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Rihanna courts controversy as she dons racy see-through cannabis vest top on stage in Berlin
Rihanna's see-through top didn't only reek of sexiness.
There was also a smell of controversy in the air as the songstress took to the stage - sporting a bold cannabis leaf print on her outfit.
The singer's outfits never fail to raise eyebrows and on Sunday night she did it again, strutting on the stage in Berlin wearing a black mesh top showing a black bra underneath.
The R&B artist showed more skin than clothes, as has been her usual style during her 777 world tour. Her revealing outfit was complimented by thigh-high boots and a hint of tiny shorts.
Scroll down for video...
The look: Rihanna gave her audience one of her sexiest looks during her performance at the E-Werk club in Germany's capital
Rihanna gave her audience what it wanted, which was to hear her sing songs from her Unapologetic album due out Monday, and had them begging for more.
The singer waved her arms and belted out tunes energetically.
Her energy was boundless even though she'd just arrived to Germany's capital earlier in the day from Paris, and amazing considering she'd been awake most of the night partying after her Paris performance.
Shock alert: Rihanna started off with bottoms, but lost them somewhere during the show and strutted around on stage bare-legged
Inhale this: Rihanna looked smoking hot in a see-through mesh top that had a cannibis plant emblazoned on the front
But when Rihanna lets loose, she does it her way.
The sexy singer's after party at The VIP Room was the place to be on Saturday night in the City of Lights following another risque performance as part of her 777 tour.
Rihanna was wearing the same silky black jersey she had worn earlier on stage - with the front imprinted with the garish red face of a woman - and not much else underneath.
Party hearty: Rihanna had a blast with fellow artists P. Diddy and Cassie at the Paris after party on Saturday night
Throwing caution to the wind, and perhaps her trousers too, Rihanna was the belle of her own ball, rubbing elbows with party guests P. Diddy, Pharrell and Cassie whose belly-baring scarlet and black outfit rivaled Rihanna's in skimpiness.
Rihanna seemed to be really enjoying herself, sipping a cocktail and grooving to the music in those thigh-high black boots.
The entertainer was showing no signs of slowing down in this fourth city on her 777 - seven countries, seven days, seven shows - whirlwind tour.
Thirsty: Rihanna was seen sipping a beverage at the Paris bash, which was held at The VIP Room
Hilarious: Rihanna is smiling as though she finds something Cassie said to be funny
Not a hair out of place: Even though the club was jostling with people, Rihanna didn't look the least bit ruffled
She was spotted head to head with fellow recording artist Cassie, who was keeping the Bajan beauty smiling with her nonstop chatter. Rihanna was seen pointing a long-nailed finger at Cassie, as is saying, 'You are so funny!'
At one point, P. Diddy dove in and tried to steer some of Rihanna's attention for himself, with Rihanna politely cocking an ear in his direction to hear him above the thumping music.
While Rihanna nursed her drink, P. Diddy amused everyone by drinking from an entire Champagne bottle. He must have felt pretty good that night for he was seen making a grab for Cassie right in front of Rihanna.
'Hey, let me in!' P. Diddy wants some of the superstar's attention too and leans in front of Cassie to whisper something in Rihanna's ear
Short cut: Who needs a glass when you've got the bottle? P. Diddy knocks back some champagne
Touchy feely: P. Diddy makes a grab for Cassie while Rihanna stands by
Fun times for all: Rihanna partied into the night and was still standing
Paris received Rihanna open arms, as the singer took her love of skimpy outfits to a new level on Saturday as she performed in just a T-shirt and skyscraper boots.
stage in Paris as part of her major 777 world tour, the star decided to
leave her trousers at home as she performed in the baggy T-shirt.
Just touching to the top of her thighs, the shiny black top, which had a face on the front, only just preserved her modesty.
Rude girl: Rihanna wears just a T-shirt and thigh-high boots for her show in Paris on Saturday
Pairing the original outfit with thigh-high, towering boots, the Rude girl singer managed to pull off her usual sultry look.
With her hair curled and loose, Rihanna added a splash of red lipstick as she performed tracks from her new album.
'#CheersToTheFreakinWeekend Paris! @HTC & @Microsoft brought me to you, so let's party! #LeTrianon #tonight #777Tour #4thStop #UNAPOLOGETIC,' she tweeted.
What a show: The stars wows the sell-out crowd in true Rhianna style
Getting down: Rihanna gives it her all during the show, before heading to her afterparty
Earlier in the tour, the singer wore a series of even skimpier outfits, at one point matching a back bustier with black skirt and sky-high ankle boots.
The star tied a jacket around her waist as she performed her best loved songs to the raucous crowd.
Instead of having a rest after her sell-out show at the Le Trianon, Rhianna reportedly spent the night partying, showing up to her afterparty with pals P Diddy and Akon in tow.
World tour: Rihanna is at the beginning of her whirlwind 777 tour
Skimpy: Rihanna has been embracing a series of skimpy stage outfits throughout the tour
Raunchy: The star puts on her usual racy performance
The day before, the 24-year-old had had an equally fun-fueled night as she partied in Stockholm, Sweden with friends and fans, getting behind the bar at Berns nightclub.
On Sunday morning the Diamonds singer was up bright and early to jet off to Berlin, the next stop on her whirlwind tour.
Rihanna, who doesn't do things by halves, brought 150 fans and journalists on her private jet with her to experience what tour life is really like.
Entourage: Rhianna invited 150 fans and journalists on her private jet with her
Peace: Rihanna goofs around with a fan hours before taking the stage in Berlin on Sunday, another stop on her 777 tour
Goodbye Paris: Rihanna looked somber as she was being escorted to her awaiting plane early Sunday, but maybe she was just sad to leave the City of Lights
Not a morning person? Rihanna looked like she'd just woken up
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ClassicsOnline Home » IVES: Variations on America / Old Home Days / The Alcotts
Charles Ives, like his elder contemporary John Philip Sousa, was born and raised amid military quicksteps and medleys of patriotic songs. Both became skilled professional musicians in their early teens, yet while Sousa held steadfastly to the regularity of America's military pulse, Ives began to blaze the trail toward a uniquely American music. Beginning with the remarkable Variations on 'America', described by Ives as "but a boy's work, partly serious and partly in fun", all of the works heard on this disc are to a greater or lesser degree transcriptions or adaptations for the modern American concert band.
By David Denton
Charles Edward Ives (1874–1954)
Variations on 'America'
Charles Edward Ives, like his elder contemporary John Philip Sousa, was born and raised amid military quicksteps and medleys of patriotic songs: Sousa's father was a trombonist with the U.S. Marine Band in Washington, D.C., and Ives's father led the Danbury Cornet Band in Danbury, Connecticut. Both Ives and Sousa took readily to musical instruction even as boys and became skilled professionals in their early teens — Ives an organist and choirmaster, Sousa a violinist and conductor. Ives shared Sousa's much-publicized enthusiasm for athletics along with his keenness for literature and writing. Both became determined, energetic New Yorkers who found some of their best writing time on the train, Sousa in his private car as he crisscrossed the nation with his band and Ives during the longish summer commutes from his place in Connecticut to his insurance offices in lower Manhattan. Further, Ives shared Sousa's love of family and country, and his faith in the divinity of art and nature. Each became transparently the founder and monitor of his own myth and legend. And Sousa was unquestionably among the many musical influences upon the young Ives's developing talents.
In Ives's experience, American music began with the homespun excitement of parades, picnics, parlor concerts, gospel camp meetings, and the "opera house" he knew as listener and participant during his growing up in Danbury, by then an industrially prosperous town. Then as a nineteen-year-old he attended, along with his uncle Lyman Brewster, the Columbian Exhibition in Chicago, where Sousa's band and his newest march, The Liberty Bell, had become the rage of the season. Music was up-to-the-minute: on the highbrow side Ives heard the French virtuoso Guilmant play the newest-styled organ music on the state-of-the-art Farrand & Votey that crowned Festival Hall, while at the lowbrow end he heard the Midway's clangor of mechanical instruments and likely some of the down-river "professors" of syncopation that the fair drew like a magnet to the nearby beer-halls. What a rich body of musical experience for Ives to bring to his next phase of musical exploration! Prep school and college in New Haven meant not only rigorous musical study at Yale and a congenial organ loft at nearby Center Church but also the beer-halls and theaters with pianists and pit bands featuring the newly-named "ragtime," nights of collegiate rough-and-tumble, and fraternity shows. New York, though it meant "business, both feet," included opera at the Met, orchestral concerts at Carnegie Hall, the by-now pervasive ragtime, and — until he resigned — another congenial (and prestigious) church job. Then came his idyllic courtship of Harmony Twichell, gradually some musical admirers, and finally performers and publishers. In fact, it was not long after Sousa had achieved ambassadorial status as March King that Ives gave up professional music so that his future family would not "starve on his dissonances". (When one writer asked whether the demands of business and music on his attention had conflicted, he replied simply that one helped the other — that "life weaves itself whole". The conflict for Ives had been more nearly between his professional music and his "real" music.
As artists, both Ives and Sousa — true to their shared birthright as Bandsmen — composed and adapted marches, variations, fantasies, humoresques, overtures, and descriptive music. Yet as Ives began to intensify his far-reaching search into the possibilities of organ music, marches, and ragtime, Sousa held steadfastly to the regularity of America's military pulse, which, except for his publicly eschewing ragtime, he read accurately for his entire career. It was quite on his own, then, that Ives began to blaze the trail toward a music not for America, like Sousa's, but about America, a uniquely American music about American music as he heard it. Even so, despite such distinctions, both Ives and Sousa, like their musical forebear Stephen Foster, excelled as lyric composers in the popular Scottish-Irish tradition, and, like Foster, both have left extensive collections of songs distinguished for their sheer variety of literary, musical, and dramatic content. To my mind, likenesses of this kind argue for granting Ives the deserving place in the American band pantheon customarily reserved in his time for the stellar professional.
All the works in this gathering of Ives compositions for band are to one degree or another adaptations for the modern American concert band, its instrumentation and current instruments. (Note 1) Without splitting hairs between "adaptation," "arrangement," "edition," and "transcription" (or between "concert band," "symphonic band," and "wind ensemble"), the main thing is that any adaptation, edition, etc., fulfill or exceed on its own terms the musical values of its source. Accordingly, each attribution is cited in the following notes as it is phrased on the published or manuscript score used in the present recording. The letter "S" and its following numeral designate the source's entry number in James B. Sinclair's Descriptive Catalogue of the Music of Charles Ives (Note 2) (e.g., S140 for Variations on 'America'). Tunes quoted in Ives's work may be pursued through Clayton W. Henderson's Charles Ives Tunebook (Note 3) and in such works as James J. Fuld's painstakingly researched Book of World-Famous Music: Classical, Popular and Folk. (Note 4) Texts to Ives's songs may be found in their standard editions, and helpful explanatory notes are printed on most published scores of the works included here. Because of the great interest in Ives not only among Americanists but also among general readers, the Ives shelf has become extensive. To listeners who would first explore beyond these notes, I would recommend Stuart Feder's The Life of Charles Ives (Cambridge, England: 1999), Vivian Perlis's Charles Ives Remembered: An Oral History (New Haven: 1971, reprint Urbana: 2002), and Howard Boatwright's edition of Ives's incomparable Essays Before a Sonata (New York: 1961, and since). For the confirmed band enthusiast might I suggest the present writer's Charles Ives and the American Band Tradition: A Centennial Tribute (Exeter, England: 1974).
[Track 1] Variations on 'America':
Transcribed by William E. Rhoads from William Schuman's orchestration of E. Power Biggs's edition of Ives's variations for organ, S140 (Merion Music)
This remarkable set, composed when he was about eighteen, Ives later described as "but a boy's work, partly serious and partly in fun." These variations serve, however, as perhaps the most comprehensive illustration of Ives's youthful sweep of style. After a snappy figural variation, we hear a sinuous barbershop setting, a jaunty European cavalry march, a "midway" polonaise, and a scherzo. As importantly, the set shows his already prodigious ability as a soloist: note, for instance, the pedal passages in the requisitely virtuosic finale—in which is heard too the telltale cross-rhythm of the new ragtime. In this performance, the two bitonal interludes that Ives committed to notation a decade later are revoiced to correspond to the contrasting "shadow" dynamics indicated in E. Power Biggs's 1949 edition for organ.
Battle Cries of Freedom
[2] Overture and March '1776':
Transcribed by James B. Sinclair from the score-sketch for theater orchestra, S24 (Merion Music)
Ives composed this overture to begin his never-realized opera on his uncle Lyman Brewster's verse play Major John Andre (a British soldier hanged by the Revolutionists for his complicity with Benedict Arnold). By now in his 29th year and at last free from the strictures of professional music, one of Ives's basic tenets had become the equation of dissonance with physical, intellectual, and moral toughness — national as well as individual. Unconstrained, he lets loose a barrage of patriotic songs from both sides of the struggle (though a few, like the Star Spangled Banner fragment signalling the final "Fourth of July" rocket, are anachronistic). The idea of conflict is intensified further by some ear-stretching "band stuff"—like the mixed-up cornet shanks in B-flat and A, and the methodical skewing of the martial beat. Some years later, Ives would combine '1776' with 'Country Band' March (Track 15) to form the fantasia Putnam's Camp in his orchestral set Three Places in New England.
[3] They Are There! (A War Song March):
Transcribed [with optional quasi-unison mixed chorus] by James B. Sinclair from Lou Harrison's orchestration based on Ives's orchestral sketch for the song He Is There!, S188 (Peer International)
Ives was enraged at the news of the Kaiser's "hog march" through Belgium in August 1914. On the war's subsequent course of events — the sinking of the Lusitania, America's heroic joining of the Allied forces, and the tragic failure of the League of Nations — he brought to bear some of his most deeply searching verse, political commentary, civic action, and of course music. When the World War II embarcation parades of European-bound U.S. soldiers seemed a repeat of all-too-recent history, he reworked the lyric of his World War I marchin g song ("beating up Hitler instead of the Kaiser," he wrote in 1944 to the conductor Lehman Engel). Since Ives likened our military expeditions to help liberate Europe to our home-fought wars for freedom, this marching song is a snappily ragged wake-up coalition of patriotic music. Among others, one hears 'Battle Cry of Freedom', 'Dixie', 'La Marseillaise', 'Maryland, My Maryland', 'Yankee Doodle', and, perhaps as a kind of personal signature, Ives's 'Country Band' tune. Ives's text is best heard from his own voice while accompanying himself at the piano on his 1943 private recording, reproduced on Ives Plays Ives, CRI CD 810 / New World Records 80642, Tracks 38–40; his tempo there is the fast quickstep time taken in this performance.
Town and Gown
[4] -[8] Old Home Days: Suite for Band:
[Selected and] arranged by Jonathan Elkus (Peer International)
[4] Waltz, from Ives's song, S385. Composed in the mid-1890s, the beginning and ending of this Bowery-style waltz quote Michael Nolan's popular tune 'Little Annie Rooney'. Ives's own verses imagine Annie, now a bride, and her festive wedding party at "the old dance ground."
[5] The Opera House is the first part of Ives's song 'Memories', S297; Ives describes a youngster's breathless expectancy as the pit band strikes up the overture. But just as the curtain rises, a drum roll-off takes us outside again to "march along down Main Street, behind the village band," amid the ringing of church and schoolhouse bells. Old Home Day, S315, is the nostalgic title of Ives's march-song, whose end is the beginning of "everybody's Alma Mater." The fife-like overlay played through the repeat is patchwork that includes 'The Girl I Left Behind Me', 'Garryowen', and 'Auld Lang Syne'.
[6] The Collection, S230, references a church offering. Ives's setting of George Kingsley's hymn-tune 'Tappan' represents first "The Organist," then "The Soprano," and lastly the "Response by Village Choir."
[7] Slow March, S349, is the earliest surviving of Ives's songs. It was composed when Ives was perhaps fourteen, and — to a simple verse by his Uncle Lyman — was occasioned by the backyard burial of a family pet. Inscribed "To the Children's Faithful Friend," the music opens and closes with a quotation from the Dead March in Handel's oratorio, Saul.
[8] London Bridge Is Fallen Down! is a tonal and rhythmic take-off on the familiar tune, which we may imagine to be typical of the young Ives's unruly keyboard improvisations. This arrangement is based on Kenneth Singleton's realization for brass quintet of Ives's sketches for organ or piano, S428, which date from about 1891.
[9] March Intercollegiate:
Edited [for modern concert band] by Keith Brion from holograph sources and photostat copies of sixteen printed parts, S54 (Associated Music Publishers)
According to the Sinclair Catalogue, the first documented performance took place in Washington, D.C., on 4 March 1897, by the combined New Haven Band and the Washington Marine Band [U.S. Marine Band] as part of the activities of the presidential inauguration of William McKinley. Here "everybody's Alma Mater" is the featured tune, a robust setting of the sentimental 1857 part-song 'Annie Lisle' — the "intercollegiate" tune that quickly made the rounds following Cornell's adoption of it as "Far above Cayuga's waters" in 1872. Probably dating from 1892 in its original state (for the Danbury Band at the Fair Grounds, according to a memo left by Ives), Intercollegiate follows one of the older quickstep schemes of a sixteen-measure trio followed by a da capo.
[10] Fugue in C:
Transcribed by James B. Sinclair from the first movement (Chorale) of the First String Quartet, S57i (Peer International)
With Lowell Mason's 'Missionary Hymn' ("From Greenland's icy mountains") as its subject, this four-voice fugue shows the organ-like capability of the band to its best advantage. We hear the most striking example, perhaps, in the cumulative, climactic ending coincidentally reminiscent of Ives's contemporary and fellow organist Gustav Holst, followed by its fadeout "Amen" close, an endplay that would become the mature Ives's almost predictable signature. Ives often recycled his music: The original organ fugue, composed as a Yale course assignment for Horatio Parker (another esteemed organist) and — we must presume — for Ives's own use at Center Church, was adapted into his First Quartet and thence, further recomposed, into his Fourth Symphony.
[11] March: 'Omega Lambda Chi':
Edited and arranged [for modern concert band] by Keith Brion from the holograph full score and five ink parts, S53 (Associated Music Publishers)
Modeled on Sousa's The Liberty Bell, this march led the 1896 spring parade of the fictitious fraternity 'Omega Lambda Chi,' a yearly ruse intended to dupe the Yale freshmen into treating upperclassmen "members" to drinks and cigars. The tune of the fictitious fraternity's bogus song is 'Sailing, Sailing', first published in 1880 — remarkably the very year the Yale faculty had abolished the real freshman fraternities. Ives's instrumentation is for a few upper reeds, a dozen brass, and percussion. It is not known how many players were on each part, or whether the march was played by students, local professionals, or both.
[12] Variations on 'Jerusalem the Golden':
Edited and arranged by Keith Brion for concert band and a brass band of old fashioned instruments (or modern brass sextet or quintet), S52 (Associated Music Publishers)
Keith Brion's speculative reconstruction of this set is thoroughly in keeping with the concerto grosso, or ritornello, scheme of the countless solo and ensemble fantasies that enlivened band concerts of the day. Accordingly, this performance features a sextet of the older, small-bore brass instruments alternating with the full, modern concert band. Brion's source is an ink copy made by Ives's father of a sketch composed during Charlie's early teens that is quite possibly the "Fantasia (or Paraphrase) on 'Jerusalem the Golden'" that Ives includes under the "Brass Band" heading of a later work-list.
[13] A Son of a Gambolier:
Transcribed by Jonathan Elkus from the song, S353 (Peer International)
A gambolier may be described as a wandring wastrel — or as an oft-sung college song has it, a "rambling wreck." One of Ives's "marches with college tunes in the trio [layered] against the original theme," this one from the mid-1890s (or later) is easily his most intricately woven. Although Ives in his 114 Songs describes both 'Gambolier' and 'The Circus Band' (Track 18) as "brass-band marches," there survive not even fragmentary sources. This transcription was made for performances by Keith Wilson and the Yale Band on their first European tour in 1961.
[14] Postlude in F:
Transcribed by Kenneth Singleton from his Ives Society critical edition of Ives's orchestral score, S41 (Associated Music Publishers)
A lost organ work that he had composed and played in Danbury in his mid-teens survives as an orchestration assignment for Professor Parker. If Parker indeed held a reading with the New Haven Orchestra (as noted in Ives's later memorandum) it would have been one of the few opportunities that Ives ever had to hear a work of his played by a large symphonic complement. Interestingly, a strong French element is already heard in this work, which owes much in its chromatic palette to the church and Sunday parlor adaptations of Saint-Saëns and Massenet.
"Band Stuff"
[15] 'Country Band' March:
Transcribed by James B. Sinclair from the score-sketch for theater orchestra, S36, and Putnam's Camp, S7ii (Merion Music)
This free-for-all collage of children's tunes, country fiddling, patriotic songs, and two Sousa march allusions (Semper Fidelis and Washington Post) was composed first for theater orchestra and later expanded, along with Overture and March '1776' (Track 2), to form Putnam's Camp, the central movement of Ives's orchestral set Three Places in New England. Composed no earlier than 1905, 'Country Band' recalls the blatant band shenanigans embodied in its sister piece '1776,' and at the same time points ahead to the frenetic ragtime episodes in Charlie Rutlage and Runaway Horse (Tracks 17 and 19). Clearly defined throughout Sinclair's virtuosic transcription is Ives's use of ragtime to poke infinite fun at the band's late entrances, bad cut-offs, delayed patter, and general miscounting — often accentuating the major-minor (and other) clashes unleashed by unheeded key signatures. If one had to classify 'Country Band' in traditional terms, it would be what Sousa and his contemporaries often dubbed a "humoresque" or "musical joke" — a grandchild, really, of Mozart's sextet subtitled The Village Musicians, K. 522.
[16] Decoration Day:
Transcribed for concert band by Jonathan Elkus from copyist's full score, S5ii (Peer International)
Decoration Day (named for the national commemoration now called Memorial Day) is the second ("spring") movement of Ives's symphony Four New England Holidays. According to Ives's description, the movement begins early in the morning with the gathering of flowers, amid "a shadow, perhaps, of the fanatical harshness, reflecting old Abolitionist days". To distant bell ringing, a lone train whistle and birds chirping, the Village Cornet Band playing the dirge 'Adeste Fidelis' leads everyone to Wooster Cemetery — "a thing a boy never forgets. … After the last grave is decorated, Taps sounds out through the pines and hickories while a last hymn is sung. Then we 'all march back to town' to a Yankee stimulant — Reeves's inspiring Second Regiment Quickstep — though to many a soldier, the somber thoughts of the day underlie the tunes of the band. The march stops — and in the silence, the shadow of the early morning flower-song rises over the Town, and the sunset behind West Mountain breathes its benediction on the Day." Ives's father, George Ives, a Civil War bandmaster and veteran, would have been at the head of the band on these occasions during Charlie's growing up, and the ritual sounding of Taps may well be in memoriam to him.
[17] Charlie Rutlage:
Transcribed by James B. Sinclair from Kenneth Singleton's Ives Society edition of the chamber orchestration, S14iii (Associated Music Publishers)
Ives was fond of transforming his own songs for voice and piano into instrumental works or accompaniments—as he was equally fond of deriving songs from his instrumental works. Hence, the double life of 'Charlie Rutlage', Ives's intensely dramatic setting of a cowboy ballad collected by John A. Lomax. The ballad begins as a simple eulogy to the cowpuncher Charlie, proceeds with growing fervency to tell of his being crushed by his falling horse on spring roundup and concludes with the hope that Charlie will meet his loved ones and parents "face to face … at the shining throne of grace". Ives had intended his vocal-instrumental version of 'Charlie Rutlage' for inclusion in a set to be named The Other Side of Pioneering, or Side Lights on American Enterprise.
[18] The Circus Band:
Transcribed for band by Jonathan Elkus from George F. Roberts's orchestration, with [optional] mixed chorus, of Ives's song, S33, Version 3 (Peer International)
Composed as a march possibly as early as 1894 but worked over several times in the next forty years, Ives's verses to this thoroughbred quickstep's printing in his 114 Songs are at once witty and wistful:
All summer long, we boys dreamed 'bout big circus joys!
Down Main Street, comes the band, Oh!
"Ain't it a grand and a glorious noise!" [Repeat]
Horses are prancing, Knights advancing;
Helmets gleaming, Pennants streaming,
Cleopatra's on her throne! That golden hair is all her own. [Repeat] [Tri]
Where is the lady all in pink? Last year she waved to me I think,
Can she have died? Can! that! rot! She is passing but she sees me not.
[Last time patchwork-overlay of college songs from Version 3:]
Riding down from Bangor on the midnight train,
Rip, slam, bang we go, Sir, right on thro' the rain,
I had a horse we'd called Napoleon,
All on account of his "Bony parts."
When in after years we take our children on our knee,
We'll teach them that the alphabet begins with D.K.E.
All summer long, we boys dreamed 'bout big circus joys!
Down Main Street, comes the band, Oh!
"Ain't it a grand and a glorious noise!" [Repeat]
Horses are prancing, Knights advancing;
Helmets gleaming, Pennants streaming,
Cleopatra's on her throne! That golden hair is all her own. [Repeat] [Tri]
Where is the lady all in pink? Last year she waved to me I think,
Can she have died? Can! that! rot! She is passing but she sees me not.
[Last time patchwork-overlay of college songs from Version 3:]
Riding down from Bangor on the midnight train,
Rip, slam, bang we go, Sir, right on thro' the rain,
I had a horse we'd called Napoleon,
All on account of his "Bony parts."
When in after years we take our children on our knee,
We'll teach them that the alphabet begins with D.K.E.
[19] Runaway Horse on Main Street:
Reconstructed and edited by James B. Sinclair from Ives's incomplete score for band, S55 (Associated Music Publishers)
Contemporaneous with 'Country Band' March, this is one of Ives's workings out of newly discovered rhythmic and pitch patterns—and here again, a take-off on the ragtime that Ives as a young man heard all around him in New York. It all starts calmly enough as the buggy driver stops to let off a friend and then tries vainly to control his horse's unruly startup. One can imagine a row of beer-hall doors opening and letting loose the jarring ragtime of a dozen pianists, while the wobbly patrons collect on the sidewalk and try to curb the runaway horse (and its buggy). The middle part is from Ives's surviving pages of band score; the "drawled" solo trumpet opening ("So long, Harris …") is adapted from Ives's derivative song, and the editor's coda patch is from Charlie Rutlage (Track 17).
[20] March No. 6, with 'Here's to Good Old Yale':
Freely adapted for the U.S. Marine Band by Jonathan Elkus, a conflation of Ives's March No. 6 in G and D for Piano Versions 2 and 3, and his recorded version on Ives Plays Ives (CRI CD 810 / New World Records 80642, Track 41), S113 and x643 (Peer International)
Modeled in part after Sousa's march-galop Manhattan Beach, Ives's March No. 6 made its band debut in the marching arrangement by James B. Sinclair (Peer International, © 1977 and 1979). In the present adaptation for concert band, Ives's cantus-discantus treatment of Here's to Good Old Yale —perhaps better known as Bingo —is introduced in the second strain, while the trio overlays the Battell Chapel chimes (borrowed from Ives's choral song The Bells of Yale) and, in the subsequent countermelody, the first trio phrase of Omega Lambda Chi. The adaptation carries over some left-hand "piano drumming," the bugler's tag, and the Yale Bulldog's trilled snarls from Ives's spirited rendition, which, curiously, does not include the Yale song itself.
[21] 'The Alcotts':
Transcribed for the U.S. Marine Band by Jonathan Elkus from Ives's 1940–47 revision of the Concord Sonata, S33 (Associated Music Publishers)
'The Alcotts' is the subject of one of Ives's Essays Before a Sonata, which he published concurrently with the Concord Sonata in 1920. In the essay, Ives takes us inside the elm-shaded Orchard House where "sits the old spinet piano Sophia Thoreau gave to the Alcott children, on which Beth played the old Scotch airs, and played at Beethoven's Fifth Symphony". Warming as always to such a scene of home music-making, he continues: "All around you, under the Concord sky there still floats … that human faith melody reflecting an innate hope, a common interest in common men, a tune that the Concord bards are ever playing while they pound away at the immensities with a Beethoven-like sublimity, and with vengeance and perseverance."
Jonathan Elkus
Director of Bands, Emeritus
University of California, Davis
(1) Transcriptions for band of the fourth and fifth movements (Lento maestoso and Finale) of Ives's Second Symphony are included on "The President's Own" United States Marine Band's CD Symphonies of Wind Instruments, USMB-CD-17, 2001.
(2) New Haven: Yale University Press, © 1999; some of Ives's commentaries quoted below are drawn from here.
(3) Warren, Mich.: Harmonie Park Press (for the College Music Society), 1990.
(4) Fourth Edition, New York: Dover Publications, © 1995.
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The Fish 95.9
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We've completely redesigned the app for a spectacularly enhanced user experience. Still the same great features you know and love from our previous app, just with many more interactive capabilities.
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Unless you live in Orange County. No signal in LA.
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One of the best Christian Music radio station I ever heard! :) God Bless
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I always listen to the is station, it is appropriate for kids and adults. I could here what are people problems and how God had help them be ok. I live the music their. I am so happy that their is a radio station that is christen, appropriate to people, and that the tell story's about a problem in the eir life's and how GOD had help them
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Uplifting music
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keeps shutting off. please fix bugs!
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I love it I can always here it thanks u so much.I am have one problem now it won't load anymore I try to get in and it's tells me about connection when my connection is good please someone help me.
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The app stopped working it can not connect to the internet even though I uninstall and reinstall the app. My network is in great shape.


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Fiesta Americana Hacienda San Antonio El Puente Cuernavaca
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Hospital with Ernesto
... he also has an infection in his eye where the eye is growing a thick film over his eye because of the many years of hard exposure to the sun. The medicine used to treat this eye problem is not available. He will prescribe some eye drops though to help with the symptoms and eye dryness. After lunch, which we ate in one of the doctors examining rooms, which was a bit unhygienic but no one thought anything of it, Dr. de la Torre had a visit by the Seguro Popular which is ...
Teaching at Colegio Cuernavaca
... the last couple weeks, their new teacher started shadowing me. She was 19. This was her first time teaching (it took her 3 months to get her certification). She was hired because she could speak English. I really liked her and she said she learned a lot from me. We had a good relationship in the classroom. But she was very scared to do it all alone. My last day was filled with tears, "don't go's" and lots of hugs. The principal offered me a job ...
To Arizona we go...
... needs - a fresh pair of socks, a burrito, and some basic medical attention for dehydration and blisters goes a long way. The Center helps to inform migrants about their options, including reduced price bus tickets to return to their place of origin. Another important part of the Center's work is abuse documentation, which they use to better understand the situation migrants face and, in ...
Chilled in the trees
After a bit of a false start and confusion over where we were having breakfast, we met up with Jonas and headed out to Chicincuac where we hung out for the next 48 hours.
It was a delight to get back to the house by the water. Theodora and I had some great games of Pool accompanied by a few beers, Carlos cooked, and Ana-Louisa gave me lots of advice on where I should be going (and NOT going) in Central America.
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By knowing and exercising your sexual and reproductive rights.
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Viewers: in countries Watching now:
In Motion 4 Essential Training, Ian Robinson shows how to start building outstanding motion graphics and animations for video production. He demonstrates how to build custom text animations with the new Adjust Glyph tool and explores Motion's amazing real-time 3D tools. Ian highlights working in the 3D space, creating depth with lights and shadows, and using reflections to add realism. He gives practical advice on how to integrate Motion into a professional video workflow, round-tripping with Final Cut Pro and sending a final project to Compressor. Exercise files accompany this course.
Adding media to your Motion projects is actually quite easy. Not only are we going to learn how to add assets, but I'm also going to show you how things are functioning under the hood. Let's get started by navigating in the File Browser, under Exercise Files and let's add a QuickTime file. Go to the Media folder and under Footage, drag the CityWater footage and drop it right onto your canvas, and you'll notice dynamic guides popping up, these yellow guides letting me know exactly when this is in the center of the screen. If you are not seeing those, you want to go up to the View menu and make sure Dynamic Guides is selected.
Now with that footage in the window, let's press Play in the transform controls, and you see Motion is playing the footage just fine. If I stop playback, let's go to the Inspector and look at some other options. With the video selected, notice we have an option for an Image tab. There is another way to actually see all the specific information related to this QuickTime file, if we open the project pane, press F5 on your keyboard. Now with CityWater selected, let's select the Media tab and then click on the CityWater QuickTime within the Media tab.
And notice in the Inspector, now the Image tab has switched to Media and this is where you can see how Motion is interpreting this specific footage. So if I needed to change how any of this was interpreted, I could do that in this window. Now let's go back to the Layers tab. I want to add a new group. So let's select the top group and click the Plus button and just so we don't accidentally add anything else to the first group, click the Lock button in the Layers tab to make sure we don't accidentally move anything else around. Select Group 1 and let's head back to the File Browser.
This time, let's add a still image. If you click back in the File Browser, now we can see all the folders in the Media folder. So let's open Still_images. And this time, I want you to drag and drop, West_01 directly into the group in the Layers tab as opposed to dragging it directly to the canvas. So when we let go, the still image has now have been added to the group and it's been placed directly in the center of our canvas. Now I just want to show you one other thing. If we drag West_01 again into the canvas or even back into the Group again, it will add a second copy of that image into your project.
Now if we go to the Media tab, notice we have two different versions of the same image in here. You want to be careful not to drag the same file multiple times in your Motion project. This will make the project file significantly larger. So I'm just going to press Edit > Undo Media Import, and now we only have one image imported into our Motion project. If you want to use the media more than once throughout your project, you can select the media. Go up under the Edit menu and choose Duplicate.
Now we have two different versions of the same image within the project, but if we go to the Media tab, it's only imported once. So now, you not only know how to add media to your Motion projects, but you also know some of the inner workings of the media settings and how to properly manage your media once within the project.
Find answers to the most frequently asked questions about Motion 4 Essential Training .
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Department of Microbiolog y at Jawaharlal Institute of Postgraduate Medical Education and Research will conduct a five-day national workshop on diagnostic methods in clinical microbiology from Tuesday, a release said.
The workshop is being sponsored by the Indian Council of Medical Research, New Delhi, and is the 10th in the series of workshops conducted by the department. There would be 25 delegates from 11 States participating.
Delegates would be given hands-on training to candidates in techniques that can be adapted in low resource settings. Training would include tests for infectious diseases such as malaria, diarrhoea, tuberculosis and amoebiasis. Participants would also gain experience in newer diagnostic tests such as PCR, the release said.
Most of the tests that are included in the workshop could be carried out even in low resource settings, the release said.


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LZ Granderson:
LZ Granderson: 同志白皮書的迷思
這場這幽默的演講中有個須被立即關注的信息,LZ Granderson指出,所謂的「同志生活型態」是個很可笑的想法,更別說「同志白皮書」了。(拍攝自TEDxGrandRapids)
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Contains 20 classic Bugs Bunny cartoons.
Contains the following episodes:
Elmer's Candid Camera
A Wild Hare
The Old Grey Hare (Elmer)
Baseball Bugs
Hair Raising Hare (Monster)
Hairdevil Hare (Marvin)
Eight Ball Bunny
Rabbit Of Seville
Rabbit Fire
Show Biz Bugs
Knighty Knight Bugs
What's Opera Doc?
Any Bonds Today
My Dream Is Yours
The Bugs Bunny Show (1960s TV Show)
How Bugs Bunny Won The West
Bugs Bunny Wild World Of Sports
Hare In Loathing In Las Vegas
Spoken Languages: English.
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Respond to Review of Eat Pizza
by Tiggy
Review: The pizza here is delicious but when I first came I was a bit taken aback by the increase in price by the time I had added Cheezly and vegan salami at $3 a pop each. While you can add these to any pizza, if you want a vegan version I recommend ordering a modified vegetarian variety, otherwise you end up having to leave out a whole lot of meaty/eggy/cheesy toppings and still pay the same price. You can sit down and eat here with a knife and fork but the place is a bit harshly lit with and the chairs are plastic patio furniture, so don't expect a romantic candle-lit dinner. On a couple of occasions I've come here and found out they were out of Cheezly and vegan ham and vegan salami, so I always ring ahead now.
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From Cold War-era coups to "enhanced interrogation" in the "war on terror," the CIA has courted the suspicion and hatred of the Muslim world. But it was not always so. For several years after its creation in 1947, the agency was an outpost of support for Arab nationalism in the U.S. government.
Even more surprising, the head of the CIA's "Arabists" was Kermit "Kim" Roosevelt, better known as the man who organized the 1953 coup in Iran that toppled the nationalist Prime Minister Mohammad Mosaddeq. Where did this Arabist impulse come from, and why was it eventually overwhelmed by other forces in U.S. foreign policy?
Like many Middle East hands in the State Department, the CIA Arabists believed that the region and its oil reserves were the key to U.S. victory in the Cold War. But they also had personal reasons for their interest in the Arab world beyond strategic or economic considerations. Kermit Roosevelt grew up on stories of the British Empire and the "Great Game," the Anglo-Russian rivalry for control of Central Asia. His nickname "Kim" came from the famous novel about espionage in colonial India by Rudyard Kipling, a friend of his grandfather, President Theodore Roosevelt; his father, Kermit Sr., served in the Middle East during World War I alongside such British Arabists as T. E. Lawrence, "Lawrence of Arabia." From the British, Kim Roosevelt and his cousin Archie, another senior officer in the early CIA, inherited an appetite for personal adventure in the Orient and a romantic attraction to Arab civilization.
Even more important as a source of CIA Arabism was the American missionary tradition in the Arab world that, like the British presence there, dated back to the 19th century. When the U.S. government first sought to establish an intelligence network in the region during World War II, it turned to two descendants of prominent missionary families associated with the American University of Beirut, William Eddy and Harold Hoskins. Future AUB President Stephen Penrose ran the Cairo headquarters of the Office of Strategic Services, the CIA's wartime precursor. Kim Roosevelt's first Middle Eastern posting was as an undercover OSS officer in Cairo, where he absorbed Penrose's respect for Arab nationalism and belief in the importance of American-Arab friendship.
With British and French colonial power in the Middle East waning after World War II, American Arabists set about trying to create a policy toward the region that reflected the missionary tradition of "disinterested benevolence." After joining the CIA in 1949, Roosevelt devised several operations designed to bolster the position of progressive Arab nationalists. The most important of these took place in Egypt, where in 1952 army officers overthrew the British client monarchy of King Farouk. Roosevelt forged a personal friendship with the country's rising nationalist leader, Gamal Abdel-Nasser, and dispatched a CIA team led by his colorful lieutenant, the jazz-playing southerner Miles Copeland, to shore up the revolutionary government in Cairo.
In addition to helping create the modern Egyptian intelligence apparatus, Copeland (incidentally, the father of Stewart Copeland, the drummer of the band Police) trained the Egyptian leadership in propaganda techniques borrowed from Madison Avenue.
Meanwhile, at home in the U.S., Roosevelt channeled CIA funding to an apparently independent group of pro-Arab private citizens, the American Friends of the Middle East. Launched in 1951 under the leadership of the celebrity journalist Dorothy Thompson, AFME worked to foster American support for Arab nationalists such as Abdel-Nasser and counter the growing power of the so-called "Israel Lobby."
Also linked to the CIA was the American Council for Judaism, an organization of anti-Zionist Jews led by Roosevelt's close friend, Rabbi Elmer Berger. Israeli leaders noted the existence of AFME and ACJ and launched an effort to combat their influence, joining a behind-the-scenes struggle to control opinion in the U.S. about the Arab-Israeli conflict.
The heyday of the Arabists came in the years 1953 to 1955. Abdel-Nasser consolidated his hold on power in Egypt and launched a bid for regional leadership. In the U.S., the new president, Dwight D. Eisenhower, adopted a Middle Eastern policy that was noticeably less friendly to Israel than that of his predecessor, Harry Truman. Things started to unravel, however, when Roosevelt failed to secure a secret U.S. arms deal with Egypt, causing Abdel-Nasser to seek Soviet support. Eisenhower's fervently anti-communist Secretary of State John Foster Dulles withdrew American backing from the Egyptian government, throwing it instead behind conservative Arab regimes left over from the days of European colonialism.
Ironically, the CIA now became an instrument for undermining rather than strengthening nationalist governments in countries such as Syria. In America, the pro-Israel lobby achieved the upper hand over the American Friends of the Middle East and the American Council for Judaism. By 1958, both Kim Roosevelt and Miles Copeland had left the CIA for consulting jobs in the oil industry, while Archie Roosevelt was reassigned to Europe.
What lessons, if any, can be drawn from this episode in U.S.-Middle East relations? The simple fact that CIA Arabism existed serves as proof that, contrary to theories about a "clash of civilizations," there is nothing inevitable about conflict between Americans and Arabs. Admiration for Arab culture, even a mystical faith in American-Arab friendship, was a powerful impulse within a U.S. government agency now widely seen as one of the Arab world's greatest foes.
Still, it is striking how quickly the U.S. changed course from supporting to attacking Arab nationalists. The CIA Arabists themselves were partly to blame for this development, as they clearly enjoyed indulging the appetite for spy games that they had inherited from an earlier generation of British imperial agents in the region. It is this tendency that explains Kim Roosevelt's enthusiastic involvement in the coup against Mosaddeq, a plot originally conceived by the British. In the end, CIA Arabism proved a slender reed on which to rest future hopes of American-Arab cooperation.
If the lessons of the early Cold War era for the present day are ambiguous, what is clear is that this was a foundational moment in modern relations between the U.S. and the Middle East. The origins of all the recent major news stories about American involvement in the region – from Egypt through Israel and Syria to Iran – lie in the 1940s and 1950s, a time when U.S. Arabists briefly dreamed of a happier form of engagement with the Arab world than that of the European colonial powers past, yet ended up only playing an American version of the Great Game.
Hugh Wilford is a professor of history at California State University, Long Beach, and the author of "America's Great Game: The CIA's Secret Arabists and the Shaping of the Modern Middle East" (Basic Books, 2014). He wrote this commentary for THE DAILY STAR.
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From Cold War-era coups to "enhanced interrogation" in the "war on terror," the CIA has courted the suspicion and hatred of the Muslim world.Like many Middle East hands in the State Department, the CIA Arabists believed that the region and its oil reserves were the key to U.S. victory in the Cold War.Even more important as a source of CIA Arabism was the American missionary tradition in the Arab world that, like the British presence there, dated back to the 19th century. Admiration for Arab culture, even a mystical faith in American-Arab friendship, was a powerful impulse within a U.S. government agency now widely seen as one of the Arab world's greatest foes.Still, it is striking how quickly the U.S. changed course from supporting to attacking Arab nationalists. In the end, CIA Arabism proved a slender reed on which to rest future hopes of American-Arab cooperation.
Germany: no damage to US relations from spy affair
Amnesty International condemns US failure to act on torture report
Obama's Middle East policy is puzzling
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Former British prime minister Tony Blair will step down as representative of the Quartet of Middle East powerbrokers...
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Item: CNT156
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I know someone who used Dr. Mormol and had a great experience with him. I believe he's near St. Louis. From what I recall, he would let a mom go past 42 + weeks as long as mom and baby are fine. This mom went into labor at 41 weeks 6 days - Dr. Mormol didn't seem to care when she went into labor. He didn't mention induction or anything.
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Cornel West Calls Obama "Global George Zimmerman"
Trayvon's father speaks on Capitol Hill, a vigil is held for a transgender woman who was murdered in Philadelphia, plus more. –Natelege Whaley
Dr. Cornel West made some harsh comparisons of President Obama on Monday for expanding a drone war he says is responsible for the murders of hundreds of children. "George Zimmerman is a criminal — but President Obama is a global George Zimmerman, because he tries to rationalize the killing of innocent children, 221 so far, in the name of self-defense, so that there's actually parallels here," he said.
(Photo: Democracy Now)
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How Far a $15 Minimum Wage Goes in 6 US Cities05/20/2015
What Twitter Said: Best Reactions to @POTUS's New Account05/19/2015
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LITTLE ROCK, Ark. (KTHV) - Great strides are being made in Arkansas to save lives.
THV's Dawn Scott was joined Monday by UALR interim dean Dr. Jamie Byrne to tell us about a large study in the state.
Researchers, along with the American Cancer Society, are hoping this could bring an end to cancer.
She's one of the champions of a project called CPS-3. It stands for cancer prevention study.
Click the THVideo for more.


text:
generally purchased or constructed as modules, they can be valued on the basis of their own market prices, rather than their synergistic contribution to output. To take an analogy, a baseball player's contribution to the team is a complex function not only of hitting, pitching, and fielding, but also of temperament, teamwork, and verbal abilities; from an accounting perspective, however, the economic contribution is simply wages and other compensation. For environmental assets, determining the value will become difficult when the effort extends beyond the market boundary. Consider a forest. How can the value of the stumpage in the forest be separated from the forest's contribution to erosion control, air quality, and biodiversity?
Even when markets produce evidence of the value of a bundle of assets—the composite value of soils, timber, nearness to water, and recreation—it may be difficult to separate out the values of the different components without applying complicated statistical procedures. Sometimes, the separation is misleading, as when the value of the components depends on their being together. An assembled bicycle is different from a pile of parts; similarly, forests, lakes, rivers, farmland, and coastal estuaries are valuable because of the way they are assembled.
One possible way of avoiding this difficulty is to redefine assets in terms of particular functions or characteristics, an approach similar to that taken in hedonic valuation, whereby goods are viewed as packages of characteristics. This approach would be similar to redefining an automobile as a combination of transportation mode, public-health menace, and status symbol. Under this approach, an asset is valued in terms of the sum of the values of its various characteristics. In this view, there is little point in trying to analyze the total value of holistic assets such as land or air or climate; rather, one undertakes the more modest task of looking at the different functions involved.2 BEA's treatment of soil erosion is consistent with this approach; agricultural land is treated as the asset and the soil depth and organic-matter content as characteristics of the land. Other aspects of land quality—local climate or ambient level of pollution—can be considered in a similar manner. Identification of the economic effects of erosion on the value of land makes the resource link explicit.
Thus, a potentially useful alternative to considering the holistic value of assets is to consider how changes in air quality affect the value of agricultural land, forests, residential property, and human capital. Thus, fundamental nonhuman assets might include forests, lakes, rivers, estuaries, coastal regions, wetlands, farmland, and residential property. This


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Hey Rookie, Welcome to the Big League
We'll try to be okay with you hogging our spotlight
Don't get me wrong, we're totally excited about Tablet Magazine's makeover. We just can't help feeling a little ticked off, honestly, since the water fountain talk this morning was all "Tavi this" and "Rookie that." Sure, Tavi (Gevinson, duh) is everywhere, having shed her precocious teen fashion blogging image and taken on the role of precocious teen online magazine editor. And, yes, The Scroll has followed the Tavi chronicles with more than casual interest (she is, after all, Of The Tribe). And fine, maybe we are kind of jealous of her youthful spirit and online popularity, and wish we were invited to her bat mitzvah or at least got one of the giveaways. But launching Rookie, her brand-new Website for teenage girls, the DAY before Tablet's re-launch? That was just mean. We may as well have worn the same thing to school today. Even though you'd probably look cooler and quirkier and say funny things that everyone would laugh at in the hallways, and we'd trip because it's the first day of school and we just had to wear those new chunky wedges, or something.
Naturally, we had to get to the bottom of it. Luckily, our old pal MTV asked Gevinson the very question we wanted to know: why Labor Day? "We wanted to start in September but a lot of our schedule is based around the start of the week and it was awkward to start on a Thursday or Friday," she explained, I imagine coolly. But then we read her editor's note, where she writes, "Rookie is a place to make the best of the beautiful pain and cringe-worthy awkwardness of being an adolescent girl," and we realize that we sort of wish Rookie could have been around back when we were in high school. And that maybe we've been saying "we" all this time but I really mean me, and then she says, "When you're sick of having to be happy all the time, we have lots of eye-rolling rants, too." And it's like, you GET me. I'm sorry I said all that stuff before. Let's be friends?
Related: How Sassy Is Tavi Gevinson? [NYT Magazine]
Earlier The New Teenage Jewish Fashionista
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Despite reforms, costly loans and cards remain
This passes muster even under the new credit card law, however, since there's still no cap on rates.
The industry group for payday lenders notes that its fees are cheaper than the alternatives for desperate borrowers. A late credit card payment could trigger a $37 fee, for example. Overdraft fees for checking accounts can be $29 or more.
Still, a dozen or so states have effectively banned payday lending. Lawmakers elsewhere worry about choking off a key source of cash for low-income borrowers.
Rows of prepaid cards dangle from the racks of just about any Walmart or convenience store. Consumers are pitched their benefits online and through the mail.
The cards offer a vital convenience for those who don't have credit or debit cards. They can be used to pay bills online, book airplane tickets, and generally provide a sense of security that cash may not.
Users load them with cash and replenish as needed. The cards carry a Discover, Mastercard or Visa logo and can come with a tangle of fees. It costs as much as $29.95 just to buy one.
The fees vary wildly too, so navigating them can be dizzying. There are monthly maintenance fees, ATM withdrawal fees, balance inquiry fees, bill pay fees and inactivity fees.
"Pretty much every time you use it there's a fee," says Manny Villalobos, a 36-year-old sales rep in Pacoima, Calif.
He wrecked his credit in the aftermath of a layoff, divorce and a string of panic attacks that landed him in the emergency room. Now he can't get a credit card from a major bank.
Not all cards are so fee-heavy. But even one of the more affordable cards costs $4.95 to buy, and charges a $5.95 monthly maintenance fee unless certain usage requirements are met.
Despite the costs, an estimated $36.6 billion will be loaded onto prepaid cards this year, double the $18.3 billion last year, and more than four times the $8.7 billion total of 2008.
"More people are starting to look to these as it becomes more challenging to get credit cards or even checking accounts," says Kirsten Trusko, president of the Network Branded Prepaid Card Association.
Considering there's no risk for issuers, however, the costs can be steep.
Take the Millennium Advantage card, which charges a $29.95 activation fee and $5.95 monthly maintenance. Any use of the card seems to come with a fee. It's $1.95 per ATM withdrawal, for example, and $1 per minute to call a customer representative.
Yet for all the fees, issuers of prepaid cards aren't required to provide the same legal protections as for credit or debit cards, such as limited liability if they're stolen. The Federal Reserve is studying whether to change that, but hasn't set a deadline on a decision.
Subprime cards, marketed to those with poor credit scores, typically come larded with fees despite credit lines that are often only a couple hundred dollars. Just about anybody can get one.
Starting Monday, fees in the first year will be capped at 25 percent of a card's credit limit. But the issuers of subprime cards have already adapted.


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Early lead enough for Panthers
AP boys beat Sinton 71-59 despite late struggles at line
SINTON - The small Styrofoam cups embedded in the fence at Sinton High School had a message for the boys' basketball team. "Take control of the court. Round two belongs to 'U'S 12" -- a clear reference to the Pirates' overtime loss to Aransas Pass on Jan. 6.
But neither Sky-Hops, Shadow, Snow, Swat, Swole, Sizzle, Spit nor Silencer -- the self-adopted nicknames the Pirates have written on the back of their warmup jerseys -- showed up to play in the first half, allowing Aransas Pass to build enough of a cushion to escape with a a 71-59, District 31-4A victory on the road despite shaky free-throw shooting in the fourth quarter.
Three Panthers reached double figures for coach Glen Hayes' team, which improves to 17-13 overall and sits in second place at 7-1 in league play. G.A. Hill poured in 22 points, Will Clark added 19 and Scott Rios hit four 3-pointers en route to 16 points.
Still Hayes said he doesn't know if his team has done enough to get into the playoffs,
"This district is always good in basketball and every team we play is tough. If we are fortunate enough to get in the playoffs, this will help us," Hayes said, referring to the five games still left on the Panthers' schedule.
"We got to take care of our business. We're not in yet -- I don't think so. I mean, I'll breath a little more easy when we're mathematically in, but we're not there yet."
If his Panthers are not there yet ... well, it sure didn't look like it in the first half, when Aransas Pass started the game on a 13-0 run and later pushed it to 20-2 with under two minutes to play in the first quarter.
The Panthers outscored the Pirates 23-16 in the second quarter and held a double-digit lead heading into the third.
Sinton got back in the game with a mean press, creating turnovers and turning them into points with long passes to the other end of the court, where either Josh Rodriguez (27 points) or Ramsey Rivera (17 points) converted.
The Pirates picked it up on defense and rallied to trim the lead to five with fewer than five minutes to play in the fourth. Aransas Pass turned to a stall offense and didn't score until three minutes and 19 seconds remained on the game clock, when Hill went hard to the hoop and converted for a 59-54 lead. The Panthers knocked down just 10 of 21 free throws in the fourth but slowly pulled away at the line.
The loss puts Sinton at 5-4 in district, tied for the third and final playoff slot.
"We just have to win basically our next four left. We have five left, we have to win four of the next five," Sinton coach Jaime Bosswell said. "Everyone's fighting for the same thing, so it's real tough. You have to weather the runs. We got down early, and that was the difference."
Sinton -- Josh Rodriguez 27, Ramsey Rivera 17, Josh Harrison 6, Marshall Harrison 5, Matt Gaitan 2, Richard Orta 2.
Aransas Pass -- G.A. Hill 22, Will Clark 19, Scott Rios 16, Jacolby Williams 5, Chico Tirado 5, Derek Williams 2, Tim Robles 2, Chris Trevino 1.
3-Pointers -- Sinton 4 (Rodriguez 3, Rivera). Aransas Pass 8 (Rios 4, Clark 3, Williams).
Records -- Sinton 14-14 (5-4 district), Aransas Pass 17-13 (8-1).
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8 ways to save money on vet careRegular vet visits are absolutely essential for dog owners, but the costs can add up. Here's how to save money while keeping your dog healthy. Read More
How to recognize and handle dog seizuresLike humans, dogs can suffer from epileptic seizures, but they can also be treated. Here's what to watch for and how to deal with canine seizures. Read More
Diarrhea in dogsHenry Cerny, DVM. discusses diarrhea in dogs, symptoms, causes, treatment and prevention. Read More
What you need to know about the dog prostateMale dogs, like humans, have prostate glands — and all the issues that come with them. Here are symptoms to watch for and what to do about them. Read More
Bye bye bad breathCesar Millan and his preferred vet, Dr. Rick Garcia, teach you everything that you need to know to care for your dog's dental health. Read More
Quick tips for delivering puppiesYou may never find yourself playing midwife for a dog, but in case you do, here's how you can be prepared for the blessed event. Read More
Blood and houndsDogs need blood transfusions, too. Here's everything you never knew about canine blood types, doggie donors, and more. Read More
Why are dogs' noses wet?You probably know that a dog's nose is its most important sense organ — but do you know why they're always so wet, or what it means when they're dry? Read More
Warning signs of dog depressionIs your dog depressed? Here are the signs to look out for to determine whether you have a melancholy Great Dane or miserable mutt. Read More
What you need to know about dog cancerNobody likes to use the C-word, but, like humans, dogs can suffer from this dreaded disease. Here's what you need to know for prevention and treatment of dog cancer. Read More
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Charlotte Ronson
Over-Sized Clutch
- Color:
- navy/black
Please select an available size.
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- Over-sized clutch
- Pebbled leather with suede accents
- Flap opening with hidden magnetic closure
- Fully lined interior with a slip pocket
- Body length 11½ inches; height 9½ inches; width 3 inches
Material: Pebbled leather, suede
Brand: Charlotte Ronson
Origin: Imported


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Morgan Heritage 1 Ton ?
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re deuces wild sail no 22222 i owned and raced this boat in the 80.s alwys wondered what happened afta i sold it. i was heavily modified with a bulb on th e keel, reshaped keel section longer boom and a custom balanced rudder with harken bearings. ss spreader bases and oter upgrades . did bb regatta block island etc. loved the boat ithas an intersting history. i live in nh.
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StartUpHire is the place to find Assistant Fleet Manager jobs. Review the list of Assistant Fleet Manager career opportunities to the left. These Assistant Fleet Manager jobs represent some of the most rewarding careers available.
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TitleOffice Assistant CityNorwalk StateCA DescriptionThe Office Assistant collects and organizes information for the Oakland, CA that is critical to the daily running of a successful operation. The Office Assistant must show discretion with the information they handle as, at3/28/2015 Norwalk, CA Save This Job


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Around the World in 100 Days
Why So Few Visitors?
Two percent of the tourists that visit Mauritius Island are American; meaning my 3-day stop with 700 students aboard the MV Explorer just clears the yearly quota. What I can't understand is why so few?
Creole and French are commonly used but English is the official language, so it can't be for lingual reasons. The local rupee currency goes a long long way so it can't be the value of the dollar.
Day 1:
Zip-lines are a growing sport or thrill ride popular in places with scenic views. One end of cable is stretched from one bank to the other while a passenger is harnessed around the waist and attached. With one huge push, the daring soul zips across the divide, legs and arms dangling over a chasm half a mile down and traveling at speeds that top 40 mph.
I can almost hear my father now…"What in God's name would you want to do that for?"
"Because it's fun Dad!"
Read more GoNOMAD stories about ziplining.
An organized tour aptly named "Mystical and Colorful Mauritius" is booked through the Mauritius Tourism Promotion Authority. Our day begins with a stop at a dormant volcano 650 meters above sea level.
During the formation of the island, 600,000 years ago, the volcano left a fertile ground of lush vegetation and plant growth behind. Our tour guide explains the precipitous nature of the island during the months from December to March.
Cyclones with winds up to 200 mph are known to do widespread damage. Champagne Plain, a protected area of dense forest with indigenous timber is said to be the rainiest.
A Marriage of Convenience
Don't Feed the Monkeys
Formed by the cooling of molten rock, the Chamarel Cascade or seven-colored earth is an amalgam of rich minerals - oxides and iron-ore deposits. It's interesting to envision the rest of the island, if cleared, as having the same color phenomenon as this small plot of land.
Day 3:
We scuba nearly 80 feet down, circling an abandoned shipwreck crowded with colorful barnacles on its hull. I spend several minutes mesmerized by the behavior of a beautiful big-lipped purple fish. It has its favorite guarded spot atop a rusted ventilation shaft and when I reach out it moves away and when I leave it returns exactly to the same spot.
Time to Go Up
My oxygen tank reads empty and my buddy is motioning me to surface but I'm not done interpreting my territorial friend. It's not my decision to stay, though. Within seconds my BCD inflates and I bounce to the surface for air.
Three days zip by in 3 minutes and before I know it I'm back aboard the M/V Explorer. In 6 days we'll reach Chennai, India where my adventures begin in an overnight stay in a Dalit Village preceded by a day at the Bollywood film studio and wrapping up with daytrip to the "City of a Thousand Temples." Exhaustion at its finest.
Read more GoNOMAD stories about Mauritius
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I love to fight
by Henny & Red
I love to fight is a cute book about the joys of being a child.
Henny and Red is a boutique children's book publisher specialising in iPad Apps
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Poo - A memoir
Published October 29, 2013
Poo in the bath
Published November 05, 2012
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1982 DeLorean DMC '82 DeLorean DMC with an amazing 121 original miles. Shown here in black with grey interior and equipped with an automatic... More
DELOREAN 1981 DMC-12 5675 total miles. Perfect original gray leather interior. 5-speed manual. Stored in a California warehouse since 1989. Only changes were to... More
1983 Delorean DMC '83 Delorean DMC in stainless steel with grey interior and an extremely low 1,623 on the odometer. Equipped with a 5... More


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House and Senate members introduced bills requiring makers of brand-name drugs to provide rebates to Medicare for medications used by the program's beneficiaries who also are eligible for Medicaid. "Unlike familiar consumer rebates that return savings to shoppers, this policy would undermine a successful and popular program to send 'rebates' to the Federal Treasury, not seniors," PhRMA Senior Vice President Matthew Bennett said.
View Full Article in:Kaiser Health News


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>Gears and Wears>New shoes?
You don't have to be great to start, but you have to start to be great.
You'll ruin your knees!
""...the truth that someday, you will go for your last run. But not today—today you got to run." - Matt Crownover (after Western States)
Marathon Maniac # 3228
CPT Curmudgeon


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Developing states counter US on peacekeeping forum
By Evelyn Leopold
UNITED NATIONS (Reuters) – U.S. Ambassador John Bolton on
Wednesday chairs the first of two sessions on financial and sex
scandals in U.N. peacekeeping operations, prompting a slew of
criticism from developing nations against big powers.
The content of the meetings are less in dispute than the
fact they are being held at all in the powerful 15-member
Security Council, which is responsible for war and peace and
approves peacekeeping ventures.
But the General Assembly, which includes all 191 U.N.
members, is in charge of financing, including for peacekeepers,
and oversight of the U.N. bureaucracy. It is frequently
overshadowed by the council whose five permanent members have
veto power.
South Africa, head of some 132 mainly developing countries
known as the Group of 77, accused Bolton of "encroachment" on
General Assembly prerogatives in holding the meetings.
But Bolton, this month's Security Council president, said
that since both bodies were responsible for peacekeeping,
either one could call for a debate.
"If the Security Council never created any peacekeeping
operations, there would not be an examples of procurement,
waste, fraud and abuse in peacekeeping," he said on Tuesday.
At the heart of the dispute on jurisdiction is a struggle
over major management reforms in the General Assembly, with the
secretariat that U.N. Secretary-General Kofi Annan heads
accusing the assembly of micromanagement.
In turn, many assembly members perceive the United States
and other Western nations of riding roughshod over their
interests and distribution of jobs.
Mark Malloch Brown, Annan's chief of staff, addresses the
Security Council on Wednesday on U.N. probes into contract
rigging and waste in peacekeeping operations. On Thursday, the
council hears from Jordan's ambassador, Prince Zeid Raad
Hussein, who has surveyed sexual abuse among peacekeepers.
The conflict escalated last week when two members of the
U.S. House of representatives, Republican Henry Hyde and
Democrat Tom Lantos, accused the Group of 77 of "working
feverishly" to block efforts "to clean up the institution."
The congressmen responded to a letter South Africa's U.N.
Ambassador Dumisani Kumalo wrote to Annan on February 6
accusing his staff of bypassing the assembly in commissioning
audits, suspending officials under investigation and briefing
reporters rather than the assembly members.
Kumalo stressed at a news conference on Tuesday that the
group too expected action "in cases of corruption, fraud or any
But he said the "voice of every member state must be heard
and respected during this reform process irrespective of the
contribution made to the budget."
"This is encroachment," Kumalo said of the Bolton-chaired
meetings. "We have long watched Security Council encroachment
on General Assembly turf."
Bolton has frequently noted that the United States pays 22
percent of the regular budget and 27 percent for peacekeeping.
Japan pays some 20 percent and the European Union collectively
contributes more than 35 percent of the budget. However, most
of the peacekeeping troops come from developing nations.
In response, Kumalo said the United Nations was an
intergovernmental organization and "not a corporation with
people who own class A stock and class B stock."
"We are all assessed … on our ability to pay," he said.
After a debate within the council on who could speak at the
meetings, Kumalo said he would be allowed to address the
council. He said he would do this "very reluctantly" because
the issues "are very important to our membership."


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On May 30th, 2015 at 3:11 p.m. officer's were dispatched to the area of Gateway Drive and North Washington Street on a report of a horse on the loose and in traffic near this intersection.
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Maybe Im becoming cynical in my old age, but Ive hated every movie Ive seen recentlyeven ones that were highly recommended. I feel like Elaine from Seinfeld in the episode about The English Patient.
Many people find fairy tales comforting, but I tend to find them nauseating. All this crud about true love and happily ever after . *Blech.* But I agreed to watch Enchanted because Id been told that was an anti-fairy tale. Its different and modern, people claimed. Even cynics were supposed to enjoy it.
Plus, Enchanted had been nominated for several Academy Awards, and McDreamy was in it! I am not ashamed to admit that I do enjoy Greys Anatomy.
Well, Im sorry to say that Im in the minority here. Enchanted has an average rating of five stars on Epinions. I give it a generous two.
To be fair, its not that the film was poorly made. I just hate the entire genre. Its completely bland. The advertising campaign made it seem as if Enchanted would mock fairy tales, but its just another Disney moviecompletely unrealistic and full of clichés.
The plot of Enchanted is that (once upon a time) theres this princess named Giselle (Amy Adams) who lives in an idyllic cartoon world where she frolics with animals and meets her true love, Prince Edward (James Marsden). But Prince Edward has an evil step-mother, Queen Narissa (Susan Sarandon).* Queen Narissa will lose her power if her step-son gets married, so she banishes Giselle to Manhattan.
In New York, Giselle meets Robert (Patrick Dempsey) and his daughter, Morgan (Rachel Covey). Morgan is adorable and believes in fairy tales, but Robert is portrayed as overworked and cynical. But how cynical can you be if you invite a strange woman who appears to be mentally ill into your home? But this is a fairy tale, so kids are always right, and good always trumps evil. The whole thing is incredibly predictable.
The one bright spot in this movie is Amy Adams. She puts her all into the meager role of Giselle, and her singing and dancing are quite impressive. Its a wonder that she can sing all the cheesy songs with a straight face, but she does it convincingly. The choreography and costumes in Enchanted are also strikingly elaborate.
But each song-and-dance sequence seems to last about 15 minutes! I was really bored and considered leaving the room to go read a book, but I didnt want to be rude to my friends. With nary a plot and an unfunny script, director Kevin Lima relies on the musical numbers and slapstick humor. Enchanteds signature song, Thats How You Know, made me think, Wasnt this same song in The Little Mermaid except it was better then?
The special effects are also pretty terrible. I was surprised at how bad they were considering Disneys gigantic budget.
The main problem with Enchanted, or course, is the plotor lack thereof. It doesnt add anything to the world of cinema. Believe me, youve seen and heard it all before. I didnt care about any of the characters. They are all either boring, vapid, one-dimensional, or all three.
Calling it a waste of my time would be far too kind.
Up next in my movies-I-hated-but-everyone-else-liked series: No Country for Old Men.
* Republicans must have been thrilled with this casting choice. My redneck cousin calls Ms. Sarandon "that gun-hating b****!"
Viewing Format: DVD
Video Occasion: None of the Above
Suitability For Children: Suitable for Children up Ages 8
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February 10, 2014
Everyone loves Jello. What with it's fruity taste, colorful appearance, and strangely hypnotic undulating movements when touched. It's like some kind of alien creature which you get to devour with spoons.
The most commonly accepted method of preparing Jello, the time-tested 'pour it into a mould and put it into the fridge' technique works brilliantly, but for some real Jello aficionados it's just not enough.
Thankfully, the folks over at Kitchen Daily have come up with this lovely slideshow of 19 Ways to Use a Box of Jello. Gelatin fans rejoice!.
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Hoskins/Ruschell Wedding
by jbf
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Colleen and Peter Barr
Published August 02, 2012
An Evening at Keeneland Celebrating Carol Leavell and Andy Barr
Published August 06, 2008
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text: The Jolt wiki last edited by leandro_rab on 01/28/15 04:54AM View full history OriginHelen Takahama had just celebrated her 15th birthday, that very day, only for her life to change drastically in a totally unexpected way. The menace known as Onslaught and his Sentinel army attacked and ravaged New York. Hallie's parents were killed in the invasion, as the invaders ransacked her home and destroyed her neighborhood during Onslaught's attempt to take over the world. Hallie would survive and for a short while became the would-be protector of a small group of children that survived the attack. Unfortunately, both she and her charges were found and abducted by the Rat Pack and brought to the geneticist Arnim Zola to use as guinea pigs in his experiments. All of her charges were killed in the experiments, but not Hallie. She endured countless experiments, many of which made her feel like she was dying, as they were extremely painful. The experiments done to her had a very unexpected effect on Hallie. They gave her super powers, granting her super-speed, enhanced healing, and bio-electric discharges. The procedures made her faster and stronger, filling her to bursting with energy.CreationJolt was created by Kurt Busiek and Mark Bagley and first appeared in Thunderbolts #1 (1997).Mayor Story ArcsJoining the ThunderboltsShe used her new powers to escape Arnim Zola and soon found herself alone. She decided to use her new-found powers to help out the other prisoners and sought out the newest superhero-team known as the Thunderbolts, who returned with Hallie to rescue the other captives and defeat Zola. Subsequently, Hallie adopted the name Jolt and joined the team. What Jolt however did not know was that her new teammates where actually the Masters of Evil in disguise. It was however Jolt's optimism and youthful feelings of right and wrong that made some of her teammates feel sympathetic towards her and started feeling like true heroes. When Jolt found out about her teammates actually being super-villains, she was shocked, but managed to convince some of her teammates to do the right thing and fight Baron Zemo and the other evil Thunderbolts. What followed was a life on the run for Jolt, although thanks to the Avenger known as Hawkeye, the team finally came within reach of real redemption.Changing PowersJolt's powers became more powerful by the months, until she eventually became a being of pure energy altogether.Counter Earth and the Young AlliesJolt currently resides on Counter-Earth, and is a member of the Young Allies.Powers & AbilitiesJolt has superhuman agility and the ability to jump long distances. She can also produce an electric field, due to her enhanced metabolism, that allows her to manipulate energy.After her resurrection Jolt's powers changed/evolved.Jolt is now able to assume a new form. She can change to a form of pure bio-electrical energy. In this form she can discharge staggering bio-electric blasts and possesses enhanced strength, speed, reflexes and the ability of flight.Special Skills: Jolt has an almost encyclopedic knowledge of modern costumed heroes.Limitation: In her human form, Hallie is partially paralyzed and requires the use of a cane to walk. Because of this she stays in her energy form most of the time. StatisticsKnown Relatives: Robert Takahama (Father, deceased), Jane Takahama (Mother, deceased)Citizenship: Citizen of the United States, with no criminal record.Place of Birth: Ojai, CaliforniaMarital Status: SingleOccupation: AdventurerEducation: High School dropoutGender: FemaleHeight: 5'5"Weight: 109 lbs. (50 kg.)Eyes: Blue in her human form. Yellow in her energy form.Hair: Black in her human form. Has no hair in her energy form. Alternate RealitiesEarth #982 - MC2 Universe The Age of HeroesJolt, although she was brief in appearances, was a member of the Avengers of A-Next. She was a brief member and didn't appear much. Other MediaGamesMarvel: War of HeroesJolt appears in several cards in the mobile card game Marvel: War of Heroes. Her cards are:[Comeback] Jolt[Young Thunderbolt] Jolt[Shocking Hero] Jolt


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