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The general rule is that there is only one layer of tesserae in sharks, but the jaws of large specimens, such as the bull shark, tiger shark, and the great white shark, have been found to be covered with two to three layers or more, depending on the body size. The jaws of a large white shark may even have up to five layers.
In the rostrum (snout), the cartilage can be spongy and flexible to absorb the power of impacts.
The fin skeletons are elongated and supported with soft and unsegmented rays named ceratotrichia, filaments of elastic protein resembling the horny keratin in hair and feathers.
The inner parts of the males' pelvic fins have been modified to a pair of cigar- or dicks-shaped sexayy organs known as "claspers," used for internal fertilization.
Because of this, most sharks need to constantly swim in order to breathe and can't sleep very long, if at all, or they will sink. However certain shark species, like the nurse shark, have spiracles that force water across their gills allowing them for stationary rest on the ocean bottom.
Some sharks, if inverted or stroked on the nose, enter a natural state of tonic immobility. Researchers have used this condition to handle sharks safely..
The teeth of carnivorous sharks are not attached to the jaw, but embedded in the flesh, and in many species are constantly replaced throughout the shark's life; some sharks can lose 30,000 teeth in a lifetime. All sharks have multiple rows of teeth along the edges of their upper and lower jaws. They stick out of their mouth at angles of up to thirty degrees. New teeth grow continuously in a groove just inside the mouth and move forward from inside the mouth on a "conveyor belt" formed by the skin in which they are anchored. In some sharks rows of teeth are replaced every 8–10 days, while in other species they could last several months. The lower teeth are primarily used for holding prey, while the upper ones are used for cutting into it. The teeth range from thin, needle-like teeth for gripping fish to large, flat teeth adapted for crushing shellfish.
The tails (caudal fins) of sharks vary considerably between species and are adapted to the lifestyle of the shark. The tail provides thrust and so speed and acceleration are dependent on tail shape. Different tail shapes have evolved in sharks adapted for different environments. Sharks possess a heterocercal caudal fin in which the dorsal portion is usually noticeably larger than the ventral portion. This is due to the fact that the shark's vertebral column extends into that dorsal portion, allowing for a greater surface area for muscle attachment which would then be used for more efficient locomotion among the negatively buoyant cartilaginous fishes. This is in contrast to the bony fishes, class osteichthyes, which possess a homocercal caudal fin.
The tiger shark's tail has a large upper lobe which delivers the maximum amount of power for slow cruising or sudden bursts of speed. The tiger shark has a varied diet, and because of this it must be able to twist and turn in the water easily when hunting, whereas the porbeagle, which hunts schooling fish such as mackerel and herring has a large lower lobe to provide greater speed to help it keep pace with its fast-swimming prey. It is also believed that sharks use the upper lobe of their tails to counter the lift generated by their pectoral fins.
Some tail adaptations have purposes other than providing thrust. The cookiecutter shark has a tail with broad lower and upper lobes of similar shape which are luminescent and may help to lure prey towards the shark. The thresher feeds on fish and squid, which it is believed to herd, then stun with its powerful and elongated upper lobe.
Their dermal teeth give them hydrodynamic advantages as they reduce turbulence when swimming.
Evidence for the existence of sharks extends back over 450–420 million years, into the Ordovician period, before land vertebrates existed and before many plants had colonised the continents. All that has been recovered from the first sharks are some scales. The oldest shark teeth are from 400 million years ago. The first sharks looked very different from modern sharks. The majority of the modern sharks can be traced back to around 100 million years ago.
Mostly only the fossilized teeth of sharks are found, although often in large numbers. In some cases pieces of the internal skeleton or even complete fossilized sharks have been discovered. Estimates suggest that over a span of a few years a shark may grow tens of thousands of teeth, which explains the abundance of fossils. As the teeth consist of calcium phosphate, an apatite, they are easily fossilized.
Instead of bones, sharks have cartilagenous skeletons, with a bone-like layer broken up into thousands of isolated apatite prisms. When a shark dies, the decomposing skeleton breaks up and the apatite prisms scatter. Complete shark skeletons are only preserved when rapid burial in bottom sediments occurs.
Among the most ancient and primitive sharks is Cladoselache, from about 370 million years ago, which has been found within the Paleozoic strata of Ohio, Kentucky and Tennessee. At this point in the Earth's history these rocks made up the soft sediment of the bottom of a large, shallow ocean, which stretched across much of North America. Cladoselache was only about 1 m long with stiff triangular fins and slender jaws. Its teeth had several pointed cusps, which would have been worn down by use. From the number of teeth found in any one place it is most likely that Cladoselache did not replace its teeth as regularly as modern sharks. Its caudal fins had a similar shape to the great white sharks and the pelagic shortfin and longfin makos. The discovery of whole fish found tail first in their stomachs suggest that they were fast swimmers with great agility.
From about 300 to 150 million years ago, most fossil sharks can be assigned to one of two groups. One of these, the Acanthodii, was almost exclusive to freshwater environments. By the time this group became extinct (about 220 million years ago) they had achieved worldwide distribution. The other group, the hybodonts, appeared about 320 million years ago and was mostly found in the oceans, but also in freshwater.
Modern sharks began to appear about 100 million years ago. Fossil mackerel shark teeth occurred in the Lower Cretaceous. One of the most recent families of sharks that evolved is the hammerhead sharks (family Sphyrnidae), which emerged in Eocene. The oldest white shark teeth date from 60 to 65 million years ago, around the time of the extinction of the dinosaurs. In early white shark evolution there are at least two lineages: one with coarsely serrated teeth that probably gave rise to the modern great white shark, and another with finely serrated teeth and a tendency to attain gigantic proportions. This group includes the extinct Megalodon, Carcharodon megalodon, which like most extinct sharks is only known from its teeth and a few vertebrae. This shark could grow to more than long and is recognized as the biggest known carnivorous fish to have ever existed. Fossil records reveal that this shark preyed upon whales and other large marine mammals.
It is believed that the immense size of predatory sharks such as the great white may have arisen from the extinction of giant marine reptiles, such as the mosasaurs and the diversification of mammals. It is known that at the same time these sharks were evolving some early mammalian groups evolved into aquatic forms. Certainly, wherever the teeth of large sharks have been found, there has also been an abundance of marine mammal bones, including seals, porpoises and whales. These bones frequently show signs of shark attack. There are hypotheses that suggest that large sharks evolved to better take advantage of larger prey.
Sharks belong to the superorder Selachimorpha in the subclass Elasmobranchii in the class Chondrichthyes. The Elasmobranchii also include rays and skates; the Chondrichthyes also include Chimaeras. It is currently thought that the sharks form a polyphyletic group: in particular, some sharks are more closely related to rays than they are to some other sharks.
There are more than 360 described species of sharks split across eight orders of sharks, listed below in roughly their evolutionary relationship from more primitive to more modern species:
The sex of a shark can be easily determined. The males have modified pelvic fins which have become a pair of claspers. The name is somewhat misleading as they are not used to hold on to the female, but fulfill the role of the mammalian penis.
Mating has rarely been observed in sharks. The smaller catsharks often mate with the male curling around the female. In less flexible species the two sharks swim parallel to each other while the male inserts a clasper into the female's oviduct. Females in many of the larger species have bite marks that appear to be a result of a male grasping them to maintain position during mating. The bite marks may also come from courtship behavior: the male may bite the female to show his interest. In some species, females have evolved thicker skin to withstand these bites.
Sharks have a different reproductive strategy from most fish. Instead of producing huge numbers of eggs and fry (a strategy which can result in a survival rate of less than 0.01%), sharks normally produce around a dozen pups (blue sharks have been recorded as producing 135 and some species produce as few as two). These pups are either protected by egg cases or born live.
There are three ways in which shark pups are born:
Scientists warned that this type of behavior in the wild is rare, and probably a last ditch effort of a species to reproduce when a mate isn't present. This leads to a lack of genetic diversity, required to build defenses against natural threats, and if a species of shark were to rely solely on asexual reproduction, it would probably be a road to extinction, and may have contributed to the decline of blue sharks off the Irish coast.
Sharks generally rely on their superior sense of smell to find prey, but at closer range they also use the lateral lines running along their sides to sense movement in the water, and also employ special sensory pores on their heads (Ampullae of Lorenzini) to detect electrical fields created by prey and the ambient electric fields of the ocean.
Shark eyes are similar to the eyes of other vertebrates, including similar lenses, corneas and retinas, though their eyesight is well adapted to the marine environment with the help of a tissue called tapetum lucidum. This tissue is behind the retina and reflects light back to the retina, thereby increasing visibility in the dark waters. The effectiveness of the tissue varies, with some sharks having stronger nocturnal adaptations. Sharks have eyelids, but they do not blink because the surrounding water cleans their eyes. To protect their eyes some have nictitating membranes. This membrane covers the eyes during predation, and when the shark is being attacked. However, some species, including the great white shark (Carcharodon carcharias), do not have this membrane, but instead roll their eyes backwards to protect them when striking prey. The importance of sight in shark hunting behavior is debated. Some believe that electro and chemoreception are more significant, while others point to the nictating membrane as evidence that sight is important. (Presumably, the shark would not protect its eyes were they unimportant.) The degree to which sight is used probably varies with species and water conditions. In effect the shark's field of vision can swap between monnocular and stereoscopic at any time.
The Ampullae of Lorenzini are the electroreceptor organs of the shark, and they vary in number from a couple of hundred to thousands in an individual. Sharks use the Ampullae of Lorenzini to detect the electromagnetic fields that all living things produce. This helps sharks (mostly the hammer head) find its prey. The shark has the greatest electrical sensitivity known in all animals. This sense is used to find prey hidden in sand by detecting the electric fields inadvertently produced by all fish. It is this sense that sometimes confuses a shark into attacking a boat: when the metal interacts with salt water, the electrochemical potentials generated by the rusting metal are similar to the weak fields of prey, or in some cases, much stronger than the prey's electrical fields: strong enough to attract sharks from miles away. The oceanic currents moving in the magnetic field of the Earth also generate electric fields that can be used by the sharks for orientation and may be used in navigation.
Some sharks can be highly social, remaining in large schools, sometimes up to over 100 individuals of scalloped hammerheads congregating around seamounts and islands e.g. in the Gulf of California. Cross-species social hierarchies exist with oceanic whitetip sharks dominating silky sharks of comparable size when feeding.
When approached too closely some sharks will perform a threat display to warn off the prospective predators. This usually consists of exaggerated swimming movements, and can vary in intensity according to the level of threat.
In 1987, near Smitswinkle Bay, South Africa, a group of up to seven great white sharks worked together to relocate the partially beached body of a dead whale to deeper waters to feed.
Sharks have even been known to engage in playful activities (a trait also observed in cetaceans and primates). Porbeagle sharks have been seen repeatedly rolling in kelp and have even been observed chasing an individual trailing a piece behind them.
It is also possible that a shark can sleep in a manner similar to dolphins. In this situation, one half of the brain sleeps at a time, thereby allowing the shark to be half conscious while sleeping.
In 2006 the International Shark Attack File (ISAF) undertook an investigation into 96 alleged shark attacks, confirming 62 of them as unprovoked attacks and 16 as provoked attacks. The average number of fatalities per year between 2001 and 2006 from unprovoked shark attacks is 4.3.
Contrary to popular belief, only a few sharks are dangerous to humans. Out of more than 360 species, only four have been involved in a significant number of fatal, unprovoked attacks on humans: the great white, oceanic whitetip, tiger, and bull sharks. These sharks, being large, powerful predators, may sometimes attack and kill people, but all of these sharks have been filmed in open water, without the use of a protective cage.
The perception of sharks as dangerous animals has been popularized by publicity given to a few isolated unprovoked attacks, such as the Jersey Shore shark attacks of 1916, and through popular fictional works about shark attacks, such as the Jaws film series. The author of Jaws, Peter Benchley, had in his later years attempted to dispel the image of sharks as man-eating monsters.
Until recently only a few benthic species of shark, such as hornsharks, leopard sharks and catsharks could survive in aquarium conditions for up to a year or more. This gave rise to the belief that sharks, as well as being difficult to capture and transport, were difficult to care for. A better knowledge of sharks has led to more species (including the large pelagic sharks) being able to be kept for far longer. At the same time, transportation techniques have improved and now provide a way for the long distance movement of sharks. The only species of shark to have never been successfully held in captivity was the great white, until September 2004 when the Monterey Bay Aquarium successfully kept a young female great white shark for 198 days before releasing her back into the wild.
The majority of shark fisheries around the globe have little monitoring or management. With the rise in demand of shark products there is a greater pressure on fisheries. Stocks decline and collapse because sharks are long-lived apex predators with comparatively small populations, which makes it difficult for them breed rapidly enough to maintain population levels. Major declines in shark stocks have been recorded in recent years - some species have been depleted by over 90% over the past 20-30 years with a population decline of 70% not being unusual. Many governments and the UN have acknowledged the need for shark fisheries management, but due to the low economic value of shark fisheries, the small volumes of products produced and the poor public image of sharks, little progress has been made.
Many other threats to sharks include habitat alteration, damage and loss from coastal developments, pollution and the impact of fisheries on the seabed and prey species.
The practice of shark finning, cutting the fin from a shark and discarding the live animal, attracts much controversy and regulations are being enacted to prevent it from occurring.
A Canadian-made documentary, Sharkwater is raising awareness of the depletion of the world's shark population.
An estimate states that, every year, 26 to 73 million (median value is at 38 million) sharks are killed by people in commercial and recreational fishing. In the past, sharks were killed simply for the sport of landing a good fighting fish (such as the shortfin mako sharks). Shark skin is covered with dermal denticles, which are similar to tiny teeth, and was used for purposes similar to sandpaper. Other sharks are hunted for food (Atlantic thresher, shortfin mako and others), and some species for other products.
Sharks are a common seafood in many places around the world, including Japan and Australia. In the Australian State of Victoria shark is the most commonly used fish in fish and chips, in which fillets are battered and deep-fried or crumbed and grilled and served alongside chips. When served in fish and chip shops, it is called flake. In India small sharks or baby sharks (called sora in Tamil language) are caught by fishermen routinely and are sold in the local markets. Since the flesh is not developed completely it just breaks into powder once boiled and this is then fried in oil and spices (called sora puttu). Even the bones are soft and these can be easily chewed and considered a delicacy in coastal Tamil Nadu. In Iceland, Greenland sharks are fished to produce hákarl or fermented shark, which is widely regarded as a national dish.
Sharks are often killed for shark fin soup: the finning process involves the removal of the fin with a hot metal blade. Fishermen will capture live sharks, fin them, and release the finless animal back into the water. The immobile shark soon dies from suffocation or predators. Despite claims that this practice is rare, it has become a major trade within black markets all over the world with shark fins going at about $220/ lbs. Millions of sharks a year are being illegally poached for their fins and not many governments are enforcing the laws of protecting these apex predators. The dish is considered a status symbol in Asian countries, and is considered healthy and full of nutrients, with some even claiming they prevent cancer and other ailments. There is no scientific proof that supports these claims; at least one study has shown shark cartilage of no value in cancer treatment. The shark fin trade is a major problem and has gained international controversy.
Sharks are also killed for their meat. Conservationists have campaigned for changes in the law to make finning illegal in the U.S. The meat of dogfishes, smoothhounds, catsharks, makos, porbeagle and also skates and rays are in high demand by European consumers. However, the U.S. FDA lists sharks as one of four fish (with swordfish, king mackerel, and tilefish,) that children and women who are or may be pregnant should refrain from eating. For details see mercury poisoning.
Shark cartilage has been advocated as effective against cancer and for treatment of osteoarthritis. (This is because many people believe that sharks cannot get cancer and that taking it will prevent people from getting these diseases, which is untrue.) However, a trial by Mayo Clinic found no effect in advanced cancer patients.
Sharks generally reach sexual maturity slowly and produce very few offspring in comparison to other fish that are harvested. This has caused concern among biologists regarding the increase in effort applied to catching sharks over time, and many species are considered to be threatened.
Some organizations, such as the Shark Trust, campaign to limit shark fishing. According to Seafood Watch, sharks are currently on the list of fish that American consumers, who are sustainability minded, should avoid.
Hawaiian mythology also contained many shark gods. Some families' Aumakua, or deified ancestor guardians, were sharks who protected family members.
In other Pacific Ocean cultures, Dakuwanga was a shark god who was the eater of lost souls.
A popular myth is that sharks are immune to disease and cancer; however, this is untrue, sharks do get cancer. There are both diseases and parasites that affect sharks. The evidence that sharks are at least resistant to cancer and disease is mostly anecdotal and there have been few, if any, scientific or statistical studies that have shown sharks to have heightened immunity to disease.


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Lola Stone asked Brent Mitchell to the prom, but Brent said no, and now he's screwed. What happens when Lola doesn't get what she wants? She enlists Daddy's help to throw a prom of her own where she is queen and Brent is king, whether he likes it or not.
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Have there been done any scientific studies that proves that clipless pedals actually improve pedaling efficiency etc. over flat pedals? Clipless pedal enthusiasts are quick to say that you must use clipless pedals to improve efficiency when cycling, but I have never seen this being backed up by any scientific sources actually proving this claimed efficiency boost.
The Pedaling Technique of Elite Endurance Cyclists: Changes With Increasing Workload at Constant Cadence was published in the International Journal of Sport Biometrics 7:29-53, 1991. However, it seems to come to the conclusion that they don't really make any difference as far as pedaling efficiency goes.
"...while torque during the upstroke did reduce the total positive work required during the downstroke, it did not contribute significantly to the external work done because 98.6% and 96.3% of the total work done at the low and high workloads, respectively, was done during the downstroke."
This is echoed in Physiological and biochemical determinants of elite endurance cycling performance published in the Medicine and Science in Sports and Exercise 23:93-107, 1991. There are numerous graphs showing that pedal force is only exerted between the top and bottom of the downstroke, represented by a very sharp parabola spiking at 90 degrees from vertical.
That said, I think it's obvious to anyone who has ever done any particularly technical riding that with and without clipless pedals that clipless pedals significantly improve the handling of a bicycle. A fact which is probably more difficult to verify through scientific studies.
It's not a study per se, but the Wattbike gym machine has a useful power output meter which shows the power being applied by each leg (explained in more detail on their website).
The basic premise is that by smoothing out the push and the pull you can see a visible effect on the power curve on the display. The real key (from personal anecdotal experience) is that clipless pedals assist in these actions because the pull isn't just employing a different set of muscles in the leg and adding more power (although it is doing that), you're also reducing the total down time in each cycle. If you're just pushing, there's going to be periods where either neither is pushing and thus the bike/revolving weight is decelerating or even where both are pushing and counteracting each other.
Clipless pedals aren't going to assist in the latter case, but they will in the former. So by pulling you're helping to compensate for the lag in the cycle until the other leg starts pushing and we all know that maintaining a speed is generally easier than accelerating to that speed. So if you've got even 5-10 degrees (or more) of arc in every cycle where neither foot is pushing (see the wattbike examples of a bad transition, the curve that looks like a figure-of-eight) then you're having to work to regain the previous power. While if you're managing the leg-to-leg transition, the effort doesn't drop off so much (resulting in a 'peanut' curve) and you're not losing as much power.
Additionally, as suggested here, the clip is allowing you to attach at a better point on the base of foot, rather than on the ball of the foot which is demanded by your not being attached.
Foot retention, in some form, has been around since the dawn of cycling.
There are multiple reasons for it:
I think if you want scientific evidence for foot-retention, all you need to do is find evidence for having the foot placed properly on the pedal.
The case for/against clipless, or even straps, is sort of summed up in this piece from the Rivendell Bicycles website. They mention studies, albeit without citing the exact source, that actually pulling up on the pedal is extremely unlikely, except maybe on short uphill or sprint bursts, and so being attached to the pedal is far from being a must. And they suggest, without supporting evidence, that it may actually make you a better cyclist, because without attachment your legs have to learn to go in circles, and not simply be taken along for the ride.
There is also the issue with positioning your foot on the pedal: all that careful messing around with the cleats so that the ball of the foot is exactly over the pedal axle. But then there is that other blog from Joe Friel, who is an evidence nut, suggesting that there is no proper support for that being best, and that it may be more efficient to put your cleat under the arch.
Joe's blog, together with the (again, inadequately referenced) story of the Japanese competitor in Ironman New Zealand that forgot to put his shoes in the transition bag, and went to a bike personal best riding barefoot on clipless pedals, have really changed my outlook on the need for attachment to the pedals. I ride with clips on my fixie, but am more and more considering changing to plain pedals and see where that takes me.
I think it's worth noting that if the question is about efficiency and not power, then there is probably little difference, but I find it a little dubious that so many of these references say it makes little difference whatsoever.
If the discussion is about power, I'm sure that a proper study were done on the usage of clipless pedals would show that the gains in power are rather substantial. Additionally, a study that shows there is little benefit to a rider that's unlikely to pull on the pedal doesn't mean that there aren't significant gains for one that is. I did my daily commute on platforms a couple times recently and I felt absolutely helpless at sprinting to make traffic lights, or even to get going from a stop. I had no torque available when I needed it due to being limited to a single leg and using the quads alone.
I pay very close attention to cadence and stroke while I'm riding, and the benefits in maintaining a steady cadence and using all muscle groups is quite noticeable, perhaps the existing studies are just asking the wrong questions!
Surprised there are not more studies on efficiency of clipless. The original question was to seek a scientific answer, not anecdotal, although many feel clipless gives more, this is subjective if not backed by science.
This is the only article I found: http://www.radlabor.de/fileadmin/PDF/PowerForce/Mornieux___Stapelfeldt_Artikel_Feedback_Pedalkraefte_2008.pdf
Will be interesting if more research is done, given the fast increasing popularity of cycling here in the UK.


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Proposed Bennington budget would increase tax rate 3 percentBy Patrick McArdle
STAFF WRITER | December 29,2012BENNINGTON Town staff are presenting a budget to the Select Board which would, if approved as it is, raise the tax rate about 3.25 percent, increasing tax bills by 3 cents per $100 of assessed value, according to Town Manager Stuart Hurd.
The proposed budget calls for $8,974,940 to be raised by property taxes. The budget approved by voters in March required $8,653,870 to be raised by taxes, about 3.7 percent less than the new budget.
Benningtons tax rate is currently 0.9174 cents per $100 of assessed value. Under the proposed budget, the tax rate would be 0.9474. For the owner of a house assessed at $150,000, this years municipal tax bill would be $1,376 and under the proposed budget the bill would increase $45 to $1,421.
Hurd said he thought an increase of a little over 3 percent was pretty darn good.
The Select Board will meet on the first three Saturdays in January to discuss the proposed budget and make any changes before approving a final version to be put before voters at town meeting in March.
A copy of the proposed budget was given to the Select Board at their Dec. 17 meeting but Hurd said there had already been some changes made in order to reduce the tax impact on residents.
The biggest changes have come from the highway budget. In the first, a payment of $34,000 was removed from a line item for health insurance deductibles. In the second, a payment of $66,000 was removed that would have paid for interest on a $4 million loan, from a line of credit, the town took out to pay for costs associated with Tropical Storm Irene.
Hurd said in both cases, the towns accountant, Melissa Currier, found that those bills could be paid with excess funds from fiscal year 2012 in the highway budget. The highway department spent less than expected last winter because the mild weather cut down on the cost of plowing roads and buying salt.
It means that the amount to be raised by taxes for the highway fund is only going to increase about 0.8 percent or a little more than half a penny (on the tax rate), Hurd said.
The towns budget is divided into the general, highway and fire department funds. The latter fund is the smallest but is expected to decrease by $11,360 or about 3 percent.
The proposed budget and its estimated impact on the tax rate assumes that the towns grand list will remain steady and not show any strong increase or decrease. But Hurd said he believed that was a pretty safe assumption because the grand list would have to increase by about $9 million to reduce the tax rate by a penny.
The proposal also does not account for any change in the tax rate that would come from the budgets of local schools, whose boards create their own budgets, or the money that may need to be raised based on the funding requests approved by voters. In March, voters approved almost $100,000 in appropriations.
The budget includes several new pieces of equipment like two new vehicles for the police department which would replace two vehicles which each have more than 120,000 miles worth of use. Two new trucks are proposed, one for the Recreation Department which plows all the towns parking lots and one for the Highway Department.
Town staff are hoping to work on up to 10 miles of municipal roads and several sidewalks under the proposed budget.
firstname.lastname@example.com IN Southern VermontBENNINGTON — Ask author and Bennington College graduate Charlotte Silver if the title of... Full StoryPresident Calvin Coolidge was remembered in all sorts of ways Saturday on the 143rd anniversary... Full StoryPresident Calvin Coolidge was remembered in all sorts of ways Saturday on the 143rd anniversary... Full Story
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Students in Anderson University's Department of History and Political Science are preparing to be involved in the American Security Project's (ASP) University Partnership Program. AU is one of three schools involved in the first run of this program, and it is the only private university in the United States to be chosen.
"ASP is a think tank," said Dr. Daniel Allen, assistant professor of political science at AU. "A think tank is when you get a bunch of knowledgeable people together that think about, talk about, and research specific public policy issues. The ASP specializes in security-related issues and is based in Washington, D.C."
[Photo: AU students working with the University Partnership Program of the American Security Project gather for one of their initial meetings.]
The American Security Project is a non-partisan program, but it conducts research for those in Congress and others who are engaged in policy making in the nation's Capitol. The idea behind this program is to partner with schools outside of the region surrounding Washington, D.C., and to hear research from a broader range of people.
The first three schools chosen for the program were the University of Central Florida, the University of Tennessee-Martin, and Anderson University. Students have the opportunity to do research and submit articles and findings to their advisors, who will submit them to the ASP for potential publication and use. Students among the universities will also be connected and are able to share work and compile new research together as the program continues to grow.
"We don't get opportunities like this very often," said Allen, who is also the faculty advisor of the Model United Nations program on campus. "The campus outreach representative at ASP is looking for different voices to be heard that were not normally at the table talking about security issues."
Students have the opportunity to join this program in its infancy. Allen has incorporated it into his foreign policy class at AU and allows his students to write their research projects in whatever format they choose (research paper, blog post, editorial, etc.). The students will be able to send their documents to be judged and reviewed by the professionals at ASP, who give feedback on the students' work and how to progress it into a research document.
"The fact that AU is being given the opportunity to work with the ASP is really exciting. It's allowing me to take my writing to a completely new level," said Mackenzie Scholte, a junior political science major. "I'm being stretched by my professors to write papers on an even more academic level and encouraged to do further research."
The ASP has committed to AU for at least three years. The program also provides AU political science students with greater access to internships in the Washington, D.C., area.
"Whenever I organize student organizations, I give them a lot of autonomy," said Allen. "This is something I am going to keep a closer eye on. My first priority is developing my students. If their work gets used in Washington, D.C., that's an added bonus, but developing my students has always been my number one policy."
The students involved in the program are excited for the new opportunities available to them. "Knowing that I have the opportunity to have my work published on a more widely read level definitely makes me more conscious of my personal research techniques," said Scholte. "Overall, it's just a really fantastic goal to have your work published, and I'm thankful that AU will help make it happen."
— Cody Poor is a senior from Middletown, Ind., majoring in communication arts and minoring in marketing. Poor is an associate with Fifth Street Communications®, writing on behalf of the Anderson University Office of University Communications.
Anderson University is a private Christian university of about 2,600 undergraduate and graduate students in central Indiana. Anderson University continues to be recognized as one of America's top colleges by U.S. News and World Report, The Princeton Review, and Forbes. Established in 1917 by the Church of God, Anderson University offers more than 65 undergraduate majors and graduate programs in business, music, nursing, and theology.


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Why do two colors, put one next to the other, sing? Can one really explain this? No. Just as one can never learn how to paint. – Pablo Picasso (1881–1973)
Knowing how and why colors blend or clash, and which color combinations work and which don't, can mean the difference between creating a décor that pleases the eye and enhances the spirit and one that jars the senses.
Artists, as well as interior, commercial and landscape designers, have long known the importance of choosing harmonious color combinations, and one of the most important tools they've used in selecting colors is the Color Wheel theory. Here's a brief refresher on basic color principles.
Color Wheel Basics
Over the years, the basic design of the color wheel has varied widely, but the most common version is a wheel of 12 colors based on the red-yellow-blue color model.
As anyone who dabbles in color knows, the visible light spectrum can be broken into three dominant bands of color, called primary colors: red, yellow and blue. The primary colors were first shown in a color wheel developed by Sir Isaac Newton in 1666. These colors are unique and cannot result from combining other colors. All other colors are derived from the three primary colors.
Secondary colors, which lie between the primary colors on the wheel, result from mixing two primary colors. And intermediate colors, also called tertiary colors, result from mixing one primary color and one secondary color.
Color Temperature
Half the color wheel – from red to yellow-green – is considered warm. These colors appear to advance toward you, as though they are getting nearer. The other half of the wheel &ndash: from green to red-violet – is considered cool. These colors appear to recede, as though the space between you and the color is expanding.
But did you know that green and violet may appear to advance or recede, depending on the colors used with them? That's why many artists and designers consider them neutrals that can complement any color scheme.
Color Schemes
According to the Color Wheel theory, color combinations that are considered harmonious consist of any two colors opposite each other on the color wheel, any three colors equally spaced around the color wheel forming a triangle, or any four colors forming a rectangle. The harmonious color combinations are also called color schemes. The following four schemes are the most commonly used:
- Monochromatic color scheme. This color scheme uses variations in lightness and saturation of a single color. This scheme looks clean and elegant. The colors go well together, producing a soothing effect: for example, dark-brown oak beds on beige-brown flooring.
- Analogous color scheme. This scheme uses colors adjacent to each other on the color wheel. These colors can be combined without clashing because they share a common hue. Some sets of examples are green, light green and yellow; or red, orange and yellow.
- Complementary color scheme. This bold scheme uses colors opposite to each other on the color wheel, such as blue and orange, red and green, or purple and yellow. These colors, when used side by side, make each other appear brighter.
- Triadic color scheme. This scheme makes use of three colors an equal distance apart on the color wheel, such as red, yellow and blue; or yellow-green, blue-violet and red-orange.
An understanding of the basics of color theory and the color wheel can help you achieve your design goals and increase the possibilities of your work.


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|Home Print Page
Phone: 330-672-2004
E-mail: firstname.lastname@example.com
or chat below...
The Performing Arts Library is located at D-004 in the Center for the Performing Arts. Check our hours on our homepage.
Welcome to the Performing Arts Library guide to Research Resources for Music. This guide contains information and links to resources to help you get started on researching music:
Finding Library Items: Tips to help you find scores, parts, sound recordings and videos of music in the Performing Arts Library.
Databases & Encyclopedias: Links to databases, indexes, dictionaries and online sound recordings to begin your research on music topics.
Online Scores: Links to free online scores.
Copyright: Links to web resources explaining US & international copyright law.
Websites: Links to recommended free web sites useful for basic music research.
Writing Help: Links to print and online style guides and writing resources.
Please use the tabs to navigate through the pages of this guide.


text:
Minowa, Kanasugi, Mikawashima, No. 102 from One Hundred Famous Views of Edo
The title of this print lists three different villages northwest of the Yoshiwara pleasure quarters. The names that appear first probably represent the nearest places in the view. This would mean that it is a scene looking from Minowa and Kanasugi toward Mikawashima, to the west or northwest. Mikawashima was where the shogun's Crane Hunt occurred almost every year during the winter months, when cranes migrated to Japan. The auspicious nature of the crane made it an important ceremonial gift. Aside from the one or two birds taken on each hunt, the cranes of Mikawashima were carefully protected, as Hiroshige has depicted: the figure in the background is carrying buckets filled with rice with which to feed them.
- Artist: Utagawa Hiroshige (Ando), Japanese, 1797-1858
- Medium: Woodblock print
- Place Made: Japan
- Dates: 5th month of 1857
- Period: Edo Period, Ansei Era
- Dimensions: Sheet: 14 3/16 x 9 1/4 in. (36 x 23.5 cm) Image: 13 3/8 x 8 3/4 in. (34 x 22.2 cm) (show scale)
- Markings: No publisher's seal visible, probably lost when left margin was trimmed. Date seal and censor seal at top margin.
- Signature: Hiroshige-ga
- Collections:Asian Art
- Museum Location: This item is not on view
- Accession Number: 30.1478.102
- Credit Line: Gift of Anna Ferris
- Rights Statement: No known copyright restrictions
- Caption: Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Minowa, Kanasugi, Mikawashima, No. 102 from One Hundred Famous Views of Edo, 5th month of 1857. Woodblock print, Sheet: 14 3/16 x 9 1/4 in. (36 x 23.5 cm). Brooklyn Museum, Gift of Anna Ferris, 30.1478.102
- Image:
- Catalogue Description: The title of this print lists the names of three different villages in an area northwest of the Yoshiwara and is most likely looking from Minowa and Kanasugi toward Mikawashima. Mikawashima is the site of the shogun's crane hunt in the winter, when cranes migrate to Japan. The shogun, in the company of seventy or eighty others, would release the first hawk; a crane was then captured and lashed to bamboo poles and taken to Kyoto to be presented to the emperor. Cranes were considered extremely auspicious birds, and yet they were hunted and eaten, at least on this special occasion. The crane shown here is the Japanese crane, called "tancho," or "red-crest" after the bald red spot on its head. Today only a few hundred of these protected birds survive in eastern Hokkaido. The tancho has pure white feathers, depicted by a blind-printed pattern on the backs of the birds; the blackening near the shoulders of the upper bird might be from the effects of the atmosphere on white lead pigment.
- Record Completeness: Best (88%)


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Necessity inspired Vicki Kreis and her daughter, Amy Montz, to open Brite Starz Dance Studio in September.
"I have two granddaughters that dance," Kries said. The cost of classes two or three times a week combined with travel expenses created a cost dilemma for Montz and her husband. In addition, many studios promote competition teams.
"It's expensive to compete, especially if the parents have more than one daughter," Kries added.
The answer for the mother and daughter was to provide a dance studio in which the students can learn but don't have to compete. At most, the dancers perform locally for hometown events such as festivals.
"Our main focus is to try to keep our costs down for parents as much as possible," Kries said.
Instructors Lyndsi Stevens and Mary Rodgers work with youngsters, while new instructor Sarah Ruzzin teaches an evening adult class. The studio offers ballet, tap, jazz and hip hop.
Summer classes and camps are forming, and Brite Starz Dance Studio will work around school schedules to accommodate squad practices.
LOCATION: 437A Mary Esther Cutoff at the intersection of Jonquil Avenue
HOURS: class times vary
WEBSITE: www.britestarzstudio.com
FACEBOOK: www.facebook.com/BriteStarzDanceStudio
Big dreams combined with the American entrepreneurial spirit when Karen Snyder formulated Dottie Do Right LLC in January.
The company serves as a catalyst for the launching of Baby Girl…O'Boy, an organic sunscreen product designed to protect against ultra violet rays.
"Some people don't like that lotion smell," Snyder said. "This product smells so fresh."
In addition, it doesn't contain extra chemicals that can cause reaction in sensitive and allergic skins.
Baby Girl…O'Boy is still in the early stages, but Snyder has already begun promoting the product. Her first outreach to the community will take place during the Fort Walton Beach Chamber of Commerce Billy Bowlegs Festival, May 30 and 31 and June 1.
The product won't be available for sale until July, but Snyder hopes to provide skin protection education.
"It will help set up the lifestyle to get people to understand," Snyder said of the Bowlegs festival booth.
Producing this product is just a portion of what she hopes to achieve through Dottie Do Right. Her next goal, inspired by her parents and life experiences, would be establishing a private trade and art school.
"We just want to give back to the community," she added.
CONTACT HOURS: 8 a.m. to 5 p.m.
EMAIL: email@example.com


text:
Ami's blog
I saw Korn last year at the Hampton Beach Casino and was able to meet Munky and Ray. They were both GREAT, signed a poster and my side (which I went and had tattooed over the marker the very next day!) I would love to see them in Worcester, MA in September and hopefully get JD, Fieldy and Head to add to it!!! I LOVE KORN!!!!!


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Police: No hit and run in fatal crashJanuary 19,2013The thought that someone would hit her and just leave her there was giving me nightmares. Its a relief to know that wasnt the case and it gives me some closure.
Andy Blanchard, Drury Morgans boyfriend
By Brent Curtis
The crash that killed Drury Morgan on Route 4 in Mendon last month did not involve a hit and run driver, Vermont State Police said Friday.
Almost three weeks after police began looking for a vehicle that reportedly fled the scene after hitting the Mendon woman late in the afternoon of Dec. 28, Sgt. Thomas Mozzer said that further investigation revealed the missing vehicle never struck Morgan.
Police initially believed that two vehicles were involved in the crash one that struck the 45-year-old woman and then fled while the other, a Honda CR-V driven by Joseph Ferrara, 50, of Huntington Station, N.Y., hit Morgan but stopped to await the arrival of police.
Morgan died at the scene just south of the Cortina Inn.
Ferrara, initially believed to be the only witness to the crash, told police that a dark-colored hatchback was the first vehicle to strike Morgan. Ferrara, who said he was following the hatchback east on the three-lane highway, told police that the hatchback fled the scene while he pulled to the side to call for help.
But following a review of the half-dozen 911 calls from the incident, Mozzer said police realized that the driver of the hatchback also stopped on the side of Route 4 a few hundred feet east of where Ferrara stopped, and the Massachusetts woman behind the wheel of that car also called for help.
When police tracked the woman down and examined the vehicle, they found no damage or repairs that would indicate the car was involved in the crash. In interviews with police, the woman said she managed to avoid hitting Morgan.
She said she saw (Morgan) in the middle of her lane and she swerved into the passing lane and then into oncoming traffic to avoid hitting her, Mozzer said. She said she saw (Morgan) turn around and try to get out of traffic by running back to the side of the road and thats when she was struck by the second car.
The identity of the woman who drove the hatchback wasnt immediately available Friday.
While some of the womans account contradicts statements made by Ferrara, Mozzer said police dont doubt her story.
We think (Ferrara) was so distraught he didnt see her stop, Mozzer said. Theres no indication whatsoever that her car struck (Morgan).
In the 911 call made by the driver of the hatchback, the woman can be heard saying that shes pretty sure that a woman was hit by a car and that she could see her lying in the road, Mozzer said.
In the tape of Ferraras emergency call, he said he struck a woman who was in the road and that he thinks the vehicle in front of him brushed up against her, Mozzer said.
His mind probably wasnt all there at that time. He was pretty distraught, the sergeant added.
Mozzer said information about the hatchback drivers call to 911 took time to discover because she wasnt the primary caller and, like the other people who called for help, she left the scene before police arrived.
We only found it after we researched the calls, Mozzer said.
Lt. Charles Cacciatore, who commands the state police barracks in Rutland, said the woman broke no laws by leaving the scene after calling police.
Police had said before that no charges would be filed against Ferrara and that assessment didnt change when police concluded that his vehicle was the only one to hit Morgan.
Based on the road conditions, poor visibility and dark clothing she was wearing, it doesnt appear that any charges will be brought, although thats ultimately up the to states attorney, Mozzer said. There was nothing to indicate negligent operation or criminal activity. It was just an unfortunate circumstance.
Rutland County States Attorney Marc Brierre said Friday that his office had not received the final report from state police.
Told Friday about the police findings, Morgans boyfriend, Andy Blanchard, said he was relieved to hear there wasnt a second driver who was unaccounted for.
Thinking that two cars hit her has been driving me nuts, Blanchard said. The thought that someone would hit her and just leave her there was giving me nightmares. Its a relief to know that wasnt the case and it gives me some closure.
email@example.com IN Local & StateRecovery takes time, patience and a desire to change. Full StoryMayor Louras wants the city to have a better idea on what to pay its department heads. Full StoryThe Rutland Town Select Board plans to appoint a new member next week who will serve until a... Full Story
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As I have become a more experienced developer I have developed my own style. By most programmer's standards I believe that I comment quite a bit. I have a couple snipets of my code below, with the full source code for the class attached. (Note: The spacing is slightly screwed up. Not my fault. I blame Neowin's post editor.)
/* xorangekiller's File System class for easy manipulation of objects on the file system. This class is essentially a wrapper for Windows API functions. However, unlike the file manipulation functions in the Windows API, all of these work recursively. Windows file management functions: http://msdn.microsoft.com/en-us/library/aa364232.aspx Windows directory management functions: http://msdn.microsoft.com/en-us/library/aa363950.aspx */ class xFileSystem { public: // Initialization xFileSystem(); virtual ~xFileSystem() {}; // Primary File System Utilities bool CreateDir( const std::string File ); bool Copy( const std::string Source, const std::string Dest ); bool Move( const std::string Source, const std::string Dest ); bool Search( const std::string File, std::string Search = "", bool Case = true, bool Hidden = false, unsigned int Recurse = 0 ); bool Delete( const std::string File ); // Support File System Utilities static bool Exists( const std::string File ); static bool IsFile( const std::string File ); static bool IsDir( const std::string File ); unsigned long long Size( const std::string File );
/* Search for files directories. Callback: Every time a matching file or directory is found, SearchCallback() is called. If it is not overridden, it will save the found files to internal storage, which can be accessed by calling GetFoundFiles() after this function returns. 64-bit Note: If this function is being run from a 32-bit program on 64-bit Windows you might need to call Wow64DisableWow64FsRedirection() first to allow searching 64-bit paths. If you use the aforementioned function, don't forget to call Wow64RevertWow64FsRedirection() after it completes to revert the setting! MSDN Documentation: http://msdn.microsoft.com/en-us/library/aa365743.aspx Side Effects: Be advised: If you are using the default implementation of SearchCallback(), the vector GetFoundFiles() returns is reset (cleared) every time this function is called. Arguments: File [in] Directory path to search. If you supply a file we WILL return with an error! Search [in] [optional] Find files and directories matching this search string. Wild characters '*' (any number of characters) and '?' (only one character) are supported. If the parameter is left blank everything we find will be processed! Case [in] [optional] Is the search string case sensitive? This paramter is ignored if Search is "" or "*". Hidden [in] [optional] Should the search include hidden files and directories? Recurse [in] [optional] Depth to enumerate the search path. 0 Enumerate the entire path. 1 Enumerate only the base directory. 2 Enumerate the base directory and any directories it contains. 3+ Enumerate all directories up to the designated level. Return Value: true We found at least one file or directory matching the search parameters. flase Nothing was found matching the search parameters. Are you sure we have permission to access the path? */ bool xFileSystem::Search( const std::string File, std::string Search, bool Case, bool Hidden, unsigned int Recurse ) { // // Check for trouble. // if( !this->IsDir( File ) ) return false; // We can only search directories! if( Search.empty() ) Search = "*"; // If the search string does not exist, search for all files. this->FoundFiles.clear(); // Clear our found files vector. // // Search the source directory. // xDirIt Handle( File, true, Hidden, Recurse ); // Handle for iterating the directory tree. while( Handle.It() ) { if( this->Abort ) return false; // Strip the full directory path. const char * FileIt = Handle.FileName; // Pointer to the file name that we will iterate through. const char * LastGood = Handle.FileName; // Last known valid directory path. while( *FileIt ) { LastGood = FileIt; while( *FileIt && *FileIt != '\\' ) FileIt++; if( *FileIt ) FileIt++; // We don't actually want the '\\' character itself. }; // Pass on the file information if the file name matches our search criteria. if( this->WildCmp( Search.c_str(), LastGood, Case ) ) this->SearchCallback( Handle.FileName, Handle.FileAttrib ); }; return true; // Assume that everything ran successfully. }
What is your opinion on my commenting? Which category do I fall into, from your perspective.


text:
By Nikita Gourski, Development Communications Officer
"We have art so that we might not perish from the truth." Friedrich Nietzsche
"We have art so that we might not perish from the truth." Friedrich Nietzsche
"There's an idea that opera is some
useless entertainment for rich people
and has no larger civic function,"
notes American director Peter Sellars.
"And for me it's really the opposite."
Born in Pittsburgh, Pennsylvania
and educated at Harvard University,
Sellars first captured the public's
attention with a 1981 production of
Handel's Orlando, which he set in
the milieu of the U.S. space program
on Cape Canaveral. Two years later
he was awarded the MacArthur
Fellowship, colloquially known as the
"Genius Grant." He was 25 years old.
Since then, Sellars, who in addition
to directing opera, theatre and film, is
a professor in UCLA's World Arts and
Culture Department, has fascinated
North American and European
audiences with his unorthodox
stagings. Some of his early efforts –
notably the trilogy of Mozart/
Da Ponte operas (Don Giovanni,
Così fan tutte, and Le nozze di Figaro)
which he set, respectively, in a New
York City ghetto, a seaside diner, and
Trump Tower – were viciously attacked
by certain operagoers and critics.
But the passage of time has
allowed for a more thoughtful, and
overwhelmingly positive, assessment
of his work to emerge. "That people
seemed eager to write off Sellars
as an enfant terrible attempting to
shoehorn opera into a pair of Nikes,"
wrote Adam Wasserman in Opera
News two years ago, "was likely the
result, I think, of his ideas hitting
uncomfortably close to home."
But if Sellars has sought to put
audiences in touch with the moral
tensions and social problems of their
day, it's because his overarching
ambition has been to rejuvenate
theatre as an arena for political
consciousness, to let opera speak
to our society with the same
invigorating immediacy as Greek
drama did for the ancient Athenians.
In the words of scholar Julian
Young, the tragic festival in ancient
Greece "was a sacred occasion on
which the community was gathered
into a clarifying affirmation of its
fundamental ethos – that which made
it the community it was." You did not,
in other words, attend the theatre
to escape the world, but to see it
more clearly; not to forget yourself,
but to discover your membership
in the political body; not to divert
your attention from problems, but to
participate in the search for answers.
With the new COC production
of Handel's Hercules, built in
collaboration with Lyric Opera of
Chicago, Sellars is as adventurous as
ever in pursuing that project. He sees
in Hercules an examination of what
we now call post-traumatic stress
disorder; in less medically precise
terms, the heartbreaking tangle of
problems faced by returning soldiers
and their families. He invites modern
reality into the opera house, not to
give the production a novel gloss,
but to release the universal elements
of Handel's work within a grid of
contemporary signs: battle fatigues;
Abu-Ghraib orange jumpsuits; flagdraped
coffins – and to emphasize
that the social and psychological toll
of warfare isn't a bygone relic but an
everyday reality.
"We're now beginning to talk about
this, because the situation in the
United States is that one out of three
homeless persons is a veteran,"
Sellars says. "You have people whose
lives have been so destroyed, whose
capacity to live a meaningful life
has been so devastated, who have
everything stacked against them, even
though they served [their country]."
Handel's opera is based largely on
Women of Trachis, a tragedy by
Sophocles who, in addition to being
a first-rate dramatist, was also a war
general. He brought a rare insight
to the emotionally intense – even
dangerous – landscape that soldiers
and their families had to navigate
after reuniting. More than 2,000
years later, in 1745, Handel tackled
the material with Hercules, an
oratorio-opera hybrid he, himself,
labeled a "musical drama."
In the opera, Hercules returns
triumphant after a prolonged
war in a foreign city, but his loving
wife Dejanira is caught off-guard by
her husband's relationship with a
mysterious prisoner of war, a princess
named Iole. Dejanira is soon plunged
into an intensely felt jealousy. And
though Hercules appears every bit
the proud and honourable hero, his
wartime experiences have left him
fundamentally displaced from his
past life, and equally unprepared
for what awaits in the civilian world.
"The god of battle quits the bloody
field," he sings, "And useless hang the
glitt'ring spear and shield," but the
deeds committed in combat, including
the likelihood of sexual infidelity,
persist as an unacknowledged
minefield between Hercules and his
wife. They fight bitterly, he retreats
into incommunicative silence, and
she grows suicidal. Before long, the
situation explodes.
"When everyone's back together again
[after a military deployment]," Sellars
explains, "there's a whole lot of things
that neither side knows about the
other, that have been covered up –
for positive reasons maybe – but that
end up becoming deadly fault lines.
"For Handel, as for Sophocles, it
was this image of the most powerful
person on earth, the strong man,
being unbelievably vulnerable. And,
in fact, being in denial about a lot of
the deepest points of vulnerability."
The genius of Handel is in finding
a musical language commensurate
to the psychological experience of
post-traumatic stress. In Hercules,
Handel uses da capo arias, which
have a cyclical structure whereby
the singer returns to a previous
section of music, following an A-B-A
pattern, as if haunted by a previously
recurring experience. (Translated
from Italian, da capo means, literally,
"from the head.")
Singing a da capo aria is a structural
analogue "of what it means to work
through your issues," Sellars says.
"You can't just say, 'okay, now you're
fine,' but, in fact, you have to go back
and work on it. And you have to dig
out all of this emotional stuff that has
been locked up and has been denied…
it's what's involved in these extreme
vocal melismas that Handel writes,
where a single word will have 150
notes. And that's because in one word
– for most people it's just a word –
for [a veteran] there's a roller coaster
of emotions; there is an entire set
of experiences that flash inside that
one word."
Alongside the personal excavation
undertaken in the arias, Handel
"places the huge choruses, where you
get the power of citizens, and you say,
'wait a minute, our whole society is
in danger!' You can't just pathologize
that person who just screamed in
pain in the last aria."
Though Sellars readily admits that
the subject matter is challenging,
he also emphasizes that "Handel
believed that the first way to go into
a difficult or dangerous place is with
a lot of beauty. So the music is just
ravishingly beautiful. It transmutes
the suffering into another place and
you don't run away from it, but you
go towards it." In this way, Handel's
opera succeeds both as a precise,
mimetically accurate diagnosis of
the experience, and as a vehicle
of the healing process itself.
Hercules runs until April 30 at the Four Seasons Centre for the Performing Arts, click here for tickets and more information.
Photos: (top) Alice Coote as Dejanira; (middle) (l-r) David Daniels as Lichas (in background), Richard Croft as Hyllus, Lucy Crowe as Iole and Kaleb Alexander as Soldier; (middle) Richard Croft and Lucy Crowe; (bottom) (at left) Alice Coote and Richard Croft. All production photos from the Canadian Opera Company's Hercules, 2014 by Michael Cooper. Photo of Peter Sellars by Ruth Walz.
Posted by Danielle D'Ornellas / in Hercules / comments (0) / permalink
By Nikita Gourski, Development Communications Officer
This April, Donizetti's 'Tudor Trilogy' comes to an end with the COC premiere of Roberto Devereux. Here are ten key things you may want to know before you head to your seat!
1) Royal Intrigues
In the opera, a cloud of suspicion hangs over the Queen's beloved Roberto Devereux, who has been accused of treason by members of Parliament. Elisabetta (Elizabeth I) doesn't believe the charges, but she soon learns that Devereux might have betrayed her in another, more personal way, by falling in love with Sara, the Duchess of Nottingham. As Devereux's life hangs in the balance, the Queen must navigate between her obligations as monarch and her all-too-human emotions as a woman in love.
2) A prima donna role
Roberto Devereux (1837) is the final instalment in Gaetano Donizetti's "Tudor Trilogy" which also includes Anna Bolena (1830) and Maria Stuarda (1835). Central to each of these operas is a soprano role which stretches the singer to the limits of her technical and dramatic capabilities. It's generally agreed that the role of Elisabetta in Roberto Devereux represents the summit of these prima donna (principal female) roles with regards to difficulty.
3) The best of bel canto
Bel canto (literally, "beautiful singing") is a term usually applied to early 19th-century Italian operas with a highly exhibitionist style of singing. Though some bel canto operas seem to privilege vocal showmanship at the expense of storytelling and characterization, in Roberto Devereux the brilliant singing stems directly from emotions related to the text and also from the influence of the words themselves – the colour of the consonants and vowels of the Italian language. This requires a huge investment of dramatic as well as vocal energy from the singer – quite the opposite of the stereotypical view of the prettily chirping bel canto "nightingale." Hear the music in our listening guide.
Sondra Radvanovsky as Anna Bolena in a photo for the Lyric Opera of Chicago.
4) The Return of Sondra Radvanovsky
One of the world's best sopranos, Sondra Radvanovsky returns to the COC after her stunning debut with the company (Aida, 2010), to sing the role of Elisabetta for the very first time in her career. She has also been engaged by the Met to perform the role.
Ms Radvanovsky "sings with unflinching honesty and uncommon intensity…" The New York Times
Ms Radvanovsky "sings with unflinching honesty and uncommon intensity…" The New York Times
5) Triple Crown
With her role debut at the COC, Sondra Radvanovsky will have performed all three Donizetti queens, a significant achievement. Famously, the great American soprano Beverly Sills, who also accomplished the triple crown in the 1970s, reputedly said the difficulty of singing all three roles may have shortened her career by at least four years.
6) COC Premiere
Roberto Devereux has never been seen at the Canadian Opera Company, and this premiere offers Toronto a unique opportunity to experience this powerful drama of show-stopping vocal fireworks and intense emotions.
7) Elizabethan-inspired production
This production from Dallas Opera, directed by Stephen Lawless, takes its inspiration from the powerful personality of Queen Elizabeth I, and adopts a theatrical style that was popular during her reign. Within this historical framework, the creative team found inspiration in one of the most famous Elizabethan playhouses, Shakespeare's Globe Theatre in London.
8) Staging the Queen's Biography
The production makes a number of references to significant moments in Queen Elizabeth's life: three large display cases appear at the top of the overture, each containing an actor to represent an aspect of Elizabeth's difficult childhood, including Henry VIII (Elizabeth's father), Anne Boleyn (Elizabeth's mother), as well as a young Elizabeth. At the end of the overture, models of warships sail onto the front of the stage, depicting the greatest naval victory of Elizabeth's reign: repelling the vast Spanish Armada.
9) Elizabethan costumes
Designer Ingeborg Bernerth's costumes are generally period-specific and reflect the era in which Roberto Devereux has been set, though some pieces have been modernized (the men's costumes in particular). Queen Elizabeth was the first monarch to take an interest in fashion and its effect on status and societal perceptions. Her rule was a prosperous one and fashions were correspondingly luxurious and elaborate, often embellished and exaggerated.
10) What to Listen For
Get the musical highlights with our listening guide here. For a quick preview, visit our listening guide.
Photo: (top) (l – r) Scott Quinn as Lord Cecil, Hasmik Papian as Elisabetta, Andrew Oakden as Sir Gualtiero Raleigh, David Kempster as Duke of Nottingham and Stephen Costello as Roberto Devereux in the Dallas Opera production of Roberto Devereux, 2009. Photo by Karen Almond; (middle) Sondra Radvanovsky as Anna Bolena in a promotional photo for the Chicago Lyric Opera. Photo by Cade Martin; (bottom) Stephen Costello as Roberto Devereux and Hasmik Papian as Elisabetta in the Dallas Opera production of Roberto Devereux, 2009. Photo by Karen Almond.
Posted by Danielle D'Ornellas / in Roberto Devereux / comments (0) / permalink
Queen Elizabeth I is one of history's most dramatized monarchs. Her lasting legacy, and fascinating personal life, has inspired countless works for the stage, page and screen. From epic historical dramas to irreverent comedies and even sci-fi, many notable performers have made the character of the Virgin Queen their own.
When Sondra Radvanovsky makes her role debut as Elisabetta in Roberto Devereux on April 25, she'll add her name to that list! To celebrate this iconic role, we've narrowed down a selection of our favourite on-screen Elizabeths through the years.
Judi Dench - Shakespeare in Love (1998)
Legendary British actress Judi Dench holds the record for giving the second-shortest performance in history to win the Academy Award for Best Supporting Actress. She was only in the film for eight minutes, but they were memorable ones! Making the most of her screen time, Dench captured the monarch's acerbic wit and showcased the glorious Elizabethan fashion. How could anyone forget her opulent peacock gown?
Cate Blanchett - Elizabeth (1998) and Elizabeth: The Golden Age (2007)
Judi Dench wasn't the only actress nominated that year for playing Elizabeth I. Cate Blanchett earned wide acclaim and was nominated for Best Actress for playing the title role in Elizabeth. The dramatic biopic captured the terror of Mary I's bloody reign and the uncertainty of Elizabeth's early years on the throne. Blanchett reprised the role in 2007, as a slightly older and self-assured monarch at the height of her power.
Helen Mirren - Elizabeth I (2005)
It is a rare accomplishment for an actress to play both Queen Elizabeths in her career, so we had to include Helen Mirren on this list. This two-part HBO mini-series shows an aging Elizabeth navigating political powerplays, assassination attempts and the threat of invasion. Behind closed doors, she relies on the friendship and advice of her first love, Robert Dudley (Jeremy Irons), while beginning a flirtation with his dashing, yet hot-headed, step-son Robert Devereux (Hugh Dancy).
Bette Davis - The Private Lives of Elizabeth and Essex (1939) and The Virgin Queen (1955)
The Private Lives of Elizabeth and Essex also depicted the stormy and ultimately tragic relationship between Elizabeth and Robert Devereux. As Elizabeth I, Bette Davis led a cast of Hollywood legends including the ultimate swashbuckler Errol Flynn as Essex and Olivia de Havilland as Lady Penelope Gray. Like Cate Blanchett, Davis returned to the role for The Virgin Queen, about Elizabeth's later relationship with Sir Walter Raleigh (Richard Todd). She was so committed to this role that she even shaved her head to achieve an authentic Elizabethan hairline.
Miranda Richardson - Blackadder II (1986)
Not every portrayal of Elizabeth has been as serious as the baity roles above. Miranda Richardson's "Queenie" in the the second season of the much-loved British comedy Blackadder isn't anything like the Elizabeth we've come to know through history. She's silly, petulant and if you get on her bad side, watch out for your neck!
Doctor Who (2013)
And last, but not least, the character of Elizabeth I has even crossed over into sci-fi! Everyone's favourite Time Lord became quite close with the queen during his journeys through the universe.
Who do you think played Elizabeth I best? Let us know in the comments!
Banner photo credits: Helen Mirren in Elizabeth I; Queen Elizabeth I portrait; Cate Blanchett in Elizabeth.
Posted by Kristin McKinnon / in Roberto Devereux / comments (1) / permalink
Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001


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State grappling with costs of veterans homes
Focus is increasing on serving younger veterans of Iraq, Afghanistan wars
Pressure is mounting on California officials to contain the ballooning costs of retirement homes for veterans so more money can be freed to provide other essential services for the next generation just returning home from wars in Iraq and Afghanistan.
Bottom line numbers show taxpayers spend a lot of money to serve relatively few residents of veterans homes: nearly $190 million for about 2,000 veterans in 2011-12.
A state audit of veteran homes due out Thursday is expected to expose systemwide failings and questionable spending — as well as provide a guide for reforms.
The actual cost to the state general fund is eased somewhat by federal payments, insurance and other reimbursements. But the push is on to find savings.
"We want to make sure they are well taken care of," said Assemblywoman Toni Atkins, a San Diego Democrat active in veteran issues. "But when you're dealing with limited resources you have to look at how to put the pieces of the puzzle together so we really are getting as much efficiency as we can."
The audit — nearly a year in the making — may prompt some hard questions: Should some veterans needing specialized care be steered into privately-run homes so the federal government picks up the tab? Should the state hand over more services, such as health care and food service, to private contractors? And how should the state better assimilate younger homeless veterans with mental health issues and drug problems into the homes, if at all?
The California Department of Veterans Affairs defends the spending, but adds it is taking steps to reduce costs by 7 percent while ramping up bed capacity throughout its network of homes from Chula Vista to Yountville to Redding.
"These are veterans who are at their end of their lives. In most cases they have the most severe need. They have no other means of support or place to take care of them," said Pouneh Simpson, the department's chief financial officer.
Trimming those costs, opening two long-delayed homes and unearthing more resources to help newly discharged service members find housing and qualify for federal benefits are just a few of the perplexing challenges facing Gov. Jerry Brown and lawmakers as they negotiate budget priorities for the Department of Veterans Affairs.
"Let's look at every activity we have and ask why are we doing it," said Assemblyman Rocky Chávez, R-Oceanside, a retired Marine Colonel who was once acting secretary of the state Department of Veterans Affairs.
Numbers disputed
The Department of Veterans Affairs says $100.8 million out of the 2011-12 state general fund went to care for 2,082 residents, or $48,433 each. That's the net cost to the state's general fund after subtracting reimbursements.
Critics say the department's numbers are understated, arguing that more accurate per capita annual cost is closer to $100,000 after factoring in all government expenses that come out of taxpayer pockets.
The department disagrees, saying the six-figure estimate does not subtract reimbursements from private insurers and also does not take into account $20.7 million returned to the general fund when new homes in Redding and Fresno could not open as scheduled.


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So today I decided to merge my accounts :-)
Have to admit its confusing and half baked attempt for now. You sign in using your microsoft ID and merge your skype account if you have one. So I assumed I could use my skype account to log in and have WLM contacts on skype, but turns out you can't.
You have to constantly select microsoft account in skype everytime you want to log in.
If you log in to your skype account as normal you just have skype only contacts.
Also means you can't use your merged accounts on the skype apps on iOS yet either.
Kinda confusing to start with, they'll need to fix all those issues before the shut down WLM hopefully.
I hate skype chat windows also, going to miss my custom WLM emotions


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2010 IU Athletics Hall of Fame Class Announced
Sept. 13, 2010
BLOOMINGTON, Ind. - Indiana University Athletics welcomes six new members to the Indiana University Intercollegiate Athletics Hall of Fame IU Vice-President and Director of Athletics Fred Glass announced today. Chuck Bennett (football, 1926-28), Lee Corso (football coach, 1973-82), Steve Green (men's basketball, 1973-75), Denise (Jackson) Salters (women's basketball, 1981-84), Wayne McDonald (men's golf, 1968-70), and Van Waiters (football, 1983, 85-87) will be officially inducted at the annual Hall of Fame dinner on October 29, and will be recognized at halftime of the football game against Northwestern at Memorial Stadium, on October 30th.
"The strength of this class underscores the rich tradition of student-athletes at Indiana University," Glass noted. "In addition, Lee Corso's induction as a great IU football coach is particularly exciting for me given he led the Hoosiers during my time as a student."
The Hall of Fame was established in 1982 by the Indiana University Varsity Club National Board of Directors, in cooperation with Indiana University, its Department of Intercollegiate Athletics, the I Association, and the Indiana University Alumni Association. Its purpose is to recognize and honor individuals who have made exceptional contributions to the achievements and prestige of Indiana University in the field of athletics and who have demonstrated the values imparted by intercollegiate athletics. Each year, a subcommittee of the Indiana University Varsity Club National Board of Directors selects inductees for the Hall of Fame. This year's class brings the current roster of IU Hall of Fame inductees to 170.
CHUCK BENNETT: Came to IU after leading Linton High School to two state championships...won football letters from 1926-28 and was captain in 1928... was All-Big Ten and All-American as a halfback in 1928... was the team's MVP in 1928 and the Hoosiers first Big Ten MVP... played in the East-West game that year and was MVP for the East after scoring two TDs... played professionally for the Portsmouth Spartans and the Chicago Cardinals... served as football and track and field coach at LaPorte High School (1934-37) and football coach and athletic director at Austin (Minn.) High School (1938-39)... in 1939, Bennett was hired as a football coach and athletic director at Lyons Township High School in La Grange, Illinois... he coached the Lyons Township football team for 21 years and won 11 West Suburban Conference championships ... served as just athletic director from 1960-66... inducted into the Indiana Hall of Fame at Richmond ... also received the Clevenger Award from IU in 1972... passed away in 1973.
LEE CORSO: Football coach from 1973-82...led IU to its second ever post-season bowl appearance in the Holiday Bowl in 1979... led the Hoosiers to their first bowl win with a 38-37 victory over Brigham Young... with the win, the squad finished ranked 16th in the final national poll... ranked as the third winningest IU football coach and third by a Hoosiers football coach in wins over Purdue... Corso also served as the head coach at Louisville and Northern Illinois ... since 1987, he has served as an analyst for ESPN on its College Gameday Show and Director of Business Development for Dixon Ticonderoga, a Florida based pencil manufacturing company.
STEVE GREEN: Won basketball letters in 1973, 1974 and 1975 and was a co-captain in 1974 and 1975 ... leading scorer on undefeated regular season team (31-0) of '75 with 16.6 average and leading scorer in '74 with a 16.7 average ... First team All-Big Ten in 1974 and 1975... Indiana MVP in 1974 and co-MVP in 1975 ... Academic All-Big Ten and Academic All-American in both 1974 and 1975... ranked sixth in IU books for field goal percentage with .538 and ranked sixth in books for season field goal percentage ... he was first-year head coach Bob Knight's first recruit in 1971 after attending Silver Creek High School in Sellersburg, Indiana ... was selected by both the Utah Stars in the 1975 ABA Draft and by the Chicago Bulls with the 12th pick of the second round in the 1975 NBA Draft ... in 1975-76 he played with the Utah Stars and Spirits of St. Louis, and his NBA career consisted of three seasons with the Indiana Pacers from 1976 to 1979... after his NBA career he played for one season in Italy and has been practicing dentistry in Fishers, Indiana since 1984.
DENISE (JACKSON) SALTERS: A native of Miami, Florida, Jackson won basketball letters from 1981-84 ...1st team All-Big Ten in 1983 and 1984 and District All-American in 1983 and 1984... two-time Wade Trophy finalist... IU Female Athlete-of-the-Year in 1983... Indiana's all-time leading scorer with 1,917 points and all-time leading rebounder with 1,263 rebounds... averaged 15.6 points and 10.3 rebounds in her career....led team in scoring two years and in rebounding four years... shares IU single game rebound record with 22... she currently resides in Savannah, Georgia... worked four years for the Centers for Disease Control and 18 years for the Chatham County Health Department... currently is Client Services Coordinator for Access Mental Health Agency.
WAYNE MCDONALD: He came to IU from Toronto, Canada, after he won the Ontario Jr. Championships in 1964 and Canadian Jr. Championships in 1966... won golf letters from 1968-70... placed 2nd and 7th in Big Ten meets as a junior and senior. Two-year All-American, placing 2nd and 9th in NCAA championships, IU's only two-time 1st team All-American in men's golf. Played on Big Ten championship teams in 1968 and 1970... won the Canadian Amateur title in 1969 and also played in the Eisenhower Cup for Canada ... In 2001, McDonald became a Senior Professional golfer at the age of 51 and competed with the top-ranking players on the Champions Tour... he has finished successfully in the US Senior Open, British Senior Open and Canadian Senior Open ... also won four professional events on the secondary Senior Tours and currently resides in Atlanta, Georgia where he is managing partner for Matteson Partners, Inc., an executive search firm... he also founded and was Chairman and CEO of Golf Training Systems, a company he took public in 1995... earlier served as founder and President of a venture capital backed firm in Atlanta, Cornerstone Products Inc., which became the leading visual merchandising supplier of in-store products to promote and sell logo merchandise for professional sports leagues, including MLB, NBA, NHL, NASCAR and USOC.
VAN WAITERS: Waiters joined IU after finishing his prep career in Coral Gables, Florida and won football letters in 1983, 1985, 1986 and 1987... 1st team All-Big Ten in 1986 and 1987... earned 2nd team All-American honors in 1987 from UPI and 3rd team honors from Associated Press and Football New and was 2nd team All-American in 1986 from Associated Press and Sporting News and 3rd team by Football News ... held IU season records with 21 tackles for loss and 14 sacks in 1987 and ranked second on IU's career list in both categories... played in the NFL for the Cleveland Browns and Minnesota Vikings... he currently resides in Hialeah, Fla where he is heavily involved in youth football.
Check back soon


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comcast corp-class a (CMCSA:NASDAQ GS)
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Cell Processor faster than Core i7 965 XE
H.264 Video: New Playstation 3 codec used for transcoding
A novel transcoding tool Fixstars allows for the conversion of video material on the full HD format, with the help of a Playstation 3 in real time.
The conversion of video footage in FULL HD movies at a resolution of 1920 x 1080 provides current desktops CPUs with a lengty task. This allows the transcoding of a movie sometimes half a day.
Now put the Linux Developer Fixstars a video converter called Codecsys CE-10, which was to encode movies into MPEG-4-AV (H.265) The Cell processor uses a Playstation 3 - this format will be predominantly on Blu-ray media and IP-TV via video-stream uses. The CE-10-encoder sends out from a Windows PC, the output data via Ethernet to the console, which finished the encoded data back to the PC sends back.
According to the announcement of Fixstars reached the Cell processor of the Playstation a performance of 29 FPS, that is 1.2 times real-time conversion - the cell has a similar performance as the CUDA Badaboom encoder in combination with an Nvidia Geforce GTX-285. By Comparison, Intel's current top-CPU, the core i7 965 XE, does it still at 18 FPS - normal desktop CPUs even create only about 5 FPS.
Prices Fixstars said the developer still does not know the Codecsys CE-10 will be on 22 Of June will be - More information, see the datasheet
Original Source Found through N4G.com