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Submitted by suprchk on Sat, 2013-01-19 14:01.
Apparently everyone decided to go home early on 1-19-13. I pulled in a 12:34, to watch all the employees making an early day of it. Thanks alot, you just cost me $60 in extra fees, JERKS.


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Syrian refugee children eat at a school where families fleeing the ongoing violence in their country have been hosted in the Lebanese village of Majdal Anjar in the eastern Bekaa Valley. (AFP PHOTO / ANWAR AMRO)
BEIRUT: A Hezbollah delegation Monday delivered aid parcels to Syrian refugees who fled to the Iqlim al-Kharoub region of the Chouf – marking the first official mission of its kind by the party.
The National News Agency reported that the social wing of Hezbollah visited the villages of Naameh, Jiyeh, Baasir, Wadi al-Zeineh and Manshieh, where they met with local officials and distributed aid.
The Hezbollah officials observed the conditions of the refugees and, according to a statement from the party's communications office, the refugees sent a message of thanks to Sayyed Hasan Nasrallah, the NNA reported.
Sheikh Mohammad al-Hajj from the party's social wing said Hezbollah was providing aid to Syrian refugees in return for times when Syria welcomed Lebanese families, particularly during the 2006 war with Israel.
So far, Hezbollah has remained uninvolved in the Syrian refugee crisis in Lebanon and has pledged its support for President Bashar Assad's regime.
Polling has shown refugees are generally unsympathetic to the Syrian regime, while aid distribution has mostly fallen to the United Nations, the Higher Relief Committee and political groups aligned with the opposition.
But as the crisis spirals, enveloping more of Syria, families are being forced to flee regardless of their political affiliations.
So many families have entered the country that there is a serious shortage of housing, and aid organizations have struggled to accomodate the influx.
Local aid groups estimate there are more than 90,000 Syrian refugees in Lebanon. The U.N. High Commissioner for Refugees reports there are over 65,000 refugees who are registered or waiting to be registered in the country, with more entering on a daily basis.
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Sorry about missing my picks I've been away from my laptop broke Thursday so I sent it to get fixed. it should be back tomorrow (I'm on my schools computer now), but was my spot given away? If it was it's totally understandable, but if not I will definitely be able to make he rest of my picks
Ya he is, i didn't trade his rights, and I don't plan on resigning him (have Sveddy as the back up) Go for it
Hey is Khudobin a UFA? What happened with him?
hahaha this is true, good working with you (again) lol
Don't worry about it haha just let it happen. He will waive for Boston. Who wouldn't?
Does Glencross have a NMC?
Hell yeah, post it up.
Hey I think Kelly might approve, you still want to pull our deal? I hope so haha
I just sent Sens a message, he might let me try an convince him. I think our deal is still salvageable. Just give me the chance
Ok, there is lots of interest in Kelly and I'm pretty far along in trade discussions, just a heads up


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this is a toy car launcher made of rubber bands. add ramps for extra fun. note: this can be used as many other things such a a jumps rope and other th...
the materials needed are a lot of rubber bands (I used 24), a toy car (playmobile or fisher price dollhouse styles work well), and 2 nails or stakes.
to prepare the rubber bands you must knot them together with a slipknot (see the video). you must do this until you have used all of the rubber bands....
now it is best to do this outside so you cant plant your nails or stakes easily. measure the length of your rope and put the nails a little bit shorte...
wrap the loops of the ends of the rope around the nails the keep the rope in place.
put your toy car towards the center rubber band puul back all the way and release to launch the car. use ramps for added fun.
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A royal fruitcake for fresh prince
Posted: October 29, 2013 at 3:40 a.m.
It has been a long time since we did a Windsors wrap-up, so let's check in with Prince(s) and the Royal-ution. Here's the latest Buckingham business: The littlest royal — son of Duke and Duchess of Cambridge William and Kate — was christened last week and welcomed into the Church of England as Prince George Alexander Louis of Cambridge … in a dress. No, in a replica of the lace-and-satin gown traditionally worn by every royal since 1841 … that, by George — or shall we say Boy George? — looks like a dress.
This story is only available from our archives.
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THE largest ever release of captive chimpanzees into the wild has been declared a success. Five of the 37 chimps released in the Republic of the Congo have bred in the wild, and only five have been confirmed dead. But the scheme was not trouble-free, and has raised questions over whether reintroduction is the most cost-effective way of conserving chimps.
The chimps were all wild-born animals that had been rescued from markets or from owners who no longer wanted them as pets. They were initially transported to islands away from poachers and predators by the charity Ecological Habitat and Freedom of Primates, Congo. Then between 1996 and 2001 they were released into the Conkouati-Douli National Park on the border with Gabon.
The charity's founder had always intended to return them to the wild. "She thought they deserved to have their life back," says Joanna Setchell of the University of Cambridge, ...
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It's yet another crazy cabaret week so with zip, zero and zilch further ado, here are this week's zingers.
Zinger Of The Week is this Saturday's king-size cabaret and themed fancy-dress party White Mischief's 20,000 Leagues Under the Sea (£14-£28.50). Held at King's Cross Scala (as opposed to its Milanese namesake), nautically-attired landlubbers with tickets can expect top-notch turns like La Soiree's Marawa, tentacled crooner HP Lovebox, steampunk songstress Spacedog and chap-hop champion Professor Elemental plus DJs, puppets, a steampunk crafts fair and an interactive story.
Wednesday's Zingers: If you want to put that lead in your pencil to good use, Dr Sketchy (£8.50/£10) at the RVT gives you the opportunity to draw (and enjoy) burlesque dancers, circus acts and other alluring examples of humanity. Circus lovers are in for a treat tonight as Deptford's Albany debuts its new night Circus Bites (£10) featuring Dusty Limits and Tricity Vogue on compere duties introducing aerial theatre, a hip hop Chinese pole dancer, acrobats and a German wheel duo.
Thursday's Zingers: BGWMC host Yuri's Space Flight Outta Sight Night (£7/£5), a rocket-fuelled epic evening with the Shtetl Superstars, Yuri's Talking Blues Band, intergalactic musique concrete from Langham Research Centre and an, er, interesting interpretation of a Tolstoy classic by vegetable puppet theatre Borscht called Anna Karrotenina. Alternatively, you can make like a Womble and go underground. At the converted downstairs loos Cellar Door, swing duo Kit Kat Kabaret mash up from everything from Nirvana to 'Big Spender' for a very round price while Volupte host Magic Underground (£15 + one-course min), a showcase of experienced and new illusionists.
Friday's Zingers: Hackney Empire's La Varieté (£12.50-£25) is the spice of your life tonight with its killer lineup of Londonist faves including saucy chanteuse Sarah-Louise Young, surly sorcerer Piff The Magic Dragon and the 7th best rap band from Ireland aka Abandoman. A worthy alternative is the RVT's Wotever Extravaganza (£7 or £5 for those "dressed as a GOGO dancer and willing to do a turn when we call your name!") with musical entertainment from the newly-reformed Open Mouths, Spinster and Woman-E.
Saturday's Zingers: Agent Lynch's fantabulous evening celebrating the works of Prince Rogers Nelson continues tonight at the Brickhouse. There's circus, burlesque and an nine-minute, lighter-waving, hoo-hoo-hoo-singing finale. You know you want to. If you want something more spiky, for one night only drag superstar Jonny Woo looks back over a decade of decadence (£12.50/£10) at the Bistrotheque.
Sunday's Zingers: It's Hungamunga's 5th birthday party down at the BGWMC (£6) so get down there for cake, live music from The Bobby McGees and more do-it-yourself arts and craft than you can shake a paintbrush at. You can paint, draw, stick, sew, knit or participate in the paintathon, a gameshow, a quiz and/or a raffle. I don't remember my 5th birthday being that much fun.
After all that, you can sit back with a cup of the brown stuff and enjoy this YouTube classic from Professor Elemental.


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So I was watching the Legends of Wrestling on WWE Classics on Demand and the discussion was based on Monday Night Raw. They talked about the historic moments that happened on Raw and they also mentioned one of my favorite Raw endings of all time and that's the segment between The Rock and Stone Cold where Stone Cold ran over The Rock's car with a Austin 3:16 Monster Truck, drove the Monster Truck right into the arena, and beat the hell out of the Rock, hitting him with the Attitude Era WWE title with The Rock falling into a grave hole. Shane Mcmahon also took out Austin with a shovel as the show ended. I thought that it was one of the best Raw endings of all time. That really made me want to see The Rock and Stone Cold's match at Backlash 1999. It's endings like those that made the Attitude Era a great time in pro wrestling.
So what is your favorite Raw ending of all time?


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Posted by A.C. Douglas on 23 September 2013 | Permalink
Posted by A.C. Douglas on 19 June 2013 | Permalink
Posted by A.C. Douglas on 12 April 2013 | Permalink
Posted by A.C. Douglas on 18 May 2012 | Permalink
Posted by A.C. Douglas on 07 December 2011 | Permalink
The Metropolitan Opera has just opened a searingly erotic Don Giovanni, yet the New York Times has dismissed the new production for its "timidity." Other members of the New York press corps are even more contemptuous. The New York Observer sneers that the "new Don Giovanni is worse than bad: it's nothing." And the New York Post calls the staging "dreck." What has inspired such critical contumely? The riveting production is a faithful rendering of the opera's music and libretto.RTWT here.
Posted by A.C. Douglas on 30 October 2011 | Permalink
Posted by A.C. Douglas on 14 October 2011 | Permalink
Posted by A.C. Douglas on 31 July 2011 | Permalink
Your various articles on Wagner and his works convince me that you have a defective understanding of Wagner's music dramas, the intentions that lie behind them and the intellectual context in which they were written. While it's true that works of art take on a life of their own once the artist has delivered them into the world, this does not mean that the art-work can be or should be detached from the ordinary and intellectual life of the artist who created them. I reject the romantic [sic] view that the artist is merely the channel of some sort of divine inspiration. Wagner's works are his works, and those works are inseparable from Wagner the ordinary man and cannot be properly understood without placing them within the context of his ordinary and intellectual life at the time of the works' creation.The above idea concerning the output of creative artists is neither novel nor atypical and is, in fact, a bedrock assumption of perhaps the majority of arts criticism, both today and in the past. While we have no argument with that assumption when concerned with the output of creative artists of ordinary gift (which ordinary gift can indeed be substantial; Wagner's great contemporary Giuseppe Verdi springs instantly to mind), we take strong exception to it when the output concerned is the product of a creative artist of transcendent gift such as Richard Wagner. As the great T.S. Eliot put it: "[T]he more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates." In our not-so-humble opinion, the kind of thinking that proclaims that even in the case of a transcendent creative genius the created artworks cannot be separated from the ordinary man and can be understood properly only in the context of the ordinary and intellectual life of their creator serves only to lead one ineluctably into all sorts of false byways and into drawing false if authoritative-sounding conclusions concerning those artworks. Ultimately, such thinking results in producing what are essentially irrelevant intellectual maunderings regarding the artworks themselves, clever as those maunderings may be. As we've asserted here on S&F more than once, all Wagner's music-dramas are entirely self-contained works and require no scholarly biographical commentary of any sort whatsoever for one to comprehend them fully. Where genuine works of art are concerned, the facts of the ordinary and intellectual life of their creator, if he be a creator of transcendent genius, count directly for nothing in the artworks the aesthetic and affective core of each of which is always the product of mostly unconscious transformative processes which processes are as much a mystery to the creator as they are to us. Nor can those transformative processes be "reverse engineered" after the fact to better understand them and the works of art they produced — not even by the creator himself, much less ordinary folk such as us, no matter how deep or probing the scholarship or how convinced one may be that the results of such scholarship lead to a deeper understanding of the artworks in question. Such a conviction can be nothing more or other than a self-serving justification of the research time and labor expended. Which is not to say that such scholarship has no worth or value in itself. It most surely can be both worthwhile and valuable. It simply has no worth or value in gaining a deeper understanding of the artworks themselves in the case of artworks which are the product of transcendent creative genius. We might add, if somewhat ungenerously, that the products of such scholarly researches in the case of Wagner's music-dramas are too often used by writers, especially if they're critics or academics, to make their discourse on the music-dramas seem wonderfully erudite and objectively verifiable, that last a great (if false) comfort to both the writer and his readers. While we can sympathize with that feeling of comfort, that comfort is always misplaced. As with all genuine works of art, not only ones produced by creators of transcendent genius, once one goes beyond questions of craft and process there's no objectively verifiable anything except, perhaps, place and date of creation. One might even say that's a hallmark and necessary condition of all genuine works of art and a principal source of their affective power and resonant nature.
Posted by A.C. Douglas on 17 June 2011 | Permalink
Franz Welser-Möst, music director of the Vienna State Opera, is so critical of Jean-Louis Martinoty's two recent Mozart productions [Le Nozze di Figaro and Don Giovanni] that a planned third [Così fan tutte] has been cancelled, reports the Kleine Zeitung. [...] From the outset, said Welser-Möst, Martinoty dismissed everything in the pit as a collateral matter.RTWT here.
Posted by A.C. Douglas on 06 March 2011 | Permalink
There may be degrees between bloated ancien-regime production, "Carmen" on Mars (betraying my personal bias, I say why not?), or doing everything on milk crates and folding chairs.And another member wrote:
[T]he emphasis today has shifted to a, for me, unacceptable level of control by directors who know nothing about singers, singing and opera - nor do any of those things matter - as long as they can put their own signatures on productions. There has to be a middle ground!On reading both of which we responded instantly without so much as a moment's thought:
In matters of Art the middle ground is never the best, or even the right, solution. The middle ground all but guarantees mediocrity and while that may be acceptable or even the most sane solution in politics, in Art it's the Kiss Of Death. The fundamental problem with today's Regies is not so much that they want to "put their own signatures on productions" above all else (any opera director absent the ego to not want his signature on a production above all else is an opera director unworthy of the title and the job) but that they are either incompetent to come to grips with or don't understand and respect or, understanding, refuse to accept the irrefutable and ineluctable central circumstance that in opera the composer, NOT the librettist, is the dramatist. This is true of all opera from the most flimsy, soap-opera-y Italian melodramas to the great music-dramas of Mozart and Wagner. This directorial incompetence or failure or refusal of understanding underlies all Eurotrash Regietheater outrages. The solution is NOT to aim for a middle ground in staging opera, but to engage opera directors who understand, respect, and are competent to deal with that central circumstance of all opera.We were able to write that instantly without so much as a moment's thought because it's something we've written before in a previous entry here on S&F — or so we were certain. Turns out, there is no such entry, and we never did write it on S&F before — that is, not explicitly although the idea is implicit in almost everything we've written here concerning Regietheater. Time to make good the lapse; ergo, this entry.
Posted by A.C. Douglas on 02 February 2011 | Permalink
I see that Lisa Hirsch deleted a comment of yours to the post "Top Ten Composers: A Fool's Errand" on her blog Iron Tongue of Midnight. What dastardly thing did you say this time? Enquiring minds want to know. :-) Carol _______The fact of the matter is our comment wasn't in the least "dastardly". It was deleted by Ms. Hirsch so that she — in a true-to-form, junior-high-school-girl fit of pique — could make a public show of deleting it (i.e., she first published the comment which she didn't have to do, then deleted it so that it would show up publicly in the comments section as a comment by us deleted by her). Our deleted comment was in response to a comment addressed to us by John Marcher (he of "Hendrix and Beethoven are pretty much musical peers" fame) in reply to our writing:
Had you written something along the lines of, "In their respective domains, I think Hendrix and Beethoven are equally important and, in that sense, musical peers," instead of the blunt, patently absurd, "Hendrix and Beethoven are pretty much musical peers," no one, least of all myself, would have lodged any complaint or criticism. Perhaps in future you'll develop the skill to write what you actually mean.To which Mr. Marcher replied:
ACD- I did indeed write what I mean and I think it reasonable to assume the readers of Lisa's blog bring to the table a level of musical knowledge eliminating the need to have every statement explained as if one were sitting in class on the first day of Music 101. That the two [i.e., Hendrix and Beethoven] operate in different domains is a priori.In response to which we wrote:
This has nothing whatsoever to do with "bring[ing] to the table a level of musical knowledge eliminating the need to have every statement explained as if one were sitting in class on the first day of Music 101," and everything to do with the wording and apparent clear intent of your blunt, patently absurd initial comment. Had, for instance, say, Leonard Bernstein made such a blunt comment, everyone would have known the tacit underlying context of that comment and filled in the blanks, so to speak. But I and most others have no idea who John Marcher may or may not be. All we have to go on are the words John Marcher wrote, and the words John Marcher wrote have to be taken at their unambiguous face value; in this case a face value that's, as I've repeatedly remarked, patently absurd; something that could have been written only by a typical moron of the postmodern sort. See the difference?That was the entire content of our comment which Ms. Hirsch saw fit to first publish then delete in such a way as to have it show up publicly in the comments section as a comment by us deleted by her. Needless to say, because of this action (which is tantamount to not publishing our comment), and as we previously promised, we will never again submit a comment to any post on Iron Tongue Of Midnight.
Posted by A.C. Douglas on 14 January 2011 | Permalink
Posted by A.C. Douglas on 03 December 2010 | Permalink
Posted by A.C. Douglas on 10 September 2010 | Permalink
Posted by A.C. Douglas on 14 July 2010 | Permalink
A conductor (in)famous for his at-times glacially slow tempi (we once heard a Rheingold conducted by Furtwängler that clocked in at some 3 1/4 hours!), Furtwängler here turns Mozart's dramatically spot-on framing tempo of Andante for the entire alla breve encounter into a quasi-Adagio, later on becoming a plodding Adagio verging on a Largo, all of which we suspect was intended by Furtwängler to lend to the encounter what he considered to be the proper requisite mix of gravitas and terror, but instead distorts and all but enervates the dramatic impact of the entire climactic scene.We might understand such liberty of tempo applied to any number of works by other composers of opera, but perhaps more than anyone Furtwängler should have known better than to second-guess the musico-dramatic directions of a master musical dramatist such as Mozart. When Mozart writes Andante, he means Andante and not Adagio or any other tempo because Andante is what the drama requires at that point to make its proper musico-dramatic point, have its proper musico-dramatic effect, and produce its proper musico-dramatic affect. We're fairly certain that what Furtwängler did then no conductor today could do without being roundly (and justifiably) savaged for the impertinence. A kind of progress of sorts.
Posted by A.C. Douglas on 06 July 2010 | Permalink
Posted by A.C. Douglas on 29 June 2010 | Permalink
We've just finished reading for the second time the second edition (1947) of musicologist and music historian Edward J. Dent's classic (and brilliant) 1913 study of the Mozart operas, Mozart's Operas: A Critical Study, and found it just as rewarding a read as we did first time around. This time, however, we found ourself smiling at a graf on the penultimate page of the book that previously somehow evaded our notice. Writes Dr. Dent talking about current (1913) German stagings of Die Zauberflöte:
For the interpretation of Die Zauberflöte, we ought naturally to pay considerable respect to the traditions of the German stage; but we have the authority of many German critics for believing the older "traditions" to be extremely corrupt, and we have the evidence of our own senses ... for the vanity and pedantry of modern German producers and conductors whose one aim seems to be to produce the opera in a way that no one has ever seen before, regardless both of tradition and of the original libretto and score.
And here we've always imagined the willful, self-indulgent, self-involved distortions of the intent of the original creator of an opera as made manifest in that opera's score (music and text), which distortions are the hallmark of Eurotrash Regieoper everywhere, to be a pernicious excrescence endemic to our postmodern age alone.
Posted by A.C. Douglas on 10 October 2009 | Permalink
Since it went into production several years ago, we've heard surprisingly little about director-actor Kenneth Branagh's film adaptation of Mozart's The Magic Flute. That it was an "updating" that put the story and action in a World War I setting, and that conductor James Conlon was doing the musical honors along with stellar bass-baritone René Pape is pretty much all we knew about it.
Then, yesterday, we read Sunday's piece on the film by Los Angeles Times classical music critic Mark Swed that explained, sort of, why we'd heard so little about it. Writes Mr. Swed:
[The film] was made in 2006 as part of an extensive international celebration of Mozart's 250th birthday. That spring, just as the Salzburg Festival was gearing up to stage every one of Mozart's 22 operas and when no civilized city with an opera house was without Mozart, Branagh's film was shown at Cannes, out of competition but with hopes of attracting distribution. It didn't succeed.
Shown at the Toronto and Venice film festivals four months later, Branagh's Flute was not disliked, but it failed to generate much enthusiasm. Since then the film has had limited release in parts of Europe, Asia and South America and has been moderately well received. French and British DVD versions have been released. But the film has never been shown in the United States, and there is no word about a domestic DVD.
Mr. Swed did manage to finally get his hands on a DVD of the film in Amsterdam, and found it to be "a joy."
Uh-huh. Pretty much par for the course for Mr. Swed, we thought, who seems to have a penchant for finding many of the grotesque outrages of Regietheater to be "a joy."
Ho-hum. BAU.
Then, further down, we read these intriguing grafs:
Branagh's Flute fascinatingly re-imagines Mozart's opera. All the music is intact and excellently conducted by James Conlon, music director of Los Angeles Opera. The English actor and humorist Stephen Fry translated the German libretto into colloquial English and supplied pertinent new dialogue. The cast is attractive. Young characters are played by young singers. Good teeth must have been a priority of the filmmaker.
Branagh's vision of the Great War is awful and magical at the same time, which is very strange and surely British. The film opens with bright sun, lush fields and bouncy soldiers in the trenches. This is cinema with a smile as big as [Ingmar] Bergman's, but the sweetness doesn't last. During the overture's development, soldiers charge, shells blast, bodies fly. No composer dealt with darkness and light quite like Mozart, and Branagh is on continual lookout for every mood flick.
Branagh has a deft touch with Mozartean contrasts between magic and realism. Half fairy tale, half war drama, the film also goes its own way. Sometimes Branagh supplies reason where Mozart relied on fantasy, and other times he takes the opposite route. The dragon becomes threatening poison gas. Papageno is the birdman whose pigeons test the air underground. Actual flutes, though, fly. The Queen of the Night arrives atop a tank and later darts through the sky like a kinky Tinkerbell. Surreal lips fly in space. So do Mary Poppins umbrellas.
Uh, OK. Now you've got our attention.
Off we go to Netflix posthaste.
Out of sheer desperation, we head over to that rich mine of the weird and wonderful, YouTube, to see whether anyone has pirated a clip or ten from the film.
Pay dirt!
Here's the film's opening sequence with music by Mozart (the overture to the opera) and images by Branagh.
And here's the scene of Papageno's meeting with Monostatos.
OK. Just those two did it for us (there are more excerpts on YouTube).
WE WANT TO SEE THIS FILM (or a DVD of same)!
We're going on a hunting expedition.
Stay tuned.
Posted by A.C. Douglas on 25 August 2008 | Permalink
[Note: This post has been updated (2) as of 8:53 AM Eastern on 30 Jun. See below.]
The following are part of German-born director Elke Neidhardt's justification of her rewriting of the stage action and updating of the setting of Mozart's Don Giovanni in an Opera Australia production to be premiered at the Sydney Opera House on 5 July. All quotes have been taken from articles in Opera Australia, The Australian, and The Sydney Morning Herald.
• To create [opera] productions [today] that resonate with contemporary audiences, directors, perhaps more so than conductors, have to stay tuned to the spirit of the [contemporary] age. Audiences used to film and television will not, and should not, accept traditional [i.e., the composer's original] treatment of old material.
• [Today] it's virtually impossible to have that [viz., the coming to life of the Commendatore's statue in Don Giovanni] — you cannot portray that kind of miracle [today] unless you give a [today-acceptable] reason.
• [O]ffending a statue[!] is not good enough [reason for the downfall and demise of Giovanni]. That would be pretty hard to sell today.
• When watching Don Giovanni, audiences are required to believe in God and revenge and hell; in the notion that if we are not good boys and girls, we will be punished. Who buys into that today?
• In my treatment, [Giovanni is] a playboy who parties and beds women and takes drugs — these people exist more now than then
• Judged by the values of our own world, Giovanni is not that bad. He is thrilled by the conquest and he is not interested in forming relationships with women, but that is really all one can hold against him. Men who will not commit to relationships are common today — I don't think he deserves the demise he gets.
• You cannot do nodding, walking statues in the year 2008. You would be laughed off the stage anywhere else in the world except in Australia.
Oh? Is that a fact (may be applied to any or all the above).
Self-serving, self-involved, postmodern vandal!
(Our thanks to down-under blogger Sarah Noble of Prima la musica, poi le parole — who, in her excellent preceding linked post, displays more temperance on the subject than we're capable of mustering — for the links to the Australian press articles from which the above quotes were drawn.)
Update (11:08 PM Eastern on 29 Jun): The above post brought the following aggrieved response posted to the Opera-L eMail list:
Oh please - enough of this prejudice. I mean prejudice in its etymological sense of pre-judging. This production has not even opened but is condemned.
This is such a common tendency on this list - judging productions on little evidence other than the written word. It seems to me there are so many self-appointed guardians of 'what Verdi/Wagner/ Mozart etc etc wanted'. Yet they were all theatrical and operatic progressives - concerned with meaning being conveyed to a contemporary audience.
Extending meaning to our time seems to be such a horror for some people. Any theatrical work only finds meaning in the minds of its audience.
Thankfully I live in a city where a 'conventional' production is greeted with the same outrage as avant-garde productions in the USA. We Europeans (not all of us I know - but opera often attracts a more conservative audience for all sorts of reasons) actively welcome re- interpretation. The houses are full on a diet of re-interpretation. Berlin audiences on the whole know their operas - but attract new audiences through radical re-interpretation.
Again and again on this list there is the same contempt evinced for 'Eurotrash' production - principally from the USA. I have asked this question before and never been answered - Are we all masochists in a city like Berlin?
Go to your conventional productions and enjoy them. We enjoy ours. You are not even seeing them but object often on the basis of a short clip on Youtube - do you want to dictate production styles for the world at large?
Cultural imperialism must have its limits.
Our posted response to those remarks (which we here reprint without further comment) read:
From Elke Neidhardt's own ignorant, even imbecile, remarks (those quoted in my S&F article), one is perfectly justified in prejudging her new production of _Don Giovanni_ to be yet another grotesque piece of Eurotrash, and yet another instance of the egregious, self-serving, _Regietheater_ vandalizing of yet another near-perfect opera masterpiece. Your perverse notion that these loathsome _Regietheater_ productions are simply efforts to "[e]xten[d] [the operas'] meaning to our time" is as ignorant and imbecile as anything Ms. Neidhardt had to say, for in every case -- no exceptions -- the "reinterpretations" produced by these pernicious _Regietheater_ vandals succeed only in trivializing and circumscribing meaning, never in expanding it, or in making it more "relevant". And that, at bottom, is the crux of the argument against these postmodern vandals and their _Regietheater_ travesties.
Update 2 (8:53 AM Eastern on 30 Jun): More from Opera-L in response to the above post.
I was going to change the Subject line to "When Dinosaurs Ruled the Earth!" but decided to keep to the rules of the class. I will also hate myself the next day for wasting my time in such a useless effort, but.....
The idea that an opera, after it has been produced, cannot be interpreted by another artist in a different light is simply stunningly flaccid. Fact One. The composers did it themselves during their lifetimes: "You want a BALLET in my Tannhauser?!?!" (Gulp) "When do you need that by?" "My Lucia rewritten in French and changed?!?!" (Gulp) "And you need that when?" All composers (who had their operas performed) have the same history of easy compliance in making their operas audience friendly.
Second, artists were always adapting their image to the audience of the time (note to file: the baby Jesus was not actually born in Tuscany) but regarded the story itself as eternally relevant.
There is no intellectual argument that opera was meant, at the time it was composed, to be something to hang in the Louvre with guards around. It was not valid then and it is not valid now. Mozart, for example, by using Beaumarchais, was risking trouble because his plays were not just "pushing the envelope" but actually revolutionary. There were poor sods behind bars in the Chateau du Vincennes for much less! (In the newly refurbished donjon, you can see their graffiti still preserved.) If the regime had not been so tired and corrupt, it might have turned bad for our Salzburgian.
To which we responded (again, here reprinted without further comment):
My congratulations to you on invoking just about every lame straw man invoked by the "progressive" defenders and champions of Eurotrash to discredit both the person and the opinions of all those who take an opposite view of the matter.
Let me be as brief as possible in my response by saying that the creators of operas neither need nor require partners or collaborators once the work is finished. What the creators of operas need and require are gifted *servants* of which the director is one; servants who will faithfully and as free from distortion as possible *translate* the creator's work from its form on the printed page into its most effective and evocative concrete physical form onstage so that the work becomes apprehensible to an audience in a theater as its *creator* envisioned it, which vision is embodied fully in the score itself (music and text). When a director steps beyond the bounds of faithful translator he steps into territory in which he has no proper place nor any business being, and by so doing does a gross disservice to the opera, the opera's creator, and the audience alike. In short, a director is doing what he ought to be doing only when he and his work are perfectly transparent middlemen -- that is, transparent vis-a-vis the sense and spirit of the creator's original _Konzept_.
Does this mean or even imply that the opera director ought to be a slavish, unimaginative lackey? Not by a long shot. Perhaps the most effective and evocative staging ever of Wagner's impossible to stage _Ring_, for most pertinent example, was done in the early 1950s by Wieland Wagner, and that staging was the very antithesis of slavish and unimaginative.
To put the matter in the proverbial nutshell, all will be well if the opera director adheres rigorously and assiduously to what I've rather immodestly labeled The A.C. Douglas Opera Director's Prime Directive: Thou mayest do any bloody thing thou wilt in order to realize a dramatically and aesthetically evocative translation of the score (music and text) into its concrete physical realization on the stage so long as what thou doest is consonant with the sense and spirit of the score at every point, and contradicts or diverges from it at none.
Posted by A.C. Douglas on 29 June 2008 | Permalink


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Japan Furano
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Located on Japan's north island, Hokkaido, Furano is beautifully placed in a farming valley considered to be a rural idyll by the Japanese. The resort is a little further off the beaten track than Niseko and Rusutsu and ideal for those looking to get beneath the skin of Hokkaido skiing.
Although not very well known outside of Japan, it is one of the country's most famous resorts and regularly hosts world class events like the FIS Downhill World Cup. The resort offers an annual average of 8m of lovely dry powder and can remain untracked for days after a big snowfall.
The ski area is just a few minutes shuttle ride from Furano City which offers a genuine Japanese feel and is full of friendly locals keen to show off the best of their culture.
The ski area is divided up into two zones, both covered on the same lift pass – the Kitanomine Zone and the Furano Zone – and you can ski between the two. Both areas have plenty of beginner and intermediate terrain and Furano is one of the few ski resorts in Japan that has a ski school that caters for English speaking children. For intermediates there are some lovely long cruisers with stunning views of the Furano valley. The groomed runs are kept in excellent condition and, with 40% of the mountain rated as intermediate, it is a real dream. Advanced skiers or snowboarders need to head to the top half of the mountain where there is a range of groomed and un-groomed steeps to keep you entertained.
Off-piste skiing is not really encouraged here although this has relaxed slightly in recent years. There are however guided back-country ski guides so there are still plenty of opportunities to enjoy that incredible powder.
Night skiing is available in both areas and you can pretty much ski right down the entrance of the bars when you are done – not a bad way to spend an evening.
Once you are done skiing there is a huge amount to do in Furano. Family Snowland is a winter activity park offering snowmobiling, snowshoeing, sledding and a host of other snow based fun. If all that action is getting a bit much for you then many of the hotels have relaxing onsen or hot springs and there are also a number of trips to nearby sites. Furano City is well worth a visit and there are often traditional cultural events taking place. There is a big range of places to eat and drink in both the ski area and Furano City, including a number of snow dome ice bars which are perfect for an après ski cocktail.
There is a range of accommodation in both the Furano and Kitanomine ski areas and in Furano City. However the main property in resort is the New Prince Hotel which is a resort style property with great facilities on site and is ski in ski out.
There are a number of smaller local resorts that can be reached for day trips organised locally – worth considering if you are looking for some serious back-country skiing. Alternatively why not combine Furano with our other Hokkaido ski resorts, Niseko and Rusutsu, on the Hokkaido Safari. This is a fantastic opportunity to experience the best that this island has to offer and we can build itineraries to suit your particular requirements.
Hokkaido Safari
Combine Furano with Rusutsu and Niseko plus Japan's iconic cities in the Hokkaido Safari.
Summer holidays from the same team
Cycling holidays in Europe
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text:
I heard it helps your teeth, so make sure to use it as a mouthwash.
Gargling helps too.
I heard it helps your teeth, so make sure to use it as a mouthwash.
Gargling helps too.
Is it necessary?
it is necessary that machida drinks his own urine?
its because its sterile, and he likes the taste
Actually Urine helps.
If you drink it, it can help you to recover from a fever.
Not only brazilians can do this stuff
"Pee Pee Pee Taster???"
i didnt say that helped him be the champ. but he being doing it since was a kid, his dad thought him that, him grandpa did the same for his dad.. hell its his pee he is drinking. who cares? if he thinks it helps him than again WHY NOT?
Note to Willpunisher: You have lost signature privileges until November 1, 2010. You may remove this message, but may not add anything to your signature until November 1.
Note to Asshole Mods: Stop being assholes and teasing me. If you going to ban me because you guys are fucking dicks than just do it already. Fucking bitches.
2 champs 1 cup!
Drink urine and u will be the champ
There are currently 1 users browsing this thread. (0 members and 1 guests)


text:
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Follow the link above to lean more about our Services and Products.
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text:
(b) If the personal representative delivers to the clerk an appraisement of the assets of the estate showing their value to be one hundred thousand dollars or less, exclusive of real estate specifically devised and nonprobate assets, or if it appears to the clerk that there is only one beneficiary of the probate estate and that the beneficiary is competent at law, the clerk shall record the appraisement. If an unpaid creditor files a claim against the estate, the personal representative has twenty days after the date of the filing of a claim against the estate of the decedent to approve or reject the claim before the estate is referred to a fiduciary commissioner. If the personal representative approves all claims as filed, then no reference may be made.
The personal representative shall, within a reasonable time after the date of recordation of the appraisement: (i) File a waiver of final settlement in accordance with the provisions of section twenty-nine of this article; or (ii) make a report to the clerk of his or her receipts, disbursements and distribution and submit an affidavit stating that all claims against the estate for expenses of administration, taxes and debts of the decedent have been paid in full. Upon receipt of the waiver of final settlement or report, the clerk shall record the waiver or report and mail copies to each beneficiary and creditor by first-class mail, postage prepaid. The clerk shall retain the report for ten days to allow any beneficiary or creditor to appear before the county commission to request reference to a fiduciary commissioner. The clerk shall collect a fee of ten dollars for recording and mailing the waiver of final settlement or report.
If no request or objection is made to the clerk or to the county commission, the county commission may confirm the report of the personal representative, the personal representative and his or her surety shall be discharged; but if an objection or request is made, the county commission may confirm and record the accounting or may refer the estate to its fiduciary commissioners: Provided, That the personal representative has twenty days after the date of the filing of a claim against the estate of the decedent to approve or reject the claim before the estate is referred to a fiduciary commissioner and if all claims are approved as filed, then no reference may be made.
(c) For purposes of this section, the term beneficiary means a person designated in a will to receive real or personal property.
Note: WV Code updated with legislation passed through the 2014 1st Special Session
The WV Code Online is an unofficial copy of the annotated WV Code, provided as a convenience. It has NOT been edited for publication, and is not in any way official or authoritative.


text:
content violation
You can write your comment.
This website has a content focused on unknown topics. We detected general outline is
Most visitors access this website by search engines and they usually type orientacion andujar|
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text:
About the authorDavid W. Martin has more than 20 years of experience in the industry as a programmer, systems and business analyst, author, and consultant. David has written for CNET's iPhoneatlas.com, MacLife.com, CultofMac.com, BYTE.com and recently for aNewDoman.net. He comes to Cult of Mac's website with deep knowledge and passion for the all things Apple. Follow David on Twitter @david_w_martin or see what he's up to now at davidwmartin.com.
(sorry, you need Javascript to see this e-mail address) | Read more posts by David W. Martin.
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Working professionals in extension, adult and community education as well as those in school-based career and technical education must be life-long learners. The Master of Science program in Agricultural Systems Technology emphasizes a wide range of teaching and learning skills. Focus is placed on skill development, program planning, and evaluation techniques. It also requires proficiency in research methodology and statistical applications.
The Master of Science program in Agricultural Systems Technology offers specializations in Agricultural Extension Education, in Family and Consumer Sciences Education and Extension (FCSEE) and in Secondary and Post-Secondary Agricultural Education.
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Advising, Graduate Faculty, and Supervisory Committee Form
Program Courses and Program of Study Form


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Direct access to content
You are here : Spectra Precision > Applications > Surveying
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Updated: November 10, 2012


text:
Chris Brown Tests Positive For Marijuana… But He Has an Excuse
The jury is still out, so to speak, on whether Fortune singer Chris Brown's real-life fortune is good or bad. The embattled hip-hop star has landed himself in the middle of legal controversy.
According to EW.com, Chris entered a courtroom (with his mother in tow) for the first time in a year on Monday, September 24. A judge had ordered a probation review following a positive drug test, a "cryptic" public service log, and reports of unsanctioned travel.
Chris, 23, is in the middle of a five-year supervised probation after he pled guilty to felony assault in the wake of his physical altercation with then-girlfriend Rihanna in 2009.
For her part, Rihanna tweeted well-wishes to her ex, saying, "@chrisbrown I'm praying for you and wishing you the best today!"
The drug test, the result of a recent random screening, tested positive for marijuana. But Chris presented a prescription for medicinal marijuana (huh?), so that result may not have any bearing on his probation.
But the judge told Chris that, while he might not be liable legally, he still has to keep his image and status as a role model in mind. "You are not an average person who can sit in their living room and do what you want to do," Superior Court Judge Patricia Schnegg said. "You are not only in the public eye, but you are on probation."
As for the public service, a Richmond, VA, police chief sent the court a log of Chris's work showing 1,402 hours spent doing tasks like car-washing, picking up trash, and tending to stables. Chris contended that he didn't have to sign in for the community service, and his lawyer welcomed any investigation into Chris's work.
The judge said she'd be reviewing reports from Richmond of unapproved travel to Paris. Chris is ordered back in court on November 1.
For the record, both Schnegg and Chris's probation officials had "praised" his compliance up until now.
Still no word, however, on if questionable neck tattoos are a criminal offense.
Source: EW.com
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text:
I'll be the one to disagree.
It's my choice to put the jobq on hold, for whatever reason.
Why should AJS make it's own decision (by design) not to submit,
when the scheduler is running and the time arrives? It has no
application knowledge to know if that is a good idea or not.
This mailing list archive is Copyright 1997-2015 by MIDRANGE dot COM and David Gibbs as a compilation work. Use of the archive is restricted to research of a business or technical nature. Any other uses are prohibited. Full details are available here. If you have questions about this, please contact


text:
Huruma-based Orlando Pirates clinched the Kura Cup after defeating Alabama FC with a solitary goal in a thrilling final watched by a mammoth crowd at Mathare four grounds in Nairobi.
James Obwam netted the winning goal in the seven-a-side tournament in the 56th minute after tapping home Edwin Mugo's corner.
The tournament, which attracted 16 teams, was sponsored by Extreme Sports chief executive officer, Mohamed Hussein in conjunction with area councilor Wilson Ocholla and football administration Jared Onyango.
The tournament theme was to create awareness for locals within the area to register as voters ahead of tomorrow's registration deadline and before next year's general elections.
While launching the one-day tournament, Mohammed appealed to Kenyans to register in large numbers and ensure they elect credible leaders who will bring change and initiate development in their areas. The tournament was played in four different wards of Kariobangi, Lucky Summer, Babadogo and Mathare 4A.


text:
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text:
Enrique Wilson
Biographical Information
In his eight-season career, Wilson has played with the Cleveland Indians (1997-2000), Pittsburgh Pirates (2000-2001), New York Yankees (2001-2004), and with the Chicago Cubs (2005).
Versatile, but not valuable anywhere he plays, Wilson has had a rather uneventful career, mostly as a backup at second base, third and shortstop, playing hitters well, and has a strong arm. Wilson has some pop in his bat, and he will run occasionally, but he is smart enough not to try to steal very often.
Wilson is a career .244 hitter with 22 home runs and 141 RBI in 555 games. He was signed by the Baltimore Orioles to a minor-league contract before the 2005 season.
Wison has suprisingly very good numbers off of ace pitcher Pedro Martinez, one of the best pitchers in the game
The Ox is a Yin,
and is the Second sign of the Chinese horoscope.
IntegrityStrength of PurposeStabilityInnovationDiligenceEloquence
Birthday: July 27, 1973
A time for soul searching and meditation; a need for patience and solitude.
Birthday: July 27, 2010
A new chapter is starting; problems are solved through changes in circumstances.


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Marketing Information
Index cards are made from top quality commercial stock and ruled on one side for neater notes. Cards are rotary cut for uniform height. Design offers an 8 point thickness and 90 lb. basis weight.
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text:
On the Spot Walking Dead
Watch the Walking Dead demo on this week's On the Spot.
by Janmeja Heir on
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On the Spot is GameSpot\'s Live 1-hour variety show. Chris Watters and Tom McShea bring you the latest video game demos, news and GameSpot original content every Thursday, 11-12pm PST.
Schedule: weekly
For those of you complaining about the graphics, you are missing the entire point. It is based off a comic book, and the visuals in the game are meant to be comic bookish.
They're comic book graphics
meh, i love the tv series but i rather play left4dead these graphics are wack and from what i can see the mechanics are wack too.
This game is stationed right in Atlanta where I am currently and I have never played a game where I am in the locality of the game so I gotta get this.
looking forward to this
Beats Resident Evil!!!!
This looks great! Can't wait.
looks pretty awful to me...
The Gameplay reminds me Fahrenheit/Indigo Prophecy...
I love how their idea of creating excitement is having the character drop the keys, drop the bullet, or trip over themselves. Absolutely thrilling.
Yeah, I could get into this. Also love the Blue Suns shirt. Extremely nerdy, but cool.
Excellent. Bring it on.


text:
The following is an archive of a post made to our
'vox mailing list'
by one of its subscribers.
Hey Bill,
If you haven't found a home for it already, I'll take it for spares
to keep my brother's T20 still running (my former laptop).
On 6/18/07, Bill Kendrick <email@example.com> wrote:
> Melissa recently replaced her aging (and frankenstiened) IBM Thinkpad T20,
> and I'd like to offer it to a good home. (Feel free to throw some cash
> our way, if you like, too!)
> The LCD works (recently replaced). The [X] key is a bit hard to use.
> The hard drive was making a little bit of noise last time Melissa tried it.
> I think the on-board ethernet jack may be hosed. I think the PCMCIA slots
> may be hosed. The DVD drive works. If you can convince it to get on
> a network (USB ethernet or wireless?) it may be useful for a small server
> or something.
> I'll bring it to LUGOD tonight, and you can pick it up there.
> Otherwise, you gotta come get it from me in Davis! (Sorry, Michael! :^) )
> PS - reply off-list please! First come, first served!
> --
> -bill!
> firstname.lastname@example.com
> http://www.newbreedsoftware.com/
> _______________________________________________
> vox mailing list
> email@example.com
> http://lists.lugod.org/mailman/listinfo/vox
vox mailing list
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text:
FOR IMMEDIATE RELEASE | April 9, 2007
Alzheimer's Foundation of America to Host Educational Conference and Display Dementia-Related Quilt in Cincinnati
NEW YORK, NY—Looking back, June Ellifritt of Chillicothe, OH is convinced there was a reason she had surgery seven years ago to replace both shoulders and both knees.
"The Lord knew I had a job down the road," said the 74-year-old Ellifritt.
The job: her husband, Ira, was diagnosed with Alzheimer's disease one year later, and Ellifritt has been his full-time caregiver ever since. Her new body parts have come in handy to help lift her husband out of chairs and break his falls as his physical condition and mental health have been declining.
Ellifritt and others agree that caregiving requires emotional and physical strength—and a lot of education.
On May 5, family caregivers and healthcare professionals will have the opportunity to learn more about Alzheimer's disease and related dementias at an all-day conference at The Westin Cincinnati sponsored by the Alzheimer's Foundation of America (AFA).
The conference, called Concepts in Care, offers free respite care for individuals with dementia to ease attendance by family caregivers, and provides continuing education units for nurses, social workers, and activity and recreation therapists. More details are available at www.alzfdn.org or by calling 866-AFA-8484.
Pierre Tariot, M.D., associate director of the Banner Alzheimer's Institute in Phoenix, will provide an update on the diagnosis and treatment of Alzheimer's disease. Other speakers will address sexual aggression, elder abuse, intergenerational issues and creative arts therapies, as well as practical, hands-on tips for bathing and other activities of daily living, and using laughter and other positive communication techniques.
Conference attendees will also be able to preview 18 panels from the AFA Quilt to Remember, the nation's first, grand-scale dementia-related quilt. Consisting of large panels crafted by individuals and organizations across America, the AFA Quilt to Remember pays tribute to those who had or have Alzheimer's disease or a related dementia, their caregivers or healthcare professionals.
Among those on display will be a pastel-colored, checkered quilt made by Anna Thomas of Clarington, OH in memory of her mother, Virginia Nice.
"It is such a loving tribute to honor a woman who was taken in such a horrible way," Thomas said.
AFA is displaying portions of the quilt at selected events such as the Concepts in Care conference, in addition to much larger exhibits during a national tour. This spring, major displays will take place in Chicago on May 11 to 13 and in Dallas on May 26 to 28. For more information about the AFA Quilt to Remember, visit www.alzquilt.org .
"Education and awareness-raising are critical in dealing with the escalating incidence of Alzheimer's disease. Caregivers who are in the throes of it right now need the proper tools to cope with day-to-day challenges. At the same time, it's important to let others see the real lives affected by this heartbreaking disease through a powerful project such as the AFA Quilt to Remember," said Eric J. Hall, AFA's chief executive officer.
Currently, more than five million Americans have Alzheimer's disease, including one in ten aged 65 and older and nearly one in two aged 85 and older, and the incidence will triple by mid-century.
In Ohio, an estimated 200,000 residents have Alzheimer's disease, and this number is expected to increase by 25 percent to 250,000 by 2025. With an estimated one to four caregivers for each individual with the disease, up to an additional one million Ohioans are affected by this disease.
The Alzheimer's Foundation of America is a national nonprofit organization headquartered in New York and made up of hundreds of member organizations that provide hands-on programs to meet the educational, emotional, practical and social needs of families affected by Alzheimer's disease and related illnesses. AFA's services include a toll-free helpline, counseling, educational materials, a free caregiver magazine, and professional training. For information, call (Toll-Free Helpline) 866-AFA-8484 or visit www.alzfdn.org .
Note: Photos of the AFA Quilt to Remember are available upon request.
Contact: Carol Steinberg
Phone: 866-AFA-8484
Home | AFA Network | About | Contact | Privacy Statement
©2014 Alzheimer's Foundation of America. All rights reserved. Page Last Updated: June 5, 2014


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Mob Archive of Current and Historical Mafia, Organized Crime & Gangster News. Primary focus on Chicago, but will include some national, especially New York, as well as global reports, along with the evolution of organized crime throughout society today. Topics will also include impact on pop culture through book reviews, movies, games and general interest.
Sunday, October 11, 2009
The Story of Old Chicago Gangster Ma Barker
Kate "Ma" Barker (October 8, 1873 January 16, 1935) was an American criminal from the "public enemy era", when the exploits of gangs of criminals in the Midwest gripped the American people and press. Her notoriety has since subsided, trailing behind Bonnie and Clyde and John Dillinger.
Related Stories John Dillinger, Ma Barker
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ekey multi integra
ekey multi finger scanner integra 2.0
Due to its slim and compact design, the integra 2.0 finger scanner is the ideal solution for integration into front doors, entrance panels and mailboxes. The stylish and sleek device is available in stainless steel, white or gold color. Via mounting clamps on the external side of the housing, the finger scanner can be fitted into cavity walls, and to simplify installation into solid walls, a dedicated mounting kit is available.
The finger scanner is equipped with a line sensor, so instead of placing a finger on the surface, the finger has to be swiped over the sensor. This way, no fingerprints are left, which could else be used for misuse. In addition, the finger scanner is equipped with intelligent software: On each operation, the system continues learning. Changes in the user's habit will be recorded automatically.
There is a RJ-plug on the reverse side of the finger scanner, through which the device is connected to the ekey multi control panel. Using the pre-configured cables, it is virtually impossible to wire the system incorrectly. The communication between both components is encrypted.
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With its compact dimensions, the DRM control panel is ideally suited for the installation on a DIN rail into an electrical cabinet (distribution board) or onto a wall. The ekey multi 4 CP DRM is equipped with 4 dry relay outputs and 4 digital inputs. To wire the control panel with the finger scanner, it contains screw terminals.
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"My father is strong than yours," from MARCH's Father's Day campaign to raise awareness of child abuse. (THE DAILY STAR/MARCH Facebook page)
BEIRUT: The NGO MARCH launched an online campaign against domestic violence on Father's Day, to send "a stark message to those who are leaving a different kind of mark on their children."
"MARCH is not celebrating all those great Lebanese fathers out there," the campaign says, instead, they are sending a message to the more difficult ones.
The organization's online platforms released a picture of a bruised and abused child, stamped with a caption saying "my father is stronger than your father."
MARCH'S co-founder Jad Ghorayeb told The Daily Star that "the campaign seeks to support local organizations who are working on the ground to confront this issue."
Ghorayeb said the new campaign was one of a series of photos raising awareness on the dangers of domestic violence released earlier this year.
"We started out with the issue of domestic violence against women, and now with Father's Day we found that child abuse would be appropriate," Ghorayeb said.
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He won the first one the way players like to take majors, leading from the start at the Masters on a romp to the green...
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Great job, Governor Kasich! You've really improved Ohio's economy with your sound policies.
Great job, Governor Kasich!
Good job, Governor Kasich!
I wear two hats. As a state worker I'm greedy enough to want more. MORE seems to be our mantra. No one makes enough. More paid time off, more money, cheaper benefits than private workers have.
But as a taxpayer I want to see the savings states like Wisconsin and Florida are reaping by voting YES on Issue 2. Paying the more qualified teachers more than those that have just been living longer makes sense to me. And why shouldn't teachers pay a little (more than nothing) towards their health benefits and retirement plans?
I'm willing to sacrifice a little for the good of the community. I'm just another of the wealthy we're always trying to take wealth away from.
As a state worker, I receive 5 100% paid sick days a year, 10 holidays, (a couple vary from private industry), 3 weeks vacation after 5 years, and work more than 8 hours/day. Paying public workers fairly, what issue 2 proposes to do, is not publicly funded welfare.
A YES vote for Issue 2 is a yes vote for SB5, not issue 5. A yes vote is a vote for Ohio's future wellbeing, and allows a chance for our children to find employment w/o leaving the state.
I wear two hats: state worker and Ohio taxpayer. As the latter, I pay toward my health care and my pension. Union dues that only seem to go to a certain political party are also a big hit to our paychecks. As a taxpayer I question why I also have to pay for all my kids teachers' benefits as well. Why are civil servants allowed to essentially select the management they bargain with? Wisconsin and Florida are already reaping benefits from their SB5s. Why can't I as an Ohio taxpayer also reap them? I want to put our state's welfare on par if not ahead of my own. I'm voting YES on issue 2.
There seems to be two types of "flash mobs". The well organized (unions, DNC, gay terrorists) political mobs in California, New York, Wisconsin and Columbus for example, and the street punks who decide that they can hide in numbers.
Everyone's an angry victim today. The economy is not the main factor. Prison populations drop in bad economies.
It's the lack of morals and respect for life.
How's that Darwinism working for you now. Afterall we're just basically apes so why not act that way.
The bishop is spot on both comments. Komen supports Planned Parwenthood big time even though all the research shows that abortions increase the risk of breast cancer. And they (national level) support embryonic stem cell research, the type that can actually cause the new cells to form like cancer.
And addressing the dumb comment that the bishop is against premarital sex even thouigh 95% do it, we don't vote for what's moral. God decided and He told us. Abortion is the only murder allowed by a vote, but it's still immoral, and wrong .
The Stanley Block building will make the perfect backdrop for the ladies of the night to work in front of. And maybe it can be converted into a pay-by-the-hour flop house.
IF $391,000 is a 1% stipend, then the base salaries total $39,100,000 for 414 people. That averages to over $94K a year for each person. Not too hard to live on, even with only 1% increases, i.e. $940/Yr.
Thank you Gov. Kasich for keeping A.G. and Diebold (and all of their thousands of employees) here in NE Ohio.
At least now we have a governor who's looking out for the tax payers and the little guys, not just the wealthy unions and their lobbists. SOmeone who is wiiling to put his neck on the line for us.
High five for SB5!
We finally have a guy in the statehouse that cares about all Ohioans, not just union members.
Ohio you did well choosing Mr. Kasich for our governor!
Four more years!
I am currently a state worker who sides WITH S5. I lost more money with the cost savings days and lost personal days, but never heard a negative word from the PD or state retirees.
This union gives my money to the democratic party regardless of how I feel. I'm in favor of smaller, less expensive government and now have the opportunity to put my money where my mouth is.
We need a similar federal bill to rejgn in some of those costs too.
NO state workers are leaving early unless they're using their vacation time.
More women die from legal abortions in this country than from illegal abortions. Planned Parenthood is just a front for pediphiles who would be arrested if their impregnated underaged partners were found to be pregnant.
Bring something full of maggots and/or worms for the raven to enjoy.
I pray that his presidency is as alive as all those babies he advocates to be killed. I pray that tonight's defeat for him and his ideology (and make no mistake: HE was the one defeated) kills healthcare reform, cap and trade and every other looney socialist idea he comes up with.
Mr. Spike,
I realize that this is probably the worst administration in history, but you should show more respect for the office of the president and not refer to him as a clown.


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CSS: Page Layouts introduces basic layout concepts, gives advice on how to create properly structured HTML based on prototypes and mockups, and goes into critical page layout skills such as floats and positioning. Author James Williamson shows how to combine these techniques to create fixed, fluid, and responsive layouts. Designers are also shown how to enhance their pages through the creative use of CSS techniques like multi-column text, opacity, and the background property. Exercise files are included with this course.
Rounding corners used to be something that every designer had a specific technique to achieve. Pure CSS rounded corners weren't possible in the past, so people created images, used transparent GIFs, nested div tags. There were a ton of different methods that people would use. Now with the adoption of the recent border-radius property and its widespread support within browsers, it's as simple now as declaring a single property. So we are going to talk about the border-radius property. It can accept either length or a percentage value, so you can say I want it to round by 25 pixels, or I want to round it by 10%.
Now if you use a single value, all corners are rounded equally. For more than a single value, when you use the border-radius shorthand, it gets a little convoluted. So what we are going to do is we are going to go through all of the options for the syntax--and there are a quite a few of them--and then we are going to talk about ways that you can sort of creatively use border-radius to create some custom shapes. So I am going to go into our HTML page that we are going to be using for this one, is border-radius.htm, which is found in 08_03 directory. There is, if I scroll down into the code, just one section down here, with a paragraph in it that says, "round my corners, please." So that is what we are going to do.
So I just want to go up to the section selector right there, and just below all the rest of them, I am going to go ahead and declare a border-radius. And why don't we do 25 pixels? We just start off with that. So if I save this, go back into my browser and refresh the page, I can see that I have rounded corners on all four sides of about 25 pixels. So when you use a single value for border-radius, it goes ahead and applies it all equally to each of the corners. Now if I use more than one value--I don't use commas to separate them.
I just use the whitespace. I'll come in and say, 10 pixels here for the second value. Now I will save this and I'll preview this again in the browser and you can tell the difference right off the bat. So what's happening here is border- radius is applied in a clockwise fashion, but it starts in the top left-hand corner. So the first value is top-left. And when you use two values, essentially the opposite corner is applied as well. So you can see top-left and bottom-right both have 25 pixels. top-right, which is the next value, and its opposite corner, bottom-left, get the 10 pixels.
So, it goes 25, 10, 25, 10 based on syntax. Now what if you used three values? So after the 10 pixels, I am going to go ahead and do 5 pixels. I am going to save that, preview it in my browser, and you can see what happens is that the first value, top- left, gets 25 pixels; the middle value is used for both the top-right and the bottom-left; and then the third value is used for bottom-right. So it's still going in sort of that clockwise fashion; just the middle value is being used for two corners instead of one. And then, if you use all four, so let's say I go zero on the last one, save that, it's just going to go ahead in a clockwise fashion.
So you can see it starts at the top- left now with 25, then it goes to 10, then it goes to 5, and then finally on the bottom-left-hand corner, it goes to zero. So I love having that ability to independently control corners, because you can do some really interesting things when you're styling your container elements with that property. Now if you only want one corner, you don't need to use that shorthand notation. So let's go back into our code. I am going to get rid of all of the values except for 25 pixels, and then for our border-radius, I am going to change that property. I am going to change it to border- top-left-radius, so border-top-left.
As you can imagine, you could also do top-right. You could do bottom-left, bottom-right. And if I save this and I preview it, you can see that now it just isolates that corner radius to the one corner. Now even in this particular syntax where we are addressing a single corner, you still have options. For example, if I pass two values into this, let's say I do 25 and I do 15 pixels, and if I save this, and preview it, what's happening is the top-left-hand corner is getting 25, the bottom is getting 15.
So what it's allowing you to do is actually do unbalanced rounded corners. And if you've ever worked with a vector- based drawing program like Illustrator, for example, and you've used Bezier handles where you have a point and you have the handles coming off the point, this is essentially the same as being able to control each of those handles individually, which is a really, really powerful feature. Now you can use the shorthand syntax to have unbalanced corners as well. If I go back to just doing border- radius, so not top-left, but just border-radius, if I were to pass this syntax in, we know that this is going to affect all four corners, and it's going to apply the first value of course to the top-left, bottom-right, and then the second value 15 pixels is going to go to top-right and bottom-left.
But if I change the syntax and I put a forward slash between the two of them, now if I save this and I test it, you can see I am getting unbalanced corners now all the way around. And the 25 is being used for the tops on the tops, and it's being used for the bottoms on the bottom, so it kind of flips if you are going to be doing it that way. You can go ahead and write that syntax out as long as you wanted to. Now once you understand how this works, you can do some really interesting things, because you can use different values.
For example, let me show you. Let's say, for example, I did 120 pixels and then followed that up with 10 pixels. Now you can also do negative. So if you want to create curves to sort of curve back on themselves, you can certainly do that. I have seen people draw hearts and things like that using this technique. So let's say I do 120 for top-left and 120 for bottom-right using this syntax, and then I am doing 10 pixels for top-right, bottom-left. But then I come over here and I just go backwards. I do 10 pixels for the opposite side of the same corner, and then I do 120 pixels for the opposite side of the other corner.
So, if you can envision this in your head again, the top-left-hand corner would be 120 pixels rounded on top, and then it would be 10 pixels on the bottom. And the other corners are going to be opposite of that. So if I save this and I go back into the browser and refresh it, you can see that what it gives us is kind of a custom shape. It looks almost like a piece of paper with the corners bending based on the flow of the paper. So the more you experiment with these different values, the crazier shapes you get to control and create. And it just takes a little bit of work to get used to handling all the different radiuses, especially if you are going to pass in sort of unbalanced values.
But once you experiment with it just a little bit, you will get comfortable with it very, very quickly. So I encourage you to go out and experiment with border-radius. Rather than simply rounding your corners on your elements, which is valuable in its own right, experiment with some of the settings, get comfortable with them, and then begin creating your own custom shapes.
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Government of Canada helps establish a new initiative for seniors' Cantonese Opera Troupe in Vancouver
VANCOUVER, June 14, 2014 /CNW/ - Seniors in Vancouver will soon have new opportunities to get involved in their community, the Honourable Alice Wong, Minister of State (Seniors), announced today. The Vancouver Seniors' Singing Club Association is receiving over $23,000 through the New Horizons for Seniors Program (NHSP) for its Cantonese Opera Troupe for Seniors. An estimated 800 Canadians in the area will benefit from the project.
Local seniors will be recruited and trained by the Vancouver Seniors' Singing Club Association to manage and perform in the Cantonese Opera Troupe for Seniors. The project will encourage seniors to forge new connections in their community and take on roles as volunteers, mentors, performers, musicians, technicians and planners.
On May 13, 2014, Minister Wong launched the NHSP 2014-2015 Call for Proposals for Community-Based Projects. Organizations have until July 4, 2014, to apply for up to $25,000 in grant funding for projects led or inspired by seniors making a difference in their communities. Visit www.esdc.gc.ca/seniors for more information.
Quick Facts
- Cantonese opera, which has its roots in the 13th century, is a unique blend of singing, music, acrobatics, martial arts and acting. Vancouver is home to one of the world's largest and most active Cantonese opera communities outside of Asia.
- The Government of Canada is providing more than $33.4 million in funding for over 1,770 community-based projects approved through the NHSP 2013-2014 call for proposals. NHSP-funded projects help ensure that seniors maintain a good quality of life and are able to be active, participating members of their communities.
- Economic Action Plan 2014 proposes an additional $5 million per year for the NHSP to support projects that benefit seniors. This is in addition to the $45 million the Government already provides to this program annually.
"Our government is proud to work with the Vancouver Seniors' Singing
Club Association to support a new cultural initiative for the senior's
Cantonese Opera Troupe. This intergenerational project helps to ensure
seniors remain active and productive members of their community through
the arts by performing with this city's youth.."
- The Honourable Alice Wong, Minister of State (Seniors)
"Our organization's Cantonese Opera Troupe for Seniors project is
supported by New Horizons for Seniors Program funding. The troupe is
inspired and led by seniors and encourages their pursuit of artistic
and cultural achievements. The program also gives seniors an
opportunity to share their operatic knowledge with others, or receive
training so they can learn to sing and play Cantonese opera on the
stage to entertain large groups of seniors. The troupe is the very
first one established in Vancouver for seniors to pursue this
traditional Chinese art form."
- Eric Szeto, President of the Vancouver Seniors' Singing Club Association
Associated Links
The New Horizons for Seniors Program (NHSP) is a federal grants and contributions program that supports projects led or inspired by seniors who make a difference in the lives of others and in their communities. Through the NHSP, the Government of Canada encourages seniors to share their knowledge, skills and experiences to the benefit of others.
NHSP funding is targeted to community-based projects, pan-Canadian projects and pilot projects that focus on issues such as social isolation and intergenerational learning.
Community-based project funding supports activities that engage seniors and address one or more of the program's five objectives: volunteering, mentoring, expanding awareness of elder abuse, social participation and capital assistance. These projects are eligible to receive up to $25,000 per year per organization in grant funding.
Pan-Canadian projects provide support to help seniors protect themselves from elder abuse, including financial abuse and fraud. These projects help community members recognize elder abuse in all its forms and improve the quality of life, safety and security of seniors. Projects focus on developing tools, resources and promising practices that can be adapted and shared across communities, regions or Canada. These projects may be eligible to receive up to $250,000 per year for a maximum of three years.
Pilot project funding provides support to help address seniors' isolation by establishing better social support networks and resources and initiating community interventions. It also supports intergenerational learning projects that help seniors develop new interests and share their knowledge and experience with others. These pilot projects are eligible to receive up to $100,000 in federal funding over a maximum of 24 months, which will be matched with funding from other sources.
For more information on the NHSP, visit esdc.gc.ca/seniors.
SOURCE Employment and Social Development CanadaFor further information:
Earl Maynard
Office of the Minister of State (Seniors)
Media Relations Office
Employment and Social Development Canada
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By MATTHEW STEVENS
email@example.com [1]
Mississippi State normally doesn't usually see McDonald's All-American selections until the calendar flips during league play.
At the very least if they were preparing for one of the nation's top talents, the name on the front of the jersey would normally be a historical powerhouse like North Carolina, Duke, UCLA or Georgetown. Not the University of Detroit.
However, that's special situation in store for fans when they make their way to Humphrey Coliseum tonight to see freshman point guard Ray McCallum Jr. takes the floor in Starkville.
This strange circumstance is begging the question: how did one of the nation's best guards get signed by a mid-major school that hasn't been to the NCAA Tournament since 1999? The answer he was recruited by the man whose house he's lived under for past 17 years as McCallum Jr., who is referred to by teammates as Little Ray, turned down scholarship offers to Florida, Arizona and Oklahoma to play for his father at the University of Detroit.
"I want to say a special thanks to my dad for supporting me throughout this process," McCallum said on the day he announced his choice. "At the end of the day, I decided that I will be staying home."
Ray McCallum Sr., who took the Titans from seven to 20 wins in his first two season at the helm, claims he didn't know which school his son would pick until he got a call from him saying he needed to pick up a Detroit jersey from the equipment room for the signing day press conference.
"It is a little strange when Ben Howland is in your living room, recruiting your son to come to UCLA.," McCallum told the New York Times. "It's interesting being on the other side of that. Usually, I'm doing the recruiting. And when it was my turn to recruit Ray, I gave him our best pitch. As much as I hoped Ray would come here, we as parents gave him the freedom to make his own decisions."
McCallum Jr. leads the team in assists at three per game but had only six points in the Titans (1-2) first two contests against NCAA qualifiers from last New Mexico and Syracuse on the road. Those pair of games mark Detroit's only two games against Division 1 competition.
Mississippi State (2-0) has had problems stopping perimeter players in its first two wins over Tennessee State and Appalachian State. Mountaineers point guard Donald Sims exploited that weakness by posting 40 points Friday night against a host of MSU defenders. The point total was a bucket shy of tying the Humphrey Coliseum mark of 42 set by Ole Miss' John Stroud in 1977.
"(McCallum) is a terrific basketball player on a terrific basketball team but after what we guarded (Friday in Sims) – their won't be many guards ever to come into this place any better than that cat was right now," Mississippi State head coach Rick Stansbury said.
On the offensive end, State has still failed to find a third scoring option while Dee Bost and Renardo Sidney sit out due to NCAA violations. The Bulldogs currently have only seniors Ravern Johnson and Kodi Augustus averaging in double figures. "I think if you've watched us play our first two games – we better take everybody seriously," Stansbury said after Friday's win.
After Monday, the Bulldogs return to action the day after Thanksgiving in a 6 p.m. showdown against Troy.
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