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Your Reviews: Spring/Summer 2012
Gergiev/Fleming - 2011/12 Season Finale, Sun 15 Jul
Tim Moorey
I'm inspired to write to thank the LSO players for a great performance last night. Yes, Rene Fleming sang beautifully as usual but I would like to focus on La Mer. We have had this piece from Mr Gergiev several times and by the fine, detailed attention he gave, he clearly deeply respects this score.
The orchestral response on this occasion was sensational, the whole band playing at the peak of their powers. The woodwind and strings were especially memorable and I would like to mention (perhaps somewhat unusually) the exquisitely delicate cymbal playing of David Jackson. He deserved a "stand-up" at the end, but so did many others.
UBS Soundscapes: Eclectica Conexions, Tue 10 Jul
Dorothy Thomas
It was so nice in Eclectica's performance on 10 July for the viola to have a chance to show what it can do. Garth Knox's strumming on one of the orchestra's most unlikely instruments - among the most stunning and colourful parts of the evening - really got the audience engaged, while the rest of the programme, with its fascinating sounds and effects, was an all-enveloping experience which took the watcher - for the sounds were almost visual - to the overwhelming¸ elemental world of coastal Norway with the wind, the rain, the snow and the stone - lots of it - where man, dwarfed by the huge mountains and the endlessly powerful sea, is an insignificant speck on the landscape.
Karl Seglem's poems, expanded and interpreted by Christian Wallumrød's mini-keyboard with bellows and Knox's eerie sounds on the viola, were very effective evocations of the sounds of nature, though possibly less so if one did not know the language (a bigger glossary might have helped). However there were no such problems with the colourful lullaby Sulla Lulla, which had all the audience nodding sleepily along.
Seglem's 'straight' instrument is the saxophone, which is clearly used to encourage even more wind in Norway. He then used his hands to wow a goat's horn almost like a mouthorgan, and flutter tongued a narrower, antelope's horn to great effect, though no doubt both animals would be startled at the new uses to which they found themselves put. St Luke's was a particularly good venue for a concert of this kind, especially in summer when the outside world almost seems to come in as one listens.
City of London Festival 2012: Berlioz Requiem, Mon 25 & Tue 26 Jun
Susi Woodhouse
I simply wanted to congratulate Sir Colin and the LSO on yesterday's Berlioz at St. Paul's. What a wonderful occasion - thank you all so much.
LSO Discovery Family Concert: Classical Champions, Sun 24 Jun
Andrew Leitch
Thank you for a wonderful experience! My son and I both had a fantastic time - the LSO were of course fabulous and entered into the spirit very well, but hats off to Rachel Leach: she kept her young audience''s rapt attention without dampening spirits and very engagingly got some musical education through too. Well done! Please pass my comments on to her. Thank you again.
Marianne Baker
I just wanted to say how much we enjoyed the concert on Sunday. This was our children's first experience of a classical concert and they loved it and want to come to more. My son has just started playing trombone and was particularly excited about the audience participation (and I have to say played brilliantly on the day after weeks of learning and practising the piece!). We loved the workshops beforehand and my daughter tried out all the other instruments on offer and has now decided she would like to learn the flute. So all in all, it fulfilled our and exceeded our requirements as we had hoped to encourage their love of music and let them see how it can be applied more practically than just it being endless scales and parents moaning at them to practice!! My son has asked to join an orchestra or band of some sort when he is a bit better on the trombone and next time he comes to a concert he really wants to meet some of the members of the orchestra if possible and get their autographs. He particularly loved the Star Wars theme music.
So thank you very much LSO. We hope to see you again soon.
Susan Keeling
I came to the Family concert on 24 June with my two children aged 5 and 7. Beforehand I did the family workshops with the 7 year old. I thought it was all absolutely fantastic.
Both workshops, the art/craft and the improvisation, were great fun and wonderfully well-run.
We didn't download the music in advance (only one child plays an instrument and he's only just started), and we didn't bring instruments with us, but we joined in the 'learn the song' workshop in the foyer beforehand which was very useful.
The concert itself was great. Just the right length, and just the right mixture of music. Wonderfully presented. We were sitting way up in the balcony but the screens meant we didn't miss the detail.
This is the third LSO family concert I've been to (3 in a row) and each time I've brought an additional member of the family and done an extra activity. For the next one, we're ALL going to do EVERYTHING and we'll bring my son's guitar too.
This is a fantastic day out for all the family: we went home weary and happy, clutching medals/ flags / torches / trophies etc.
Thank you!
Wen Sanchez
It is the first time that we attend a concert like this, full of wonderful energy coming from the kids! Even though we do not have kids of our own, we really enjoyed participating in the activities and the awesome music played. We would like to receive information regarding further events like this.
Kim Tuffley
My 7 year old daughter and I had seen the concert previously when we attended a school trip on 11th June, she liked it so much as soon as it had finished she asked whether she could see it again. I came home and looked on the internet and found out that the concert was going to be on again on the 24th June and my daughter attended with my husband. This time she brought her clarinet along, she had looked at the music on your internet site and had learnt her part. They attended the workshop before the concert and found the whole experience brilliant. She was so excited to tell her friends and teacher that she had played with the LSO.
We have booked to come to the family concert in October and hopefully will attend more events at the Barbican. I thought it was fantastically organised and such a brilliant opportunity for kids that age to get involved.
Ranya Tenembaum
Thoroughly enjoyed the concert. I now have 2 little musicians in the making. Thank you for a wonderful experience.
Bijay Palriwala
It was a fantastic show ! My seating was also perfect and I look forward eagerly to the next performance.
Noseda/Denoke Wagner/Berg/Beethoven, Thu 21 Jun 2012
Catherine Morand
Wonderfull LSO concert with Gianandrea NOSEDA and the Orchestra. THANK YOU from Paris, France
Chris Hallam
This was a last minute buy as my mother was visiting and she had never been to the barbican. She dreaded the Berg but in the end loved it and was in tears at the end of the 5th.
It was inspired, energised and a surprise. Bearing in mind it was probably one of the few classical albums we had when young I thought I had heard it a hundred times, but we both felt we heard it for the first time at the barbican.
A surprising and great night out.
Haitink/João Pires - Purcell/Mozart/Schubert/Bruckner, Sun 10 & Thu 14 Jun 2012
Stephen Jay-Taylor
I've been going to concerts (mainly) in London for nigh-on forty years, certainly well before the Barbican even existed and the LSO merely jostled with four other orchestras – LPO, RPO, BBCSO and Philharmonia – for space in the Royal Festival Hall. In that time I've heard thousands of performances and umpteen dozens of Bruckner 7s – slow ones, fast ones, dull ones, weird ones, dreadful ones, good ones - the most recent of which was only back in April (Barenboim and his Berlin band). But I have never heard a performance to match that of the LSO under Haitink, given at the Barbican on 14th June.
The real surprise was the sense of urgency imparted to a score tracts of which can often hang fire and sound oddly directionless. But the general briskness of tempi in the outer allegros was never achieved at the expense of either due symphonic weight or narrative coherence (certainly not something you could say of Barenboim's performance): and, more importantly, the Adagio was conducted (and played) at a level of structural grip and emotional force that knocked me sideways. The whole thing seemed so vibrantly alive, and yet perfectly natural and spontaneous-sounding in a way that I found revelatory, something not especially evident even on Haitink's relatively recent Chicago SO live recording (the orchestral playing of which, though predictably resplendent and fatly sonorous, is still in no way superior to the remarkable echt-Brucknerian melos which the LSO conjured up on Thursday).
That Haitink should have produced an equally glorious Schubert 9 with the LSO only the week before – a work that defeats more bands and high-powered maestri than any other – seems to me a testimony to the conductor's not just ongoing but actually ever-increasing grasp of symphonic structures, the mysterious art that conceals art, and one which indeed seems almost artless in a way. This is the skill and wisdom imparted by long experience, which ultimately allows you to get out of your own way in the matter of expressing the music of others. It's a kind of self-less learning that overcomes the ego – look at me emoting! listen to what marvels of manipulation I'm achieving! – in which so very many other conductors willy-nilly, consciously or not, indulge. Nearing his mid-eighties, Haitink is truly turning into a legend before our very ears, with the whole-hearted support and co-operation of the LSO. I count is as a rare privilege to have attended these two concerts: and I trust there will be many more in future as a significant birthday for the conductor approaches.
Peter Ludbrook
We are extraordinarily lucky to have Bernard Haitink conducting so regularly in London. Only a few months ago it was Bruckner's 5th with the Concertgebouw and at this concert it was Bruckner's 7th. He is surely one of the great conductors of our time. The characteristic that most strikes me about him is his integrity. I can't think of an occasion when he's sought his own glory at the expense of the music. Truth to tell he always looks a little embarrased at the acclaim he gets from both players and audiences yet it's an acclaim he richly deserves.
In the event this turned out to be an exceptional concert. The Steven Stucky arrangement of Purcell's 'Funeral Music for Queen Mary' was an imaginative and powerful transcription played very powerfully by the wind, brass and percussion of the LSO.
I had never heard Maria Joao Pires live before and her performance of Mozart's 23rd Piano Concerto was a delight. The slow movement was particularly beautiful and the reduced LSO forces accompanied very attentively.
Haitink conducting Bruckner has been a constant through decades of concert going. I recall that the first time I heard him conduct the Concertgebouw Orchestra it was in Bruckner's 9th at a 1967 Prom. This performance of the 7th was superb. The pulse seemed slightly swifter than I'd heard him adopt in the past but it all hung together coherently. From the beautiful opening of the symphony to its triumphant peroration this was a performance to treasure and I'm looking forward to the Bruckner 9th he'll be conducting in February.
Stephen Fleet
The mozart was lovely,intimate and communicating to the audience about the music rather than proclaiming the pyrotechnical skills of the player as some younger and less feeling practitioners can do.
Richard Greenwood
We enjoyed last nights concert at the Barbican very much. It is wonderful to see Haitink still in great form.
Kathryn Tickell: Northumbrian Voices - Tue 12 Jun 2012
Stuart Marshall
enjoyed the Northumbria concert on wed eve - nice music and anecdotes/poetry - well done!!
Michael Tilson Thomas - Sun 27, Fri 31 May & Sun 3 June 2012
Ryan Hepburn
I'm really not one for posting comments about concerts, but I just wanted to express how stunning the orchestra sounded with Michael Tilson Thomas in their focus on Mahler.
I was just a bit too young to catch MTT and the LSO properly when he was Principal Conductor (I think the closest I got to seeing him in that role was during a Stravinsky festival he put together in the late '90s, soon after he had relocated to San Francisco), but I have seen him with the orchestra a number of times since then and am always amazed -and genuinely thrilled - by what he and the LSO achieve together on (presumably) fairly little rehearsal.
These past few concerts dedicated to Mahler have been absolutely no exception, their interpretation of the Fifth Symphony being one of the most intriguing I think many people have heard. True, not everything was necessarily to everyone's tastes, but the reading was so strong and so conscientiously delivered by both conductor and orchestra that you couldn't help but admire the conviction of MTT's insights and beliefs. In short, while other conductors certainly achieve fantastic things with the LSO, MTT seems to have that ability to create a kind of theatre and entertainment in the concert hall that is not only exciting, but always thought-provoking and always supplemented by that palpable and infectious sense of Californian whimsy that's such a welcome addition to London's music-making scene when he's in town.
Thanks so much for a series of stunning concerts.
Peter Ludbrook
It was good to see MTT back at the helm of his old orchestra and the audience's enthusiasm was clearly shared by the orchestra. The performance of Mozart's Violin Concerto No 5 by Gil Shahan was very fine and the accompaniment by very reduced forces was very elegant.I heard MTT conduct a lot of Mahler with the LSO when he was their Principal Conductor and my expectations were high. I was not disappointed. The performance of Mahler's Symphony No 5 was all one could ask for with both orchestra and conductor on blazing form. Superlative playing in all departments coupled with MTT's firm grip on the whole work ensured that this was one of the finest Mahler Fifth's I've ever heard. I wish now that I'd gone to the other Mahler symphonies Tilson Thomas conducted with the LSO on this visit as I see they got first class reviews. Next time perhaps?
Caroline Tate
Total magic from the first note till the last. I had wanted to write a letter to Michael Tilson Thomas and the LSO to thank them for giving us an outstanding evening.
His obvious passion for the music was obvious and I found his conducting so clearly illustrative of what is 'behind' this glorious symphony, the huge range of emotions, the exquisite lyricism, the triumphant voice of the instruments..........................brilliant.
Every player contributed to some heart rending passages, which brought tears to my eyes, especially the closing bars which held us all suspended in the shimmering world of Gustav Mahler.
I am passionate about Mahler, go to all London Mahler concerts, and as an artist I have 'painted' over 70 paintings of his music! This performance was by far the best I have ever ever heard of Mahler's First Symphony. Please give my very very great thanks to everyone for giving us all an experience to be treasured forever.
Giorgia Maccaferri
I've been to the LSO concert with conductor Michael Tilson on Sunday 27. It was the best way for me to approach to what we call "Sublime", I saw the power of the music conveyed in each breath of the players.
LSO Chamber Orchestra/Stravinsky Festival, LSO St Luke's - Thu 17 May 2012
Selena Lemalu
This programme was like taking a guided tour of a beautifully-curated exhibition of an iconic figure's work but from an unusual perspective. Instead of wandering from room to room taking in images, rich soundscapes materialised in the space before us, through the artistry of the LSO chamber ensemble. Most exciting to get an insight into Stravinsky's creative process and his influence on the development of jazz music. Truly an evening that did 'surprise and inspire'.
Gergiev's Stravinsky Festival Fri 11 May 2012
Maria Lidia Neghme
I was impressed with the high quality of LSO. Gergiev in the concert of may 11 gave us a dionysiac version of The Firebird. The sound of the orchestra was intense. The audience could thought - " what a great concert I am attending; wonderful sound. "I live in São Paulo, Brazil. Whenever I could I would like to hear the orchestra again.
Debussy/Szymanowski/Scriabin/Eotvos - Sun 29 Apr 2012
Matthew Cocker
Terrific concert on 29th April 2012 at the Barbican, courtesy of the L.S.O & Chorus (women only) under the direction of Peter Eotvos, with violin soloist, Christian Tetzlaff.
First up was Debussy's 'Nocturnes,' three beautifully-wrought sound pictures inspired by the impressionist paintings of the same name, by Whistler. Each of the movements was finely judged, with perhaps Fêtes proving the stand-out, it's glittering, dancing outer sections flanking a viscerally thrilling central procession which really did convey the notion of a dazzling, fantastic vision. But both the opening Nuages and final Sirènes – with a finely tuned cameo from the ladies of the L.S.O chorus - were expertly delivered as well and the performance as a whole really made you appreciate the wonderful subtleties of Debussy's skillful orchestration.
Next up was Szymanowski's 1st Violin Concerto, an extraordinary composition which, I'm delighted to say, has been working its way into mainstream concert repertoire of late. Composed in 1916, it's a single movement work of beguiling, exotic, other-worldly beauty quite unlike any other. Christian Tetzlaff made light of the fiendishly difficult solo part and it was clear from the outset that he was going to take a fiery approach to the piece, whilst still reveling in the frequent ethereal moments that drifted hazily in the musical stratosphere. The L.S.O under Eotvos gave him delicious support, vividly bringing to life the full array of shimmering colours and textures in the score and proving gloriously overwhelming in their opulent final tutti section following the brief cadenza. And if Tezlaff's performance couldn't quite efface memories of that of the incredible Wanda Wilkomirska, who was so at home with the concerto she made it sound improvised, it was none-the-less a glorious achievement. Both he and the orchestra were mightily applauded at the end – and rightly so. Unfortunately, a slightly dodgy stomach meant that I had to flee the auditorium at this point, so I missed Tetzlaff's encore; but at least I went out on a high.
Concluding proceedings after the interval was Scriabin's wonderfully OTT Poem of Ecstasy. Scored for huge orchestral forces, the work is made up of relentlessly-shifting motivic cells which cross-pollinate and segue sinuously into each other, creating a cloud of tonally ambiguous chromaticism which, from delicate beginnings, builds to an absolutely shattering climax. Keeping a hold of this seemingly amorphous musical behemoth and the enormous orchestra is a challenge for any conductor, so I'm not being overly critical when I say that Mr Eotvos didn't quite succeed in bringing it off. The whole thing didn't feel as organic as it ideally should and there were a few sections where the music would've benefitted from being allowed to breathe a bit more - such as the soaring recurring trumpet theme, which felt just a little hasty (although I'm sure it didn't feel that way to the outstanding players!) – but these are very minor caveats and, overall, it was a suitably spectacular way to end a splendid night of music making and the L.S.O really gave it their all. Bravo to all involved.
N.B: It was also extremely encouraging to see the Barbican hall almost completely sold-out for a concert programme which would've been considered, not so long ago, one to frighten the horses.
Weber Der Freischütz - Thu 19 & Sat 21 Apr 2012
Ross Tulloch
This is not a review, just to say that yet again I have been overwhelmed with the brilliance of your orchestra, on my latest visit, and performance of the opera under Davis. Thank you so much all of you for such stupendous artistry and perfection. I always find concert performances of operas superb.
You all worked so hard, and I so appreciate all you do to make every visit to the Barbican such a joy
Jean Taylor
I'm short of time so haven't yet read the reviews but, in brief, it was magic and Kaspar was, as one critic put it, truly dastardly. Unfortunately, although I had an otherwise excellent seat in the centre of Row H, the surtitles were bisected by Sir Colin's head!
David Valentine
Sir Colin does it again !!
a wonderful night at the Barbican
an amazing, rarely heard work, with
a superb cast, choir and Orchestra
Lars Woldt's performance at short
notice was memorable.
Great Stuff LSO
Tim J Moorey
Apart from parts of the overture (which sounded more like a timpani concerto), I thoroughly enjoyed another wonderful LSO evening. Especially memorable were the LSO chorus on great form and Sir Colin's grip throughout a longer than usual concert. Let's have some rarely heard operas in concert performance please.
Bychkov/Stotijn/Tiffin Boys' Choir/Ladies of the London Symphony Chorus Mahler, Sun 1 Apr 2012
Pål Kristensen
Nice concert today, horn section fantastic, 1st trumpet outstanding. Love this orchestra. Ladies in the back of the 1st violins should try to smile to the audience after the concert.
Frühbeck de Burgos/Ibragimova - Glinka/Mendelssohn/Rimsky-Korsakov, 25 Mar 2012
Steven Isle
We thought the Scheherazade was sumptuous and the soloists wonderful. As an amateur cellist I particularly enjoyed tht part. Alina was great considering she was dragged in off the street. I could tell she'd played it before. Joking - no, I thought there was incredible feeling in her interpretation and it is of course a very demanding piece in terms of technique and stamina. Congratulations to them all!
Gillian and Paul Gee
Ibragimova is a superb violinist. She was always good, but has improved greatly since we last saw her quite some time ago. She certainly surpassed the vast majority of other violinists, and moved us greatly (this doesn't happen often...)
We have rarely heard anyone play so expressively both musically and otherwise.
The orchestra was, as ever, superbly led by the wonderful Carmine Lauri.
Can we see Ibragimova again, please, without a long wait?
Ticciati/Maltman Strauss/Mahler/Brahms -15 Mar 2012
Jennie Sapsford
I found the first part of this concert deeply moving. The juxtaposition of the Strauss with Mahler's Songs was demanding for musicians and audience alike, I think. Christopher Maltman's singing was superb.
To hear and witness this great orchestra playing Brahms 2 was awe -inspiring. I am sure the musicians could play this in their sleep! Thank you LSO for a wonderful evening of music.
Lien Guidon
My concert going dates back to my student days in Paris. Later in life, in London or in Paris, I either choose a concert because of the musician, or because of the composer. Last week I was just thrilled to bits. It was a wonderful experience as it was the first time I heard the LSO. I found the orchestra vibrant, with a brass section particularly colourful and the wind section intense. As far as I could see, Robin Ticciati was passionately conducting every musician with his baton and seeming to pull invisible strings to which they responded brilliantly.
Gergiev/Chang - Britten/Shostakovich/Tchaikovsky, 23 Feb 2012
John Miller
Just want to say what a fabulous concert last night with the fantastic Orchestra, Valery Gergiev and Sarah Chang. I re-found Tchaikovsky and watched Sarah with amazement, such technic. Glorious sound, thoroughly enjoyable and completely up lifting.
Louis Cross
Sarah Chang brought the house down. Cheers, 'Bravo's and even some audience members standing. All were well deserved. She performed Shostakovich's Violin Concerto No.1 with such drama, passion and technique. For those who ask themselves 'What's the hardest violin concerto?' The Shostakovich is definitely up there. Movements 2 and 4 were relentless for the soloist, giving her little time to mop her, understandably, moist brow; the heat added by a custom-made, dazzling emerald sequin dress which, Sarah told a few of us backstage, she only received the day before!
The LSO itself was truly on form; together, energetic and uniform. The woodwind section particularly stood out, with the bassoon solos and flute-heavy passages. Having not seen the LSO perform before, I was surprised at their European layout (lower strings next to and behind the firsts, with violas and seconds on the right), but it didn't depreciate the sound they made.
Gergiev, however, was another kettle of fish! Having read raving reviews about his conducting as well as knowing about his awards etc., my expectations going in were high. He didn't meet them. His conducting style is that of a wounded bird with a tick. His arms stay close to his body with just his hands moving; the right of which twitches constantly. If this wasn't distressing enough to see, we then had to sit through him making noises. Loud wet exhalations which, somehow, carried throughout the Barbican. Distracting strangled sounds coming from his throat made it seem sometimes like an off-key singer was 'Aaah'ing' the melodies somewhere. His lack of familiarity with the programme in the first half was made evident by his reluctance to look up from the score and to engage with the orchestra. It was only in the second half with Tchaikovsky's Symphony No.6 that we saw how comfortable (yet no less twitchy or loud) he can be as a conductor.
Gergiev/Matsuev Tchaikovsky/Prokofiev/Shostakovich - 21 Feb 2012
Catherine Blackmore
Dear Valery Gergiev, the LSO, Denis Matsuev and all involved, I'd like to congratulate you all on the concert last night. Not only were the performances of Prokofiev's 3rd piano concerto, and Shostakovich 5th Sympathy magnificent - the tension building 3rd movement breathtaking, but that of Tchaikovsky's Overture for Romeo and Juliet was a revelation. Rid of all cliché or received knowledge/hearing from its ubiquity it became a powerful, moving and at times even sinister work - splendid stuff - thank you so much.
Sarah Dixon
I was feeling quite ill on the day and so it was an effort to get from Maidenhead to the Barbican. It was only because my brother was coming up from Stroud to hear the concert with me that I made that effort and boy, was it worth it. The orchestra was on top form and Denis Matsuev's performance was mesmerising. Afterwards we remarked that this was one of the best concerts we've ever attended, and we've been coming to see the LSO two or three times a year for about the last ten years. Congratulations all round.
Järvi/Daniels Adams/Copland/Bernstein/Ellington/Milhaud - 9 Feb 2012
Andy Skinner and Pat Griggs
A Big Thank You! We really enjoyed the jazz-inspired concert last night (9 Feb) at the Barbican. It is so good to see/hear such an original programme, that is both very interesting and thoroughly entertaining! Good to get away from the traditional classical fare every so often. Seeing these pieces – which we already know well, and love, from recordings – in live performances gives them a whole new dimension. How fascinating the smaller ensemble for 'Creation du Monde' is, for example - and how amazing the huge forces for 'Harlem' and 'on the Town'. Eddie Daniels was splendid too – whether in Copland, Bernstein or 'Berkeley Square'!
And the programme advertisement has led us to the LSO St Luke's Website for the Stravinsky Jazz Evening in May. St Luke's is somewhere we have yet to go to…
Mike Williams
I would just like to let you know that I have updated my Facebook status to:
"Kristjan Jarvi (conductor) & Eddie Daniels (clarinet) & LSO @ Barbican last night: Bernstein, Copland, and Ellington. The best orchestral concert I have ever been to."
Ben Hull
I enjoyed the Eddie Daniels concert last night but I was surprised by a poor arrangement of Bernstein's Prelude Fugue and Riffs. The opening statement sounded feeble and robbed of all it's impact on strings. The fugue lacked the tone colours a saxophone section is able to produce. Why employ a world class saxophone section for Harlem and not use them for the Bernstein?
The program notes made no mention of the arrangement and even commenented on the saxophone parts.
I love the Prelude Fugue and Riffs and the chance to hear it played by Eddie Daniels was amazing but I am surprised that the LSO choose a poor arrangement over the real thing.
Tilson Thomas/Von Otter Debussy/Weill - 2 Feb 2012
Alfred Bradley
I loved the programme. The contrast of the shifting world that Debussy creates and the harsh, hard world of Weil was really interesting. I'll be honest; I'm not the greatest Debussy fan kin the World, but M.T.T. whipped up a storm in 'La Mer'. I was totally involved. The L.S.O. on glittering form. You sense a real bond with this conductor. Anne- Sophie Von Otter got it just right. Hot and cold together..
A really thought provoking evening. Thankyou.
Pappano/Tamestit - Adès/Walton/Elgar, 9 January (Warwick) & 10 January (Barbican) 2012
Roger Dodd
I also would like to say that I went to see the London Symphony Orchestra at the Warwick art centre on the 09/01/12 EXCELLENT, I am a double bass player and were I was sitting just above the basses was fantastic I went home feeling really pleased and happy
Angela Finch
The performance of Elgar's First Symphony was spine-tingling and worthy in every way of the five star review in The Times. Thank you so much for giving us a very special shared memory.
Alan Whitworth
I have just listened for the second time to Sir Antonio Pappano and the LSO's recent broadcast from the Barbican of Elgar 1, and must say I was utterly transported. Lyrical passages of luminous intensity which I had simply missed before, particularly in the second movement; Sir Antonio really made them sing!
Hard to believe he only conducted this work for the first time in Warwick this week. So PLEASE can we have a recording of Elgar 1 by Pappano and the LSO in the near future. I for one would love to hear what insights he and the LSO could bring to the wonderful slow movement of Elgar 2; how about including the second symphony in a future concert?


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Showing 1-24 of 30 items found in Outdoors & Play
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Alton Marina
A destination port on the Mississippi with picnic area's, playground, and outdoor pool. Within a half of a mile to Alton's historic antique district and the Argosy Casino.
Sam Vadalabene Bike Trail
Extending 20 miles from Alton to Pere Marquette State Park, the Sam Vadalabene Bike Trail runs parallel to the Meeting of the Great Rivers National Scenic Byway along IL Route 100, as well as the Mississippi and Illinois Rivers. The route is completely paved and takes cyclists through the towns of Elsah and Grafton. Comfort stations are available at Piasa Park, Clifton Terrace Park, Elsah, Grafton Visitors Center, Grafton Harbor public restroom and Pere Marquette State Park. This is a great ride for cyclist of all ages, including families looking for a free day of fun!
Geocaching Programs
Geocaching is an outdoor treasure-hunting game in which the participants use a Global Positioning System (GPS) receiver or other navigational techniques to hide and seek containers (called "geocaches" or "caches"). Several are located at the Rivers Project and interested individuals can attend this free 1 hour program on Saturdays, June through August,to learn more and get involved in geocaching.
Melvin Price Locks & Dam
Get the best view of Alton and the Mississippi River from eight stories in the air atop the Melvin Price Locks & Dam. Take a free guided tour and see towboats and barges as they push their way through this incredible structure. It's also a great spot to eagle watch in the winter.
Meeting of the Great Rivers National Scenic Byway
Cruise along the Meeting of the Great Rivers National Scenic Byway, where the Mighty Mississippi, Missouri and Illinois Rivers converge. The 33-mile byway begins in Hartford, leading you through Alton and bends along the forested river bluffs to its end point in Grafton, at Pere Marquette State Park.
Liberty Bank Alton Amphitheater
The 4,000 seat Liberty Bank Alton Amphitheater hosts a variety of events from community festivals to live concerts throughout the summer months. With the Mighty Mississippi River as a backdrop, bring your blanket and spread out for an evening under the stars. Check out our website for a list of upcoming events.
Two Rivers National Wildlife Refuge
Near the confluence of the Mississippi and Illinois rivers lies a veritable bird-watching utopia. Visitors to Two Rivers National Wildlife Refuge can expect to see a variety of migratory birds, from waterfowl and warblers to Acadian Flycatchers and American Bald Eagles. In fact, Two Rivers is the winter home to one the largest Bald Eagle populations in the continental United States.
McMaster Woods Nature Preserve
McMaster Woods is a beautiful oak woodland and barrens that occurs on deep ravines, steep slopes and a ridgetop. Limestone bedrock outcrops along the bases of ravines and an intermittent stream crosses the northwest corner of the preserve. A great variety of wildflowers, grasses, sedges and ferns occur here, including large-flowered bellwort, spikenard, false dragonhead, wood reed and maidenhair fern. A small, but interesting barrens remnant occurs on the ridgetop. For Further Information Contact: Illinois Department of Natural Resources, District Natural Heritage Biologist, 4521 Alton Commerce Parkway, Alton, Illinois 62002 (618-462-2424)
Lone Oak Golf Course
The 9-hole "Lone Oak" executive course at the Lone Oak Golf Course facility in Carrollton features 2,150 yards of golf from the longest tees for a par of 32. Designed by George DeGeal, the Lone Oak golf course opened in 1984.
East Alton Ice Arena
Grab your skates and hit the ice any time of the year at this indoor ice arena. Didn't bring your skates? No problem. Rent a pair and take a few laps around the rink. It's the coolest place in town all year round!
CITY:East Alton
Bluffdale Vacation Farm
Bluffdale is an Illinois farm vacation dude ranch and bed & breakfast. Parent Magazine's "Top 10 Family Resorts in North America." Our family has been welcoming guests to our historic Illinois farm near Eldred, Illinois since 1963. Recreation activities include horseback riding, boating, fishing, swimming, hayrides, bonfires, sing-alongs and more. Bluffdale is famous for its generous home cooked meals with home baked bread, rolls and pies. Our luxury cabins, featuring a fireplace and hot tub, are ideal for romantic getaway weekend or honeymoon bed & breakfast lodging. Spring brings a wide variety of wildflowers and morel mushrooms. In fall the bluffs make a colorful drive and eagle watch from Alton to Bluffdale along the Great River Road, a National Scenic Byway. Check our website for rates and availability.
Mississippi River State Fish and Wildlife Area
Consisting of 15 wildlife management areas and 13 public access areas, the Mississippi River State and Wildlife Area manages a majority of its 24,400 acres to accommodate waterfowl hunting and habitat enhancement.
Raging Rivers WaterPark
Choose from four winding waterslides, brave the waves at the Breaker Beach wave pool or just spend the afternoon floating along the Lazy River. Located just outside Grafton on the Great River Road.
Pere Marquette State Park
At 8,000 acres, Pere Marquette State Park is the largest state park in Illinois. Go hiking on wooded trails, biking along scenic bluffs, fishing and boating on the Illinois River, or horseback riding through the forest. The park is also known for its guided fall color drives and eagle-watching tours in the winter. The rustic stone-and-timber Pere Marquette Lodge makes a great base for exploring the area.
Grafton Zipline Adventures
Looking for a jaw dropping, heart racing experience? Try Grafton's newest attraction – a zip line that affords those brave enough a stunning river view and hours of fun. The nine zip lines total 1.75 miles, which should take approximately two hours to complete. The first of nine zip lines is nicknamed the Baby Bear – the shortest measuring only 300 feet in length. The longest, at 2,000 feet, is the Soaring Eagle, which has breathtaking views during its 250-foot descent. The Deer Hollow (3rd zip) and the Barn Burner (the final zip) are both 1,500 feet. The Limestone Leap (7th zip) is 1,300 feet, the River Run (5th zip) is 1,200 feet, the Gobblers Knob (6th zip) is 1,000 feet and the Road Runner (2nd zip) at 700 feet.
Grafton Harbor
Visit this "Key West" of the Midwest located where the Illinois River and Mississippi River meet. In addition to harbor faciltiies, a floating swimming pool and the Big Kahuna Bar and Grill, Grafton Harbor features a gift shop where boaters and landlubbers alike can find unique trinkets and treasures. Snacks, beer and wine, boating accessories and parts, clothing for all ages, navigational maps and gifts for that special child are all available.
Captain Andy's Parasail
Enjoy the relaxing view while sailing above the bluff line over the Mississippi River! The views are spectacular and sure to be remembered for years to come. It's a very peaceful ride that gives you a completely different perspective on your world. After trying it once, most people are repeat fliers.
Tri City Port District
This site is on the Granite City Canal, near the Lock and Dam on the Mississippi River. Tri City Port is a duty-free foreign port, as well as a loading facility for farm and other products being barged on the river.
CITY:Granite City
Lock and Dam 27
For a closer look at river traffic on the Mississippi, go by the lock and dam where Ol' Man River is still an important way to move freight in the United States.
CITY:Granite City

subset: commoncrawl


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LINKS Al-Anon
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Top 10 Archives
2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 Jan | Feb | Mar | Apr | May | Jun | Jul | Aug | Sep | Oct | Nov | Dec Portsmouth NH HarborCam details Portsmouth, NH United States A view of Portsmouth (N.H.) Harbor showing the tugboats, decks and Piscataqua River. Look for river traffic! www.portsmouthnh.com Live View of Halifax Harbour details Halifax, Canada Our second camera at Alderney Gate is showing the waterfront of Halifax: Ocean Terminal, Pier 21, Boardwalk with Cable Wharf and Historic Properties, Ferry Terminal, Purdys Wharf and Casino Nova Scotia. www.novascotiawebcams.com EUROPARK shopping mall webcams details Salzburg, Austria See live cameras from EuroPark Shopping Mall in Salzburg, Austria. Image updates every minute. www.europark.at EarthCam: Patagonia Cam details Puerto Natales, Chile Experience the dramatic view across the Admiral Mont Gulf that greets residents of Puerto Natales daily. The unique view is just a sample of the beautiful vistas found in this city in Patagonia, Chile at the southern tip of South America. www.earthcam.com |


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A 14K yellow gold ring set with one Hawaiian Black Coral inlaid stone, 6.5x4.5mm, and eleven faceted round Diamonds totaling 0.047 carats, total weight, in the 7.5mm "Yin Yang" bypass setting. Additional ring sizes may be available at a higher price, please contact Personal Shopper at 800-253-6016 for assistance.


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Auto Shop
In this Toolkit, the Inventory worksheets are linked to the Disposal worksheets, so that any surplus products or waste chemicals identified through the inventory can be tracked through the disposal process. In order to make the Auto Shop Disposal Worksheets more manageable, you'll first want to add the items not found on our lists, and eliminate the rows corresponding to items you did not check off in your inventory, i.e. items that are not present in your science labs. You can refer to your hard or electronic copy of the Inventory to edit the Disposal Excel file so it fits your situation.
The Auto Shop Disposal Worksheets provide guidance about chemical handling for some of the items listed, as well as columns to identify the amount of the product to be disposed of, and to check off steps taken to assist the school-wide disposal procedures. Fill out the Disposal Worksheets. The school's disposal point person will gather yours, and those from other school sectors in order to compile a complete disposal plan for informing and working with a hauling company.
Inventory | Checklist for purchasing of chemicals (EXCEL) | Purchasing | Storage and Labeling


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Overview of content related to 'library of congress'
This page provides an overview of 1 article related to 'oclc'. Note that filters may be applied to display a sub-set of articles in this category (see FAQs on filtering for usage tips). Select this link to remove all filters.
OCLC Online Computer Library Center, Inc. (OCLC) is "a nonprofit, membership, computer library service and research organization dedicated to the public purposes of furthering access to the world's information and reducing information costs". It was incorporated on July 6, 1967 as the not-for-profit Ohio College Library Center. More than 27,000 libraries in 86 countries and territories use OCLC services to locate, acquire, catalog, lend and preserve library materials. The organization was founded by Fred Kilgour, and its head office is located in Dublin, Ohio, U.S. (Excerpt from Wikipedia article: oclc)
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Title | Article summary | Date |
Retooling Special Collections Digitisation in the Age of Mass Scanning |
Constance Rinaldo, Judith Warnement, Tom Baione, Martin R. Kalfatovic and Susan Fraser describe results from a study to identify and develop a cost-effective and efficient large-scale digitisation workflow for special collections library materials. |
July 2011, issue67, feature article |


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Like many of you I have had a Revell Gato or two lying around my shop for years awaiting inspiration. Through a circuitous route I find myself back working on it with some accountability partners. Porteous, Kisler, and I have decided to finally put our kits and AM parts to good use and create our own wolfpack. John Knasas' beautiful boat is our main inspiration. He's done such a good job with his, and it performs so well in the water, we figure if our results are half as good we'll be doing alright.
The pack will consist of Gato (Knasas), Harder (Porteous), Trigger (Kisler) and Flasher (me). Suitably alliterative wolfpack name to follow. Why Flasher? Well, the first "grown up" book I ever read was Grider's 'War Fish' and I've always been thrilled by his account of his first patrol as CO, her fifth. If you're unfamiliar with the story of the "flaming action patrol" by all means check it out of your local library. Flasher during her fifth war patrol had her own slightly modified look which will pose a few interesting challenges -- but not so many that it will bog me down. I've been lost in detail hell on several boats recently and this project is ostensibly about fun. Why not Wahoo you ask? Hopefully she will come some day too in a slightly larger scale.
So, Flasher circa 5WP is an Electric Boat Gato-class so the Revell kit, which really is nice, is a great starting point. What it will require is some effort to convert the fairwater to Flasher's clean covered wagon look. The first thing I did was lop off some of the details on the kit parts. First to go were the square raised panel lines along the bottom of each side. These weld lines are on the boat the kit was primarily modeled after, Cod, but are not on Flasher's fairwater -- nor very many others that I have observed. Some scraping with a #11 X-acto and I was feeling much better.
I also cut off all but one of the pressure proof lockers molded into the FW sides. Why they made the moldings part of the kit I'll never understand. During 5WP Flasher only had one large one under the forward 20mm platform starboard of the CL. The rest I shaved down or drilled out. Then I opened the large doors on the side. Now she's looking like a Gato!
To fill the new holes left by the pressure proof lockers I employed a trick learned from the pages of the SCR many moons ago. I found some suitable styrene stock of the FW wall thickness and punched out circular plugs to fill the holes. I found some brass tubing with the matching ID of the holes and cut a piece around 1" long. Then I filed one end until it was sharp enough to cleanly bite the plastic. Placing it on the stock I hit it with a hammer until it cut out some neat disc shapes. They fit the holes with minimal trimming. All it takes is some Tenax from the backside and the holes are gone requiring minimal putty.
Now if I can find my Nautilus Model's MBT flood template I can finish scribing the openings and doors I started back in 2007!


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March 19, 2014 - 07:00 pm to 08:00 pm
The Cincinnati Art Museum has a long history of supporting and nurturing local artists, from Frank Duveneck to Jim Dine. ARTiculate, a series of talks between Cincinnati artists and Art Museum Director Aaron Betsky, continues this tradition by inviting artists to discuss their processes, practices, and relationships to the Queen City. Join us as we learn more about the artists living and working in our community and explore the contemporary Cincinnati art scene.
FREE for Art Museum Members and Evenings for Educators participants; $5 for students; $10 for non-members. Reservations recommended.


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Blue Giant
Kevin and Anita Robinson are sitting in their home in Portland, Oregon waxing, as usual, about music. "If you break down a George Jones song and a Kinks song, they're really similar on paper," says Kevin. "The only difference is the delivery and instrumentation. A good song is a good song."
Blue Giant, the Robinsons' new band with Chris Funk (The Decemberists), Evan Railton (Swords) and Seth Lorinczi (The Golden Bears), goes a long way to bridging these disparate worlds. With a long history as a duo under the name Viva Voce, where every note you heard was created by one of the two musicians, the pair now realize their vision of a full band capable of expanding and shifting their ever-changing sound.
"We worked Viva Voce so hard, it didn't take long before we hit the ceiling and realized there's only so much dynamic range and vocal interplay you can do with two people," admits Kevin. "If you want to write songs that have more of an ebb and flow with different parts, you need a band. With Blue Giant, this is the first record in our entire careers where Anita and I didn't play everything on the album."
On Blue Giant their self-titled debut (Vanguard/July 13th), the ghosts of traditional American music—country, bluegrass, folk—merge with driving, straight-ahead rock. The classic country feel of "Lonely Girl" shares space with the melodic guitars and chugging percussion of "Clean The Clock", while the mellow, deceptively simple "Gone For Good" (featuring Sleater-Kinney's Corin Tucker) fits right at home with "Reasons to Cry," a haunting closer that sounds like a lost song from "Twin Peaks". Then there's "Blue Sunshine," the group's "stomping, scrappy, shit-kickin' tune," that sounds like the Louvin Brothers and Foggy Mountain Boys getting drunk and listening to Zeppelin's version of "Travelling Riverside Blues" on repeat.
Contrary to their previous working style as a duo, the pair road-tested and worked out the Blue Giant material first before bringing it into the studio. Once there, though, spontaneous, late-night recordings with friends created a more organic, raw sound. "It was exhilarating," says Anita. "We just finished building our studio and the first thing we wanted to do was invite friends over and play music. The chemistry was immediate so we just said, 'Let's go with this.'"
Musical chemistry is something the pair has had since meeting up in college. Before that, Kevin was using his high school graduation money to buy a 4-track to record bands and Anita was accompanying her musician father in bars and starting a cover band with her brother. When the two met, they had already been in a career's worth of bands before forming Viva Voce.
Since that formation in 1998, the duo have released five albums that have earned a litany of critic-ready adjectives: "Ambitious," "complex," "simple," "imaginative," "smoothly funky," "psychedelic," "majestic," You get the idea.
"We've delved in so many genres and after all these years of going as far as we could go on the boundaries of music, we've come full circle to where the future of music is where it started: five people in a room together playing songs," says Kevin.
Adds Anita: "Our whole lives, our dream has been just playing music and touring and that's what we've always done and always … Read More
Tour Dates
View All06/16/15 |
Wilmington, DE USA |
World Cafe Live at The Queen 302-994-1400 |
Tickets View Map |


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Top Definition
A sandwich from KFC consisting of bacon, cheese, and thousand island dressing in between two pieces of chicken (fried or grilled). The sandwich has no bun, and has received extremely large amounts of controversy from various health groups. However, although the sandwich has 1,300 mg of sodium, about half of one's daily value, it does not have as much calories or fat as chicken sandwiches from Burger King or McDonald's. Also surprising, the grilled version of the sandwich actually has 50 mg more sodium than the crispy. Although not the healthiest choice one can make, it is certainly not the worst fast food item one may eat.
My wife thought I was crazy when I ordered the Double Down Sandwich at KFC, but it tasted delicious and wasn't too bad for me.
por prockr3
31 de Maio de 2010
1 more definition
For 5$ extra your server can stab you in the heart
That Double Down Sandwich was delicious!
That heart attack was delicious!
That heart attack was delicious!
por Colonel Kentucky
07 de Maio de 2010


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In Flinders' Wake: The Flinders Deck Shoe from Burke Marine By Burke Marine, Sydney , 8:44 AM Thu 24 Oct 2013 In the 1790s Captain Matthew Flinders tamed Bass Strait and the rugged coast of Van Diemen's Land. In 1803 he became the first European to circumnavigate and survey the great southern land. His nautical feats in Australian history are only rivalled by Captain James Cook. ...[more] Burke Marine search for dynamic sales person By Fran Burke, Sydney , 11:42 PM Mon 26 Aug 2013 Dry, durable and comfortable has long been the catch phrase of iconic Australian marine clothing company Burke Marine, but now they are looking to add in dynamic. The search is on for a dynamic sales person to join the dedicated team at Burke in their Sydney office. ...[more] The new generation E50 buoyancy aid from Burke Marine By Burke Marine, , 12:55 PM Fri 30 Nov 2012 A touch of European sophistication has graced Australian waters this summer with Burke Marine's release of the new generation E50, a European-style, side-entry buoyancy aid. This Level 50 buoyancy aid has been given a dynamic new look with jet black/carbon panelling and a spacious, Velcro-secured front pocket. ...[more] A slick new look for the Burke Wetsuit Boot and Sneaker By Burke Marine, Sydney , 10:14 AM Wed 14 Nov 2012 The new Burke Wetsuit Boot and Sneaker range has just hit the market with a slick new look. On first inspection, the range certainly catches the eye with its new, sleek jet black/carbon colour scheme and panelling. But like all great products, this new range remains true to its core, high performance features that have made it a mainstay around Australian waters. ...[more] Henri Lloyd Winter Sale - Samples and ex-stock galore - big discounts By Fran Burke, 10:01 AM Wed 30 May 2012 The famous Henri Lloyd Winter Sample Sale has kicked off at the Henri Lloyd showroom in Crows Nest, Sydney! Huge range of samples and discontinued lines from Henri Lloyd's marine, footwear and lifestyle collections for men and women. Discounts of up to 80% off original RRP! ...[more] New Rigid Seat Bosuns Chair from Burke Marine By Colin Burgess, syndey , 7:31 PM Thu 29 Mar 2012 Burke Marine has released a new Rigid Seat Bosun Chair. This high-spec bosun chair incorporates a new, super-strong lifting-strap reinforced with not just one but two layers of 48mm polyester webbing looping around the entire structure. ...[more] New Technical Crew Shorts just in time for Christmas By Colin Burgess, Sydney , 6:46 AM Wed 21 Dec 2011 Part of Burke Marine's technical apparel range, the new Crew Shorts utilizes advanced fabric technologies for enhanced comfort and performance. ...[more] New all purpose Aquatic footwear from Burke Marine By Colin Burgess, Sydney , 11:49 AM Tue 20 Dec 2011 Burke Marine has released its latest offering in marine footwear, the D-MESH Aquatic Sneaker. ...[more] New Level 50 from Burke Marine By Colin Burgess, Sydney , 4:33 PM Mon 28 Nov 2011 Burke Marine is well known for its range of Personal Flotation Devices (PFD's) and with the implementation of the new AS4758.1 standard they have redesigned their range to suit the new standard. ...[more] Henri Lloyd Summer sample sale starts Saturday - up to 80% off RRP! By Marine Media Services, Sydney , 3:36 AM Wed 12 Oct 2011 The famous Henri Lloyd Summer Sample Sale is on again kicking off this Saturday 15th October 2011 at the Henri Lloyd showroom in Crows Nest, Sydney! Huge range of samples and discontinued lines from Henri Lloyd's marine, footwear and lifestyle collections for men and women. Discounts of up to 80% off original RRP! ...[more] Hamilton Island Race Week - Henri Lloyd fashion parade a huge success! By Fran Burke, , 9:00 PM Mon 29 Aug 2011 Hamilton Island Race Week - Fashion and high performance sailing came together in a glitterati event for the launch of Henri Lloyd's Spring Summer 2011 Lifestyle and Marine collection during the regatta this year. Held on Main Street, the eagerly anticipated parade drew a large crowd of Australia's best regatta sailors and celebrities, including Layne Beachley, Kirk Pengilly and Gracie Otto. ...[more] New Spreader Trapeze Harness from Burke Marine By Colin Burgess, syndey , 3:00 PM Fri 19 Aug 2011 The new Burke One Design Trapeze Harness has undergone extensive R&D and has been redesigned to deliver a new level of comfort and support for today's one design sailor. ...[more] Henri Lloyd arrives in David Jones By Fran Burke, 8:59 PM Mon 8 Aug 2011 Henri Lloyd's signature nautical style is now available nationally in selected David Jones stores. The international brand was recently snapped up by David Jones, signing a department store exclusivity for three years and will be offering not only Australia's savvy sailing fraternity but also men of style this best loved Brit casual wear brand. ...[more] Search for Australia's hottest sailors! By Fran Burke, 11:08 PM Mon 25 Jul 2011 Henri Lloyd is putting the call out for Australia's hottest sailors! Rugged good looks, slightly salty around the edges or that bigger than life personality? Then we want you – or perhaps just dob your best mate or skipper in! The search is open to all sailors attending Audi Hamilton Island Race Week in August 2011, with Henri Lloyd looking for 8 to 10 gorgeous, fit sailors to take to the runway. ...[more] Burke Marine releases new Paddling PFD By Colin Burgess, Sydney , 1:09 PM Tue 22 Mar 2011 The Burke Marine Brand is well know in the sail and power boat markets for its quality and excellent pricing well now this leading Australain brand is designing products tailolerd for the paddle sports scene. Many of thier current products cross over nicely into paddling but now there is a PFD that has beed designed with paddlers in mind. ...[more] Henri Lloyd new look Wet Weather gear By Colin Burgess, Sydney , 8:32 PM Mon 21 Mar 2011 The TP2 Ventura Jacket and Coastal Hi Fit trousers in Yellow were one of the stands out success in Henri Lloyd's range of wet weather gear in 2010. This year Henri Lloyd has added a new colour, Optical White with Navy Trim ...[more] Henri Lloyd in the land of the V8? By Fran Burke, 3:44 PM Thu 17 Feb 2011 Henri Lloyd and Audi celebrate five years of sponsoring sailing/motor sport together with a 1-2 Audi victory at Bathurst. Henri Lloyd and Audi will be embarking on their next adventure together on the 4-6th of March for the Audi Sydney Harbour Regatta and in August for the Audi Hamilton Island Race Week. ...[more] The New Burke Marine PFD Range By Colin Burgess, sydney , 1:50 PM Fri 4 Feb 2011 The new Burke Marine PFD Range equals sophistication, safety and comfort without the hefty price tag. The new Australian standards (AS4758.1) for PFDs have come into effect and Burke Marine, celebrating 40 years in marine industry, have decided to embrace the changes by releasing a whole new range of smarter and sharper level 100 to 50 PFDs. ...[more] Clipper Round the World Yacht Race – Henri Lloyd gets back on board By Zoe Williamson, 10:22 PM Fri 21 Jan 2011 A major success story of this year's Tullett Prebon London International Boat Show is the continuation of the longstanding partnership between round the world yacht race organisers, Clipper Ventures and marine clothing specialists, Henri Lloyd. ...[more] New Solas Life Jacket Light from Burke Marine By Colin Burgess, Sydney , 10:10 AM Tue 11 Jan 2011 Burke Marine is now distributing the UML Sea Flash SOLAS life jacket light. A compact super light weight product that will be a must have for sailors of all levels. ...[more]
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In a crowded courtroom in Mississippi, a jury returns a shocking verdict against a chemical company accused of dumping toxic waste into a small town's water supply, causing the worst "cancer cluster" in history. The company appeals to the Mississippi Supreme Court, whose nine justices will one day either approve the verdict—or reverse it.
The chemical company is owned by a Wall Street predator named Carl Trudeau, and Mr. Trudeau is convinced the Court is not friendly enough to his interests. With judicial elections looming, he decides to try to purchase himself a seat on the Court. The cost is a few million dollars, a drop in the bucket for a billionaire like Mr. Trudeau. Through an intricate web of conspiracy and deceit, his political operatives recruit a young, unsuspecting candidate. They finance him, manipulate him, market him, and mold him into a potential Supreme Court justice. Their Supreme Court justice.
Excerpted from The Appeal by John Grisham. Copyright © 2008 by John Grisham. Excerpted by permission of Dell, a division of Random House LLC. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
"Chilling and timeless."—The Washington Post
"Fascinating . . . filled with deadly accurate characterizations by an author who knows both the law and politics from the inside."—Los Angeles Times
"Grisham holds up that same mirror to our age as Tom Wolfe's The Bonfire of the Vanities."—The Boston Globe
"Packs a wallop."—USA Today


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Hi all, I'm having some issues getting KMS up and running on my RV770 [Radeon HD 4850].
I'm running Kubuntu 9.10 and have added the xorg-edgers repository, and installed 2.6.33-rc4. I've also copied the R700_rlc.bin firmware into /lib/firmware/2.6.33-020633rc4-generic/radeon/
Booting with radeon.modeset=1 doesn't work: the splash screen doesn't appear at native resolution, and I end up with a blank screen when KDM is supposed to appear.
3D works fine if I remove radeon.modeset=1 from the boot command, though obviously without the benefit of KMS or DRI2.
Can anyone help me out with getting KMS working? I've attached the dmesg and Xorg.log from the failed boot.
These two logs are strange. Second doesn't say anything about drm and radeon module, but first says that KMS is enabled and DRI connection is opened. Are they really from the same session?
I had problems with 33-rc3/4 kernels, but I've never had plymouth (even with lucid kernels). The problem was radeon module didn't load at all. I applied something like this upon /usr/share/initramfs-tools/scripts/init-top/framebuffer:
And recreated initrd (update-initramfs -u -k all). This makes initrd modprobe radeon with modeset=1 in case of radeon.modeset=1 on command line. It does that before plymouth in initrd starts, but as I said plymouth doesn't work for me and have never worked before (but this could be my problem). I don't know if this solution is right, but it's what I did to have KMS.Code:--- framebuffer 2010-01-15 18:58:06.865600765 +0100 +++ /usr/share/initramfs-tools/scripts/init-top/framebuffer 2010-01-11 17:56:27.017420971 +0100 @@ -70,6 +70,10 @@ FB=${x#*=} FB="${FB%%:*}" OPTS="$(parse_video_opts "${x}")" + ;; + radeon.modeset=1) + FB=radeon + OPTS="modeset=1" esac done
Another reason is too old userspace. I am using future Lucid packages, Karmic userspace can be too old. But xorg-edgers should suffice...
Thanks for that - I don't believe they were.
I did 'rm dmesg* Xorg*' in /var/log and booted the 2.6.33-rc4 kernel, then after it locked up booted back to 2.6.31, and it turned out that while dmesg and Xorg.0.log for the 2.6.33-rc4 boot were being generated, they were empty.
kern.log had the following lines though:
So it looks like kms just isn't initialising properly. Not sure what error -22 is (firmware?). Anyone know what's going on?Code:Jan 17 19:28:51 dell kernel: [ 2.249425] [drm] Initialized drm 1.1.0 20060810 Jan 17 19:28:51 dell kernel: [ 2.255682] usbcore: registered new interface driver hiddev Jan 17 19:28:51 dell kernel: [ 2.255747] usbcore: registered new interface driver usbhid Jan 17 19:28:51 dell kernel: [ 2.255749] usbhid: v2.6:USB HID core driver Jan 17 19:28:51 dell kernel: [ 2.262964] [drm] radeon kernel modesetting enabled. Jan 17 19:28:51 dell kernel: [ 2.263118] ohci1394 0000:06:07.0: PCI INT A -> GSI 23 (level, low) -> IRQ 23 Jan 17 19:28:51 dell kernel: [ 2.263775] radeon 0000:01:00.0: PCI INT A -> GSI 16 (level, low) -> IRQ 16 Jan 17 19:28:51 dell kernel: [ 2.263779] radeon 0000:01:00.0: setting latency timer to 64 Jan 17 19:28:51 dell kernel: [ 2.264948] [drm] radeon: Initializing kernel modesetting. Jan 17 19:28:51 dell kernel: [ 2.264950] [drm:radeon_driver_load_kms] *ERROR* Failed to initialize radeon, disabling IOCTL Jan 17 19:28:51 dell kernel: [ 2.265003] radeon 0000:01:00.0: PCI INT A disabled Jan 17 19:28:51 dell kernel: [ 2.265024] radeon: probe of 0000:01:00.0 failed with error -22
As described on the X.Org Wiki, I blacklisted the radeon module and booted to a recovery console. 'modprobe radeon' worked and gave me the correct resolution!
This is the dmesg from that session (see from 36 seconds where I manually modprobed). It looks like it's working, so not sure why it won't in a normal boot.
There are a few suspicious lines such as:
Code:[ 36.709869] mtrr: type mismatch for d0000000,10000000 old: write-back new: write-combiningCode:[ 36.992526] No connectors reported conncted with modes..though I don't know if they're significant. Can anyone help me out?Code:[ 37.113104] registered panic notifier
For some reason, the radeon module wasn't loading properly by default.
I added 'radeon' it to /etc/modules, and now have a working KMS/DRI2 desktop with my RV770 card!
Why not compile the radeon mudule into the kernel instead? That way you'll even have a KMS framebuffer console right after Grub.


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216 Union Street Seattle, WA 98101 Tickets 206.838.4333
Telephone – 7 Days a week from 7am to 8pm Sunday - Wednesday : 4pm - 12am Thursday - Saturday : 4pm - 2am Mainstage hours vary based on showtimes Holiday Hours: Easter Sunday - Normal Hours Memorial Day - Closed 4th of July - 3pm - midnight (All Day Happy Hour!) Labor Day - Closed Thanksgiving - Closed Christmas Eve - 3pm - 9pm Christmas Day - Closed New Years Day - Closed
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Style: Straight Material: Synthetic Length: Short; 5 3/4" front; 2 1/2" - 5" top; 2 1/2" crown; 4 1/2" upper back & side; 2 1/2" nape. Weight: 2.0 oz. Features: Open Cap Construction, Handtease, No extended neck.
There are several ways to contact us:
Phone: 1-800-689-2587
Fax: 1-508-238-1965
Email: email@example.com
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(8 of 8 customers found this review helpful)
I would buy this product again.
By Gail
from Rhode Island
About Me Beauty Conscious
Comments about Paula Young Diana Wig by Jaclyn Smith:
I just love this wig I have bought two already and will buy another when the price comes down. Have had so many compliments on it and most don't evey know it is a wig they still think it is my hair. Took it to my hairdresser to shape it for me. The care is very easy. Letting my own hair grow and didn't want to deal with all the stages and trying to deal with it. It is so easy I may never go back to my own hair especially with all the compliments I have been getting.
(16 of 17 customers found this review helpful)
My favourite so far
By Hair Affair
from New Brunswick, Canada
I'm new to the wig business and have tried a few (which I also like), but this is my favourite - despite the fact that I ordered the wrong color! However, I wear it anyway! I have thining hair on top and I have become quite self-conscious about it, so have begun wearing wigs when I want to not worry about it showing (bright sunshine, wind). This wig has just enough hair for me - I like the longer bangs and the fullness on top as I like a 'bigger hair' look. If I could change anything, I'd put more on the sides - I usually feel more comfortable tucking it behind my ears, but all in all - love it! I will re-order - in the right color now that I'm more used to the colors.
(14 of 14 customers found this review helpful)
Love this style so much!
By Laura
from Arkansas
Great look for me! I really love this style. Have gotten lots of compliments. People are so surprised to find out it is a wig! I love it, just wish there were more colors that look more like the highlights you would get at the beauty shops, a little chunkier maybe.
(20 of 20 customers found this review helpful)
easy style wig
By girl in the boro
from Edinboro,Pa
I was looking for a style that i wouldn't have to do much to...along came this wig..I've now tried several from Paula Young..but i must say so far this is my favorite.Thank you for supplying a great product..and by the way...the return policy and customer service at Paula Young is terrific..
(8 of 9 customers found this review helpful)
Darling Look!!!!
By Joni
from New York City
Loved this wig but unfortunately had to return itbecause it runs very small. So keep that in mind,when ordering.
The lining can be seen needs more hair
By Chepis
from McAllen, Texas
About Me Product Junkie
I wear it everyday. However, it wears out quickly and looses its lust within a couple of wearing despite using bottle water, wig shampoo and luster conditioner.


text:
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text:
Top Definition
A condition often related to extended periods of Internet-surfing, causing the mouse hand to feel uncomfortably cold.
Can be cured by wearing gloves.
Can be cured by wearing gloves.
After browsing hilarious YouTube videos for hours, I realised I had to stop due to my ever-worsening Surfers Hand.
viết bởi Grbel08
27 Tháng tám, 2010


text:
Of 3 controversies, White House sees IRS matter as most lasting - Comments
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text:
Quelle surprise?
Monday, July 30, 2012
The Perfect Scoop
Quelle surprise?
25 comments:
- Replies
Oh that's Amorino's famous 'Tulip' cone of the 1st pic.
I wonder if they've patented that?
What a delicious post!! Funnily enough, I still think Amorino (Italian, and everywhere) is the best ice cream I've had in Paris... LOL
x Milsters
(http://littlepiecesoflight.blogspot.fr/)Would have to crawl into the freezer to eat ice cream here as it is supposed to be 106 to 109 F today & that's not factoring in the humidity! but I want any one of those delicious cones or actually, all of them!
would you share your saffron ice cream recipe? Please. Merci!RepliesA similar recipe is on 'Bear Makes Ice Cream'.
Just substitute 1/4 ground saffron for the lime/lemon zest + add some orange zest.
Dear Carol, have you tried "Glazed", the brand new Parisian ice truck ?
On my to-do list once back to ParisDear PB~
This post makes me miss Paris even more!!!
Amorino is my favorite....we always try someplace new but end up back at Amorino.
Will put the ice cream truck on the 'to do' list!!
~SuzanneI had no idea all these pâtissiers were now making ice cream! Pierre Hermé's frozen treats sound especially intriguing.
ReplyDeleteRepliesAlmost every Parisian patissier and chocolatier of note I passed has their own ice cream freezers outfront(Lenotre, Dalloyau, Fauchon, J-P Hevin, Maison du chocolat etc.)
How can one keep up with the degustations?!
Personally I prefer fresh-scooped to pre-packaged ice cream for psychological reasons. There's a loss of anticipation and little immediate gratification.


text:
Top Definition
when a girl has facial hair above her upper lip
yo that chicks mac nasty had more hair than my mustache
作者 kazzilla
2 more definitions
One who thinks he or she is a tank when drinking (When he or she is not) then they think they are very cool, when there are not. They disrespect women and do not know how to pleasure them because they turn gay and smell funny and they hook up with people from a different race.
Dude stop you have only had three beers your being a Macnasty.
作者 Jason Yard


text:
The Law and Economics of Blockholder DisclosureLucian A. BebchukHarvard Law School; National Bureau of Economic Research (NBER); Centre for Economic Policy Research (CEPR) and European Corporate Governance Institute (ECGI) Robert J. Jackson Jr.Columbia Law School July 2011 Harvard Business Law Review, Vol. 2, No. 1, pp. 40-60, Spring 2012 Harvard Law School John M. Olin Center Discussion Paper No. 702 Columbia Law and Economics Research Paper No. 405 Abstract: The Securities and Exchange Commission is currently considering a rulemaking petition that advocates tightening the rules under the Williams Act, which regulates the disclosure of large blocks of stock in public companies. In this Article, we explain why the Commission should not view the proposed tightening as a merely "technical" change needed to meet the objectives of the Williams Act, provide market transparency, or modernize its regulations. The drafters of the Williams Act made a conscious choice not to impose an inflexible 5% cap on pre-disclosure accumulations of shares to avoid deterring investors from accumulating large blocks of shares. We argue that the proposed changes to the SEC's rules should similarly be examined in the larger context of the optimal balance of power between incumbent directors and these blockholders. We discuss the beneficial and documented role that outside blockholders play in corporate governance and the adverse effect that any tightening of the Williams Act's disclosure thresholds can be expected to have on such blockholders. We explain that there is currently no evidence that trading patterns and technologies have changed in ways that would make it desirable to tighten these disclosure thresholds. Furthermore, since the passage of the Williams Act, the rules governing the balance of power between incumbents and outside blockholders have already moved significantly in favor of the former — both in absolute terms and in comparison to other jurisdictions — rather than the latter. Our analysis provides a framework for the comprehensive examination of the rules governing outside blockholders that the Commission should pursue. In the meantime, we argue, the Commission should not adopt new rules that would tighten the disclosure thresholds that apply to blockholders. Existing research and available empirical evidence provide no basis for concluding that such tightening would protect investors and promote efficiency. Indeed, there is a good basis for concern that such tightening would harm investors and undermine efficiency. Number of Pages in PDF File: 35 JEL Classification: G30, G34, K22 Date posted: July 14, 2011 ; Last revised: August 15, 2014Suggested CitationContact Information
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Volunteer Application
Red Cross Club Kapolei High School
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American Red Cross school clubs are youth service groups that help the Red Cross fulfill its humanitarian mission of preparing for, preventing and responding to emergencies. Working closely with our local chapter and your school advisor, your club will participate in Red Cross service projects that help your school, your community and the world.
To get started, simply complete the application below.


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ಸಹಾಯ:ದೃಷ್ಯಸಂಪಾದಕ/ಸಹಾಯ ಕೈಪಿಡಿ
Note: When you edit this page, you agree to release your contribution under the CC0. See Public Domain Help Pages for more info.
- Why are we building this?
- VisualEditor rollouts
- Frequently Asked Questions
- Media Q&A (in English)
- How to use VisualEditor
- VisualEditor roadmap
- User testing reports
- Design portal
- Update help pages
- Add TemplateData
- Help new users
- TranslationCentral
- Translate & localize documentation
- ೧ Opening VisualEditor
- ೨ Getting started: the VisualEditor toolbar
- ೩ Saving changes
- ೪ Editing links
- ೫ Editing references
- ೬ Editing images and other media files
- ೭ Editing templates
- ೮ Editing tables
- ೯ Editing categories
- ೧೦ Editing page settings
- ೧೧ Editing mathematical formulae
- ೧೨ Editing poems and other special items
- ೧೩ Keyboard shortcuts
Opening VisualEditor[edit | edit source]
To edit a page using VisualEditor, click on the "ಸಂಪಾದಿಸಿ" tab at the top of the page.
ಪುಟವನ್ನು ಸಂಪಾದನೆಗೆ ತೆರೆಯಲು ಸ್ವಲ್ಪ ಸಮಯ ಹಿಡಿಯಬಹುದು. ಅದರಲ್ಲೂ ಪುಟ ದೊಡ್ಡದಾಗದಿದ್ದಷ್ಟೂ ಹೆಚ್ಚು ಸಮಯ ಹಿಡಿಯಬಹುದು Clicking on the "ಮೂಲವನ್ನು ಸಂಪಾದಿಸು" tab will open the classic wikitext source editor. |
You can also open VisualEditor by clicking on the "ಸಂಪಾದಿಸಿ" link on each section. |
Getting started: the VisualEditor toolbar[edit | edit source]
ದೃಷ್ಯಸಂಪಾದಕದ ಮೂಲಕ ಸಂಪಾದಿಸುವಾಗ ಅದರ ಸಾಧನಪಟ್ಟಿಯು ಪರದೆಯ ಮೇಲ್ಭಾಗದಲ್ಲಿ ಕಂಡುಬರುತ್ತದೆ. ಅದು ಕೆಲವು ಪರಿಚಿತ ಐಕಾನ್ಗಳನ್ನು ಒಳಗೊಂಡಿರುತ್ತದೆ. | |
ಹಿಂದಿನಂತೆ and ಮತ್ತೆಮಾಡು the changes you have made. | |
Headings pull-down menu: allows you to change how the paragraph is formatted. To change the style of a paragraph, put your caret in the paragraph and select an item in this menu (you don't have to highlight any text). Section titles are formatted "ತಲೆಬರಹ", and subsections are "ಶಿರೋನಾಮೆ ೨", "ಶಿರೋನಾಮೆ ೩", and so on. The normal format for text is "ವಾಕ್ಯವೃಂದ". | |
Formatting: Clicking the "A" opens a menu. For any item to have an effect, you must have first selected (highlighted) some text.
Linking tool: The chain is the linking tool. Clicking on it (usually after selecting some text) opens the link dialog. | |
ಉಲ್ಲೇಖಿಸಿ menu: The "ಉಲ್ಲೇಖಿಸಿ" menu is used to add inline citations (also called "footnotes" or "references"). All projects have access to "ಮೂಲಭೂತ" reference formatting and the ability to "ಮತ್ತೆ ಬಳಸು" citations, using this menu. This menu also gives you quick access to local citation templates, if these are enabled on your wiki.
(Instructions for adding local citation templates to the ಉಲ್ಲೇಖಿಸಿ menu at a specific wiki are available at VisualEditor/Citation tool.) |
Lists & indentation: The first two items allow you to format text as either a "ಬಿಂದು ಪಟ್ಟಿ" or a "ಸಂಖ್ಯೆಯ ಪಟ್ಟಿ". The last two items allow you to decrease or increase the indentation level of list items. | |
ಸೇರಿಸು: The "ಸೇರಿಸು" menu may be different on some projects. Below is a list of all options that may appear.
Special character insertion: The "ವಿಶೇಷ ಅಕ್ಷರ" icon on the "ಸೇರಿಸು" menu, when clicked, displays a dialog showing many special characters. By clicking on a specific character, you place it into the text. These special characters include some standard symbols, accents, and mathematical symbols. (This list may be customized locally. See VisualEditor/Special characters for instructions.) |
The ಪುಟದ ಆಯ್ಕೆಗಳು menu is to the left of the ಪುಟವನ್ನು ಉಳಿಸಿ button. On this menu there are options to adjust page settings, such as whether the page is a redirect, or how it is indexed; to add, edit, or delete categories; and to see, using the "ಭಾಷೆ" item, the list of articles on the same subject that are in other languages. You can also switch (one-way only) from VisualEditor to the classic wikitext source editor without losing the editing work you've done. |
Saving changes[edit | edit source]
When you're done editing, click the blue "ಪುಟವನ್ನು ಉಳಿಸಿ" button in the toolbar. If you have made no changes, the button will be disabled (grayed out). To cancel all your editing changes, just close your browser window. | |
Pressing the green "ಪುಟವನ್ನು ಉಳಿಸಿ" button opens a dialog. You can then enter a brief summary of your actions, mark your edit as minor, and add the page to your ವೀಕ್ಷಣಾಪಟ್ಟಿ. The box for the summary is the equivalent of the ಸಾರಾಂಶ: field in the wikitext editor.
You can also review your changes using the "ನಿಮ್ಮ ಬದಲಾವಣೆಗಳನ್ನು ಪರಿಶೀಲಿಸಿ" button to be sure they will work as intended before saving your changes. This is similar to the "ಬದಲಾವಣೆಗಳನ್ನು ತೋರಿಸು" button in the wikitext editor. The "ರದ್ದುಮಾಡು" button returns you to the page you were editing. You can save all of your changes later. |
Editing links[edit | edit source]
Links can be added through the "ಸಂಪರ್ಕ" icon (links in a chain) in the toolbar, or by using the shortcut ⌃ Ctrl+K (or ⌘ Command+K on a Mac).
If you select (highlight) text and then press the "ಸಂಪರ್ಕ" button, a link will be inserted using that text. For single-word links it's enough to just do it while the caret is on that word. |
When you use either the button or the shortcut, a dialog will open in which you may type the link.
VisualEditor will try to help with internal links by looking for likely matches as you begin to type. |
Once you have entered or selected the link, you complete the linking process by pressing ↵ Enter, pressing the "ಮುಗಿಯಿತು" button, or just clicking outside of the box. Your link will immediately appear on the VisualEditor page, but it will not be saved until you save the entire page. | |
To link to a web page on another website, the process is the similar: you enter a URL in the box, and it will be added as an "ಬಾಹ್ಯ ಸಂಪರ್ಕ". | |
External links without labels look like this: [೧]. You can add these by placing your cursor away from any word (e.g., after a space). Open the link tool by clicking on the button or pressing the shortcut keys. Type the URL in the box, and click the "ಮುಗಿಯಿತು" button to insert the link. | |
To change or remove an existing link, click within the text for that link, then press the "ಸಂಪರ್ಕ" icon that appears near it. The dialog will appear, for editing. (You can also get to the dialog with the ⌃ Ctrl+K keyboard shortcut.)
In the dialog, you can then change where the link goes. You can also remove the link altogether by pressing the "ತೆಗೆ" button in the lower left corner of the dialog. You can also open the link's target in another window by clicking on the "ತೆಗೆ" button. (You might want do this to check if an external link is valid.) |
Editing references[edit | edit source]
Editing an existing reference[edit | edit source] |
To edit an existing reference, click on it where it appears in the text (usually as a bracketed number). You will see either a "ಮೂಲಭೂತ" icon (bookmark) or an icon (and name) for the template that was used to create this reference. Clicking on this icon will open a dialog where you can edit the reference. | |
If what appears is the "ಮೂಲಭೂತ" icon, clicking on it opens the Reference dialog, where you can edit the reference's contents.
Many wikis use templates to format references. If a template is used in your reference, then all the text in the template will be highlighted when you click on the reference information. If a template was used and you've clicked on information in that template, then the ಸಿದ್ಧವಿನ್ಯಾಸ icon (puzzle piece) will appear. Click on that icon to edit the content of the template in the template mini-editor dialog. |
If, instead of the "ಮೂಲಭೂತ" icon (bookmark), what appears when you click on a reference is an icon for a standard template for citations, clicking on that icon will take you directly to the template mini-editor dialog. | |
Inside the template mini-editor, you can add or remove types of information or change current content. Only fields (template parameters) that have content are supposed to be shown initially. To add fields, click on "ಹೆಚ್ಚಿನ ಮಾಹಿತಿ ಸೇರಿಸಿ" at the bottom of the mini-editor. | |
Click on "ಬದಲಾವಣೆಗಳನ್ನು ಅಳವಡಿಸು" when you're done. | |
Re-using an existing reference[edit | edit source] |
If the page already contains a citation that applies to the text you want to source, then you can choose to re-use the existing citation.
To re-use an existing reference, place your cursor in the body of the text where you want to add a new reference (number) for that citation. Then click on the "ಮತ್ತೆ ಬಳಸು" item from the "ಉಲ್ಲೇಖಿಸಿ" menu. |
In the ಉಲ್ಲೇಖ dialog, look at the list for the reference you want to reuse, and select it. If there are many references, you can use the search box (labeled "What do you want to reference?") to list only those references that include certain text. | |
Adding a new reference[edit | edit source] |
To add a citation using the "ಉಲ್ಲೇಖಿಸಿ" menu, place your cursor where you want to add it in the text. Then select the appropriate citation type in the menu. | |
Using the "Basic" citation[edit | edit source] |
Shown here is what you will see if you select the "ಮೂಲಭೂತ" item. In the Reference editor, you can add your citation, including formatting.
You can make the reference belong to a given group, although normally this is left blank. (This option is used to display groups of references with the "ಉಲ್ಲೇಖಗಳ ಪಟ್ಟಿ" tool.) |
In the Reference dialog, if you want to include a template in your new reference, click the ಸಿದ್ಧವಿನ್ಯಾಸ icon (puzzle piece) in the "ಸೇರಿಸು" toolbar menu within the Reference editor. | |
Then, look for the template you want to use, add it and edit it as you would any other template. (See the Editing templates section, below, if you need more information about templates.)
After you're done editing your new template, click on "ಬದಲಾವಣೆಗಳನ್ನು ಅಳವಡಿಸು" to return to the Reference editor, and "ಬದಲಾವಣೆಗಳನ್ನು ಅಳವಡಿಸು" again to return to the page you're editing. |
If there isn't already a list of references on the page (for example, if you're adding the first reference for the page), you need to specify where the list of references, and their text, will be displayed to the reader.
Place the cursor where you want to display the references list (usually at the bottom of the page), open the "ಸೇರಿಸು" menu and click the "ಉಲ್ಲೇಖಗಳ ಪಟ್ಟಿ" icon (three books). |
If you are using several groups of references, which is relatively rare, you can specify the group in this dialog. Only the references that belong to that group will be displayed here.
The final step in the References list dialog is to click "ಸೇರಿಸು". |
Using standard cite templates[edit | edit source] |
Your local wiki may have added extra citation templates to this menu. This offers quick access to the most-used citation templates. (Instructions for adding extra citation templates to your local wiki are available at VisualEditor/Citation tool.) | |
Clicking on a template icon such as "Cite book" will take you into the template mini-editor for that template. Important information fields may be marked with an asterisk. While the most common fields will be shown, not all of them are required. | |
To add more parameters, scroll down in the template mini-editor and click on the "ಹೆಚ್ಚಿನ ಮಾಹಿತಿ ಸೇರಿಸಿ" option.
Click on "ಸೇರಿಸು" when you're done. |
Editing images and other media files[edit | edit source]
Editing images[edit | edit source]
To add a new image (or another type of media file) to the page, click the "ಮಾಧ್ಯಮಗಳು" icon (a picture of mountains) in the "ಸೇರಿಸು" menu. The image will be added wherever your cursor is. | |
Clicking the "ಮಾಧ್ಯಮಗಳು" icon opens a dialog that automatically searches Wikimedia Commons and your local wiki for media files related to the title of the page you're editing.
You can change the search by changing the text in the dialog's search box. To choose a file, click on its thumbnail image. This places the image onto the page you are editing. |
After the image you selected is inserted into the page, another dialog will open. This dialog allows you to add and edit the caption of the image. The caption can contain formatting and links. | |
The media dialog also allows you to add alternative text captions, to help users who use screen readers, or who have disabled image display. | |
You can also set various parameters for the image in the "ಸುಧಾರಿತ ಸಂಯೋಜನೆಗಳು" window. These include the alignment, the type, and size of the image. | |
When you're done, click "ಬದಲಾವಣೆಗಳನ್ನು ಅಳವಡಿಸು" to close the dialog and return to editing the page. | |
For an existing image, you can add or edit a caption or other settings by clicking on the image, then clicking on the "ಮಾಧ್ಯಮಗಳು" icon that appears below the picture.
You can resize an existing image by clicking on it, then moving the resize icon (the two-headed arrow on the bottom left). You can also drag and drop an image to a place higher or lower on the page. |
Editing media galleries[edit | edit source]
To edit an existing gallery in VisualEditor, click that gallery. Then, near the bottom of the gallery, click the gallery icon (a set of photos). This brings up the gallery editor, with the full list of images included in the gallery. | |
The gallery editor is currently a simple box that allows you to edit existing galleries using wikitext markup. To add a new image to an existing gallery, type the file name, followed by a bar (| ) and the caption for that image. You must put each image in the gallery on its own line. You can also edit this list to remove or rearrange images or to change captions.
When you click the "ಮುಗಿಯಿತು" button, you will exit the gallery editor. You should then see your changes, with the gallery as it will now appear to readers. Remember that exiting the gallery editor does not save your changes. As with other changes made using VisualEditor, you must save the entire page in order to save your work. |
Editing templates[edit | edit source]
To add a new template to the page, place your cursor where you want the template to be inserted, and click on the "ಸಿದ್ಧವಿನ್ಯಾಸ" icon (puzzle piece) in the "ಸೇರಿಸು" menu. | |
Type the name of the template you want to insert. When you see it on the list, click on its name. Then click "ಟೆಂಪ್ಲೆಟ್ ಸೇರಿಸಿ". | frameless|border|500px|center |
You can also edit templates that are already on the page by selecting them (they turn blue), and clicking on the "ಸಿದ್ಧವಿನ್ಯಾಸ" icon (puzzle piece) that appears. | |
Adding a new template or opening an existing one opens the "Transclusion" dialog. If the template has been updated to contain TemplateData information, then the dialog will show a list of individual parameters; otherwise, a link to the documentation will be available in the dialog. | frameless|border|center|500px |
For an existing template, you edit the parameters already listed, and you can add additional parameters by clicking "ಹೆಚ್ಚಿನ ಮಾಹಿತಿ ಸೇರಿಸಿ", at the very bottom of the dialog. | frameless|border|center|500px |
When a template embeds other templates, these sub-templates will appear inside the parameters that display them. They can be edited or removed inside the parameter field.
New sub-templates are added by following the steps of adding a parameter. You may need to check the template documentation to make sure that the sub-template is supported. |
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When you're done, click "ಬದಲಾವಣೆಗಳನ್ನು ಅಳವಡಿಸು" to close the dialog and return to the page editor. | |
Substituting templates[edit | edit source] |
When a template must be substituted, type subst: (colon included) before the template's name.
Autocompletion doesn't work with Then, click the green "ಟೆಂಪ್ಲೆಟ್ ಸೇರಿಸಿ" button. |
frameless|border|center|500px |
Add any parameters as usual and "ಬದಲಾವಣೆಗಳನ್ನು ಅಳವಡಿಸು". | frameless|border|center|500px |
You will see the template expand on the page after you click "ಬದಲಾವಣೆಗಳನ್ನು ಅಳವಡಿಸು". When you're ready save the page. |
Editing tables[edit | edit source]
You can use VisualEditor to insert and change tables. This is a new feature, and the details will be changing rapidly. | |
You can add and remove columns and rows. | |
Double-click inside a cell to add or change the contents. |
Editing categories[edit | edit source]
To edit categories, on the "ಪುಟದ ಆಯ್ಕೆಗಳು" menu, click the "ವರ್ಗಗಳು" button. | |
The "ವರ್ಗಗಳು" button opens a dialog that lists existing categories and allows you to add new ones.
You have the option of setting or changing the general (default) sorting key, which used to determine where the page appears when listed with other pages in the same category. For example, the default sorting key for the article "George Washington" is "Washington, George", and so in the category "Presidents of the United States", the article is listed under the letter "W", not the letter "G". |
To add a category for a page, type the name of the category into the field "ವರ್ಗ ಸೇರಿಸಿ". As you type, VisualEditor will search for possible matching, existing categories. You can either select an existing category, or you can add a category that doesn't yet have its own category page. (Until that category page is created, your new category will show as a red link after you save all your editing changes.) | |
To remove an existing category, click on it and click on the "ತೆಗೆ" icon (trash can) in the dialog that opens.
Clicking on a category also allows you to specify a sorting key for that specific category. Such a sorting key overrides the default sorting key. |
Click "ಬದಲಾವಣೆಗಳನ್ನು ಅಳವಡಿಸು" when you're done editing categories to return to the page editor. |
Editing page settings[edit | edit source]
To edit a page's settings, click to open the "ಪುಟದ ಆಯ್ಕೆಗಳು" menu, in the toolbar, and select the "ಪುಟದ ಸಂಯೋಜನೆಗಳು" button. | |
The "ಪುಟದ ಸಂಯೋಜನೆಗಳು" button opens a dialog that shows several options. | |
You can make a page a redirect to another page by checking the "ಈ ಪುಟವನ್ನು ಇದರೆಡೆ ಕಳಿಸು" checkbox, and then typing the name of the page to which you want to send the reader who tries to go to the page that you're editing.
At the bottom is the option to prevent page renames from updating this redirect. This is very rarely used. |
You can change whether the page shows a Table of Contents by selecting one of these three buttons. The default option is "ಅಗತ್ಯವಿದ್ದರೆ", which shows a Table of Contents if there are three or more headings. | |
You can make a page not show edit links next to each section header by checking this checkbox. | |
Click "ಬದಲಾವಣೆಗಳನ್ನು ಅಳವಡಿಸು" when you're done editing the ಪುಟದ ಆಯ್ಕೆಗಳು to return to the page editor. |
Editing mathematical formulae[edit | edit source]
To add a new mathematical formula to the page, place your cursor where you want it to be inserted, and click on the "Formula" icon ("Σ") in the "ಸೇರಿಸು" menu on the toolbar. | |
A window will open in which you can type the formula, using LaTeX syntax. VisualEditor will update the formula as you type it, so you can see how it will look as you make changes. Once you are happy with the formula, click the "ಮುಗಿಯಿತು" button. | |
To edit an existing mathematical formula on the page, click on it and then click on the "Σ" icon that appears. This will open up the formula window, where you make changes. | |
Editing poems and other special items[edit | edit source]
Some items, such as poems and musical scores, are not yet supported by VisualEditor. Until they are, you will need to edit the source wikitext directly if you want to add these or change these.
You can not add an automatic signature or datestamp to a page in VisualEditor.
Keyboard shortcuts[edit | edit source]
Many editors are used to entering wikitext directly, especially bold, italics and wikilinks. Keyboard shortcuts allow to quickly insert similar formatting without having to use toolbar items. Here are the common general shortcuts in VisualEditor:
PC shortcut | Action | Mac shortcut |
⌃ Ctrl+B | Bold | ⌘ Cmd+B |
⌃ Ctrl+I | Italics | ⌘ Cmd+I |
⌃ Ctrl+K | Insert link | ⌘ Cmd+K |
⌃ Ctrl+X | Cut | ⌘ Cmd+X |
⌃ Ctrl+C | Copy | ⌘ Cmd+C |
⌃ Ctrl+V | Paste | ⌘ Cmd+V |
⌃ Ctrl+Z | Undo | ⌘ Cmd+Z |