text:
Staff Reporter
Chilika Development Authority and Japan ICA join hands in the mission
BERHAMPUR: The Chilika Development Authority (CDA) and the Japan International Cooperation Agency (JICA) have come together to reduce the pressure of fishing on this largest lagoon of the Indian subcontinent.
They have initiated pilot projects in four villages inhabited by fishermen on the coast of the lake. The efforts are to provide alternative livelihood to the rising population of fisherman families so that they do not get over dependent on the lake. Rising of pressure on the lake has its impact on the fragile bio-diversity of the lake, said Sudarsan Panda, the CEO of the CDA.
Alternative livelihood
The pilot project to provide alternative livelihood have been started in Gourangapatana of Ganjam district, Bhusandpur of Khurda district, Alindapatana and Mahisa of Puri district. With the help of the local elected representatives, NGOs and village committee the CDA officials are trying make the people of these villages understand that there can be lucrative income sources available for them other than fishing. Mr. Panda as well as representatives of the JICA, S. Kobayashi and S.Sasaki are also holding meetings with the villagers. On Friday they were at Mahisa village to discuss their proposal with the villagers. They have already visited Gourangapatana. The rest two villages would also be covered up within next week.
The villagers are being provided several options of alternative livelihood ranging from coconut plantation, coir industry and goat farming to eco-tourism. "But the ultimate decision is to be taken by the village committee," said Mr Panda. By Feb 20 the villagers would provide the list of alternative livelihood that interests them.
The CDA and JICA would provide financial help, technical support and help for capacity building for the selected projects at these villages. The women Self Help Groups (SHG) would be promoted to take major role in these projects. The fishermen also accept that fishing in Chilika lake is no more a lucrative profession.


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An image data compression and decompression technique applies one or more compression code tables to optimally compress an image data stream. The compression code tables are established in accordance with anticipated image characteristics, and to accommodate different levels of variation or entropy in the image data. The image data may be divided into blocks or subregions for analysis of which of the candidate compression code tables provides the optimal compression of each subregion. The appropriate code table is selected for each subregion. The evaluation of the compression performance based upon application of each compression code table may include analysis of prediction differences or errors between predicted values for pixels of an image and the actual values for the pixels.
1. A method for compressing image data from an uncompressed image data stream, the method comprising the steps of:
(a) compiling and storing a plurality of compression mapping tables for converting uncompressed data representative of individual picture elements to lossless compressed data;
(b) applying at least first and second compression mapping tables from the stored plurality of compression mapping tables to subregions of an uncompressed image data stream to compress the subregions; and
(c) appending data for the compressed subregions to form a compressed image data stream.
2. The method of
3. The method of
4. The method of
5. The method of
6. The method of
7. The method of
8. The method of
9. The method of
10. The method of
11. The method of
12. A method for compressing image data, the method comprising the step of:
(a) defining a family of compression code tables for converting uncompressed image data to lossless compressed data;
(b) storing the compression code tables in an image data compression station and in an image data decompression station;
(c) selecting at least two of the compression code tables for compression of subregions of an image data stream;
(d) compressing the image data stream in accordance with the selected compression code tables at the compression station for decompression at the decompression station.
13. The method of
14. The method of
15. The method of
16. The method of
17. The method of
18. A system for storing, transmitting and viewing images, the system comprising:
a data compression station configured to store a plurality of compression code tables for conversion of uncompressed image data representative of individual picture elements to lossless compressed image data and to execute a compression routine in which an image data stream is converted to a compressed file by dividing into subregions and each subregion compressing in accordance with a compression code table selected from the plurality of compression code tables based upon which compression code table provides optimal lossless compression of the subregion;
a data storage device for receiving and storing the compressed file; and
an image decompression station configured to store the plurality of compression code tables, to access the compressed file from the data storage device, and to execute a decompression routine in which the compression code tables applied to compress the image data stream are applied to decompress the compressed file to reconstruct the image data stream.
19. The system of
20. The system of
21. The system of
22. The system of
23. The system of
24. A computer readable medium storing a computer program for compressing image data, the program comprising:
configuration code and a plurality of compression code tables stored on the machine readable medium, the configuration code including an algorithm for analyzing an image data stream, for compressing subregions of uncompressed image data representative of individual picture elements in the image data stream by application of a plurality of compression code tables, and for compiling the compressed subregions into a lossless compressed data file.
25. The computer program of
26. The computer program of
27. The computer program of
The present invention relates generally to a field of image compression and decompression, and more particularly to a technique for rapidly and optimally compressing and decompressing image data through the use of one or more compression code tables selected from a family of predefined tables
Various techniques have been proposed and are currently in use for analyzing and compressing large data files, such as image data files. Image data files typically include streams of data descriptive of image characteristics, typically of intensities or other characteristics of individual pixel elements or pixels in a reconstructed image. In the medical field, for example, large image files are typically created during an image acquisition or encoding sequence, such as in an x-ray system, a magnetic resonance imaging system, a computed tomography imaging system, and so forth. The image data is then processed, such as to adjust dynamic ranges, enhance certain features shown in the image, and so forth, for storage, transmittal and display.
While image files may be stored in raw and processed formats, many image files are quite large, and would occupy considerable memory space. The increasing complexity of imaging systems also has led to the creation of very large image files, typically including more data as a result of the useful dynamic range of the imaging system and the size of the matrix of image pixels.
In addition to occupying large segments of available memory, large image files can be difficult or time consuming to transmit from one location to another. In a typical medical imaging application, for example, a scanner or other imaging device will typically create raw data which may be at least partially processed at the scanner. The data is then transmitted to other image processing circuitry, typically including a programmed computer, where the image data is further processed and enhanced. Ultimately, the image data is stored either locally at the system, or in a picture archiving and communications system (PACS) for later retrieval and analysis. In all of these data transmission steps, the large image data file must be accessed and transmitted from one device to another.
Compression techniques have been developed that apply various algorithms and approaches to conversion of original image data to a compressed form for transmission and storage. One such approach is based upon assignment of compressed data code by reference to a table, commonly referred to as a compression table. This approach is based on the probability (or the frequency) of occurrence of different levels, typically gray levels or intensity levels, for each pixel in an image, represented by corresponding binary values in the image data stream. In general, compression code table permits more frequently occurring values to be assigned a shorter compressed data code than less frequently occurring values. Compression ratios in such techniques may, however, be highly dependent upon the relative frequencies of occurrence of the values across the dynamic range of the image data.
There is a present need for an improved technique for compressing and decompressing image data which provided higher relative compression ratios in a computationally efficient manner. There is a particular need for a technique which can be applied to new and existing compression systems, and which can be adapted to various systems depending upon the characteristics of the images to be handled.
The present invention provides an image data compression and decompression technique designed to respond to these needs. The technique is applicable to a wide variety of imaging fields, and is particularly well suited to medical diagnostic imaging systems. Compression in accordance with the technique is based upon reference to a set of compression tables, such as compression code tables which are predefined to accommodate different levels to data variation or entropy in the image data stream. The compression code tables are stored for reference during the compression process, and compression performance is evaluated by application of the candidate tables to determine which table or tables provide the best compression.
In a presently preferred embodiment, the family of compression code tables offer differing compressed data code and differing compression ratios. The image data stream is analyzed in subregions to identify which compression code table provides the best compression for each subregion. The appropriate code table is selected in accordance with this analysis, and several such tables may be selected for different regions of the image data. Higher entropy regions, for example, may require application of tables providing somewhat reduced compression ratios, while lower entropy regions may use compression code tables providing much higher compression rations. The resulting overall compression ratio is therefore improved as compared to techniques employing a single table for an entire image.
PACS 10 includes one or more file servers 18 designed to receive and process image data, and to make the image data available for decompression and review. Server 18 receives the image data through an input/output interface 19. Image data may be compressed in routines accessed through a compression/decompression interface 20. As described more fully below, interface 20 serves to compress the incoming image data rapidly and optimally, while maintaining descriptive image data available for reference by server 18 and other components of the PACS. Where desired, interface 20 may also serve to decompress image data accessed through the server. The server is also coupled to internal clients, as indicated at reference numeral 22, each client typically including a work station at which a radiologist, physician, or clinician may access image data from the server, decompress the image data, and view or output the image data as desired. Clients 22 may also input information, such as dictation of a radiologist following review of examination sequences. Similarly, server 18 may be coupled to one or more interfaces, such as a printer interface 24 designed to access and decompress image data, and to output hard copy images via a printer 26 or other peripheral.
Server 28 may associate image data, and other work flow information within the PACS by reference to one or more file servers 18. In the presently contemplated embodiment, database server 28 may include cross-referenced information regarding specific image sequences, referring or diagnosing physician information, patient information, background information, work list cross-references, and so forth. The information within database server 28 serves to facilitate storage and association of the image data files with one another, and to allow requesting clients to rapidly and accurately access image data files stored within the system. Similarly, server 18 is coupled to one or more archives 30, such as an optical storage system, which serve as repositories of large volumes of image data for backup and archiving purposes. Techniques for transferring image data between server 18, and any memory associated with server 18 forming a short term storage system, and archive 30, may follow any suitable data management scheme, such as to archive image data following review and dictation by a radiologist, or after a sufficient time has lapsed since the receipt or review of the image files.
In the illustrated embodiment, other components of the PACS system or institution may be integrated with the foregoing components to further enhance the system functionality. For example, as illustrated in
Additional systems may be linked to the PACS, such as directly to server 28, or through interfaces such as interface 19. In the embodiment illustrated in
As described more fully below, in accordance with certain aspects of the present technique, descriptive information is used to identify preferred or optimal compression routines used to compress image data. Such descriptive information is typically available from header sections of an image data string, also as described in detail below. However, information available from database server 28 may also serve as the basis for certain of the selections of the algorithms employed in the compression technique. Specifically database references may be relied upon for identifying such descriptive information as the procedures performed in an imaging sequence, specific anatomies or other features viewable in reconstructed images based upon the data, and so forth. Such information may also be available from the RIS 34 and from the HIS 36.
Within each image data set, a descriptive header 58 is provided, along with a compression header 60. The headers 58 and 60 are followed by compressed image data 62. The descriptive header 58 of each data set preferably includes industry-standard or recognizable descriptive information, such as DICOM compliant descriptive data. As will be appreciated by those skilled in the art, such descriptive information will typically include an identification of the patient, image, date of the study or series, modality of the system creating the image data, as well as additional information regarding specific anatomies or features visible in the reconstructed images. As described more fully below, such descriptive header data is preferably employed in the present technique for identification of optimal compression algorithms or routines used to compress the data within the compressed image data section 62. Data referring to the specific algorithm or routine used to compress the image data is then stored within compression header 60 for later reference in decompressing the image data. As described below, additional data is stored within the compressed image data, cross-referencing the algorithms identified in compression header 60 for use in decompressing the image data. Specifically, in a presently preferred embodiment, the compression header 60 includes identification of the length of subregions of the compressed image data, as well as references to specific optimal algorithms, in the form of compression code tables used to compress the subregions optimally.
It may be noted from
Each subregion of the image data stream may be analyzed to identify entropy levels of the image data for compression purposes. In general, the entropy of the image data refers to the relative variation in the pixel intensities within each subregion. Thus, although a specific subregion may include pixels of a high intensity or a low intensity, where the intensity level is relatively stable or constant in the subregion, entropy is considered to be low. Such regions are shown in
As will be described more fully below, the present technique preferably employs pixel value predictors and identifies differences between predicted values of individual pixels (i.e. binary code for the pixel intensity or other characteristic) and the actual value for the respective pixels. In fact, several predictor algorithms may be employed, with the specific predictor being identified based upon image characteristics, such as characteristics encoded in a descriptive header for the image data stream. The predictors are based upon comparisons of target pixels, or pixels of interest, with neighboring pixels.
The preferred technique for compressing the image data stream in the system described above to create hybrid compressed image data files is summarized in
The configuration segment 250 of the control logic includes steps of configuring the specific compression, predictor and block or subregion algorithms employed in the routine. Thus, at step 270 a series of compression code tables are generated for optimally compressing subregions of image data based upon relative entropy levels as indicated by prediction errors. As will be appreciated by those skilled in the art, such compression code tables serve to cross-reference original values with compressed values, generally in accordance with anticipated distributions or frequencies of occurrence of the original values. In the presently preferred embodiment, a series of compression code tables are established based upon analysis of typical images to be compressed by the routine. While the specific coding and ranges implemented in the compression code tables vary, and will generally be determined in specific applications empirically, examples of several such compression code tables are illustrated in
Referring to
As can be seen from the Figures, the compression code tables for translating prediction errors or differences to compressed code are established to provide a range of coding appropriate to the levels or variations in the difference values for each subregion of the data stream. Specifically, table 170 of
It should be noted that the compression ratio provided by each of the compression code tables in the family of tables varies depending upon the relative entropy level to be accommodated. Thus, table 170 of
It has been found that for specific types of images or for images having specific typical characteristics, various entropy levels may be anticipated. For example, in medical diagnostic imaging, relatively high entropy levels may be expected for specific modalities, such as CT and MRI data. Other imaging modalities may provide images with relatively lower variations in the image intensity levels, reflected by lower entropy values and correspondingly lower prediction differences. Moreover, it has been found that specific image types may provide higher or lower characteristic entropy values. In the medical diagnostics field, such image types may include specific anatomies, such as chest, head, extremities, and so forth, providing more or less variation, and stronger or weaker edge lines and contrast. The specific family of compression code tables, then, are preferably established based upon the typical images to be compressed by the system.
Returning to
In the presently preferred embodiment, one or more of several predictor algorithms may be employed. Referring again to
Several alternative predictor algorithms are presently contemplated, and others may be employed as well. In the presently preferred embodiment, these predictor algorithms may be summarized as follows:
Again, it has been found that various predictors are particularly useful for various types of images, images resulting from various modalities, and various features or anatomies visible in the reconstructed image. For example, the predictor algorithm P1 provides an extremely simple and rapid "last value" estimate of each current pixel value. Predictor P2 provides some degree of edge detection capability, but may accentuate the influence of noise in the image. The third predictor value P3 is a linear predictor shown useful on certain image types and employs values for more of the surrounding pixels, weighting the last value more heavily. In practice, the predictor preferences generated at step 272 of
The final step illustrated in segment 250 of the control logic of
With the compression algorithms, tables, predictor preferences, and subregion size preferences set, the control logic illustrated in
Following segment 252, control advances to evaluation segment 254. Within this segment, the image data is reviewed for descriptive information as indicated step 280. As described above, where descriptive information is available, such as DICOM compliant data in a descriptive header section of the image data stream or descriptive data from the database, some or all of this data is reviewed at step 280. Based upon the preferences set in the configuration segment 272, predictors are selected at step 282 depending upon the image characteristics identified as step 280. Again, these may include the modality of the originating imaging system, the study type or anatomy featured in the image, the number of columns in the image, the number of rows, and so forth. Moreover, other factors may be considered in selecting the predictors at step 282, such as the computational efficiency desired, the processing power of the system, and so forth, with computationally efficient predictors being selected where such processor capabilities are limited, or where additional speed is desired. At step 284, the subregion size for division of the image data stream into subregions is selected in accordance with the preferences established at step 274. Again, step 284 may consist of a default selection, which may be altered depending upon some or all of the characteristics or factors considered for selection of the predictors.
Evaluation segment 254 continues with the selection of a subset of compression tables, where appropriate, as indicated at step 286. In particular, based upon certain image characteristics, it may be useful to preselect certain compression tables as defaults. For example, specific image types originating in specific modalities, such as CT or MR images, may be best compressed with specific candidate tables which may be selected at step 286. At step 288 a compression header is affixed to the image data. As described below, this compression header will contain code identifying the version of the compression routine, the predictors selected at step 282, the subregion sizes selected at step 284, and so forth.
At compression segment 256 of the control logic, a set of prediction errors or difference values are computed at step 290. As noted above, these values are based upon application of one or more of the predictor algorithms selected at step 282, and by subsequently comparing the predicted values with the actual values for each pixel to determine the prediction error or difference. The resulting prediction errors then form a data stream with the first pixel being assigned its actual value, followed by the difference values for each pixel of the subregion.
The present technique provides for optimal compression of each of the subregions based upon appropriate selection of tables from the family of compression code tables established at step 270. To determine which tables provide best compression, at step 290 of the control logic of
As noted above, evaluation segment 254 or compression segment 256 may include defaults and constraints on the selection of the optimal code tables. For example, depending upon such factors as the bit depth of the image data to be encoded, certain default selections among the compression code tables may be made, such as selection of the first four tables for bit depths of 8 or less. In addition, certain preferences for designated compression code tables may be made in this selection process, depending upon such factors as the modality originating the image data. By way of example, CT and MRI data may tend to encode higher transitions of pixel intensities, corresponding to higher entropy regions. Accordingly, preferences may be included in the selection of the compression code tables, depending upon the descriptive data reviewed at step 280, such as to prefer one or more higher entropy tables for images originating in such modalities. Finally, in the presently preferred embodiment, code will be inserted directly into the compressed data stream to provide an indication of which of the selected tables is employed for compressing the individual subregions. To optimize the compression, it may be desirable to limit the number of tables which may be selected in the preprocess segment of the control logic to a number which may be conveniently coded in a limited number of bits, such as 2 bits of data. Thus, where table identification codes are to be provided in 2 bits, a constraint may be imposed in the preprocess segment such that only four of the candidate tables may be selected for the compression. Where an additional bit is available for identification of the tables, 8 candidate tables may be selected and encoded.
At step 294 key code for the subregion compression is inserted into the compressed data stream, immediately preceding the compressed subregion data. As noted above, where four candidate tables are employed for the compression, the code inserted at step 294 may include a pair of designated bits. The compression header created at step 288 cross references this key code to the selected compression tables. At step 296, the image data for the subregion is compressed by application of the selected compression code table. The series of steps of segment 256 is repeated for each subregion of the image until the entire image is compressed.
In final segment 258 the compressed data for each image is completed. Specifically, at step 298, a compression end block is added to the compressed data. At step 300, padding bits are inserted following the compression end block. Finally, at step 302 a checksum value computed through the compression process is added to the compressed data to provide a means for verifying proper decompression. The position and type of code added to the compressed data during segment 258 is described more fully below with reference to
Where a descriptive header is provided for the original image data, the descriptive header is preferably replaced adjacent to the compression header to complete the image file as indicated at step 260. It will be noted that the resulting data file is a hybrid compressed data file in which the descriptive header data is readable for image management, access, transmission, and similar purposes, while the bulk of the image data is optimally compressed as described above. At step 262, the resulting file is saved, typically in a short term storage system, or in an archive. At step 264 the image is accessed for reviewing, analysis, hard copy creation, and so forth. Upon access of the image, the decompression algorithms identified in the hybrid compressed data file are retrieved for decompression, and the compressed image data is decompressed, as indicated at step 266. This decompression follows the compression header information, with the same compression code tables being employed to decompress the data as were employed to compress it for each subregion. This application of the compression code tables results in identification of the prediction errors or differences on which the compression was based, and the specific predictor algorithm or algorithms employed to generate the differences are then used to regenerate the original image data in a lossless fashion.
While the invention may be susceptible to various modifications and alternative forms, specific embodiments have been shown by way of example in the drawings and have been described in detail herein. However, it should be understood that the invention is not intended to be limited to the particular forms disclosed. Rather, the invention is to cover all modifications, equivalents, and alternatives falling within the spirit and scope of the invention as defined by the following appended claims. For example, the foregoing technique may be used on both images composed of varying gray levels, as well as on color images. As will be appreciated by those skilled in the art, color images will typically consist of various color components, which produce the appearance of color variations due to their respective intensities. The foregoing technique may be used either with or without separating the color components from one another, but is preferably applied by separating the color components and processing (i.e. compressing) the components in groups. Similarly, multiframe images may be accommodated in the present technique. As will be appreciated by those skilled in the art, such images typically comprise a number of separate images encoded by rows and columns, without separate descriptive headers (e.g. DICOM compliant headers) positioned between the separate images. In such cases, code identifying offsets in the compressed data corresponding to locations of different image frames is preferably inserted into the descriptive header of the hybrid compressed data file.
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About Schools in Nilwood, IL
Contact a Coldwell Banker® real estate agent to learn more about the schools and school districts in Nilwood, IL.FIND AN AGENT
Nilwood, Illinois is located in Macoupin County. Nearby cities and towns include Girard, Standard City, Virden, Waggoner, Farmersville, Carlinville, Thayer, Palmyra, Modesto, Hettick, Auburn, Raymond, Divernon, Harvel, Waverly, Scottville, Chesterfield, Litchfield, Pawnee, East Gillespie, Morrisonville, Gillespie, Loami, Springfield, Chatham, Eagarville, Franklin, Butler, Mount Clare, Lake Ka-Ho, Benld, Royal Lakes, Greenfield, Palmer, Dorchester, Sawyerville, White City, Wilsonville, Mount Olive, Rockbridge, Shipman, New Berlin, Tovey, Medora, Curran, Hillsboro, Bulpitt, Kincaid, Jeisyville, and Schram City. Nilwood is a rural community with a population of 243. The median household income is $52,499. In Nilwood, 53% of residents are married, and families with children reside in 35% of the households. Half the population of Nilwood commutes 23 minutes or less to work, with 62% of residents holding white collar jobs and 38% residents holding blue collar jobs. The median age of homes in Nilwood, IL is 40 years, with 75% of those homes owned, 14% rented, and 12% not occupied.
Contact a Coldwell Banker® real estate agent to learn more about the schools and school districts in Nilwood, IL.FIND AN AGENT
See if your personality and goals are right for real estate.SEE ALL REAL ESTATE CAREERS
Community information and market data Powered by Onboard Informatics. Copyright ©2015 Onboard Informatics. Information is deemed reliable but not guaranteed.
This information is provided for general informational purposes only and should not be relied on in making any home-buying decisions. School information does not guarantee enrollment. Contact a local real estate professional or the school district(s) for current information on schools. This information is not intended for use in determining a person's eligibility to attend a school or to use or benefit from other city, town or local services.


text: I have a set of the zipp wheels that the stickers are turning browninsh. I am told this is a common problem for wheels built during a certian time period. They are permanent to the wheel and can not be removed I have also been told. I find this totally unaceptable for a wheel in this price range. Has anyone heard of a solution for this, and also, what is zipps stance on this problem.


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Upload Photo
Le Soir
Le Soir, the French restaurant in Bayport that was devastated during the summer of 2012 reopened in 2013 with a new look. Le Soir has been lightened and brightened, more spring-summer than autumn-winter, including the little vase with roses on each table.
50 Cheap Eats to try on LI Pulcinella Neapolitan Restaurant Pizza of the Week: Specialty pie picks 34 must-try burgers on LI 12 favorite outdoor dining spots on LI 22 must-eat lobster rolls on LI 10 great eats en route to Jones Beach Dinner and a movie: Levittown Latest fine dining reviews Akira Steak House and Sushi Bar 14 LI spots serving great small plates Recent Long Island restaurant openings


text:
Talk Is Cheap
Last night, Barack Obama tried to play Mr. Tough Guy, but talk is cheap.When George Bush stood on the rubble of the World Trade Center and said, "I can hear you! I can hear you! The rest of the world hears you! And the people — and the people who knocked these buildings down will hear all of us soon!" people knew he meant business.People | Read More »


text:
1950 Chevrolet 3100.Please contact one of our expert sales consultants for the most complete information on this beautiful vehicle. They will be happy to... More
Price: $28,995 Type: Used Year: 1950 Make: Chevrolet Model: Deluxe Tin Woody Body Style: Station Wagon Stock E48492 Mileage: 87340 Engine Size: 235ci Transmission: Automatic Exterior Color: Black Interior Color: Burgundy/Maroon Vin: 2HK E48492 866-230-2851 Cruisin Classics would like to offer for your consideration a beautiful 1950 Chevrolet "TIN WOODY"... More
Chevy's Advance Design pickups like this 1950 3100 5-window were not only the rugged workhorses that customers expected following World War II, but they... More
Very original 1950 Chevy Fleetline Deluxe. Factory 216 I-6, matching 3-speed manual trans, nicely maintained survivor car and drives like a dream!... More
Absolutely amazing 1950 Chevrolet 3100 5 Window Pickup. Professionally restored to original specification, original engine, heater, and period correct radio. This truck runs and... More
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A chopped, shaved, lowered custom convertible built on a Monte Carlo Chassis! This one has a small block Chevy engine with a polished Edelbrock... More
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text:
Prep boys soccer: Lakewood 2, Sultan 0
At Lakewood H.S.
Goals--Randy Anaya (L) 2. Assists--Sam Roe (L), Antino Bellizzi (L). Goalkeepers--Sultan: Danny Arroyo. Lakewood: Gustavo Garcia, Sam Roe. Records--Sultan 1-5 league, 2-6 overall. Lakewood 5-1, 5-1-2.
Like our high school sports page on Facebook, follow @HeraldNetPreps on Twitter and look for updates on our Prep Zone blog.Story tags » • Lakewood High School • Sultan High School • High School Soccer
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text:
Quad (play)
Quad is a television play by Samuel Beckett, written and first produced and broadcast in 1981. It first appeared in print in 1984 (Faber and Faber) where the work is described as "[a] piece for four players, light and percussion"[1] and has also been called a "ballet for four people."[2]
It consists of four actors dressed in robes, hunched and silently walking around and diagonally across a square stage in fixed patterns, alternately entering and exiting. Each actor wears a distinct colored robe (white, red, blue, yellow), and is accompanied by a distinct percussion instrument (leitmotif). The actors walk in sync (except when entering or exiting), always on one of four rotationally symmetric paths (e.g., when one actor is at a corner, so are all others; when one actor crosses the stage, all do so together, etc.), and never touch – when walking around the stage, they move in the same direction, while when crossing the stage diagonally, where they would touch in the middle, they avoid the center area (walking around it, always clockwise or always anti-clockwise, depending on the production).[3] In the original production, the play was first performed once, and then, after a pause, an abbreviated version is performed a second time, this time in black and white and without musical accompaniment. These are distinguished as Quad I and Quad II, though Quad II does not appear in print.
Broadcast history[edit]
The play was first broadcast by the Süddeutscher Rundfunk in Germany on 8 October 1981, as Quadrat I + II. Beckett himself directed ("assisted by Bruno Voges").[4] The four performers, all "members of the Stuttgart Preparatory Ballet School",[5] were, Helfried Foron, Juerg Hummel, Claudia Knupfer and Susanne Rehe. The same performance was rebroadcast on 16 December 1982, by BBC Two.
- "Quad has a musical structure. It is a kind of canon or catch - a mysterious square dance. Four hooded figures move along the sides of the square. Each has his own particular itinerary. A pattern emerges and collisions are just avoided" (Radio Times).[6]
It resembles something the shape-theatre ensemble Mummenschanz might have conceived, a frantic mime. The only thing in the Beckett canon that is at all similar is the short mime at the beginning of What Where.
As far back as 1963 Beckett had thought of creating a geometrical mime. He tried to write a piece for Jack MacGowran (generally referred to as J. M. Mime) but abandoned it "in the absence of all inner need."[7]
"Beckett's initial conception … was to have [a pair] of characters walking along Quadrants in all possible paths starting from O (a central origin) and returning to O. But in its final realization almost twenty years later, the mime begins and ends with the void, an empty quad, and travellers deflect their steps away from O."[8]
The discarded work was "intended as a mime for two players (son and father or mother) who are described as naked under their coats. The stage is plotted out in a square, the four corners of which (lettered A-D) are to be marked either by two boots and two hats or by four boots, recalling the boots and hat found onstage in Godot;"[9] the mid-points were lettered E-G, and the centre, O.
The idea goes back even further however, "indeed Quad may be regarded as the fulfilment onstage of the goal he had set himself in 1937 in the letter to Axel Kaun,[10] the achieving of an entirely new means of expression through the elimination of language."[11]
Quad I[edit]
"Quad is based on a geometrical figure and on permutations of regular movements. First one, then two, then three, then four figures, dancers or mime artistes, dressed in coloured djellabas[12] (white, yellow, blue and red) appear one after another to scurry along the sides and across the diagonals of a square, shuffling in strict rhythm to a rapid percussion beat. Each figure then departs in the order in which he appeared, leaving another to recommence the sequence … Strikingly all of them avoid the centre which is clearly visible in the middle of the square."[13]
|Series 1
|Series 2
|Series 3
|Series 4
|Course 1
|Course 2
|Course 3
|Course 4
The four series of six stages each produce a total of twenty-four stages suggesting, as in Lessness, the measurement of time.
According to the script each character was to be unique in a number of ways. Apart from the colour of the outfit, they were to be "[a]s alike in build as possible. Short and slight for preference … Adolescents a possibility. Sex indifferent."[14] That said, each player's footsteps were to be distinctive, each was to be accompanied by their own musical instrument and illuminated by a light, the same colour as their outfit. For technical reasons, in the original broadcast, white light was used. To help the performers cope with the rhythmic chaos "[t]hey wore headphones under their hoods, so they could hear the percussion beats."[15]
Most unusually there is an element of chance in this piece in that Beckett does not indicate how the footsteps should differ nor which instruments should be used other than they should be percussive ("say drum, gong, triangle, wood block"[14]), he doesn't even specify a required sequence for the colours. The four percussionists also have some freedom in how they play enabling the footsteps to be able to be heard on their own at intervals. Of course, as you would expect, the four instruments Beckett suggests have quite different timbres.
It is hard not to think of the work of John Cage when considering this piece though the two men's approach to work could hardly be different: Beckett argues that it is "the shape"[16] that matters in his work whereas Cage evades conventional form in order to reveal "a harmony to which many are unaccustomed."[17]
There are no cuts, just one fixed long take. Beckett had originally calculated its length at 25 minutes but, in reality, the whole set was completed in nine-an-a-half minutes.
Quad II[edit]
"Near the end of the taping, Beckett created what amounted to an unplanned second act for the play. When he saw the colour production of Quad rebroadcast on a black and white monitor, he decided instantly to create Quad II. [As with Film] Beckett's printed text (in any language) was, however, never revised to acknowledge this remarkable revision of the work's fundamental structure. No printed version of the play bears the title of the production, and so no accurate version, one that includes Beckett's revisions, exists in print. Beckett's own videotaped German production, then, remains the only 'final' text for Quad."[18]
The story goes that, watching technicians testing the image quality of Quad, the most hectic and raucous piece that Beckett ever wrote, for reception by monochrome receivers, and running the tape through in slow motion and in black and white, Beckett suddenly exclaimed: `My God, it's a hundred thousand years later!'[19] Seeing the hectic bustle of the performance he had already recorded transformed into the slow, dim shuffle, suggested to Beckett a fast-forward to a time when everything will have nearly gone.[20]
"The fast percussion beats were … removed and the only sounds that were heard were the slower, shuffling steps of the weary figures and, almost inaudibly, the tick of a metronome."[15] The performers now wore identical robes and moved at half the pace. The new section, called Quad II, lasts four minutes as it only allows for one series of movements, compared to the four in Quad I.
"The second version was a masterstroke, a second act to dramatize the entropy of the motion. And, since the figures always turn left, not only at the centre but at all the corners also, the pattern is that of the damned in the Inferno. Quad is indeed a sinister piece."[21]
The director Alan Schneider wrote to Beckett (13 November 1981) after viewing the television programme several times: "much moved, especially by the slower section. Want to work on that as a stage piece with some of my students here – no audience – would you mind?"[22] Beckett replied (20 November 1981): "Can't see Quad on stage. But by all means have a go."[23] Later (6 February 1982) he made a qualifying remark: "Quad can't work on stage. But no doubt interesting for students, gymnastically."[24] These are fascinating remarks considering the fact that Beckett takes no real advantage of the many televisual techniques available, no close-ups, freeze frames, pans, cuts, zooms, slow-motion shots or split screens – simply a fixed camera "far South of the circle, overlooking it"[25] that might represent any member of a theatre-going audience.
"Modern works of art often call for prolonged continuous close attention if one is to appreciate them. The same is true of a gator basking in the sun on a mud bank in a swamp. Anything viewed makes demands."[26]
The building blocks of Quad can be found in a number of Beckett's other works:
"In Play, there is a correlation between light and voice, and a da capo structure that forms an image of hell, but the voices of W1, W2 and M (an eternal triangle) do not follow a predictable sequence. In this respect, action and dialogue differs from that of Come and Go, where it is shaped by the mathematical sequence, a series of ritual movements: as one character leaves, another moves up into the vacant centre."[27] Both Come and Go and Quad trace shapes through highly patterned movements and interaction that mimic life through extreme abstraction. These works are the inner rhythms laid bare."[28] "Geometrical structures of light and darkness shape the stage settings of Ghost Trio, and ...but the clouds...; while in Breath and Not I the light is arithmetical, changing in time. Quad integrates both forms: the quad is set out geometrically, but the movements of the players defined arithmetically, with absolute precision. Behind the dramaticule is a metaphor of coincidence, or meeting in time and space, and hence the 'danger zone'[14] where this might happen."[27] Even "the "perpetual separation and reunion of Vladimir and Estragon"[29] which has been described as "a choreography of the void, a search for stepping-stones to best approach or avoid the other",[30] can be seen to anticipate Quad, as can the fact that Act II covers the same ground as Act I in the same way that Quad II literally covers the same ground as Quad I.
Why are these four pacing so? Martin Esslin believes they "are clearly engaged in a quest for an Other."[31] He reads "the centre that the hooded wanderers have so fearfully to avoid is obviously the point at which real communication, a real 'encounter,' would be potentially possible but inevitably proves – by the very nature of existence itself – impossible.[32]
Sidney Homan describes Quad's world as a "faceless, emotionless one of the far future, a world where people are born, go through prescribed movements, fear non-being (E) even though their lives are meaningless, and then they disappear or die."[33] This raises a philosophical question, one the writer Albert Camus tried to answer in his essay, The Myth of Sisyphus: Face to face with the meaninglessness of existence, what keeps us from suicide? What stops any of the four players from simply hurling themselves into the "danger zone"? To a large extent, Camus suggests that our instinct for life is much stronger than our reasons for suicide: "We get into the habit of living before acquiring the habit of thinking."[34] We instinctively avoid facing the full consequences of the meaningless nature of life, through what Camus calls an "act of eluding."[35]
The following section from Camus's essay could almost sum up both Quad I and Quad II:
- [Quad I] "It happens that the stage-sets collapse. Rising, streetcar, four hours of work, meal, sleep, and Monday Tuesday Wednesday Thursday Friday and Saturday according to the same rhythm-this path is easily followed most of the time.
- [Quad II] But one day the 'why' arises and everything begins in that weariness tinged with amazement. ...Weariness comes at the end of the acts of a mechanical life, but at the same time it inaugurates the impulse of consciousness … What follows is the gradual return into the chain or it is the definitive awakening."[36]
The 'danger zone' may not, of course, signify death but it would take an act of faith – or "an act of lucidity"[37] – to find out for sure. When Sidney Homan was rehearsing his version of Quad, to learn more about the piece the players improvised, what one of the actors called "a real ending, something more than the final character's just disappearing"[38] where the last character about the leave the stage, halts, turns, removes her hood and then, as if being beckoned by the centre, hesitantly makes her way there where the lights fade down on her.
If recourse to Beckett's own attitude is necessary, it is well documented that Beckett favoured the mere physicality of his work over interpretative readings. With Not I he stated explicitly that he was not "unduly concerned with intelligibility. [He wanted] "the piece to work on the nerves of the audience, not its intellect."[39] With Quad, there are no longer any 'nasty words' for that to be an issue. During filming Beckett "spoke to the SDR cameraman, Jim Lewis about the difficulty that he now had in writing down any words without having the intense feeling that they would inevitably be lies."[40]
Rather than trying to make 'sense' of Quad, it is perhaps better to consider the 'sensation' caused by Quad. It presents us with the 'meaning' behind the words. The problem with meanings is that we're used to having them wrapped up IN words. They are like masks behind expressionless masks. Quad exposes the mechanism underneath the actors' actions; the clock's face and hands have been removed and all we are left with are the exposed workings, which can be a thing of beauty in its own right, and, of course, makes perfect sense in itself.
"As Susan D. Brienza indicates, in … Quad the four characters rhythmically draw mandala pictures that reveal concentric circles and include four quadrants. The dancers' counter-clockwise pacing evokes Jung's patient's leftward movement, which is equivalent to a progress towards the unconscious. They desperately attempt to achieve 'centering' and reinstate order and peace, to abolish the separation between the unconscious and the conscious mind."[41]
"The avoidance of the centre is clearly a metaphor capable of wide interpretation, as with Winnie's mound in Happy Days. The small empty square … could suggest the flight from self, the 'I' Beckett's characters so carefully avoid … The deliberate avoidance of contact with each other, though present in the same square of light, is also a familiar theme in Beckett, whose characters frequently choose isolation as with Krapp or the Listener in That Time."[42]
Eckart Voigts-Virchow presents an interesting – and amusing – comparison between Beckett's play and the 1990s BBC children's TV show Teletubbies:
- "Whereas the Teletubbies have presumably only just started to acquire the apparatus of human articulation ("Eh-oh!") and are trapped in their progress for hundreds of episodes by the requirements of serialization, Beckett's hooded figures totally relinquish expressiveness beyond their coloured gowns, leitmotiv percussion, and racecourse. They are defined by mere physical exertion. The Quad figures are probably an image of how the Teletubbies will behave when they are close to death and their belly monitors have long gone blank and become sightless windows."[43]
"That there is a pun in 'quad' and 'quod' (slang for gaol) can hardly have escaped Beckett. Since one of his Paris apartments overlooked the Santé Prison, he must have been conscious of the rhythm of life as lived in a prison over a long period. With this in mind the players following their prescribed course of movements around a square could be seen as 'doing time' in the most literal sense of the term and exercising within the precise limits of the prison yard."[44]
Musical interpretation[edit]
Pascal Dusapin has invoked or cited Beckett for a long time without ever having set his work to music. Dusapin's entire œuvre has been inspired by Beckett, and his scores carry traces of his passage. Quad, for violin and ensemble, dedicated to Gilles Deleuze, one of the most renowned commentators on Beckett, begins with the exhaustion of possibilities, which is reminiscent of many of the writer's propositions.
While Quad was originally a TV play, it has been performed on stage on occasion, first in 1986, by the Noho Theater Group (directed by Jonah Salz and choreographed by Susan Matthews).[45]
In 2006, ANALOG arts received permission from the Beckett estate to stage Quad in a program of his short plays. Included in the ARTSaha! new music festival, Quad was programmed because of its strong affinity with the music of contemporary composers like John Cage and Karlheinz Stockhausen.[46]
- ^ Beckett, S., Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984), p 291
- ^ Ackerley, C. J. and Gontarski, S. E., (Eds.) The Faber Companion to Samuel Beckett, (London: Faber and Faber, 2006), p 472
- ^ The version published in 1992 in French by Les Éditions de Minuit instructs the characters to walk anti-clockwise when walking around the centre point (diagram page 15), but a 1981 television version, produced by Beckett (available on YouTube: Quad I+II (play for TV)) shows the characters walking anti-clockwise around the perimeter of the square and clockwise around the centre point.
- ^ Pountney, R., Theatre of Shadows: Samuel Beckett's Drama 1956-1976 (Gerrards Cross: Colin Smythe, 1988), p 207
- ^ Bryden, M., 'Dancing Genders' in The Savage Eye / L'Oeil Fauve : New Essays on Beckett's Television Plays (Amsterdam; Atlanta, GA:Rodopi, 1995) (SBT; 4), p 110
- ^ Quoted on the BFI website entry for this play.
- ^ Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p 505
- ^ Brienza, S. D., 'Perilous Journeys on Beckett's Stages' in Burkman, K. H., (Ed.) Myth and Ritual in the Plays of Samuel Beckett (London and Toronto: Fairleigh Dickinson University Press, 1987), p 47
- ^ Pountney, R., Theatre of Shadows: Samuel Beckett's Drama 1956-1976 (Gerrards Cross: Colin Smythe, 1988), p 12
- ^ The letter, generally known as the "German Letter," is reprinted in its original German in Disjecta: Miscellaneous Writings and a Dramatic Fragment, (London: Calderbooks, 1983) pp 51-54
- ^ Pountney, R., Theatre of Shadows: Samuel Beckett's Drama 1956-1976 (Gerrards Cross: Colin Smythe, 1988), p 10
- ^ This recalls the character 'Auditor' in Not I.
- ^ Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p 673
- ^ a b c Beckett, S., Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984), p 293
- ^ a b Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p 674
- ^ Beckett told Harold Hobson in 1956: "I am interested in the shape of ideas even if I do not believe in them. There is a wonderful sentence in Augustine. I wish I could remember the Latin. It is even finer in Latin than in English. `Do not despair; one of the thieves was saved. Do not presume; one of the thieves was damned.' That sentence has a wonderful shape. It is the shape that matters."
- ^ Cage, J., quoted in Zurbrugg, N., Critical Vices: The Myths of Post-modern Theory (Amsterdam: G+B Arts International, 2000), p 106
- ^ Gontarski, S.E., 'Revising Himself: Performance as Text in Samuel Beckett's Theatre' in Journal of Modern Literature, Volume 22, Number 1
- ^ Esslin, M., 'Towards the Zero of Language' in (Eds.) Acheson, J. and Arthur, K., Beckett's Later Fiction and Drama, (New York: St Martin's Press, 1987), p 44
- ^ Connor, S., Slow Going, first presented at the Critical Beckett conference organised by the School of French Studies of the University of Birmingham, 26 September 1998
- ^ Gontarski, S. E., 'Quad I & II: Beckett's sinister mime(s)' in Journal of Beckett Studies, No 9, Spring 1983, pp 137,138
- ^ No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard University Press, 1998), p 415
- ^ No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard University Press, 1998), p 416
- ^ No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard University Press, 1998), p 422
- ^ Pountney, R., Theatre of Shadows: Samuel Beckett's Drama 1956-1976 (Gerrards Cross: Colin Smythe, 1988), p 204
- ^ Ziff, P., 'Anything Viewed' in Feagin, S., and Maynard, P., (Eds.) Aesthetics (London: Oxford University Press, 1997), p 28
- ^ a b Ackerley, C., Samuel Beckett and Mathematics, p 18. (Originally published in Cuadernos de literatura Inglesa y Norteamericana (Buenos Aires) 3.1-2 (Mayo-November 1998), pp 77-102)
- ^ Drew, E., 'Head To Footsteps: "Fundamental sounds" in "dread nay" and "Roundelay"' in Moorjani, A. and Veit, C., (Eds.) Samuel Beckett Today/Aujourd'hui, Samuel Beckett: Endlessness in the Year 2000 (Amsterdam: Rodopi, 2001), p 292
- ^ Knowlson, J. and McMillan, D., (Eds.) The Theatrical Notebooks of Samuel Beckett, Vol 1 (London: Faber and Faber; New York: Grove P, 1993), p 102
- ^ Ross, C., 'Beckett's Godot In Berlin: New Coordinates of the Void' in Moorjani, A. and Veit, C., (Eds.) Samuel Beckett Today/Aujourd'hui, Samuel Beckett: Endlessness in the Year 2000 (Amsterdam: Rodopi, 2001), p 67
- ^ Esslin, M., 'Patterns of Rejection: Sex and Love in Beckett's Universe' in Ben-Zvi, L., (Ed.) Women in Beckett: Performance and Critical Perspectives (Urbana and Chicago: University of Illinois Press, 1992), p 66
- ^ Esslin, M., 'Patterns of Rejection: Sex and Love in Beckett's Universe' in Ben-Zvi, L., (Ed.) Women in Beckett: Performance and Critical Perspectives (Urbana and Chicago: University of Illinois Press, 1992), pp 66.67
- ^ Homan, S., Filming Beckett's Television Plays: A Director's Experience (Lewisburg: Bucknell University Press, 1992), p 28
- ^ Camus, A., The Myth of Sisyphus (London: Penguin Books, 1975), p 15
- ^ See Eva Navratilova's discussion of Beckett and Absurdity. Chapter 3 deals heavily with Camus's essay.
- ^ Camus, A., The Myth of Sisyphus (London: Penguin Books, 1975), p 19
- ^ Camus, A., The Myth of Sisyphus and Other Essays, translated by Justin O'Brien (New York: Alfred Knopf, 1967), p. 141. "Here, 'lucidity,' Camus' best synonym for knowledge, does not require self-consciousness. It is equivalent to 'sure of his desires.' Lucidity is the knowledge of life, which is confident of itself, not necessarily the knowledge of life, which is correct in some technical sense." – Edward G. Lawry, Knowledge as Lucidity: "Summer in Algiers"
- ^ Homan, S., Filming Beckett's Television Plays: A Director's Experience (Lewisburg: Bucknell University Press, 1992), p 33
- ^ Beckett to Jessica Tandy. Quoted in Brater, E., 'The "I" in Beckett's Not I' in Twentieth Century Literature 20, No 3, July 1974, p 200
- ^ Lewis, J., 'Beckett et la caméra' in Review d'esthétique, hors série, 1990, pp 376,377. Quoted in Knowlson, J., Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p 672
- ^ Brienza, S. D., 'Perilous Journeys on Beckett's Stages' in Burkman, K. H., (Ed.) Myth and Ritual in the Plays of Samuel Beckett (London and Toronto: Fairleigh Dickinson University Press, 1987), p 28-49. Referenced in Sion, I., 'The Shape of the Beckettian Self: Godot and the Jungian Mandala' in Consciousness, Literature and the Arts, Vol 7 No 1, April 2006
- ^ Pountney, R., Theatre of Shadows: Samuel Beckett's Drama 1956-1976 (Gerrards Cross: Colin Smythe, 1988), p 209
- ^ Voigts-Virchow. E., 'Quad I And Teletubbies or: 'Aisthetic' Panopticism versus Reading Beckett' in Moorjani, A. and Veit, C., (Eds.) Samuel Beckett Today/Aujourd'hui, Samuel Beckett: Endlessness in the Year 2000 (Amsterdam: Rodopi, 2001), p 214
- ^ Pountney, R., Theatre of Shadows: Samuel Beckett's Drama 1956-1976 (Gerrards Cross: Colin Smythe, 1988), p 210
- ^ "Theater: Beckett, in Japanese Style", Mel Gussow, The New York Times, 12 March 1986
- ^ Drew, Anne Marie. Festival program for ARTSaha! 2006. Omaha, NE.
External links[edit]
- Quad I video (Media Art Net)
- Quat - A dance performance based on Quad (Antwerp 1997), recreated in Glasgow, Scotland for Theatre Cryptic at the Beckett Time Festival as a multimedia production for dancers, sound, video & graphics.
- Quad, as performed by iRobot Create - A robotic version of Quad I, directed by Matt Gray and produced by the STUDIO for Creative Inquiry at the CMU, where the process of mechanizing humans is circumvented by starting with machines ab initio.


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Thread: SotD Saturday 13 February
Good morning!
Another day in Etat Libre d'Orange Divin' Enfant for me.
Have a wonderful weekend!
"Wovon man nicht lesen kann, darüber muss man schreiben."
Sent from my iPhone using Tapatalk
http://i50.tinypic.com/2nakz0n.jpg My Website http://i49.tinypic.com/v2qz6g.jpg @AboveFredMillerhttp://i47.tinypic.com/vzvx92.jpgAbove Reviewed By BN'ers
Early riser, tigs!
Just sprayed on some Marc Jacobs Blush, but I think my lil' decant is past its prime. There's an acetone-like sharpness in the topnotes that I do not recall at all; the poor thing may be disintegrating.
Yesterday's was Reminiscence Musc, btw, for our resident numbers man. (Will you believe I almost wrote SMM? Sorry bluesoul)
It is known that there are an infinite number of worlds, simply because there is an infinite amount of space for them to be in. However, not every one of them is inhabited. Any finite number divided by infinity is as near nothing as makes no odds, so the average population of all the planets in the Universe can be said to be zero. From this it follows that the population of the whole Universe is also zero, and that any people you may meet from time to time are merely products of a deranged imagination.
Douglas Adams
Black Orchid for me.
Have a great new day everyone !
For sale. Carnal Flower and Vero Profumo Onda.
Dior Homme feels just about right on this pale morning. It's like wearing the softest Suede.
The Candy Perfume Boy:One boy's obsession with perfume and all things smelly.
Follow Fragrant Reviews on twitter for fragrance reviews in under 140 characters. Reviews by Candy Perfume Boy & GBlue.
Montale Red Vetiver
Last edited by Coconut; 13th February 2010 at 08:44 AM.
Fille en Aiguilles suits this cold, crisp morning.
I am enjoying the development of this scent and
one hour in it smells beautiful! Soft, spicy pine needles
with a hint of powder - or maybe my skin turns all scents powdery!!
Terranova Gardenia.
May your weekend glow with the love and warmth of Valentine's Day...
A cool 41F at 7AM so I have put my cold weather Geir on today.
These things cannot be long hidden: the Sun, the Moon, the Truth--Buddha
I feel prettyyyyyyyyy... Oh, so prettyyyyyyyyyyyyyy... In Montale Intense Tiaréeeeeeeeeeeeee!!!!!!!!!!!! *sings*
Happy Chinese New Year to those who celebrate!
I'm in Green Irish Tweed.
Nice weekend everyone
Pierre Montale' s
Notes of : Rose, French Labdanum, Musk, Patchouli, Mandarin Orange, Argwood
Have I told you about the scent of jasmine? Have I spoken about the smell of the sea? The earth is scented. And I perfume myself to enhance what I am. That's why I can not wear a perfume that bothers me. Perfuming is an instinctive wisdom. And like all art, it requires some knowledge of yourself..."
Clarice Lispector ( 1920-1977) - Perfumes da Terra / Earth Perfumes
Pre-VD Indian brunch with chaya and her B. Can't think of a better way to spend the day.
I'm leaving for Fashion Week in NYC for three days to cover it for FashionTribes.com where I am the new Men's Style Editor.
Should be fun. I just got my first piece posted there http://bit.ly/aAYcac
For today I thought I'd wear Estee Lauder's fragrant expression of love for her husband.
Aramis JHL
My new Guerlain Mahora. First full day's wearing (I had put it on in the evening prior). Bringing the tropics to Minnesota (in my mind).
I offer you perfume,
More for its pleasure than for yours;
You perfume perfume.
--Anonymous Ancient Greek Love Lyric
After Pilates, it will be Parfum de Therese. one of the most beautiful fragrances that I own. I have only a few sprays left. We consider its replacement a necessary purchase, right?
My SOTD is Montale Musk to Musk.
Notes include white musk, nutmeg, aoud, teak wood, precious woods, grey amber and musk.
Please feel free to check out my Swap Thread - Patou pour Homme, L'Instant de Guerlain PH Extreme, Dior Homme Intense, Pure Malt, Pure Coffee and many more! Click Here For My Swap Thread
I'm wearing Nahema today.
It's my son's birthday today, we will celebrate later.
Have a great Saturday!
thierry mugler's cologne summer flash
Wishlist is pointless.
Good morning! I'm wearing Rose des Bois by profumo.it this morning, and I'm enjoying the anniversary weekend with my husband (7 years). I think we'll do a day trip to Charlottesville tomorrow. There's an old pharmacy there where I can buy old fashioned soaps & toiletries, and our favorite combination wine shop/restaurant as well. That will be our anniversary "treat" this year.
Enjoy the day.
Gung hay fat choy to everyone who celebrates!
Fleurry, happy birthday to your boy!
SMM, I don't have to tell you to have a wonderful time with Chaya and B because I know you will. Enjoy! And please hug them for me, won't you?
Lilybelle, happy anniversary!
Serge Lutens Fumerie Turque
Enjoy the day, all!
Last edited by tdem1961; 13th February 2010 at 01:43 PM.
"I felt something so intense, I could only express it in a perfume." - Jacques Guerlain
It's drab and grey out today, so I've thrown on s sunny yellow shirt and spritzed some Lolita Lempicka. There! Much better!
Happy weekend!
Last edited by mediterranée; 13th February 2010 at 01:45 PM. Reason: better color
Still giving Gucci by Gucci a test run, and yes, I still think is smells like a sister (or cousin at the very least) to Lovely by SJP. I had my daughter blind sniff my arm and she said "oh, you're wearing Lovely" ~ see what I mean?! I'm thinking to get some, it's sort of addicting. Plus, it lasts forever! (edp) Hope you all have a great start to this Valentine's weekend!
SMM, I will insist on collecting your autograph when we meet. I knew him when
Lilybelle, may charms surround your weekend; your plans sound really lovely. How lucky Mr. Lilybelle is to be married to you.
The husband and daughter are participating in a 5k run this morning, so I have the house to myself. Blessed be! Of course I have to spend the time vacuuming and doing laundry, but I'm going to do it shirtless and smelling of heavy application of Mandragore.
In a world where 6 million people are added each month, every landscape matters.
Sharing the house with Therese in l'Eau d'Hiver
Comme l'amour, le parfum doit captiver la femme dès le premier contact---André Fraysse
Hello everybody!
I'm wearing the exquisite Parfum Prive by La Perla, an incredibly beautiful chypre from the late 90s.
The notes include clementine, magnolia, sandalwood, musk, orchid, freesia, osmanthus, rosehip, ylang-ylang, vetiver, tobacco and oakmoss.
Happy Anniversary, lilybelle! I hope your weekend is filled to the brim with romance and joy!
Afternoon all,
what great plans you all have for the weekend, sounds fun! I'm taking my hubby to the pictures tomorrow as a Valentine's surprise. We're not very sentimental and usually don't celebrate things like wedding anniversary or the day of our engagement, but we've always made a special effort for Valentine's. I'm sort of hoping for a little something as my husband went to Paris last week, and we all know what that means in terms of range. He always carries a wish list full of fragrances from me with him. In any case, we'll celebrate with the kids with a nice family meal and cake, which was a wish from my 5-year-old daughter.
To the point of these ramblings; SoTD is Kingdom.
Wearing the lovely Ferre 20. Sadly, it's been d/c.
Have a great Saturday, everyone!
Weekend bliss!!!!! To get me jump started, a few sprays of Wazamba by Pd'Empire. Some slightly sweet incense and conifer. The sweetness keeps this unisex, but the notes and feel of it shift a bit masc, which I sometimes like. I feel uber powerful as I clean the house
Caron - Tabac Blond
The sexiest scent I know. Warm, glorious amber and leather that inspires and delights.
SMM, Congratulations on your new assignment! Well done!
Last edited by kumquat; 13th February 2010 at 03:43 PM.
See my blog; http://www.basenotes.net/blogs/2645-kumquat
Not much going on this morning, wearing the perennially underrated Baldessarini Ambre, the pairing of whiskey and apple makes it distinct, and it's my most consistent compliment-getter. I'm happy that yesterday I got to work two days' worth of SoTD posts and thus have a day off today. We're already at 1,832 entries as of Thursday! We'll be well over 55,000 by the end of the project, and hopefully I don't drive you all crazy before then.
Twitter - @DanielTharp
DanielTharp.com has additional reviews and commentary.
Always be content with what you have, never be content with what you are.
Sotd is C&S #88.
Lots to celebrate today! I'll add my neices' 13th birthday to SMM's new assignment, Lillybelle's anniversary & Fleurrys' family.
SOTD is Ave Luxe Cashmere Musk. So cosy.
We cannot live only for ourselves. A thousand fibers connect us with our fellow men. ~Herman Melville
Paloma Picasso today (and yesterday, as well). Take care, all.
Quand vient la pluie
"You...put on cologne to write?"(From Midnight in Paris)
Stop by for a chat: http://perfumedletters.wordpress.com/
My book reviews: http://www.nstperfume.com/author/Cheryl/
Happy weekend to all!
Spent yesterday afternoon in Futur, wore Madini Sahara to bed. Also got a test in of Kilian Pure Oud before my shower.
This morning I spritzed on EL Knowing. Been awhile since I've worn this one.
Q - Shirtless? Does it improve the vacuuming experience?
Cello- Love Wazamba! Beautiful top note is yummy
SMM,Chaya and mates: Have a wonderful time!
Hearts starve as well as bodies; give us bread, but give us roses.
~~James Oppenheimer~~
Donna Karan Black Cashmere after sauna and before bed.
"Wovon man nicht lesen kann, darüber muss man schreiben."
Habit Rouge (vintage Eau de Toilette) by Guerlain
After spending much of the evening last night, reading about Habit Rouge, it seemed almost inevitable to wear it today. I opted for some vintage EdT, which I only own a mini bottle of, as I much prefer the vintage EdC. Nonetheless, I wanted to wear it again to give it another full wearing experience.
Of course, the first thing that jumps out is the insane longevity (4 hours later, it smells like I just sprayed it on!) and the clashing of the vanilla and dusty/powdery resins. It, of course, reminds me of Shalimar - without the animalic civet / bergamot bite.
Those of you who love HR EdT, must do yourselves a favor and smell the vintage juice. What a softer, deeper, richer experience it is.
Congrat's Somerville Metro Man on your new 'position' with Fashiontribes.com - exciting!
You all smell yummy today!
Congratulations SMM, it seems you are up for a good time at brunch today and how wonderful we can read more reviews from you, albeit on a different subject.
Happy birhtday to Fleurry's son and happy anniversary to lillybelle!
Inspired by the War of the Roses thread, I am wearing Nahema PdT for the first time (I had never even smelled this perfume) from a sample sent to me by a generous, good friend.
What a fine-smelling bunch! SMM - you never fail to amaze!!
And one of you mentioned this a few posts back and I HAD to scurry out and get it based on the comments here:
And I gotta say I am not disappointed. A curious dry, fern-y opening with rounded, flowery underpinnings. Then there's a sort of saffron/patch thing going on (I really SHOULD check out the notes....) Helas - not much longevity but since I'm home admiring the snow (SNOW???!!!) that's not a problem.
"The world is ruled by letting things take their course. It cannot be ruled by interfering." Lao Tze
In a world where 6 million people are added each month, every landscape matters.
After a shared bath with DH (hey it's Valentine's Eve!), enjoying (and A LOT!) FM Carnal Flower... Luckily I got a decent decant of this... Pheewww!!! Because I love it...
Slipping into Caron The Third Man late this afternoon. Whoa! I had totally forgotten just how great this frag is! Bravo!!
These things cannot be long hidden: the Sun, the Moon, the Truth--Buddha
Have a lovely anniversary, Lilybelle!
I started the day in Provence Santé Tilleul (linden) but now have Rose des Bois on my left hand and Penhaligon's Bluebell on my right hand.
My SOTE is Christian Dior Hypnotic Poison Elixir - for Valentine's dinner with my husband.
Notes include Almond, Caraway Spice, Sambac Jasmine, Cinnamon, Tuberose, Vanilla, Musk, Mosses, Jucarunda Wood and Bitter Almond.
Please feel free to check out my Swap Thread - Patou pour Homme, L'Instant de Guerlain PH Extreme, Dior Homme Intense, Pure Malt, Pure Coffee and many more! Click Here For My Swap Thread
Nostalgie, you smell amaaaaaaaaazing
Cozy and lovely in l'Eau Ambree
Comme l'amour, le parfum doit captiver la femme dès le premier contact---André Fraysse
Chanel No.5 Eau Premiere and D&G Anthology La Force 11.
Hope everyone is prepared for Valentine's Day.
I'm doing some sampling today. I THINK what I'm trying are two samples of Dragonfly Blue fragrance oils (Who sent me some profumo.it fragrances with these thrown in? I need to thank you properly and make sure that I know what I'm trying I have had them for a while!) The samples are labeled Tivoli (a really lovely citrussy blend with, perhaps, some wisteria or hyacinth thrown in?) and Sandalwood. The Sandalwood is just exquisite! I would order some today IF I was sure that it is the Dragonfly Blue and IF I could be sure that the formula is the same as the sample I'm testing.
Last edited by Haunani; 13th February 2010 at 11:19 PM.
Last edited by Lessa; 13th February 2010 at 11:20 PM.
Hearts starve as well as bodies; give us bread, but give us roses.
~~James Oppenheimer~~
Good evening!
My fiance and I are heading out soon for our Valentine's dinner, so I'm going for maximum romance in Guerlain's Chamade vintage extrait, plus a light spritz of the edt - I feel ravishing!
Last edited by Evangeline; 13th February 2010 at 11:49 PM.
Today it was Ormonde Jayne's Ta'if...
... happy to report the date last night was magnificent! Still on cloud nine. Now I have to go through the beautiful torment of waiting for him to call...
I'm wearing my Valentine's present today. I got it last night, the night it came in the mail, because my sweet husband can't wait to give me his gifts. So I've never gotten anything on the actual day, though we are getting better about Christmas. You know what, though? There is never a bad time to get a present. ;D
Davidoff Cool Water Woman Wave (henceforth known as CWWW, or Wave.)
His tastes run the exact opposite of mine. He loves light, citrus, and aquatic (the latter of which I explained to him last night..). He digs Tabu and Tabac Blond, and has slowly come around on 22. But he picked this one because he wants to smell me in it. I think that is so romantic. He also thought the bottle looked cool.
This is the first time I've ever worn an aquatic (unless UJALM counts, which I suppose it does, what else could it be? ). I can't pick out the notes yet because this genre is so unfamiliar to my nose, but I think I detect something green in here. A couple reviewers on its BN page say mellon, also, but not very sweet. I'm looking forward to further exploring this uncharted territory.
It was FM Lipstick Rose for me today.
I seem to be back into a Hypnotic Poison groove. And listening to Queen...somehow the two are related
"Like a lobster with a pearl in its claw, the beet held the jasmine firmly without crushing or obscuring it. Beet lifted jasmine, the way a bullnecked partner lifts a ballerina, and the pair came on stage on citron's fluty cue. As if jasmine were a collection of beautiful paintings, beet hung it in the galleries of the nose, insured it against fire or theft, threw a party to celebrate it. Citron mailed the invitations." Jitterbug Perfume by Tom Robbins p. 189
What I am loving right now: Shalimar vintage extrait, Chanel Bois des Iles, Chanel no. 22, Le Labo Iris 39, Guerlain Iris Ganache
I wore Kai perfume oil.


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17.07.05 - By Ben Gonzalez: I guess the first thing to get out of the way is that I had picked Hopkins to win this fight. But he didn't and now the boxing chat rooms will be abuzz with speculation regarding the future of Hopkins, not to mention the potential of Taylor. Taylor was the better man last night, and for that, he deserves the congratulations of all boxing fans. Two of the three scorecards were right on (That is, the judges that scored it 115-113 for Taylor), while the third, Jerry Roth, scored it 116-112 for Hopkins.
My strongest emotion at the end of this fight was a frustration with Hopkins for not doing more. What could have been one of the most exciting fights of the year, turned out to be a slow, tactical fight on the part of both fighters. However, it was a good sign that they respected one another, yet it made for a dull fight overall, with most of the excitement coming late as Hopkins tried to rally. It was the final 4 rounds of the fight that made me the most frustrated with Hopkins. He showed that he still had the ability to put Taylor on his heels, and possibly even shake him up. Nevertheless, it was too little, too late, and Taylor did not fall like Trinidad or De La Hoya.
For his part, Taylor worked early when Hopkins was doing next to nothing, and won the first half of the fight convincingly. The main problem is, that Taylor won these rounds because Hopkins chose to do nothing, not that Taylor was outslugging him in any manner. All during these early rounds, Taylor did not look particularly dominant nor impressive, he just did enough to win.
The disappointment of this fight is that one of the main questions fans were asking before the fight still remains unclear. Is Taylor the heir apparent? In my opinion, I would say that he needs a more impressive display than this before people jump to this conclusion. If there was a rematch, and he dominated or KO'd Hopkins, than maybe then we could start talking about Taylor as the heir apparent. However, off of last night's boxing display, it is hard for me to say that Jermain Taylor is clearly the best middleweight in the division. To me, it was more of the case that Taylor didn't win the fight, but rather Hopkins lost it by by selecting the strategy of being inactive early on.
Another question is, where does Hopkins goes from here? Needless to say, a rematch with Taylor seems the clear choice, and since there is a rematch clause in the contract, this will likely happen in the near future. However, after the inevitable rematch with Taylor, I think that Hopkins should seriously consider hanging up the gloves. The Hopkins that showed up last night would have a tough time with bigger men like Tarver, or even Jones, should he decide to return to the ring.
The rematch between Hopkins and Taylor will likely be a different fight altogether and could wind up being a career defining fight for both fighters. For Hopkins, it would offer redemption for losing a fight he probably feels he could have won and allow him to retire on the top of the heap again. For Taylor, a rematch offers the chance for a dominant performance that would lend credence to the title of "heir apparent."
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New York, NY (PRWEB) June 06, 2013
Country music fans in Ohio and Maryland are ecstatic because Luke Bryan has announced that he has added concert stops at Blossom Music Center and Merriweather Post Pavilion to his concert schedule. Luke Bryan was Jason Aldean's opening act in 2012. Due to unparalleled demand, Luke announced his "Dirt Road Diaries" tour which will visit countless venues during 2013.
Official ticket onsales to the public for Luke Bryan's shows in Ohio at Blossom Music Center and in Maryland at the Merriweather Post Pavilion go on sale to the public at 10:00 a.m. Friday, June 7th. Cheap Concert Tickets, a well known secondary ticket exchange, is also offering the exclusive customer promo code SAVE for additional savings on Luke Bryan Columbia MD and Cuyahoga Falls OH tickets. This popular ticket site has a great selection of lawn seats, pit seats, VIP seating and more for Luke Bryan in 2013.
Luke Bryan has written acclaimed songs for many A-list performers. He began as a songwriter nearly 10 years ago and some of the artists Luke has written for include Travis Tritt and Billy Currington.
When Luke was a teenager, he received a guitar as a gift from his parents. He ended up performing with several country bands at local bars and pubs. After high school, Luke planned on moving to Nashville to pursue a musical career. Tragically, Luke's brother Chris was killed in a car accident the very same day Luke was going to leave for Nashville. Afterward, Luke's family and friends encouraged him to pursue his country music career dreams. Luke did finally follow his dreams and country music fans nationwide are grateful that he made this decision.
Luke Bryan's "Dirt Road Diaries" tour is visiting venues nationwide such as:
|Source: PRWeb
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The Swisse Color Run held at Sydney Olympic Park. Participants were showered with coloured powder as they ran the 5km course. Photo: Marco Del Grande
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Dineamic launch event/St Kilda Film Festival opening night/Philip Boon Presents: Jenny Bannister
Stokehouse City opening/Edge of Tomorrow premiere/Eat Street
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An enormous crowd of runners completed the 5km course around Sydney Olympic Park for The Swisse Color Run on Sunday while being showered with blue, pink, orange and yellow coloured powder (100% natural food grade corn starch) along the way. The event, which is not timed or about winning, but having fun and celebrating life, seeing runners of all ages, shapes and sizes enjoying themselves. Photography by Marco Del Grande www.fairfaxsyndications.com Follow us at http://twitter.com/photosSMH
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|Property type
|Minimum Stay
|3 nights
Romantic, Elegant, Bright and Beautiful. Private Large home, 6 bedrooms, 4 bathrooms, 6400 square feet detailed finishes newly renovated. 3 acres of manicured property, (4) bikes for your use, basket ball hoop, fire pit with cushioned arm chairs, teak table & chairs on the patio with a large grill, fruit trees & gardens on all sides...Take advantage of this great opportunity to bring the family to the country for a fabulous experience. Nearby: pool, golf, tennis, & Equestrian farm.
This home is wonderful for walks, basketball, fire pit fun, cooking & entertaining on this mature well kept property.
Our Historic town is 300 years old with wonderful things to do in every direction. Tours, antiquing, Fabulous movie theater ($2.00 every day) Ferris Farm Creamery with the best home made Ice Cream ('on the farm') Lakes w/ Beaches, Restaurants, shopping, winter holiday historic Tree Lighting, Hay maze in the fall, Hay rides and fruit picking minutes away, summer & Fall. Water falls minutes away, Long Island sound 18 miles to State Beach w/BBQ set up and acres of space. Lovely area for every occasion.
Country Estate: South West Newtown with Easton and Redding with-in a mile. In walking distance we have Equestrian Stable for Horse Lessons.Quiet, Level Road sits on one of the Highest hill so the sun set late and is very beautiful, along with a nice breeze...2 miles there are spectacular waterfalls. There are swimming pools, tennis courts and parks all within 4 miles. Farm Fresh Ice cream stands, Organic Markets, Antiquing, & $2. Movies in our 'Edmond Town Hall ' Just renovated and truly Great. Newtown was established in 1705, filled with History and Beautifully Renovated Homes, Fine dinning. Head South to the Sound in Westport, just 20 minutes away. Sherwood Island Beach, Head West to Ridgefield just18 Minutes , another Fabulous Town filled with fine shopping and dinning. I95 & I84 & Merritt Pkwy just 15 min
Winter/All Season Family Reunions: Ski Woodbury Ct, Summer Camps with lakes with wonderful outdoor fun just minutes from our location. We are Luxury Country Estate, private. Great for entertaining. An outdoor Gas Fire Pit and blue stone patios with grill makes for lovely family gathering, all shopping needs around the corner.Call Janet @ 203-948-7405
Thank you for your interest
House Services: Weekly Cleaning included,
Sheet and towel change included,
Laundry services available,
Baby sitting available,
Landscaping and Fresh Flowers Included,
Food Delivery available.
My party of 12 having been getting together for the past seven years to enjoy the Super Bowl together. Most of the houses were very nice but this I one takes the cake. All the amenities that you would find in your own home plus more. You didn't feel like a guest in someone else's house, it felt like you were home. The kitchen had everything that you could possible need, family room was large to accommodate all twelve adults very confortably. And four full baths. One last thing to write about is their house manager Deb. She was just a doll! We hope to do this again next year.
This is the second time we've stayed here and it's a great house. Our group of 12 adults and 4 kids in the main house plus another couple in the newly refurbished studio apartment in the barn all had plenty of room. The kitchen is well set up and the dining room comfortably seats a group of 15. The living room is comfortable and flows well so people in the kitchen are still connected to the group in the living room. We are planning to go back next year!
Travelling over from the England, we chose this property as the venue for our relatives from across the north eastern US to join us for a family reunion. The house was everything it was described to be and more. Charming, spacious, impeccably maintained and equipped. The location is simply wonderful. We fell in love with the home and the area. Our family now have treasured memories of our time together at this wonderful house. The owners and manager were absolutely delightful to deal with. We certainly plan to return in the future.
This was the PERFECT house for 14 of us to stay in for a week. There was plenty of room for everyone to have their own space as well as large rooms to gather to eat together and play games. The house was immaculate and the amenities amazing.
The owners/manager were pleasant and easy to work with and a pleasure to visit with.
We would definitely recommend this property to family and friends or ask for it again ourselves if we have an opportunity to return to this area.
The house was beautiful. We had a family reunion with 15 people and there was plenty of space for all. The photos are quite accurate, and everything is well-maintained and spotless. The owner was very easy to deal with, as was the house manager. The surrounding area is beautiful as well, lots of small woodlands, and we found a great park for hiking about 15 mins away. It was hard to leave at the end of the weekend.
Our time in Newtown and the beautiful house on Eden Hill was so much fun. We enjoyed the charming New England country side and all of the kid friendly activities we found to do in and around Newtown. The house was lovely. It was a perfect blend of the old 1800's farm house with all the modern conveniences. Even though part of the original house is old, it is not dated in any way and adds to the wonderful character of the house and fits perfectly into the historic area in which it is located. The Shaws were easy to work with and their house manager was always available in case a problem came up, but none did. The house was amazingly clean and my children had so much fun playing in the huge maintained back yard and swinging on the tree swing. We would absolutely rent this house again if we find ourselves returning to Newtown.
45 Minutes from New York City
30 Minutes from The Long Island Sound
25 Minutes to New Haven
20 Minutes to Ridgefield & Westport
10 Minutes to Movies, Shopping, Fine Dinning
10 Minutes to the pool and Tennis
1 Minutes to the Horses for Lessons and Ridding
Other Activities: Swimming, Tennis, Horseback all within minutes away.
Golf: Golfing Range and Club 15 Minutes away
Ski: Woodbury Ski 40 minutes away.
|Rate Period
|Weekend Night
Apr 5 2015 - Oct 31 2015
3 night minimum stay
Nov 1 2015 - Apr 2 2016
3 night minimum stay
|Please note; This property is perfect for family or friendship gatherings. At this time we do not accommodate events such as weddings, parties or larger gatherings, at this property. If you have needs that exceed our maximum occupancy of 15 please give us a call to discuss the possibilites. Thank you
Payment is usually accepted in the quoted currency (USD) unless the currency and the amount is specifically agreed in advance with the owner / advertiser.
Learn more about this vacation rental at the manager's website:


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hello! check this new simple MMORPG of war, politics and strategy. Resource management and military strategy at its best. Completely free! Dont need installation, only a computer with a browser: http://flavio.homelinux.net/~capilato/
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Hello readers!
I write this blog from a coffee shop on the hill in between classes. I often wonder how all of the coffee shops in Boulder stay in business because there seems to be one on every corner! But, I guess when you have a population of college students who survive on caffeine and need a place to study, the more the merrier!
On a side note, I just have to tell you that one of my favorite places to get food on the Hill is a small smoothie bar called Rush Bowl. There, you can find a variety of blended acai, strawberry, banana, blueberry, etc., bowls topped with granola and honey, or in some cases, coconut shavings and chocolate! It's a quintessential meal of Boulder (all-natural an organic), and it reminds me a little of summertime back home in California. Whether you are already a student at CU or you are coming to visit with you family, I recommend that you check it out! It is located near 13th Street and Pennsylvania Ave – literally just feet off campus.
Anyways, this past week has been a little bit stressful because we are in our first round of midterms (already). Here at CU we are on the semester system, so students usually take between 13-18 credits, or 4-5 classes, per semester. (I am part of that lucky group taking 18 credits!) What I like about this is that the classes don't move too fast, and you have time to absorb the material. The usual format is two midterms and a final, but it could vary depending on the class. In contrast, if we were on the quarter system, we would have a smaller number of classes but would constantly be taking tests to get through the course in a shorter amount of time. I prefer the previous.
That being said, I still squeezed in time to go skiing on Saturday in Breckenridge! It is a great stress reliever, extremely convenient, and one of my favorite things in the world to do! Did I mention I love living in Colorado? After suffering through midterms all week, staying out a bit too late on Friday night, a group of friends and I still woke up at 5:45 am and got on the CU ski bus at 6:00.
What is this CU ski bus I am speaking of?
This is a bus that runs every Saturday and Sunday during ski season that is available for students at a price of only $15 ($5 if you are a member of The HERD). It picks you up at three different locations on campus, and then alternates taking you to about six different mountains (each on the Epic Local ski pass). It is a great way to have access to the all the best slopes in Colorado without having to take your own car! Because the bus leaves so early, you usually arrive at the mountain around 8:00am so you can be the first people on the lift! On the way there, the driver hands out Cliff bars and pillows and everyone sleeps. The bus leaves the mountain at exactly 4:00pm, which is about when the mountain closes, so you are sure to get a full day in! On the return, the driver plays a movie (this weekend, it was Fast and Furious 6) and everyone sleeps some more. It's a really great deal, and again, I highly recommend it!
Ahhh…just talking about it makes me want to go! As for now, I have to get back to studying. It an absolutely beautilf day here in Boulder -- all the snow has melted and it is almost 60 degrees! Crazy! I wont be skiing this weekend because of the Arizona basketball game on Sunday (Wahoo! Bring it on!), but maybe in the following weekend when my younger sister comes to visit!
The view driving out of Boulder from the ski bus early on Saturday morning.
It doesn't get much better than this :)
Walking to class on this GORGEOUS Tuesday afternnoon...


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David Krejci 'day-to-day' after missing Monday's practice
|03.18.13 at 2:24 pm ET
David Krejci was one of nine Bruins to not take the ice for Monday's practice in Winnipeg, according to the team's Twitter feed. Krejci left Sunday's 2-1 loss to the Penguins late in the third period after getting hit in the right knee with a Johnny Boychuk slapshot. He stayed on the ice as he was tended to by trainer Don DelNegro and put no pressure on his right leg as he was helped off.
Following the practice, Bruins coach Claude Julien told reporters that Krejci is "day-to-day," and he did not indicate whether or not the first-line center would be able to play Tuesday against the Jets. Julien added that the B's could potentially call a player up from Providence if Krejci isn't ready to go.
Krejci's entire line did not skate Monday, as Milan Lucic and Nathan Horton also sat out. The group of players not practicing Monday consisted of Krejci, Lucic, Horton, Patrice Bergeron, Brad Marchand, Zdeno Chara, Dennis Seidenberg, Andrew Ference and Boychuk.
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