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Telephone & Addresses
(1 - 4 from 21
canada411.ca: D & K Avery
(613) 832-0830, 421 Maclarens Sdrd, Constance Bay, ON, K0A 3M0
canada411.ca: D & T Avery
(519) 941-8566, 91 Brenda Blvd, Orangeville, ON, L9W 3L4
canada411.ca: D AVERY
(519) 845-3563, 490 Erie St, Wyoming, ON, N0N 1T0
canada411.ca: D Avery
(416) 430-0306, 58 Shier Dr, Scarborough, ON, M1J 2T2
Yellow Page contacts
Network Profiles
(1 - 4 from 64
Amazon Wish List of Dawn Marks-Avery
(books, movies, further products)
reportonbusiness.com: globeinvestor.com
... trades on the New York Stock Exchange under the symbol AXE. SOURCE Anixter. For further information: Dawn Marks, +1-224-521-8484 ...
Dawn Avery's Online Resume
Dawn uses ResumeBucket for resume storage and finding jobs. You can too! Sign Up!
Gallery - Sunshine's Reborn Nursery
Photo Gallery ... Avery Dawn. Avery Dawn; 3 Photos | Updated Dec 2, 2010 by Sunshine
Online Resume Storage - ResumeBucket.com
Avery Corey Avery Craig Avery David Avery David Avery David Avery Dawn Avery Debbie Avery Deborah Avery Demarcus Avery Denise Avery Ericia Avery Gary Avery Gaylon Avery Gerald Avery ...
Business Profiles
LinkedIn: Dawn Avery - Canada | LinkedIn
View Dawn Avery's (Canada) professional profile on LinkedIn. LinkedIn is the world's largest business network, helping professionals like Dawn Avery discover ...
LinkedIn: Dawn Marks | LinkedIn
View Dawn Marks's professional profile on LinkedIn. Experience: Market Research Analyst, Newark Electronics.
LinkedIn: Dawn Marks - United Kingdom | LinkedIn
View Dawn Marks's (United Kingdom) professional profile on LinkedIn. Experience: Customer Relationship Manager, Barclays plc.
Dawn Avery - Selected Alumni Bios - NYU Steinhardt
Dawn Buckholz Avery (M.A. Cello Performance, 1992) Dawn was cellist and vocalist on the 1998 Grammy-nominated album, Breath of Heaven by Grover Washington and has ...
ratemyteachers: Professor Dawn Avery, Montgomery College: Rockville Campus -...
Rate Professor Dawn Avery from Montgomery College: Rockville Campus in Rockville, Maryland on RateMyTeachers.com
Books & Literature
Music: True (CD) by Dawn Avery (Artist)
Artist: Dawn Avery (Artist), Title: True (CD), Record Label: Okenti Records, Category: Music, UPC: 634479334627, Price: $20.66, Release_date: 2002-08-27, Genre ...
ABCBookWorld British Columbia author database
(1 - 4 from 6
Alchemy-Music For Meditation Dawn Avery Music- Audio CD Dawn Avery at...
Music album "Alchemy: Music For Meditation" (Audio CD), Brand:CD Baby, Artists/Actors:Dawn Avery, Price: CDN$ 18, UPC:634479334382, ...
Dawn Avery | Alchemy - Music for Meditation | CD Baby Music Store
Listen to and buy Dawn Avery music on CD Baby. Download or buy the CD Alchemy - Music for Meditation by Dawn Avery on the independent record store by musicians...
iTunes - Music - Dawn Avery
Preview and download top songs and albums by Dawn Avery on the iTunes Store. Songs by Dawn Avery start at just $0.99.
True Dawn Avery Music- Audio CD Dawn Avery at BuyCDNow Canada
Music album "True" (Audio CD), Brand:Okenti Records, Artists/Actors:Dawn Avery, Price: CDN$ 23, UPC:634479334627, EAN:0634479334627, Format:Cd, ...
Related Documents
2011 Annual Report 13 - Big Brothers Big Sisters of Antigonish
Dawn Avery. Deanna Stearns. Debbie Hughes. Debbie Hughes. Diane MacNeil. Diane Teal. Donna MacLane. Doreen Coady-Shadbolt.
Mar. 16, 2010 - County of Brant
By-law Number 44-10 to authorize a Development Agreement with Lauri Dawn Avery for property located in Part of Lot 10, Concession 1, ...
Smyth Wojtaszek - Our Wedding Party
Dawn Avery Maid of Honour. Born in Ireland, Dawn now enjoys living on Vancouver Island, BC, with her husband, Mark, and their three ...
Wojtaszek Wedding - I will love you through all times
Murray and Barb Smith, Deven Singhal, Quynn Phillips, Rob South, Wesley Smyth, Dawn Avery, Catherine Davidson, Kerry Hynes, Raven Smyth, Neil Campbell, Sandie ...
(1 - 4 from 15
News Sources - The Globe and Mail
The Globe and Mail offers the most authoritative news in Canada, featuring national and international news
Calendar of Events
Swedish Christmas Market, 11 a.m. to 4 p.m. at the Scandinavian Community Centre, 6540 Thomas St. Coffee,
Anzacs on Gallipoli shores again - Royal Canadian Legion - Fred ...
The ceremony at dawn marks the time of the first landings by the Australian and New Zealand Army Corps (ANZAC) on the Gallipoli peninsula in the ill-fated ...
Announcing the Australian Launch of TZ Infrastructure Protection...
Contact Information. Media Contact: Nicholas Ng Infrastructure Protection, Inc. +61 2 9222 8890. Email Contact Dawn Marks Anixter Inc. +1 224 ...
Reports & Statements
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Wikipedia: Dawn Avery - Wikipedia, the free encyclopedia
Dawn Avery is a Mohawk cellist, vocalist, and composer. She studied with John Cage. She appeared on the 1998 Grammy-nominated Christmas album, Breath of Heaven by ...
Dawn Avery : NPR
Dawn Avery artist page: interviews, features and/or performances archived at NPR Music
ICH Blog: February 2010
MMaP, the Research Centre for the Study of Music, Media and Place is pleased to announce that Dawn Avery of Montgomery College will be spending the month of February in ...
John C. Keller - Hillsdale, MI - Obituaries (2) - Family History &...
... Paul (Starla) Keller and David Keller & Dawn Marks, all of Battle Creek; 5 grandchildren; and a brother, Dan Keller of Williams Co., Ohio.
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Yahoo! Canada Answers - Please pick…
12.07.2011 · Oakleigh dawn Avery jade Camille jasmine Jewel lauren Montana jade Nevada lauren Justice leah Addison mae Marley grace Harley jessie Bailey grace Lilly jazmyn
Dawn Marks Halifax NS - 411.ca Person Search
1 result for. dawn marks halifax ns. Want to win $411? Enter our Get The $411 contest this month! Go to the Contest Page. Add to neighbours. 1. Dawn Marks.
Yahoo! Canada Answers - Middle names for…
23.01.2010 · Avery Bridget Avery Evelyn Avery Leah Avery Cassandra Avery Savannah Avery Beth Avery Shannon Avery Sharon Avery Sasha Avery Mila Avery Dawn Avery Heather
Dawn Marks Penticton BC - 411.ca Person Search
1 result for. dawn marks penticton bc. Want to win $411? Enter our Get The $411 contest this month! Go to the Contest Page. Add to neighbours. 1. Dawn Marks.
99.9 Virgin Radio Toronto :: Dawn Avery :: Artist Information
Toronto's #1 Hit Music Station, 99.9 Virgin Radio CKFM, Toronto, Ontario, Canada
CHOM 97 7 - The Spirit of Rock :: Dawn Avery :: Music/Artist
CHOM 97 7 is the Spirit of Rock in Montreal.
Today's Country, 101 The Farm :: Dawn Avery :: AMG - Artist
Continuous Country 101.1 FM The Farm, CKXA FM, Brandon, Manitoba, Canada
Dawn Avery Hillview NL - 411.ca Person Search
1 result for. dawn avery hillview nl. Want to win $411? Enter our Get The $411 contest this month! Go to the Contest Page. Add to neighbours. 1. Dawn Avery.
Fredericton's Country Station KHJ :: Dawn Avery :: Artist Details
Fredericton's Country Station KHJ, Country KHJ CKHJ AM, Fredericton, New Brunswick, Canada
Today's Country - Star 96 FM :: Dawn Avery :: AMG - Artist
Star 96 CHVR FM, Ottawa Valley's Country Radio, operating from Pembroke, Ontario.
Today's Country BX93 :: Dawn Avery :: Artist Info
Search for. Dawn Avery. Share This. Sorry, we don't have a biography for this artist. More Dawn Avery. Discography. Tulpe (2008). Tulpe · iTunes · Viento (2007) ...
K93 - Today's BEST Music :: Dawn Avery :: Artist Details
Today's Best Music, K93 CIKX FM, Grand Falls, New Brunswick, Canada
Today's Best Variety - Big Dog 100.9 :: Dawn Avery :: Artist Details
Today's Best Variety, Big Dog 100-9 CKTO FM, Truro, Nova Scotia, Canada
Today's Country, QX 104 :: Dawn Avery :: AMG - Artist
Today's Country QX104, CFQX FM, Winnipeg, Manitoba, Canada
Anixter's 2006 Communications Products Catalog Now Available |...
Contact: Dawn Marks. 224-521-8484. Anixter Inc. CONTACT: Dawn Marks of Anixter Inc., +1-224-521-8484. Web site: http://www.anixter.com/.
May 14, 15 & 16, 2010 - Fosterhub.ca
Dawn Marks 778-893-7704 or Verna Aquash 778-809-4738. Vendor Tables Contact: Lolita Wittur 778-686-4040. Committee is NOT responsible for injury, lost or ...
Performers - 2006
Dawn Marks. Native Dancers. King Fish - Limbo Dancer. De la Terra Flamenco. Latin Music School Workshops. 12 to 4 PM. Trout Lake Community Center Gym.
SNAP Coquitlam - 24 Hour Drum Event
Coquitlam School District #43 Aboriginal Education Department and Youth held a 24 hour drumming event at Riverside Secondary School in celebration of...
SiteSelector.info - ATTITUDES LA 70512
DAWN MARKS. OWNER BEAUTY SALONS 1927 MAIN HWY ARNAUDVILLE, ST LANDRY 70512 Louisiana Telephone 337-667-7533. Click here to view a ...
Stoqw eylem Traditional Pow Wow - Carnegie Community Centre...
please contact: Vendors - Mike Rubin 1-877-773-1722. (tables $100.00 for 3 days + donation). General Info - Dawn Marks 778 893-7704.
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PORTLAND -- Rachel Berry has stepped down from her position as Miss Oregon over questions regarding the residency requirements for the competition.
After a subsequent review of the residency requirement, Miss Berry was not able to prove she satisfied the residency requirement six months prior to competing in the Miss Willamette Valley pageant in April 2012, according to a statement released by Dana Phillips, CEO and Executive Director for the Miss Oregon Scholarship Pageant.
This means that Berry will not be competing in the Miss America pageant in Las Vegas in January of 2013. Instead, the runner-up will get that opportunity.
To compete for Miss America is a dream I have worked toward since I was young, but I accept this decision to do the right thing and relinquish this title. In the spirit of what Miss America stands for, I would not want to deprive another contestant of the opportunity to represent the beautiful State of Oregon at the Miss America Pageant, Berry said.
The Miss Oregon Pageant was started in Seaside, Oregon in 1947 and it continues to be held at the Seaside Convention Center. In 2012, between the local and state pageants, the Miss Oregon Scholarship Program made available $452,000 in cash and tuition scholarships.
The Miss America Pageant was started in Atlantic City, New Jersey in 1921 and moved to Las Vegas, Nevada in 2006. The Miss America Organization is a not-for profit organization that is the largest private provider of scholarship money to young women in America.

subset: commoncrawl


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Mom's Best Recipes - Volume 1
100,000 - 500,000 downloadsAdd this app to your lists
+ By iappthat
Author: Shirley McNevich
250 Recipes from momsbest.blogspot.com
Sampling of some of the recipes...
Chocolate Cake
Shoo Fly Cake
Ugly Duckling Cake
Banana Cake
Watergate Cake
Milky Way Wonder Cake
Wet Chocolate Cake--no eggs
Pumpkin Cake
Pound Cake
Strawberry Shortcake
Hummingbird Cake
Italian Love Cake
Turtle Cake
Applesauce Cake
Red Velvet Cake
White Cake
Super Moist Chocolate Cake
Chocolate Sheet Cake
Fresh Apple Cake with Caramel Glaze
Pineapple Angelfood Cake
Pineapple Cheesecake
New York Style Cheesecake
Jell-O Cheesecake
Lemon Cheesecake
Springform Cheesecake
Brownies and Cupcakes:
Chocolate Cream Cheese Cupcakes
Mini Cheesecakes
Pineapple Cheesecake Cupcakes
Cocoa Cupcakes
Quick Fudge Brownies
Black Bottom Cupcakes
Chocolate Rocky Road Brownies
Milky Way Fudge Brownies
Midnight Mocha Brownies
Really Easy Brownies
Oreo Cheesecakes
Peanut Butter Brownie Cupcakes
Homemade Country Pie Crust
Apple Pie
Strawberry Pie
Peanut Butter Pie
Lemon Sponge Pie
Pumpkin Pie
Amazing Coconut Pie
Impossible Pumpkin Pie
Crumb Pie
Sweet Potato Pie
Strawberry Rhubarb Pie
Pumpkin Swirl Pie
Wet Bread Pie
Icings and Frostings:
Brown Sugar Icing
Pudding Cake Frosting
Whipped Cream Icing
Peanut Butter Icing
Fudge and Candies:
Microwave Fudge
Chocolate Fudge
Cream Cheese Mints
Fantasy Fudge
Homemade Peanut Brittle
Homemade Caramels
Quick Microwave Fudge
Raisin Casserole Bread
Banana Tea Bread
Red Lobster Cheese/Garlic Biscuits
French Toast
Garlic Bread
Hawaiian Bread
Whole Wheat Soda Bread
Quick Ginger Bread
Chicken Salad
Homemade Polish Pigeons
Krispy Baked Chicken
Easy BBQ/Sloppy Joes
Ham Loaf
Supreme Beef Lasagna
Salmon Cakes
Creamy Fettuccini Alfredo
Cantonese Bake
Swiss Steak
Vegetable Pizza
Baked Bean Casserole
Oven Baked Chicken Parmesan
Tuna Rice Casserole
Tuna Noodle Casserole
Impossible Tuna Pie
Ham and Mushroom Casserole
Side Dishes:
Layered Salad
Microwave Baked Corn
Pasta Salad
Corn Fritters
Fried Potatoes
Baked Pork and Beans
Broccoli Salad
Creamy Crab Dip
Broccoli Casserole
Candied Sweet Potatoes
Bacon Wrappers
Bread and Butter Pickles
Freezer Pickles
Broccoli Slaw
Microwave Scalloped Potatoes
Edison Celery Seed Salad Dressing
Cranberry Relish
Pineapple Salad
Quick Pigs in a Blanket
Super Scalloped Potatoes
Rice Pudding
Apple Pudding
Raspberry Pudding
Peach Pudding
Pumpkin Pudding
Baked Pretzel Snacks
Snack Crackers
Pimento Cheese Spread
Sweet Ritz Cracker Snack Mix
Cookies and Cookie Bars:
Sugar Cookies--drop or cutouts
Cream Cheese Cookies
Soft Molasses Cookies
Rice Krispie Treats
Easy Sugar Cookies--soft
Drop Cookies
Chocolate Chip Cookies
Pineapple Cookies
Whooppee Pies
Kiddie Cookies
Oatmeal Crisps--Icebox Cookies
Pineapple Coconut Cookies
Peanut Butter Cookies
Chocolately Butterscotch Treats
Magic Cookie Bars
Pumpkin Cookies
Hard Sugar Cookies
Ginger Snaps
Peanut Butter Blossoms
Mrs. Fields Chocolate Chip Cookies
Double Chocolate Cookies
Coconut Washboard Cookies
Pecan Crispies
Butterscotch Bars
White Chocolate Macadamia Nut Cookies
Quick Cookies
Sugar Cookies
Jam Striped Cocoa Bars
Pumpkin Whooppee Pies
Butterscotch Icebox Cookies
Grape Cookies
Russian Tea Cookies
Lemon Rounds
Starlight Mint Surprise
Chocolate Butterscotcheroos
Holiday Chocolate Butter Cookies
Cookie Bars
Sour Cream Cookies
Chewy Brownie Cookies
Orange Drop Cookies
No Bake Peanut Butter Cookies
Party Punch
Hawaiian Slush
Pecan Nut Cups
Strawberry Salad
Philly Cheese Balls
Funnel Cakes
Knox Jell-O Blocks
Easy Sticky Buns
Lemon Flip
Cherry Flip
Lemon Squares
Peach Kuchen
Blueberry Lemon Squares
Watergate Salad
Apple Crisp
Cinnamon Flop
Pastry and Cheese
Homemade Vanilla Ice Cream
Tags: ice crumble recipe, best cakes ads, christmas cake recipes moist, watergate cake, google ice cream cake photos, top recipe, moms best, strawberry ice cream cake crumble top, watergate cake newspaper, moms best strawberry cake.
(38 stars)
(38 stars)
(38 stars)
Hard to maneuver
(38 stars)
Difficult to use.
(38 stars)
Need to put only one recipe per page so minimal scrolling is needed. Nothing like an app kill for something like this if one has to scroll past a bunch of recipes to read just one. Oh, and you might want to consider putting in simple yeast and no yeast bread recipes as well.
(38 stars)
The lay our of the app is terrible :/ uninstalled..
(38 stars)
I love this app. It has everything i likr thanks


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Christmas time in Bahamas
Hello everyone.
We bought our boat, 45' Leopard catamaran, and survived our shakedown cruise. We went from Fort Lauderdale to Key West, hoping we could get to Bahamas but Noel (sp) prevented the trip. Christmas day we fly back to Fort Lauderdale and will try again. Our plan is to sail down to No Name Harbor and then over to Bimini. Our goal is to sail for about 6-8 hours per day, stop for a while and then off again to the next destination. We're not yet interested in an overnighter so we want to sail during the day only. We're hoping to be in a warm enough climate that we can snorkle, dive and just generally enjoy the sun's warmth. We have about a month. Any suggestions regarding route, destinations, activities would be greatly appreciated. We have Frommer's guide but would love some other input. Additionally, we'd like to keep the boat in the Bahamas for a while (months) so we can go back and enjoy it again in April. I've heard that Marsh Harbor has reasonably priced slips. Any other ideas?
jdlinda...lots of bahamas info and content here...just use the search function!
If you only want to sail 6-8 hours per day, with no overnights, you may wish to cross from Ft. Lauderdale to Grand Bahama then follow the northern route around to Great Sale, Spanish Cay, Green Turtle, to Marsh Harbour. These are all day sails.
The Bimini to Chubb Cay, or Bimini to Great Harbour Cay, routes will require an overnight passage unless you choose to anchor out on the Banks for the night.
Don't rush your trip. This time of year it is especially important that you wait for the right weather windows and be prepared to sit tight til one arrives.
As far as leaving the boat in the Bahamas, rent a mooring in Hopetown or Man-o-War. There should be plenty available and they're much cheaper than dockage. Use the local ferry to get you back and forth to the Marsh Harbour airport. A Dodge Guide to the Abacos will be very helpful to have.
You'll love the Abacaos! I cruised there in 2004 and haven't left!!
To quote a poster from an Abaco website: "Veni, vidi, velcro."
Translation: I came, I saw, I stuck around.
Have fun!
That's a great quote!
AlanBrown are you in Marsh Harbour and if so what's the name of your vessel? I'll drop by and say hi.
How does that work, not leaving? Residency?
If you are averse to night sailing, be aware that the usual timing of the crossing to the Bahamas is to leave at about 2AM. The reason is that you want to arrive while the sun is high and glare is minimized. Remember all navigation is by eyeball. Navigation marks either do not exist or are not reliable. But your eyes are all you need if the sun is high.
Currently back in Atlanta working for a living. Plan to resume full-time cruising in 2009, when I "retire" for the 3rd time. Been keeping my boat, now Bahamian flagged, over on Elbow Cay. Won't get back aboard until early April.
Perhaps we can get together then.
The Bahamian government will let you stay in their fair country for an almost unlimited period of time. All you have to do is keep renewing your visitors permit. Where you get into trouble is when you try to find employment. No dice without an expensive work permit, which is very difficult to obtain.
P.S. Would have sent you both PMs, but I haven't made enough posts yet to qualify for this service.
AB, I'll be heading back to Ga about ther time you get here. Love the place and the people. Sure can't go wrong coming to the Abacos
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Welcome aboard neighbor, film, APUG AND large format! Now I see where you're located, that I didn't in your other post.
I don't want to discourage you, far from it, but I will say that you've bitten off a pretty big chunk going straight to large format with little film experience. Most people learn film in smaller formats first. What you're doing is certainly possible, and maybe even easier and quicker in the long run, but fair warning, it IS going to be challenging at times. Even long time film shooters make comical errors starting into large format. I've made them all and discovered some new ones, I think.
The large format home page is a great resource for large format info. Note that their forums (also excellent and highly recommended) are down this weekend for upgrades and the home page may be intermittent, but it's working now. If you can't get it just wait until the upgrade is done, then read, read, read:
What drew you into large format to start with film? And, maybe a dumb question, but do you like working slowly and deliberately to get just what you want on film (or whatever medium?) Large format is in many ways the antithesis of the digital you're used to, with 35mm and medium format being in between. Where digital shooters are accustomed to being able to "spray and pray" and do their editing and culling of bad shots later, film cuts that ability down substantially and large format laughs at it. With 35mm you can still shoot a lot (though it gets more expensive if you do) and can shoot almost as quickly as digital, the difference mainly being having to stop to load another roll every 36 shots. With medium format you can shoot a bit slower but still pretty fast, but have to change film every 8-16 shots depending on format and camera. With large format - well, if I hurry, I can set up an initial shot and get an exposure made in 10 minutes. Some people can do it in less than half that time. I can expose more sheets of the same subject at different exposures and such more quickly of course. It's an entirely different mind set and way of working even than 35mm or medium format film.
Just a suggestion but - you could get an all manual 35mm camera of good quality and 1-3 lenses for probably less than $100, use it (ideally) with a separate hand held meter as that's what you'll be doing in large format, and learn film and exposure much less expensively and with far less frustration than starting with large format, then sell it off for what you paid.
Large format is fun, the quality is superb, and you can do things with the plane of focus not easily done any other way. It is not really difficult but the gear does NOTHING for you. You do everything and it does only what you tell it. From metering the scene to thinking about how you want it to look to manipulating the focus plane to keeping your film holders organized, it's all up to you.
Can we assume from your enjoyment of Photoshop that you will be scanning your film and working in what we call hybrid workflow? They don't like us discussing that in detail here but presumably it's ok to ask. It's different form darkroom work. (You can talk about hybrid workflow with large format all you like over on the large format forum.)


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Our newest arrival is a 1941 Cadillac 5 passenger Touring Sedan. This car was in Colorado from 1941 through 1980. Since then it has... More
1941 Cadillac series 61 4 door sedan. Nice original car with original paint and interior. 346 cu. in. engine with a 3 speed column... More
War was already on the horizon even as 1941 models were introduced in September 1940 in North America. The United States was already shifting... More
From owners research he believes car spent 1941-1980 in Colorado. In 1983 the engine was rebuilt. ( Only about 4,000 miles ago) From 1980-... More
CADILLAC: 1941 Series 61 sedanette, rare and desirable sedanette with 3-speed manual transmission. Hyman Ltd, 314-524-6000, MO; www.hymanltd.com... More


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Fall Valley
Edit Page Last Edit: 1 year 4 months ago
Fall Valley is the third and final section of the game, and is where the kids find themselves after Dorsilla grabs them at the end of Autumn Haven Mall.
BUG ALERT! There is a game breaking bug in Fall Valley that may affect a small number of players. An update that was released in 2010 for the Xbox 360 version will break The Original Costume Quest quest if it was installed after a game has been started, but before this quest is completed. This only affects Xbox 360 players who started the game before the update was released in 2010. The only work around for the bug is to uninstall the game, then re-download and start over.
What Links Here
Battle Stamps | Boss - Autumn Haven Mall | The Original Costume Quest | Hide & Seek - Fall Valley | This Card is the Rarest | Alls Fair That Ends Fare
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Special Guest: Steven Scott - Ministry Videos
Embed mhmwebteam 570 views 2012-09-24T17:30:32 Haven't you wished you could ask Jesus any question and get His immediate help with the biggest problems you face every day? Best-selling author Steven Scott has compiled all the statements of Jesus into a practical, easy to use book. Don't miss this special interview with this international speaker and outstanding man of God.
More Ministry Videos
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We are moving our rating for Questar STR to Not Rated as a result of the spin ..... We plan on dropping coverage of Questar , but intend to initiate coverage ..... appeal to different investor bases. Questar , the legacy integrated gas company
Questar STR is moving forward with its expected , tax ..... no change to our fair value estimate . Questar expects to complete the spin - off within ..... midstream field services under the ticker QEP . Questar would remain a Rockies - based integrated
Questar 's STR first - quarter results were mixed , with ..... Production grew 10 % from year - ago levels as Questar expands its drilling program from its Rockies ..... peak initial production rates from four Questar - operated wells ranging between 11 . 6
Questar STR is considering a tax - free spin - off ..... P business with the original company . Questar is reviewing its options to determine if ..... E & P company would account for 71 % of Questar 's 2009 earnings before interest , taxes
Questar STR provided an operational update for its ..... and Anadarko Basin Woodford Shale wells. Questar reiterated its 2010 production forecast ..... below 2009 results, but is in line with Questar 's forecast range for 2010. Fourth
Integrated gas companies such as El Paso EP, EQT EQT, Questar STR and Williams Companies WMB have multiple pathways for ..... gas to markets in the Northeast and Mid-Atlantic. Questar is building its E&P and midstream presence in the Rockies
Questar 's STR second-quarter 2009 results did not veer ..... no change in our fair value estimate. Questar 's nonregulated exploration and production ..... However, steady earnings and cash from Questar 's pipeline and utility unit provided
as Equitable Resources EQT EP STR WM B have more than one way ..... pipeline businesses. Equitable and Questar also have gas utilities with ..... annual operating income growth. Questar 's E&P operations received ..... expected by 2010. Meanwhile, Questar has drilling interests in several
Pipeline (RAP), a joint venture between Enbridge ENB, Questar STR , and Fort Chicago Energy Partners. We anticipate that ..... reputation in project management and operations, but Questar may have home-field advantage. We're tracking three
between Enbridge ENB and Fort Chicago Energy Partners, and Questar STR announced on Tuesday a new pipeline project to provide ..... The proposed Rockies Alliance Pipeline would run from Questar 's Wamsutter hub in Wyoming north to the Canadian border


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Survival Elements
Lauren Henkin's photographs feature trees growing in unlikely places
Today is Tu B'Shevat, the Jewish new years for trees. In addition to Monday's suggestions of different ways to honor the holiday, it seems important to highlight a set of photographs examining the darker, more unyielding elements of nature, and the enduring struggle for survival and growth.
In 2004, at the age of 29, Portland-based photographer Lauren Henkin learned she had a growth in her abdomen. The tumor was benign, and though the doctor recommended surgery to remove it, Henkin resisted. By 2009, a different growth had taken over one of her ovaries, and she had to undergo surgery to remove the ovary. Still, she elected not to have doctors remove the original mass, which she describes as having become, strangely, an adopted part of her body. It took another year of increasing discomfort and illness for her to elect to have the mass removed.
In despair, she found inspiration, turning to her surroundings to make sense of what was going on inside her:
Sometime before the first surgery, I began photographing urban landscapes—trees, weeds, shrubs and other vegetation attempting to grow in unlikely places. At times invasive, at times reclaiming, at times succumbing, it was hard to know whether to champion these subjects or hone my garden shears. There is a fine line between what is deemed invasive and what is merely reclaiming a rightful environment. Who am I to judge, even when the domain is my own body? I never connected these urban growths to the ones in me. I was drawn to them because they persevere. They are survivors. Emerging through asphalt, suffocated by electrical wires, trapped between buildings, standing proud even in defeat, they are both accommodating and unyielding. I respect them.
Her images, profound and disturbing, feature trees growing out of dumpsters and brilliantly green vegetation clinging to massive concrete bridge supports. What better time than Tu B'Shevat, which honors nature and life and growth, to reflect on survival in the face of seemingly insurmountable odds. It's what nature is all about.
Lauren Henkin
Related: Green Day [Tablet Magazine]
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The Tigers host the Bruins at 7 p.m. on Monday.
Dec. 15, 2013
Live Scoring: www.mizzoustats.com
Radio: KTGR 100.5 FM, 103.1 FM and 1580 AM
Live Video: www.mizzounetwork.com
MU Head Coach: Robin Pingeton
(St. Ambrose `90) 52-52 at MU (4th season)
BU Head Coach: Cameron Newbauer
(IPFW, `01) 3-7 at BU (1st season)
After a week of focusing on their studies, Mizzou Women's Basketball returns to the court on Monday to host the Belmont Bruins in a 7 p.m. contest. This will be the first meeting between the Tigers and the Bruins. The game will mark the beginning of Mizzou's partnership with Toys for Tots. Fans who donate a new, unwrapped toy will receive free admission to Monday's game. The drive will continue on Dec. 22 against Western Illinois.
Mizzou gets back on the road Thursday in Springfield, Mo. with a 7 p.m. contest at Missouri State. The game will be televised on the Mediacom network, available for Mediacom subscribers throughout the state of Missouri on channels 22 and 722.
The Bruins are 3-7 on the season, coming to Missouri off of a loss to SEC opponent Georgia. The Bruins were picked to finish third in the OVC in the conference preseason poll, and junior Jordyn Luffman received All-OVC Preseason honors as well. Luffman leads the Bruins, averaging 14.1 points and 7.5 rebounds per game this season.
The Tigers recorded a record-breaking win over Bradley last week, with a school-record 126 points and a school record 65 first-half points.
Senior Bri Kulas matched her career high scoring mark with 27 points in the game, knocking down 26 of those points in the first half.
Seven Tigers reached double figures in the contest.
Morgan Stock set a new career high mark with 7 three-pointers and 21 points in the game.
As the team, the Tigers aim for 80-percent free-throw shooting during practices and in games. After connecting on 14-of16 from the charity stripe in its 126-55 win over Bradley last Sunday, Mizzou is now shooting 80.5-percent from the line this season, ahead of its season goal. That mark leads the SEC and checks in at third nationally. Seven players are shooting 75-percent or better and Mizzou's leader in total free throws - Bri Kulas - is arguably the team's top shooter from the line, checking in at 88.2-percent (45-of-51).
Mizzou is on its way to one of the best non-conference seasons to date. Missouri is 9-1 in the non-con and will look to top the 2011-12 season when the team finished 10-1. The 10-1 record is the best for a Mizzou team since 2006-07 when the Tigers finished non-conference play with a 12-1 record. Mizzou's 9-1 mark is a big reason why the SEC is on pace for its best non-conference mark in league history as it is currently 108-22 (.830) as a league this season.
The Tigers are coming off of a game in which they reset school records in points (126), points in a half (65) and 3-pointers (18) while seven players scored in double-figures in a 126-55 win over Bradley last Sunday.
Under fourth-year head coach Robin Pingeton, Mizzou is continuing to play great team basketball. That is evidenced by Mizzou 18.7 assists per game (second in the SEC and 17th nationally) and its 1.21 assist-turnover ratio, which ranks third in the SEC and 28th nationally. Over its last two games, Mizzou has assisted on 66.7-percent (52-of-78) of its field goals while boasting a 1.79 assist-to-turnover ratio.
This season the Tigers are averaging 5.5 blocks per game, a number that ranks second in the SEC and 17th in the nation. The number is much improved from last season when the Tigers averaged 2.3 blocks per game. Freshman Jordan Frericks is dominating in this category, she leads the team with 22 blocks on the season, good for an average of 2.2 per game (third-best in the SEC).
Two categories that Mizzou was very good in a year ago, it is dominating in again this season. The Tigers are among leaders in the SEC (second) in defensive rebounding at 30.9 per game and are also third in assist-to-turnover ratio at 1.2.
Mizzou continues to show quality depth off the bench this season as the team is averaging 29.5 points per game off the pine. Three different players average at least 6.0 points per game off the bench this season, led by 8.9 from sophomore Morgan Stock. Mizzou has a +11.9 average per game off the bench this season.
The Tigers have shown a great ability to close games this season, averaging 41.2 points per game in the second half. Conversely, Mizzou is limiting its opponents to just 29.8 points per game in the second half. To prove the killer instinct, Mizzou is connecting on 83-percent of its shots from the charity stripe in the second half as well.
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BES director put on leave during investigation
A KOIN 6 News investigation sparked a city audit of the Bureau of Environmental Services office building, which was just released.
A KOIN 6 News investigation sparked a city audit of the Bureau of Environmental Services office building, which was just released.
Juan Carlos Robles-Melara was a student at French Prairie Middle School in Woodburn and was a soccer player. Authorities said Wednesday he w…
A Lebanon woman died Tuesday afternoon when a 1950s tractor flipped over and pinned her underneath.
Christina Dress allegedly tried to get the pills from a hospital Monday night when staff called the police because she was disruptive.
Gabby Giffords joined local leaders for a discussion on the topic and said, "Women agree there are common sense solutions to keep us safe."
The crash happened just after 4 p.m. on Tuesday at SE 80th and Ash Street, police said, and they suspect a speeding driver may be a factor.
A major storm system is coming, and it's about to get wet.
Eric Frein is charged with opening fire outside the Blooming Grove state police barracks on Sept. 12
In 2013, Beaverton wrote 19,319 tickets. That number doesn't include tickets from Beaverton's red light and photo radar cameras. If you add …
The Next Glass app aims to predict which beer or wine a person looking to enjoy a drink should have next.


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Login to Account Create an Account
New drives in laptop, should I make them basic or dynamic?
Posted 21 December 2011 - 04:58 AM
Posted 21 December 2011 - 05:24 AM
Leave it/them as "basic".
I have updated my Dell Inspiron 1720 laptop to use a 120GB SSD drive in bay one and a Toshiba 500 GB conventional drive in bay two. I will be running XP Pro on this machine. I tested my NLite custom install CD on this and it loaded XP fine, with all my desired settings. I then added the second drive. I find an option to make this second drive basic or dynamic, whilst the first drive with XP on it is shown as basic in disk manager. I am not familiar with this dynamic thing, and a search has left me little the wiser. It's no big deal to reinstall XP if required. How should I have these drives for best results please? I have somehow ended up with this new 500 GB drive formatted NTFS which is what I expected, but showing as dynamic, with the SSD showing as basic. Thanks for any help.
Dynamic disks features make sense (if any) in a Server environment.
Edited by jaclaz, 21 December 2011 - 05:24 AM.
Broken link on MSFN? You may try this. Looking for SEARCH on MSFN? Click here.
Posted 21 December 2011 - 02:22 PM
Posted 21 December 2011 - 02:32 PM
Posted 21 December 2011 - 02:39 PM
Maybe not the "best", but surely among the "eligible" ones, though of course in a Server environment you have regular and frequent backups, so, the data loss risk is not that much (and dynamic disks do offer some advantages/features that may be handy in such an Environment).
That's the best way to loose data.
I will make the previous advice a bit stronger :
DO NOT EVEN THINK of using dynamic disks, EVER!
Broken link on MSFN? You may try this. Looking for SEARCH on MSFN? Click here.
Posted 21 December 2011 - 04:04 PM
- a dynamic volume extended will be slower than the same basic volume extended => the extension feature of dynamic disk reduce performance and the main reason behind this fact is that when you extend a dynamic disk it create another partition even when it is not needed (i.e. when it is on the same disk).
- as for the aggregate feature, it indeed increase the performances (like any software raid) when using many disks but the risk of data loss is very high and even with daily backups, you don't want to restore your data just because you lost access to one of the drives for 1s or so.
Also by design, dynamic disks use something like driver filter which is behind the filesystem driver and the storage driver and only this fact should slow down (but sometime not enough to be identified) a little the hardware.
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This section contains 6,290 words
(approx. 21 pages at 300 words per page)
Critical Essay by Judith Yaross Lee
SOURCE: "Five Ways of Looking at Aprille (with Apologies to Wallace Stevens): Analysis of Storytelling in the Twenty-First Century," in Eye on the Future: Popular Culture Scholarship into the Twenty-First Century, edited by Marilyn F. Motz, Bowling Green State University, 1994, pp. 91-106.
In the following essay, Yaross Lee uses Keillor's story "Aprille" to analyze the effect of medium on a story.
A slippery problem facing scholars of popular culture involves how to analyze examples that exist as multiple texts or performances rather than as a single stable artifact. Stable artifacts include the texts of popular fiction, tapes of radio or television broadcasts, and theatrical films or videotapes. The comic strip or book is somewhat less stable, since a scholar may have to grapple with the historical authority of the newspaper feature page versus the narrative authority of the anthology or comic book, but one can make a case for studying either version or both. A similar problem exists for some television series, which broadcast videotapes of live performances before a studio audience. All in the Family (1971–79), for instance, exists in two video forms: the master tapes of the live performances and the edited tapes of the broadcast series. Although the edited tapes captured most of the live performance's spontaneity—various pratfalls and glitches in performance became evidence of the taped show's authenticity—the cuts not only kept the show within necessary time limits, but also altered its substance: the off-color remark or gesture, long laughter from the audience. Still, a scholar can distinguish between the master and broadcast tapes in much the same way as between an author's manuscript and the published text. Despite the limitations of the broadcast tapes, which (among other things) obscure whether the audience laughed for 15, 30 or 55 seconds—they nonetheless are the authoritative texts for studying the work of producer Norman Lear and his cast. They represent commercial television, whereas the master tapes record only a studio performance.
By contrast with stable artifacts such as these, consider standup comedy and public storytelling. Both involve multiple performances that vary the material in many ways. Some variations are minor; others, substantive. Some represent a refinement; others, simply a variation with only subtle shifts in sense. Folklorists have made progress on but not really resolved the interpretive problems that result from multiple texts. Richard Bauman and Sandra K. D. Stahl have focused on the relation of each telling to its narrative context, for example, accounting for differences in the tellings in terms of the different narrative events. Contextual criticism thus downplays variations in phrasing and concentrates instead on theme, structure, and cultural significance. Seeing narrative details mainly as elements of a cultural message, however, gives the criticism a didactic thrust more appropriate to fairy tales than to the monologues of Johnny Carson or Spalding Gray. Under the circumstances, it is not surprising that even folklorists have found the thematic and structural approaches limiting. As Dell Hymes observed in his examination of a pair of transcriptions, "Each telling makes use of common ingredients, but it is precisely in the difference in the way they are deployed and shaped that the meaning of each is disclosed."
Variations matter even more in popular performances, which have become commodified as commercial art. Whereas the traditional folk narrator served as a medium of transmission, today's standup comedian or storyteller is the author of the material as well as its performer. The oral narratives of the standup comedian or public storyteller may sound like folklore, particularly the genre known as the personal experience narrative, and the anecdotes may in fact have originated in experience, yet the comedian and professional storyteller have no obligations to truthfulness. Audiences grant these performers the novelist's license to invent, and willingly suspend their disbelief. Variations from performance to performance are therefore more substantive than variations among performances of a folktale, even though traditional tellers commonly had their own, distinctive ways of telling a tale.
They are also more significant than variations in the performances of a scripted play. Whether introduced accidentally or deliberately by actors, director, crew, or performance space, variations on a script give different audiences different experiences of the play, but theoretically, at least, the performance remains somehow distinct from the play itself. Just as the musical performance is recognized as the approximate rendering of the ideas in the score (Dehnert), the dramatic performance is recognized as an approximate rendering of a definitive text. Such a text does not even exist for standup comedy and public storytelling, although we tend to behave as if it does. For a recent example of this phenomenon, consider the efforts by Lenny Bruce's producer, Don Friedman, to recreate the comedian's 1961 Carnegie Hall performance in commemoration of what would have been Bruce's 67th birthday. The fifteen actors who auditioned in July 1992 based their impersonations not on Bruce's own monologues, which were of course ephemeral, nor even on Bruce's own recordings, which are more stable, but on the stable 1974 text of Dustin Hoffman's re-enactment of unstable routines in the film Lenny.
As oral genres grounded in colloquial talk and tending toward improvisation, standup comedy and storytelling reverse the stage play's implied priority of written text over live performance. And not only is the performance more definitive than the written text: the various oral performances of a single story or routine vary in authority in relation to one another. Unlike the multiple video-texts of the television broadcast, one public performance will not have more authority than others, unless some are designated rehearsals or trials. Unlike the successive drafts of a manuscript, the most recent performance does not always stand as the artist's last word.
A particularly illuminating case in point is Garrison Keillor's 1986 story "Aprille," which nearly defies classification. The story takes its inspiration from The Canterbury Tales, builds its theme on a passage from the New Testament, and blends his wife Ulla Skaerved's recollection of a childhood game on the bus with half a dozen fictional Lake Wobegon anecdotes—all the while purporting to tell his own experiences. So, "Aprille" is not folklore, not even "literary" folklore like the personal experience narrative, though it imitates folklore: the monologue is a professional performance presenting fictional personal experiences of narrator Garrison Keillor of Lake Wobegon, Minnesota (a fictional town)—all of these created by writer Garrison Keillor of Anoka. Nor is "Aprille" a short story, since it was composed primarily for oral performance, not for print. Nor is it television, since the Disney cameras that recorded the show (originally transmitted live via cable and later shown over public television) shot it from the vantage point of the studio audience—as a radio program being witnessed by an audience, not as a show that was meant to be telecast. But the monologue is not conventional radio, either, since the speaker engages in intimate conversation and lies instead of the public and factual material that make up normal radio talk. All these modes of storytelling contribute to the tale's humor by inviting and then frustrating our generic expectations.
More important, the tale itself invites us to examine relations between oral and written storytelling, since Keillor structured "Aprille" around the ten-line opening of Chaucer's "Prologue," giving the oral story a thoroughly literary grounding. The recitation not only reminds us that The Canterbury Tales itself presented purportedly oral stories as written texts, but also calls attention to the difference between the text-bound activity of memorization and the performance-based activity of improvisation in Keillor's own narration. In addition, as Chaucer's words set the springtime Minnesota scene for the main story—how Lois Tollerud, a young woman troubled by the existence of evil in the world, does not find her faith on Confirmation Day, yet nothing happens as a result—Keillor also establishes a series of thematic parallels among the three pilgrims of the tale. Lois, Keillor, and Chaucer all undertake spiritual journeys that turn into occasions for storytelling, and in "Aprille" as in The Canterbury Tales, the pilgrims' stories become more important than the religious goals inspiring them.
Despite the seriousness of its themes and structure, "Aprille" remains typical of Keillor's work: it is also a very amusing story. Narrator Keillor's own pilgrimage fails when he arrives in Lake Wobegon and finds that his whole family apparently ran out the back door, at which point his journey to see them devolves into a quest for a toilet. His goddaughter Lois is also on a quest (she's looking to regain her faith in God), but at first they find only each other. As one anti-climactic anecdote leads to another, the humor builds in a conversational, apparently unstructured way that belies Keillor's intense labor on it.
The monologue was the centerpiece of a performance celebrating the grand re-opening of St. Paul's World Theater on Friday, April 25, 1986, and it was broadcast live the following night during his regular Saturday evening radio show, "A Prairie Home Companion" (1974–87). Keillor's popularity in 1986, soon after he agreed to allow the Disney Channel to cablecast the weekly show, made the April 26 broadcast extremely important to him, and even after the opening "concert" (i.e., non-broadcast) performance on Friday evening he continued tinkering with the details and themes of the story all the way up to broadcast time on Saturday night. Before each oral performance, he worked at his word-processor, printed out a draft, and edited it by hand. The result of this process is five variants of the tale: the Friday computer printout with handwritten emendations (version 1, 4/25/86), the Friday evening broadcast (version 2, 4/25/86), the Saturday computer printout with handwritten emendations (version 3, 4/26/86), the Saturday evening broadcast (version 4. 4/26/86), and the published Leaving Home story (version 5).
The first text (version 1) contains all three of the main stories—Lois's lost faith, Einer Tingvold's lost binoculars, and young Gary's fear of being isolated from family and friends—along with a fourth anecdote about the Tolleruds' agnostic Uncle Gunnar, which remained in all three written versions but was never included in an oral rendition. But several crucial details in Lois's story changed after the first performance, and the ending of the narrative continued to evolve through the second performance (version 4). Several of the most significant changes in his second performance did not, however, find their way into the published version of "Aprille," which appeared in Leaving Home, a collection of Lake Wobegon tales published shortly after "A Prairie Home Companion" went off the air. Although Keillors introductory "Letter from Copenhagen" described Leaving Home's stories as "written for performance on the radio," this fifth, published version of "Aprille" is neither a transcription nor a reworking of either oral performance, but rather a minor revision of the second printout (version 3).
Together the five variants of "Aprille" illustrate the problems inherent in analyzing the unstable texts of oral popular culture and point the way toward more systematic and sensitive analysts of storytelling in the twenty-first century. We need to find techniques appropriate to these texts and to understand the increasingly important roles of print, broadcasting, computers, and audio tape in defining them.
"Aprille" illustrates the fundamental difficulty of identifying exactly what is the story, since unlike the successive drafts of a manuscript the five variants of the tale do not exist in simple chronological relation to one another. Additions to the written text carry over thematically, if not always literally, into the next oral telling, yet improvisations in the oral tale are seldom incorporated into the next draft. The process thus underlines the greater importance of the oral versions, and their greater autonomy, and suggests that the final written version of the story (version 5) remains less significant than the second oral performance (version 4).
The first printout, for example, shows Keillor working to expand the description of springtime in Lake Wobegon at the beginning of "Aprille." Next to the typed remarks about trees and birds, he added a handwritten note in the margin: "The NBFs are washing their sheets, a sure sign" (version 1). In the first oral performance that same evening, he provided an even fuller description, saying, "this last week the Norwegian bachelor farmers washed their sheets, which is a sure sign that the cold weather, cold weather is over, and they're starting now to think about the danger of, the danger of infection" (version 2). The repetition of the phrases "cold weather" and "the danger of" work like "um" or "uh," as voiced pauses suggesting that Keillor invented the phrasing on the spot, and this implication of spontaneity asserts the authenticity of the storytelling event: the speaker hasn't prepared his remarks in advance. In this case the phrasing almost certainly was spontaneous, however, since none of the other variants repeats it exactly.
The next day, the second printout (version 3) shows Keillor integrating into his electronic text the marginal note from the first printout, but not the remark about "the danger of infection" from the previous night's oral performance. Instead, the text notes merely, "and now the Norwegian bachelor farmers are washing their sheets—" (version 3). The remark remains in that form in version 5, the version published in Leaving Home 15 months later. In the second oral performance (version 4), however. Keillor altered not only the phrasing of the item but also its placement and details. He postponed mentioning the Norwegian bachelor farmers until after he had described Lake Wobegon's springtime scenery in detail, finally noting, "the Norwegian bachelor farmers hung out their sheets, this last week, finally washing their sheets after those long winter months. Now it's finally safe to do em" (version 4).
These variations in such a simple matter demonstrate that Keillor's weekly monologue had more in common with a jazz performance than with an impromptu speech. That is, the monologue was a planned performance featuring spontaneous talk. The demands of live radio made this risky enterprise all the more precarious, since a live broadcast cannot be edited if the program runs too long. In all his years on this tightrope, Keillor fell only once, in Juneau, Alaska on July 12, 1986, when he just could not bring his monologue to a close, even though he had written a nine-page text for himself. Keillor worked out the components of "Aprille" carefully but nonetheless embellished and altered it in performance. His written drafts therefore represent prompts for the performance, suggesting the directions of his thoughts and his thematic intentions, but remaining subordinate as texts to the public performances.
For example, consider the different reasons that the bachelor farmers finally do their laundry. In the first telling they wash the sheets because it's warm enough for the bacteria in them to breed; in the second telling they wash them because it's finally warm enough to risk coming in contact with water. Keillor does not seem simply to have changed his mind here; the two jokes are equivalent. The point is the eccentric variation on the traditional obsession with spring cleaning. The exact rite is less important than the fact that a rite exists because the rite is more ritualistic than practical. In the case of the Norwegian bachelor farmers, spring cleaning accomplishes very little. Washing their sheets—for whatever reason—will not appreciably raise their level of hygiene. Perhaps more important for a theory of oral narrative, equivalent variation is possible because oral tellings do not supplant one another in the same way that successive drafts do. Whereas interpretation of writing rests on the principle of final intention, in which the authoritative text is the last of successive written drafts, interpretation of oral storytelling requires a principle of simultaneous authority, in which each telling has equal validity.
If the substance of these differences matters very little, the fact that the differences exist matters very much, indeed. The anecdote is full in the oral performances and sketchy in the printouts, in a progression typical of oral retellings. Richard Baumann notes that stories tend to grow when retold, especially when the teller commands the attention of the audience without having to seize it from other parties present—the difference, for example, between yarn spinning around a campfire or in conversation and the full performance of a storytelling festival, in which the featured storyteller is expected to demonstrate virtuosity. But the relationship between Keillor's written texts and the next telling reflects the complexity of the hybrid genre within which he works. Although details become more elaborate in the retellings, episodes may be rearranged, truncated, or eliminated. For example, both oral performances of "Aprille" mention the day of a rainstorm, and in the second performance Keillor elaborates the detail by making a show of searching his memory for the exact day—"[I'm] thinking about an afternoon, like—well, Tuesday, or Wednesday aft—Wednesday afternoon, after that tremendous rain that we had in the morning" (version 4)—but none of the written versions, including the version published in Leaving Home, refers to a specific day of the week. By contrast, Keillor apparently considered Daryl's Uncle Gunnar important enough to devote about 250 words to his eccentricities in each of the written texts, including the Leaving Home version, but Uncle Gunnar does not make even a brief appearance in either oral performance. We cannot know whether Keillor dropped the anecdote to keep the monologue within the allotted time (one aspect of his virtuosity was surely his ability to work within the finely calibrated time intervals of live radio), or whether he lost interest in the material but failed to delete it from the computer file that ultimately became the text in Leaving Home. Any analysis of the story must take this inconsistency into account, but it points to the theoretical difficulty of assuming that versions in two media stand in strict chronological succession to one another.
Other differences, however, clearly show the artist changing his material and sharpening his vision of it. Apparently dissatisfied with the tale he told on Friday night, Keillor sat down on Saturday and made two major changes in the computer text that became version 3. He deleted three suspected miracles that inspired Lois to keep an open mind about her lost faith, and moved the anecdote about Einer Tingvold to follow rather than precede the tale of playing strangers on the bus. Integrating these changes led to others, resulting in very different themes and meanings between the Friday and Saturday versions, oral and written.
In Friday's versions 1 and 2, the possibility of miracles tempers Lois's crisis of faith. The hot water does not run out as usual on Saturday night, her mother manages to get a stain out of Lois's confirmation dress, and her father's arm does not burn when his new sweater catches fire from the candles on her cake. These events strike her as possible evidence that God does exist, and they allow "Aprille" to end with some optimism for Lois and for all the faithful. Removing them, on the other hand, diverts the tale from questions of God's existence to questions of human faith. It also allows Keillor to emphasize the parallels between Lois and himself: she becomes terrified when her prayers echo without response, just as he had been frightened as a child when another Lois, his aunt, pretended during their game of "Strangers" that she did not know him.
As deleting the miracles diminished the tale's optimism, so moving the Einer Tingvold anecdote altered the story's original theme. An example of faith sure-to-be-found in versions 1 and 2 became a warning about faith abandoned in versions 3 through 5. With the story of how Tingvold threw away the next day's breakfast eggs and his own beloved binoculars just because he was frustrated that an unruly group of Boy Scouts wouldn't learn semaphore signals, Keillor provides a highly comic parable on the dangers facing Lois in her doubts about God on the eve of her confirmation. The anecdote's new position after the story of playing "Strangers." a game in which a young Keillor and his aunt Lois pretend not to know one another until the boy feels frightened and lost, emphasizes the consequences of throwing away one's religious values in the heat of a moment's disappointment. At the same time, the binoculars need not symbolize faith or even integrity to provide a reason for telling Einer's tale, since its details offer the considerable pleasures of comic retribution. As a result, "Aprille" not only implies the orthodox conclusions that Lois's faith in God matters less than God's faith in her, and that neither God nor faith will abandon her if she does not throw them away or try to become someone she is not, but also insinuates the downright blasphemous notion that faith is irrelevant to a good story. In this context, the parallel between Lois's story and Einer's also intensities relations among the three storytellers in "Aprille": Keillor, Lois, and Chaucer.
Eliminating divine intervention (or the perception of it) also required changes to the ending of the monologue. In the first oral performance, he started with the simple conclusion of his written text—"For the fourteen year olds of this world. I'm glad to get old so they can grow up and we'll see what they do with themselves" (version 1)—and extended it into a comment on how the world as a whole benefits from the courage of the young, "who having lost their faith could stand on the edge of darkness and wait for it to return" (version 2). By the next day, however, his written text proposed that loss of faith has less to do with God than with ourselves. People get caught up in games like "Strangers" and, after a time of playing at being someone else, forget who they really are. Nonetheless, God's grace remains as reliable as the signs of springtime: "the sweet breath, the tendre croppes, and the smale fowle maken melodye—God watches each one and knows when it falls, and so much more does He watch us all" (version 3). The power of Chaucer's poetry and Keillor's rhythmic line, a resolution to the question of evil, and the storyteller's virtuoso control over an apparently formless tale bring the third version of "Aprille" to a powerful close.
But although Keillor carried over this ending from version 3 to version 5, the text published in Leaving Home, he did not repeat it in version 4, his final oral performance. Apparently on inspiration in that Saturday night broadcast, he loosened the connection between spring and reborn faith. Instead, he proposed a more generalized power in "this world, and each other, and the people in it": "Well, I'm transformed by this world, the one that I look at. It's so beautiful. I believe that it has the power to make us brave, and to make us good. This world, and each other, and the people in it. It has the power to give us faith, the sweet breath of the wind and the tender crops, and the small fowles maken melodye that slepen all the nycht with open eye" (version 4). Whereas the written texts of versions 3 and 5 offer the traditional Christian insistence on faith in spite of doubt, the oral text of version 4 offers consolation through poetry, not doctrine.
My point is not simply that Keillor declined to revise the second written version to incorporate changes made in the second telling, or even (as I suspect), that at some level of consciousness he chose an orthodox conclusion for his stable written texts and a more ambiguous ending for his unstable oral texts. Rather, the issue is, what finally is "the story"? The lesson of "Aprille" is that scholars of storytelling need to answer that question on an individual basis for every tale and teller. For now we must conclude that the story is not, to borrow terms proposed by Barbara Herrnstein Smith, some "basic story" consisting of elements common to the five variants, nor a Platonic ideal of the tale constructed from bits and pieces of the variants. Moreover, a reliable analysis cannot look solely at the published text of an oral tale, no matter how much one would like to replace multiple unstable texts with a single stable one. Any reconstruction of "the story" must take into account sequential, substantive changes that amount to revisions, as well as accidental variations, like the bachelor farmers' laundry day, that represent what Erving Goffman calls "fresh talk."
"Aprille" is, therefore, a different story in each of the two media that its author worked in and in the different versions in each medium. The tale of faith lost and found clearly belongs to the stable world of print texts, as represented in Leaving Home. The more ambiguous quest for faith in the oral versions of "Aprilte" remains, appropriately enough, unresolved in the unstable texts of the performances. We cannot really understand "Aprille" if we do not know whether the ending envisions a world made wonderful by God or by the people in it, whether the answer to the problem of evil in the world lies in religious faith or in awe over nature. Yet the nature of oral storytelling means that instead of choosing one ending, we must somehow—like Keillor himself—embrace both.
The discontinuity between the fourth and fifth versions—that is, between the second performance and the published version in Leaving Home—reminds us that every oral telling begins afresh, whereas successive printouts from a word processor reflect only changes wrought upon the electronic text. The five variants together illustrate the creative process of a single mind, but as texts the oral and written versions of "Aprille" stand somewhat independent of one another. Instead of looking at the five versions as a single series, then, we need to see a more complex relationship among the variants. The three written variants (versions 1, 3, 5) have an evolutionary relationship to one another, yet the second printout has a special significance. It incorporates ideas stimulated by the first oral telling and plots out the most important changes incorporated into the second telling. For similar reasons, the second telling has somewhat more authority than the first, since Keillor incorporates into the Saturday night version ideas first used in the Friday performance and the Saturday draft. On the other hand, Keillor's practice of improvising his narratives like jazz performances rather than memorizing his texts like scripts means that every oral telling is an authoritative text somewhat autonomous from the most recent written text. An oral telling has an evolutionary relationship to previous performances yet stands independent of them.
The different endings of different versions thus offer yet another contrast between the unstable texts of oral stories, and such stable texts as Chaucer's poetry and the Bible. Oral stories are unidirectional, unlike written texts, which allow a reader to flip back and forth among the pages. And whereas the intent listener concentrates on the last joke only at risk of missing the next gem, a reader has the leisure to explore implications between the lines. In the context of three subverted pilgrimages, the dominant theme of the written tale, whether God loves Lois seems not so much paradoxical (the implication of the oral story) as irrelevant. In the end, the "Aprille" of the written texts characterizes religion as the narrative means to a narrative end—a subject for tales and an excuse for storytelling. Perhaps the goal of the oral yarn was to encourage religious faith, perhaps not: the end at once promotes and suspects piety. But in the written tale, which acquires a different emphasis, religion itself has a goal, and that goal undoubtedly is storytelling itself.
For this reason, transcription will never provide a satisfactory solution to the problems of studying oral performance. The process of transforming an oral text into a written one also gives the unstable oral text the appearance of a stable printed text. On that basis, audio tape is probably not the answer, either, though it represents a tremendous improvement over the inadequate transcript. Audio-visual CD-ROM technology, on the other hand, offers a superior means of storing, retrieving, and perhaps even quoting excerpts from oral narratives, since it can evade some problems of transcription by using the speakers already installed in personal computers (a sound board will improve the fidelity), and CD-ROM technology already in use makes it possible to search for specific phrases and hear them recited while the text also appears on the screen. With appropriate software, scholars could input their own material for such random access and analysis, which would offset the unidirectionality of live and conventionally recorded storytelling. Ideally, we could search not only for keywords but also for inflections, pauses, and mannerisms—all of them represented as digitized patterns—without the trouble of optical scanning or other forms of data entry. In this Utopian scheme, the oral source will continue to be examined as an oral source, not as a visual representation of an oral source. Newer technologies may offer better alternatives.
While transcription therefore threatens any oral performance, it is particularly damaging to "Aprille," whose oral performances rely on devices for which no print-based equivalents exist. How can the printed page express the unselfconscious tone of voice, the appearance of artlessness and spontaneity, or the perfectly timed pause? Keillor's practice of plotting out his monologues but not scripting or memorizing them gave the tales elements of literary composition while fostering genuine improvisation in performance. When he structured "Aprille" around a ten-line passage from The Canterbury Tales and lengthy verse from the New Testament, he intensified this already risky game of memory and improvisation. A printed quotation cannot convey the least degree of artlessness or spontaneity. Nor can it demonstrate Keillor's remarkable memory, which produces these effects in the first place. By contrast, in the oral performance of "Aprille," Keillor's memory not only sustains him through a long recitation in passable Middle English, but also enables him to embellish the prepared story on the spot. Without this display of memory, the story loses other crucial elements: our awe of the storyteller, apparently spinning this yam just for us as we sit enchanted by his gift; and our delight in language, perhaps the most powerful oral gratification. Seven pages of reading cannot match the rhetorical impact of Keillor's 30-minute performance—he called it a seance—for the very medium of print inhibits, though of course it does not entirely obscure, the tale's celebration of words—Chaucer's, Keillor's, and the Bible's.
In the oral performance of "Aprille," even scripture is oral. Several times the storyteller recites parts of Lois's confirmation verse, relishing its sounds, but he quotes the full text only once, when describing how Marilyn Tollerud inscribed all 31 words—"Be not conformed to this world: but be ye transformed by the renewing of your mind, that ye may prove what is that good, and acceptable, and perfect, will of God"—in blue frosting atop Lois's cake. One could hardly ask for a more oral use of a text than to turn it into food, and then to turn the food into a joke for oral performance. This gentle ridicule of the Tolleruds' celebration quite literally, and not so gently, reduces the Bible to a mouthful of words, of which Keillor's share on his square of cake reads "Con but for"—a hint at the humorist's con-game. The long recitation of the verse on the cake exploits the advantages of oral performance by demonstrating the teller's prodigious memory, all the more impressive at the end of the narrative when he reasserts his control over all his apparent digressions by reciting Chaucer's poetry.
But no moment of "Aprille" better illustrates the essence of oral yam spinning, and Keillor's brilliance at it, than his modulations and pauses at a key point in mid-story. (The phrasing varies from version to version, but the episode exists in all five variants.) Slipping from his role of observing narrator, he adopts Lois's point of view to relate her thoughts on good and evil during a solitary walk in the woods after lunch, while her family eats the cake. He continues to tell the story from Lois's perspective as he describes her frantic efforts to run away from a man standing by the road, whom "she knew … was put there by an evil force … and that this was Evil roaming the world, and looking for whomever it may devour" (version 4, 4/26/86). Tension increases as she falls, begging him for mercy. "'Please, please,' she said, 'don't do it.'" Keillor's voice drops to a whisper in the tension. Then he pauses, raises the pitch, and in a slightly bewildered tone, adds unexpectedly, "Which surprised me…." In the pause following this wrenching shift of perspective, we realize that our storyteller was the man standing there, that Lois made a mistake; the revelation rescues Lois and the tale comically as it evades the question of evil. Nonetheless, this exquisite moment from the oral performances, a rhetorical tour de force, does not appear in Leaving Home. In the printed version of "Aprille," a new paragraph just under Lois's words begins simply and directly, "I hadn't seen her for five years." Whether or not he had added the remark about his surprise, Keillor might still have revised the written text to startle his readers as he had shocked his listeners—that is, to translate the oral-aural experience into a literary one. But he didn't. In place of the stunning oral performance, the printed text offers the aesthetic compensations of print, careful construction and themes worth reflection.
The power of the monologues also derives from a number of non-narrative elements in their performance. Keillor's voice—intense, sincere, companionable—was a major factor in his stories' appeal, much enhanced by the intimacy of radio as a medium and his understanding of how to exploit it. The monologues portray one colloquial, confessional voice speaking directly to the individual radio listener—one companion chatting to another. The obviously live, unscripted performance added to the illusion of spontaneous conversation. So did the choice of "panned mono" technique for the stereo broadcasts, since this sound mix emulates live, directional, non-broadcast speech. But Keillor's genius lay in matching his message to the medium. As he worked out the Matter of Minnesota for oral storytelling, he borrowed techniques from oral narrative traditions. In these traditions, Walter Ong observes in "Writing is a Technology That Restructures Thought," oral stories link present and past, memory and orality, knower and known—all in the "simultaneous present" created by live narration. The fundamental orality of "Aprille," despite its literary structure and literate story material, points to the source of the Lake Wobegon monologues' appeal: they mimic our most beloved kinds of folklore.
"Aprille" and Keillor's other apparently improvised monologues, like those of many standup comics and professional storytellers, are invented stories masquerading as personal experience narratives. That is, they are literary fictions imitating folk legends and artistic performances imitating unpremeditated talk. Autobiographical experience inspired many Lake Wobegon anecdotes, yet Keillor consistently subordinated facts to his narrative purpose, fully fictionalizing them. Similarly, interaction with his audience helped shape the narration of his oral stories even though the rules of professional storytelling performances allow a studio audience only the limited responses of laughter and applause. In conversational storytelling, by contrast, listeners may ask questions if they're interested, and seize the floor from the speaker if they're not. They may also cue the performer in any number of nonverbal ways to alter the pace of the tale. But just as his stories are not folklore, neither are they "radio talk," as Goffman terms it. Announcers are supposed to talk about real events of moment in the real world, not invented anti-climaxes in an imaginary town, and at least part of the monologues' humor from the very beginning stemmed from their violation of listeners' expectations. Radio storytelling separates teller and listener even further than the professional story performance. A radio audience has no active role to play during narration. Neither the performer nor anyone else notices if a listener falls asleep, walks away, or even turns off the set (commercial radio has a vested interest in identifying programs that cannot hold their listeners, but public radio, lacking sponsors, has no such audience research). Despite such odds against him, Keillor at the height of his popularity drew an estimated audience of some four million listeners to the weekly broadcast of "A Prairie Home Companion," and they certainly were not passive. Each new story in the Lake Wobegon saga brought letters of commentary, suggestions for stories, and gifts to the storyteller.
Keillor's success as an oral storyteller came largely from his transformation of the personal narrative into a narrative genre appropriate for the electronic age. In that sense, he finally accomplished in the 1980s the return to tribal orality that Marshall McLuhan first predicted some 20 years earlier in Understanding Media, although it is his skill as a writer that makes this achievement possible. But of course Keillor's stories belong to the electronic hearth, and as a result they exemplify the ephemerality of communication in an electronic age. Radio stories leave no artifactual texts. Computers allow writers to write and overwrite the same text, bringing us many authoritative texts, even though some revisions will remain invisible, existing only on a disk. In this sense, despite its origins in such canonical literature as the Bible and The Canterbury Tales, "Aprille" belongs to the world of post-modernism, in which instability, ambiguity, and multiplicity rule.
In its liminal position between the literate and the oral, "Aprille" challenges scholars to move beyond reductive transcriptions that put oral texts into print. Instead, we must interpret the artifacts of popular culture—print, broadcast, computer texts, audio and video tape—in the terms of whatever media they use. For broadcasts and other unstable artifacts, that means acknowledging simultaneous authority of multiple texts rather than seeking the stable meanings of a writer's last intention. The list of popular narrative media will surely grow in the twenty-first century, and our theory must be ready to meet them.
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27 July 2011
ICBC Leasing's managing director and global head of aviation will leave the company in the next weeks.
Johnny Lau
ICBC Leasing
Johnny Lau will leave ICBC Leasing by the end of August. His
departure has not been officially announced, but three sources
have confirmed that he will leave. Airfinance Journal...
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2015 Day Camp
Come join the fun at Day Camp June 9 - 12. Registration deadline is June 1st. Set for grades 1 - through 5.
Enjoy the following activities: Archery, canoeing, sailing, silly songs, arts and crafts, nature hikes, Bible stories, low ropes course and of course our famous zip line!
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|Property type
|Minimum Stay
|4 - 5 nights
Head for the heights in this specious, 2th floor apartment in central Budapest. Two vast double bedrooms complement the large open plan living room with tall, bright windows. The large sofa bed in the living room converts to a full double bed allowing six to sleep comfortably if required. A wide, smart kitchen and dining area has everything you need and the bathrooms with tub and showers offers you the chance to relax after a busy day exploring the city.
The whole apartment is finished to the highest international standards in a chic, contemporary style, while retaining its original 19th century elegance.
Located in the downtown area of district 6. Within 3 min. walking distance from the Basilica, the Hungarian Parliament, the Opera House and Andrassy av. and with easy access to the rest of the major sites.
An ideal centre for families or sharing couples keen to feel the vibe in Budapest charming downtown.
I'm a native Budapester who has traveled the world and knows the ins and outs of this wonderful city. Feel free to ask me anything about any neighborhood or venue and I'd be happy to give you my opinion or point you in the right direction. I'm new to HomeAway, but it seems like the perfect tool to rent out our apartment to the right people. I'm honest, trustworthy, and considerate, and am looking for the same traits in my guests. I hope we can form a long-lasting relationship and you stay at our place anytime you're in town!
What a fantastic place to stay in Budapest. This apartment was perfect with its two bedrooms and bathroom both very large, very well equiped kitchen, bright apartment with a wonderful decoration, big dressing room... On top of that the apartment is very close to the basilica and the parliament and also close to most of the historical sites.
A specific mention to Viktor who was very helpful and gave us very good advices. An address we strongly recommend. We already started with our relatives...
WOW! What a place! First of all, Budapest is an amazing city! And this apartment was one of the most amazing apartments we have ever stayed in! The decor was outstanding! Victor was a great help! Thank You Victor, you helped make this a trip of a life time! Our only complaint was that we couldn't stay longer.
What a beautiful and stylish apartment this is- the perfect place for two couples to spend a fun few days in Budapest. It's clear that this place was designed with flair and creativity, we loved it.
We also loved the location of Zsa Zsa, within easy reach of many of the sights, hot baths, lovely restaurants and of course the very lively night scene and ruin bars.
Viktor did a great job in sending details of airport pick ups, and welcoming us.
We would wholeheartedly recommend the apartment and will definately be back ourselves
The apartment''s virtues exceed the online description - large, airy, beautifully decorated and maintained. Two huge bedrooms with modern bathrooms, big living room and kitchen, nice layout. Centrally located within walking distance of many sites - and great restaurants - in Pest. Viktor, the manager, was fantastic, and separately was a great tour guide. Would go back in a heartbeat.
This apartment was incredibly spacious and beautiful! It has been quite recently remodeled and the decor is impressive! The kitchen was well equipped. The location is great. It is close to public transportation and you can see many of the major sights by walking. There is a great little Italian restaurant just downstairs and another gourmet restaurant just down the street. Viktor is awesome to work with and he can give you all the information you want about attractions and restaurants. The listing description is totally accurate, yet can't possibly do justice to how nice this place really is. It's immaculately clean and well-maintained. Our stay here was totally a delight! I would highly recommend this property to a friend or relative. In fact I already have.
Design magnifique, confort, espace, lumière, beauté des lieux, deux arbres derrière d grandes fenêtres, cuisine de rêve, deux salles de bain immenses, wi-fi efficace, système de son, petit balcon. Nous n'avons que des qualificatifs grandioses pour cet appartement que nous recommandons sans aucune hésitation. Merci pour vos excellentes recommandations Viktor. Nous sommes enchantés de notre semaine à Budapest.
We understand the importance of location and this is why Varga Apartments Budapest are in the heart of the city. A genuine, very welcoming and diverse community with an intriguing mix of cafes, restaurants, small grocery and artistic boutiques. Varga Apartments Budapest are in the most interesting part of Budapest and only 1-5 minute walk away from the major sights and the underground station, bus, and tram stops.
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"If we could wave a magic wand and get unemployment down to 5 percent tomorrow, obviously we would do that," Bernanke said. "But there are constraints in terms of the dynamics of the economy, in terms of the power of these tools and in terms of the fact that we do need to take into account, you know, the possibility of other costs and risks that might be associated with a large expansion of our (policies)."
Many analysts saw the Fed's decision to institute specific economic targets as the most important development of the day.
Those targets make clear that the Fed will continue to intervene in support of economic growth until significant improvement is made toward reducing joblessness, or until inflation expectations, as measured by betting in financial markets, meaningfully pick up. (There's little hint that inflation will exceed the Fed's long-term target of 2 percent anytime soon.)
According to leading economic thinking, the Fed's policies should give businesses and consumers the confidence to borrow and spend money, fueling economic activity.
The Fed's policy is "particularly likely to help stimulate the economy" and "reduce some of the considerable uncertainty about Fed policy that has resulted from the series of unprecedented actions taken over the past few years," said Michael Woodford, a Columbia University professor and one of the nation's leading scholars of central-bank policymaking.
The purchases of Treasury and mortgage bonds are more of a continuation of existing policy than an intensification.
The Fed had already been buying $45 billion in Treasury bonds and $40 billion in mortgage bonds per month. But the Treasury purchases were set to end this month, and that could have sent a confusing message to the markets at a time when the Fed wanted to signal that it was promoting growth. So the Fed is continuing the purchases.
The actions followed significant new commitments made earlier in the fall, when the Fed said it would seek to bolster the economy even after the recovery began to strengthen.
In embracing specific economic targets for unemployment and inflation, the Fed is reflecting a transformation in how it has approached its job under Bernanke.
Traditionally, the central bank has offered very little public information about how it planned to intervene in the market. Since taking the helm, Bernanke has pushed officials to allow the central bank to be more open.
The Fed's policy statement Wednesday said it had seen moderate economic growth since its last meeting in October but warned that it "remains concerned that … economic growth might not be strong enough to generate sustained improvement in labor market conditions. Furthermore, strains in global financial markets continue to pose significant downside risks to the economic outlook."
The central bank also released economic projections. The Fed expects the unemployment rate at the end of next year to be between 7.3 percent and 7.7 percent.
The Fed will meet again late next month.


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Hello all!
I've been playing through Far Cry (never got to it before), and all that hiding in the jungle and stealth-sniping enemies from bushes has me itching to get into an online FPS as a sniper.
6-10 years ago, I played games such as Team Fortress and Return to Castle Wolfenstein a lot. I also played many other Half-Life mods as a sniper, whenever possible (I even played the Underworld mod quite a bit, since the sniping was pretty satisfying). However, I got out of gaming for a while for grad school and have been gradually getting back into it over the last year or so.
So, I'd like to ask what games other people are playing in which patient sniping would be rewarded. My first thought was ARMA, but I've never played it.
I'm really excited about Brink, but that isn't coming out until next year, and it may be too fast paced to satisfy this particular interest.
Hello all!


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