many times in new Who. Fantastic!
I think we're getting the War Doctor that we have asked for since the reboot. The Doctor is threw with being the constant charmer. He's taking action, and calling it as he sees it. This could be the demise of our beloved Doctor, but damn is it good television.
Right at the end Journey asks to join the Tardis. She's rejected "because she's a soldier. Huh? The Dr just tried to change a Darlek. He's worked with the military (UNIT as example) he keeps getting people and aliens to change. Reject someone "because she's a soldier."? Given, Iraq and Afghanistan have wound down so a Kipling writes " But it's Tommy this, an' Tommy that, an' "Chuck him out, the brute!"
But he's a "Hero of 'is country" when the guns begin to shoot;"-
I think the reason The Doctor doesn't want a soldier as a companion is because someone who will blindly follow his orders is no good to him. He needs a companion who will question him, challenge him. I don't think it was because he has anything against soldiers, just not what he needs in a companion, especially now.
I'm glad someone brought this up. While I enjoyed the episode overall if for no other reason than having Daleks in it, that line the Doctor had about soldiers really rubbed me the wrong way. I realize he's a (practical) pacifist who abhors weapons and will only use violence as a last recourse, and he never seemed overly fond of soldiers in the past, but this bit just seemed so out of character for him. The Doctor has had myriad companions over the years and that's not even counting all those he's had in the comics and novels based off the show. A comparatively recent example is Captain Jack Harkness, who began as a petty time traveling con man but the Doctor inspired him to be a hero ultimately sacrificing himself (he gets better though). The character grew so popular that he starred in the spinoff series Torchwood. He wasn't a saint but the Doctor gave him a chance and he became a better man for it. Hell, just to show off how nerdy I am I'll even go into the classic series. As early as the John Pertwee era, the Doctor's closest and most enduring friend was Brigadier Lethbridge-Stewart, leader of the British branch of U.N.I.T. and, yes, a soldier. While his status as a companion is open for debate and though they rarely agreed on anything and often bickered back and forth there was a clear mutual respect between the Doctor and the Brigadier. Now one could make the argument that the Doctor had just learned something unpleasant about himself and wasn't in the mood to deal with Journey at the moment, but I think the writers just wanted to keep her out of the TARDIS, which would be fine had it been handled better than "no soldiers allowed". This is particularly troubling considering the Doctor's actions during the Time War, not to mention all the other wars he became involved in throughout his travels. It's his understanding the realities of war that make his pacifism and disdain for weapons endearing and sympathetic rather than a vehicle for some soap box rhetoric for an anti-war agenda. Yes, war is bad, but soldiers aren't. Not all of them. If he had said "you're needed here, your battle's not finished," or something down those lines, you'd have the same result without making the Doctor look like a jackass. Again, I enjoyed the episode, and while I'm still missing Matt Smith, Capaldi's Doctor is already growing on me, and I'm really looking forward to next week's Robin Hood story, it's just that one line that irks me…
Exactly! I thought of those two 'companions' straight off the bat. Plus various soldiers he's worked with, liked, and mourned over the years.
Did anyone make the connection between Gretchen and the Robot man from Deep Breath? After last week's episode, we weren't sure if he jumped or was pushed. After "into the Dalek," I think the Robot man jumped – to sacrifice himself. Gretchen sacrificed herself… and they both wound up in heaven with Missy.
I didn't notice that but you are right. Thanks for pointing that out!
I'm glad you mentioned that. I thought the same thing.
Love the new Doctor! Capaldi plays the badass so well he's not the boyfriend of previous versions but ruthless when he needs to be. Really, really, enjoying this.
The scene where the Doctor is about to connect the Dalek's neural cables together and is thinking of Skaro must be an awesome callback to the Fourth Doctor's story Genesis of the Daleks. Loved it.
actually the first doctor arrives on skaro pretty early in the first series, so when he refers to the first time he arrived on skaro he was probably referencing william hartnell's story.
I thought both of these first two episodes were blah. I'm not liking Capaldi so far. He doesn't have the magnetic charm that Ten and Eleven had, and so I don't think he'd convince people to follow him and listen to his ideas. In general, I don't find curmudgeonly-old-men characters appealing. I guess some people think they are charming. And Pink seems like a run-of-the-mill boyfriend/extra companion. The idea of Missy is really intriguing me though. Looking forward to finding out more about that.
I like him! I didn't think I would, but I love his intensity. He carries the dark side where Smith really couldn't. I think we will see a lot of new ranges and strengths with Capaldi.
I'm with you! Can'tunderstand everyone swooning over this misogynst, bullying doctor- He killed a human being without a second thought-not liking it. And I am NOT a swooning nouveau fan girl but a middle aged fan from as long ago as Tom Baker era. Don!t care for Capaldi and brave enough to say ita,
Killed a human? I either missed that part or you are really wrong.
He didn't actually kill anyone, from what I saw. He just didn't waste any time trying to save the soldier because a) he was convinced it was hopeless and b) he didn't care anyway.
Well, we expected to lose a bunch of the swooning nouveau fangirls once the doctor wasn't a "hottie" anymore.
I'm actually 49 years old, so I don't think I count as a swooning nouveau fangirl. That's a typical dude reaction to what I said. (haha now we are both making assumptions about the other) Also, I didn't think either Ten or Eleven was physically attractive. So all your assumptions are wrong.
Not thinking David was attractive????? I mean I'm a straight guy, and I still think he was pretty darn hot…
I loved this episode. The writing, acting and directing was fantastic. It had an old schoolDoctor who feel, almost like we were watching a tom baker era, but with a modern twist. It seems that the cameras were hand held and slightly "shaky", which added to the older feel. I'm a huge Matt smith fan, he will always be my doctor. Peter capaldi is such a great actor and has brought out a different side to the shoe, which I really luke. I'm intregued by missy and wonder if pink and blue are somehow linked???
I feel like they shot their wad with the whole "am I a good man" line. Instead of being some overarching theme for the season, it became too focused on this episode alone.
Since we still don't know if The Doctor pushed The Half Faced Man out of his ship, or if Half Faced Man jumped as per The Doctors conclusion, this will be an ongoing theme, I think. I think Missy is the keeper of the souls who will be used in Judgment against The Doctor. My limited theory as a fairly recent Whovian from the States.
How do you know? Have you some special access to all the future episodes? That is not to say that you are not right but it is entirely too early to make such a statement.
I'm looking forward to the Eleventh Doctor and Twelfth Doctor meeting themselves in some future episode a few years down the line…has the potential to be very good TV.
Loved this episode over the last one. This one truly felt like a solid Doctor Who. It had everything you want in it, and yes, the new Doctor is a badass!
It was a good story, even if it recycled elements from a Season 15 Who serial starring Tom Baker: "The Invisible Enemy." https://en.wikipedia.org/wiki/The_Invisible_Enemy_%28Doctor_Who%29
Now, if we can get the 12th Doctor to pick up an alien companion, or another K-9 or Chameleon, then we're on to something! Final grade: B-
yep, i think he referenced fantastic voyage in the episode, but i definitely had some tom baker flashbacks. as much as i love the wit and humor of the past few doctors, this is definitely a bit more of a classic doctor, and i can appreciate his toughness and assholery.
Is this not Dalek Caan?
No mention of "… resistance is futile"? I'm interested in your take on that very specific language & general Star Trek-iness.
I was moderately upset that their clothing just randomly was dry after the protein gloop. But otherwise, this was a _vast_ improvement over last week's episode.
They crawled through the very hot and air blowy bolt hole which dried them
I think the Dalek IS CLARA! Ejected from the planet when it blew up in "Asylum of the Daleks". When it greated the Doctor and Clara, it said something like "hello doctor and me"
One Dalek to kill them all? (all Daleks)
While not the worst episode in the last say, 5 years…Into the Dalek is still pretty bad. Yes it does have a good concept if already done, but we waste a third of the episode on a soap opera (because Clara cannot exist in a Moffat universe if not a love interest) and that they screw the pooch early on.
The Doctor claims that a Dalek that wants to murder ALL OTHER DALEKS is MORAL. That is NOT moral, that is the definition of a sociopath. The episode is based around the idea that a sociopath is moral. So yeah, 1/10. -
[…] DOCTOR WHO Review: "Into the Dalek" […]
I just wished the antibodies looked more like antibodies instead of T-helper cells. Additionally, the wet clothes becoming instantly dry bothered me a bit. Minor things, great episode
[…] DOCTOR WHO Review: "Into the Dalek" […]
[…] DOCTOR WHO Review: "Into the Dalek" […]
[…] DOCTOR WHO Review: "Into the Dalek" […]
[…] his incarnations, most recently Peter Capaldi's Twelfth Doctor in this year's "Into the Dalek". Of course some folks take their love of Daleks a bit further than others, but no one has […]


text:
Nov 1, 2013
Dominating Uruguay's banking system, Banco de la República has outperformed the market in terms of profitability, but it faces many of the same difficulties as its competitors
Business has been good for banks in Uruguay, which means times have been good for Banco de la República Oriental del Uruguay. The government backed-lender's role in the banking sector remains strong, accounting for some 40% of the market. There is ample room for private banks to compete, but they have yet to reach the scale and profitability of Banco de la República. The competitive landscape has remained largely stable over the past year. Banco de la República had $13.5 billion in assets as of June 30, and accounted for 43% of the domestic loan market and 44% of...
To continue reading please take a free trial, subscribe or login below.
Please enter your login details below for access.
Subscribe now for unlimited access to all current and archive news, data and market analysis.
Take a free two-week trial now for the latest news, data and market analysis.
Free Trial
Mar 18, 2015 | Hyatt Regency, Mexico D.F, Mexico
Mexico's prudent economic management and highly liquid and sophisticated local capital markets have... more
Mar 27, 2015 | The Westin Chosun Busan, South Korea
An interactive breakfast discussion, with the region's most important sovereign borrowers, will... more
Apr 16, 2015 | Hotel Unique, Sao Paulo, Brazil
2015 is an important year for Brazil. In the rear-view: the 2014 World Cup and Presidential... more
Jun 10 - 11, 2015 | W Hotel, Santiago, Chile
Returning to Chile for its ninth edition. The region's best attended capital markets event gathers... more
Will a strong dollar deter investors from LatAm bonds?
No, the yield-hunt goes on
Yes, but only retail investors
Yes, once the Fed raises rates
The most pressing issue is related to guaranteeing this growth of the system, the savings. We have to guarantee that this growth is followed by better asset managers on the side of the Afores.
Carlos Ramírez, Mexico's pension regulator, Consar


text:
Gov. Brownback signed a bill that grants reciprocity to all state's conceal carry holders when visiting or passing through Kansas. Take that, New York and Colorado! How about a Magpul plant in the middle of the state?http://clashdaily.com/2013/04/breaking-ks-gov-sam-brownback-signs-hb-21-recognizes-all-states-concealed-carry-permits/
Join the NRA! Stop the Brady madness!
Join FirearmsTalk.com Today - It's Free!
Are you a firearms enthusiast? Then we hope you will join the community. You will gain access to post, create threads, private message, upload images, join groups and more. Firearms Talk is owned and operated by fellow firearms enthusiasts. We strive to offer a non-commercial community to learn and share information.
Join FirearmsTalk.com Today! - Click Here
No I want the magpul plant to move to South Carolina! I hated living next to Kansas.
All guns are created equal
This is what freedom looks like.
It took them long enough. Most surrounding stares (except NE) have had reciprocity for years.


text:
1. Figure out your must-haves. Compromise is a big part of planning a garden. While we'd all love a fish pond, a hot tub, and beautiful landscaping, there's a good chance that you won't be able to have everything you want in a defined amount of space. Before jumping in headfirst and going crazy at the garden section of Home Depot, spend some time wandering around your garden at different times of day to help you figure out what will enhance the space even more. What are the elements that you can't live without in an outdoor area? Do you love to entertain outdoors? Is a patio and outdoor dining area a must for you? Make sure to incorporate those aspects, then base the rest of your garden around it.
A garden (particularly a smaller garden) is a great excuse to let your imagination run wild, and to experiment with different looks. This carefully planned out space has a great little walkway, raised vegetable beds, and a bocce ball court. If you lay out how each and every bit of space in your garden will be used, you'll be surprised at how many of your must-have elements you can incorporate!
Relaxation was clearly what the owner of this garden had in mind. A paved patio for outdoor entertaining, vine-covered fences for privacy, and a lush and natural looking water feature all make the most of this space and come together to create a little oasis.
Deciding on the must-haves in your garden can also help you decide on a budget. Try to spend money on materials that are highly visible and need to be of good quality — patio paving, stone walkways, furniture, etc. Offset these costs by saving in other areas — such as cutting out on sprinkler systems (if possible), or scrounging up other materials and outdoor accessories at recycling centers or flea markets.
Deciding on the must-haves in your garden can also help you decide on a budget. Try to spend money on materials that are highly visible and need to be of good quality — patio paving, stone walkways, furniture, etc. Offset these costs by saving in other areas — such as cutting out on sprinkler systems (if possible), or scrounging up other materials and outdoor accessories at recycling centers or flea markets.
2. Consider your whole space. Incorporate hardscaping as well as landscaping into your garden. Make room for people as well as plants — otherwise your garden won't be able to be enjoyed properly! This homeowner was careful to plan and separate areas assigned to different functions. Brick walkways outline a garden area around the perimeter, with a spot at the end for an outdoor dining set.
Just because you want to incorporate more hardscape into your garden doesn't mean it has to be the same monotonous piece of concrete. Break up the space by integrating different types of pavement and stone. This combination of pebbles, stepping stones, and pavement adds a good sense of visual interest and helps prevent rainwater runoff.
Don't forget about vertical space! Walls and fencing are just as fair game as the ground. Make use of this space by implementing attractive vines and creepers, hanging lights, sconces, or even picture frames and mirrors.
Sectioning off segments of your garden in strong shapes on a diagonal will make it look like your garden is wider and longer. Define areas of grass, pavement, and landscape with borders of rocks or bricks to break up big sections and add texture and interest.
3. Draw your plans. Once you've decided which elements you want to include, and have a better idea of how to utilize your space, draw it out on paper. When you have an accurate (and to-scale) drawing of how things will be laid out, it'll be much easier for you (or anyone you work with) to make sure your finished garden looks exactly as it was planned.
Consider your view from your home while drawing your plans. You want your garden to be appealing when you walk through it, but it should also look beautiful from your bedroom window as well. A sense of symmetry balanced in landscaping and hardscaping will make sure your garden develops into part of your home's pleasant view.
Think about where you'll put your "hidden area." This could be anything from a secret spot where you can enjoy your wine on summer evenings, to a clever hideaway that prevents trash and compost cans from becoming eyesores. This outdoor space has a smart space to tuck away a barbecue, trash can, or spare bit of patio furniture while not in use.
4. Stick to a consistent, simple style. Make your theme and color scheme simple. Putting too much product in too many styles can quickly become overwhelming. You want your garden to be a soothing place. This space is very minimalistic, and while it has quite a few benches/accessories, they're all in the same neutral tone — creating a smooth and seamless design.
Adding a focal point at the end of your garden will automatically draw the eye in that direction, visually lengthening the space. Interchanging a section of the fence with this stone wall and bright shutters provides a functional focal point. The windows in the wall let light in, making sure that the wall doesn't completely block the view beyond. A fountain, urn, or statuette at the end of a garden would serve a similar use.
If you have a small garden, this space gives you a great excuse to play with design. Try adding special details that you'd normally find indoors to increase the sense of space. Mirrors are a great way to create an illusion that the space is larger than it actually is.
Add mirrored balls next to a pathway or nestled in your landscaping to spread light around. These balls also accomplish the same space-enlarging effects as a standard mirror, but with more of a playful twist.
Keeping plants in low (or no) borders makes a garden look wider, while adding different levels gives a sense of texture and dimension to this backyard oasis.
These levels are a great way to work with a backyard space that is set on a hillside. Instead of fighting the hill — work with it! Adding raised flower or vegetable beds would provide the same effect, and require less maintenance than gardens with borders.
More ideas:
6 Tips From Great Urban Gardens
Unexpected Edible Gardens
Herb Gardens for Indoors and Out
More ideas:
6 Tips From Great Urban Gardens
Unexpected Edible Gardens
Herb Gardens for Indoors and Out


text:
A Fresh Start
Republican lawmakers were admittedly determined to make Barack Obama a one-term president. But, according to polls, the people have a historically low negative view of Congress. With just two years to go before the entire House and half of the Senate are up for re-election, here are some resolutions our experts suggest they adopt if they want to hold onto their jobs. – Joyce Jones
Inside the Dept. of Homeland Security's Shutdown Showdown
03/02/2015BET Wire: Selma Marchers to Receive Congressional Gold Medal
02/27/2015BET Wire: GOP Throws Sharpton, de Blasio a Shady Diss
02/18/2015BET Wire: GOP-Led House Knocks Down Obamacare Again
02/06/2015What's in Obama's 2016 Budget for You?
02/05/2015BET Wire: Are You Ready for Mayor 2 Chainz?
01/30/2015Obama's Historic Passage to India
01/26/2015BET Wire: Obama's State of Play
01/23/2015Everything You Need to Know About Obama's SOTU Address
01/21/2015BET Wire: New Year, New Congress
01/09/2015A Year in the Life of Obama and the Time He Wore That Tiara
12/31/2014Meet Washington's Newest Black Power Players
12/30/2014BET Wire: Obama Announces New Approach to Cuba
12/19/2014Drama in Obamaland: How 2014 Was a Very Tough Year for POTUS
12/19/2014CRomnibus: How the 2015 Federal Budget May Affect You
12/15/2014BET Wire: Americans Divided on State of Race Relations
12/12/2014It's Looking a Lot Like Christmas at the White House
12/11/2014CBC Members React to Grand Jury Decision in Eric Garner Case
12/03/2014BET Wire: Everybody's Talking About Ferguson
11/28/2014Activists and Leaders React to Ferguson Grand Jury Decision
11/25/2014The Life and Times of Marion Barry
11/24/2014BET Wire: Obama Defies GOP on Immigration Reform
11/20/2014BET Wire: The Elephants in the Room
11/14/2014How Prepaid Cards Work and Why Feds Are Watching
11/13/2014Rihanna Channels Olivia Pope at the White House
11/11/2014BET Wire: Midterms Shock and Awe
11/06/2014Celebrities Who Are Rocking the Vote in 2014
11/04/2014BET Wire: Don't Forget to Vote, Everybody!
10/31/20147 Issues That Might Show Up on Your Ballot
10/31/2014In the Running: Black Democrats on the November Ballot
10/28/2014In the Running: Black Republicans on the November Ballot
10/28/2014BET Wire: Is the Ebola Crisis This Year's October Surprise?
10/15/2014Turnip for What? Harvest Time at the White House
10/15/2014BET Wire: An Ally Calls Out Obama's Leadership Skills
10/10/2014BET's State-by-State Guide to Early Voting and Voter ID Laws
10/07/2014BET Wire: A President and Armed Ex-Con Get in an Elevator...


text:
Minato is a guy that failed his college entrance exams twice! He suddenly collides with Sekierei #88 aka Musubi who then realizes that Minato is her Ashikabi: their partner that will strengthen one's abilities. From this moment on Minato's life will change. |
Sekirei ~Pure Engagement~
Second season of Sekirei, featuring big-breasted chicks wailing on each other for some kind of tournament sponsored by the mysterious MBI. |