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…and this new year stinks so far!
I wonder why? Baby skunk photo by floridapfe.
…and this new year stinks so far!
I wonder why? Baby skunk photo by floridapfe.
Lights, camera, adorable! Let's look back at some of the most commented-upon cute videos of 2010. If we missed one of your favorites, let us know in the comments.
Maru Potter and the Box of Mystery
Butterball attempts to go down stairs (Actually late December 2009, but what the hey)
This is Why You Always Use Dryer Sheets
At Cute Overload headquarters, we track the popularity of photos very closely. Y'all remember last year's Top Ten. We have a refined stat-o-meter attached to every post, that measures everything from minor giggles to guffawing LOLs and reports back. Without further ado, here are the Top Ten Photos of 2010.
Drum roll please:
[Who needs another BOOOORING photo of penguins? Look over here!]
Hey y'all, Cowboy Drumsticks McLongbody here, and I reckon y'all here to see me wrangle some o' them wild horses and dangerous bulls! Well, I'll be right ready to go just as soon as I top off this shot of Jim Bea – zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz
Ladies and gentlemen, this just might be the cutest darn thing on the entire Intertubes: Four impossibly cute, perfectly perched, flying floofballs!
No! Not the close-up! Not the close-up!
The thing that's really annoying about animated movies is how they completely mislead the public. Who's going to believe that animals like kitties & deer are the greatest pals? It's totally unrealistic!
According to this report, "This picture was taken just before Hoverball Cat took off at supersonic speed. It sounded like a whistle and a scream and the ground caught fire."
Oh! He's awake!
#3 Let's Check In on MeMe
MeMe the Kitteh sure is cute.
Let's see how she's doingks. [Cross-eyed head-tilt]
Oh, and this video will make happy tears in your eyeses:
#2 I Wonder If Magellan Had This Problem
Karl couldn't resist a nap while straddling the warm equator between two hemispheres.
Since 2008, two French hikers have chronicled their trek from Miami, FL to the tip of South America, a journey of 15,000km (about 9,320 miles) through 13 countries.
But what elevates this hike down a hemisphere straight into the Cuteosphere is the third member of the team: A stray kitten who joined them in Louisiana.
Thank you to ALL Sender inners. Especially the following folks who made the Top Ten this year. Photo Credits: #10: Mika W.#9: Amy L. #8: Elizabeth B. #7: T.L #6: Sue P. #5: #RSA #4: Boo! #3: Elizabeth V. and Sakurako Shimizu #2: Theresa V. and Miss Hannah. and #1: Keri F. and Turn of the World!
Ey you! Look up here! Ehn!
Cute puppy in my hand alo known as Muzzlepowshe Central™, by Studio Neko.
"You are my peanut, I am your brittle!"
"Where are you, my little object of art? I am here to collect you."
"You know, most men would get discouraged by now fortunately for you, I am not most men!"
"You are the corned beef, and I am the cabbage. The corned beef is nothing without the cabbage."
"The game of love is never called on account of darkness, my little midnight snack."
"Get on the bird"
The journey across the cygnet universe.
alextotoro, has changed the game.
…is worth OMG A BUN IN THE HAND!
ANOTHER fantastic Sleeping Baby Bunny (^0^) by Happy Holiday Flickr Friends!♥ Spice ♥.
And your little dog, too! [paws rubbing together]
OK OK I'm no witch—The hat is just a Petunia.
Mitza in the garden was conjured up by todorrovic.
Is it gonna rain again?
[peers out from behind leaf with help from twenty suction cupped fingies]
This suction-cupped fabulousness, called The Survival of The Weakest was shot by nicointhebus (nicolas monnot).
OMG BFFWCs! Cuh-yute Corgi here, getting her Doggie Blogger gossip points today! Talk about faux paws, that paw-thetic poodle at work actually wore FUggs to the office! Toe-dally cuh-razy. Dial P for phony! We are so done, done and done! Laytah!
We double-dog heart you, Heather!
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Teen Guide To Getting A MA Drivers License, Learners PermitGet info on ID cards, taking driver's ed and drivers training and obtaining a learner's permit or MA driver's license.
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A little organization can go a
long way towards helping you feel ready to handle the unexpected. Having an
emergency plan and an emergency supplies kit for your household can help you
and your family be better prepared for any kind of disaster.
Putting together an
emergency plan is easy:
You may have other things that you want to include,
especially if you have children in school or if anyone in your household has
special needs. Review your plan yearly, and make sure that phone numbers,
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essentials of an emergency kit are the same no matter what the situation:
food and water, first aid supplies and medicines, blankets and clothing,
special-needs items (such as baby formula), and certain tools and household
items, including a battery-powered radio, a flashlight, and extra
Visit the American Red Cross's website at
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More minions? 'Despicable Me 2' says yes — fortunately
After witnessing Gru transform from a super-villain to a super-dad with a Play-Doh heart at the end of 2010's "Despicable Me," there was just no way there wouldn't be a sequel.
And "Despicable Me 2," which opens in theaters Wednesday, is better than the original — but not for its storytelling. The 98-minute movie replaces things like plot details with what the audience is clearly more interested in seeing: minions, adorable daddy-daughter moments (Gru, voiced by Steve Carell, dressing up as a "Gruzinklebell" princess for Agnes' birthday) — and of course, for Gru to find the girls a mommy. »Read Full Article
Kitten, Max Schneider, O.A.R., David Nail, Umphrey's McGee, The Wild Feathers
The U.S. Cellular Connection Stage was nearly packed for the 8 p.m. start time by Los Angeles band Kitten, even if most of the crowd was there for the Neighbourhood's 10 p.m. slot, if band T-shirts were any indicator. »Read Full Article
Outkast and Gary Clark Jr. at Marcus Amphitheater
Technically speaking, Outkast is a nostalgia act.
The Southern hip-hop duo of Andre 3000 and Big Boi, who took the stage together Sunday at a mostly full Marcus Amphitheater for Summerfest, is touring after a seven-year hiatus in celebration of its 20th anniversary, with no new music together to promote. »Read Full Article(4)
Country star David Nail coming to Summerfest
When David Nail released "Whatever She's Got" last year, there was something different about the country star.
After releasing two albums rife with often darker, melancholy themes, Nail was singing brighter, bouncier and happier than ever on the song that would top the country charts and even dip into the pop top 40. »Read Full Article
Bristol Renaissance Faire opens July 5
Bristol Renaissance Faire, the immersive 16th-century entertainment experience, opens for the season Saturday.
This season, organizers promise a pumped-up jousting competition as well as a new da Vinci-inspired story line for RenQuest, the faire's live role-playing game. Children 4 through 10 can enjoy their first-person adventures via the faire's Kid Quest. »Read Full Article
Rotary Music Festival and Independence Day at Old World Wisconsin
All-American fun
There are lots of ways to have fire-crackin' fun while celebrating our nation's independence. Many of us hold family or neighborhood cookouts. But if you want to go a little further afield for fun, here are a few possibilities. »Read Full Article


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Quechee Travel Guide
Articles about Quechee
By Everett Potter
By Shane Mitchell
By Anya von Bremzen
What ever happened to the kitschy plastic jug of maple syrup that for years has represented Vermont on America's kitchen shelf?Perhaps it took a cue from the rows of designer outlets that now line Route 7 around Manchester. Or maybe it's saving up...
Hotels in Quechee
The 142-room hotel on the town's historic green features working fireplaces and private ski trails.
Restaurants in Quechee
Editor's note: Sorry, we've just been told this venue has closed.
Things to do in Quechee
From late October through May, this planned community near the New Hampshire border, which dates to 1969, hosts downhill and cross-country skiing, showshoeing, snowboarding, and horse-drawn sleigh rides.


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It is the spring of 2002 and a perfect storm has hit Boston. Across the city's archdiocese, trusted priests have been accused of the worst possible betrayal of the souls in their care. In Faith, Jennifer Haigh explores the fallout for one devout family, the McGanns.
Estranged for years from her difficult and demanding relatives, Sheila McGann has remained close to her older brother Art, the popular, dynamic pastor of a large suburban parish. When Art finds himself… (more)
Publisher: HarperCollins e-books (May 10, 2011)
Format: EPUB
Page count: 336 pages
File size: 2.3 MB
Protection: DRM
Language: English


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It is time for the health of human beings to prevail. It is time to end the insurance cartel. Please join us as we continue forge the movement that will win Medicare for All. Onward to single payer.
Forty More Days
Obama Ignores Community Organizing Lessons
When Barack Obama backed a Senate health reform plan that differed radically from prior proposals, he ignored the lessons he learned as a young organizer on Chicago's South Side. Obama once knew that it's wrong to bypass the community's agenda to strike a backroom deal, regardless of its superior terms. Obama also understood that failing to consult with the community disempowers the base, and discourages people from participating in future organizing campaigns.
Top 5 Reasons Joe Lieberman Sticks It to Us
Another Great Swindle: Doctors, Hospitals, Pharma as Much to Blame as Insurers
Health Care Reform Is Critically Important, But Getting Americans Back to Work Is More So
If Obama and the Democrats lose one or both houses of Congress in the midterms, it will be because the president learned only the most superficial lesson of the Clinton years. Health-care reform is critically important. But when one out of six Americans is unemployed or underemployed, getting the nation back to work is more so.


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Last edited by GAC; 02-22-2008 at 06:01 PM.
"panic" only comes from having real expectations
And don't get me started on the screwed up school system. My brother has kids in three different schools, and there is no busing. So they are running kids all over the place.
You know the intersection well SF. It's the one at 41 and Bechtle, out by the mall, where Meirs, Monte Zinn, and a katrillion restaurants are located.
In my wife's situation - she is guilty. But I can guarantee that hundreds of people daily do what she did at that particular intersection.... you're waiting in the left turn lane forever trying to get across, the light goes green but doesn't stay green for long, and then right before you enter the intersection the light turns yellow then red, but you know you're going to make it through because there is a delay before the oncoming light turns green and the traffic moves.
I'm not saying it's right - only that everyone knows what I am talking about (and have probably done it).
My brother said another thing they are getting people on, and making a bundle, are those not coming to a complete stop on right turn on red. I'm referring to those that come up to the intersection, you're looking /watching, and your car is probably going 1 mph (slowly creeping). You see nothing coming so you proceed. They are burning them by the hundreds daily.
Also, if you stop, but are too far past the line where your front end breaks the photo eye, the camera takes your pic and sends you a notification. And each time it cost you $100. Think of the money they are probably getting daily on just that one intersection??
I personally think that in some of those situations it's being pretty petty, and it's downright tacky behavior by the city.
But the letter I got today was a second notification where they tack on another $30 and threaten you with civil action. I do not remember ever getting a first notification. And I open all my mail, unless it's a credit card notification.
But when I look at the envelope front, it just says it's from Safelight Photo Enforcement Program. If you're not familiar as to what that is (I don't live in Springfield, but was visiting), then I can see how someone could accidentally throw it in the trash as another solicitation (junk mail). Nowhere does the envelop front mention it's from that respective city's police department and is a traffic violation notification.
When I called the Safelight 1-800 national number to ask about why I never got a first time notification, the person on the other end was rude and not very helpful. All they wanted to know, not answer questions, was "Are you going to pass this now?" When I asked them who I needed to talk to about this they referred me to that city's police department. So I called the Springfield PD, and the Sgt in charge, explained that I never received a first notice, and he waived the $30. So I only had to pay them $100.
I also found out this is not a ticket and doesn't go on your state driving record. They talk tough in the letter they send you - "we could take civil action if this is not paid" - but they aren't. It's not like they are going to put out a warrant for your arrest. It would cost them more to try and get the $100 from you if you're from out of town. Just don't get pulled over though if you pass back through that town.
Last edited by GAC; 02-22-2008 at 06:38 PM.
"panic" only comes from having real expectations
Last edited by LoganBuck; 02-22-2008 at 10:12 PM.
The Sox traded Bullfrog the only player they've got for Shottenhoffen. Four-eyes Shottenhoffen a utility infielder. They've got a whole team of utility infielders.
It's just that one stretch of Meranda that really bugs a lot of people. I don't know which township is in charge of maintaining it, if any; but once you get past there you see plows and salt trucks all over the place. I've watched county trucks come up a short way on Meranda, till that get to that stretch, and then turn off as if it's out of their territory or route. What? That section doesn't need treated/plowed?
I've been driving that way, to and from work, for almost 14 years. And in that time, during inclement weather, I can't tell you the vast number of cars that have ended up in the ditch.
Yesterday was my first time in all those years, so I count myself lucky I guess. If I hadn't been driving really slow to begin with (around 25 MPH), it could have been worse I guess.
And lets not get on the subject of deer. They must have a union hall somewhere nearby.
Last edited by GAC; 02-23-2008 at 05:01 AM.
"panic" only comes from having real expectations
I guess that new Superintendent of city schools is a real trip. My brother calls her the "dingbat". They have had two main high schools there (North High and South High). The south end use to be a very prestigious place to live in Springfield. My Dad graduated from South High back in the 40's. They lived over on Lafayette Ave. Went to school with comedian Jonathan Winters. But the south end of Springfield has been in such decline of the last 30-40 years, taken over by drugs and crime, why should city officials be surprised that families are moving out of there and abandoning it? And of course that is going to drastically hurt South High, and improve North High, when people are vacating one area and moving into the other. They want their kids to get a quality education and to be safe.
So now they've decided to vacate South High (and North High?) and build one huge, monumental high school and force everyone to attend it. And that is not counting all the new middle and grade schools they have recently built.
Yet they can't afford busing?? I personally believe they do stuff like this due to their arrogance, and wanting to get back at their citizenry, who don't bend to their will when it comes time for increased taxation, bond issues, various levies, etc. And it's why they do stuff like this Safelight monitoring program, while saying it's all about safety.
My brother told me that when they closed these other schools they had giant auctions on practically everything in those schools, from desks, various furniture, and even computers that were relatively new. You name it, they were selling it. He said it was like one of those "Everything Under A Dollar" stores. For a city/school system that cries they are hurting for revenue, they were giving this stuff away because they wanted to "start fresh" and buy everything new.
Typical Springfield.... tear it down and build new. Simply poor fiscal management, and always has been.
Last edited by GAC; 02-23-2008 at 05:06 AM.
"panic" only comes from having real expectations
The deer really are bad near us, in my immediate family 4 different people have hit one in the last five years.
The Sox traded Bullfrog the only player they've got for Shottenhoffen. Four-eyes Shottenhoffen a utility infielder. They've got a whole team of utility infielders.
The deer are bad everywhere. I live out in the country between Bellefontaine and Zanefield. I have a woods on the backend of my property. Tree Links Golf course is on the other side of the woods. Early morning or late evening, I have every critter known to man roaming (and grazing) in my yard. I don't mind the rabbits, raccoons, and groundhogs. But the deer tear the crap out of my yard and landscaping.The deer really are bad near us, in my immediate family 4 different people have hit one in the last five years.
"panic" only comes from having real expectations
Let me see if I get this right GAC. You're turning left in a busy intersection with oncoming traffic as they both have a green light. You pull out in the intersection and wait for the oncoming traffic to either break or as in this case it only stops when the light turns to red. Then you continue your left turn. Now you're telling me that this camera will snap a picture of you and you're guilty of running a red light?
That's how they taught us in driving school. If you are in the intersection when the light's green, you're free to continue your left hand turn when traffic allows. I'd fight that one on principle.
The Sox traded Bullfrog the only player they've got for Shottenhoffen. Four-eyes Shottenhoffen a utility infielder. They've got a whole team of utility infielders.
The reasoning for allowing this, as described in driver's ed, is so traffic is actually able to move through each cycle of green lights. There are certain intersections at certain times of the day where the only time people are able to turn left is on yellow/red after taking control of the intersection. Otherwise somebody could sit at a half dozen light cycles waiting to turn while backing up traffic pretty badly (I've seen that happen, and boy does it stink if you're behind someone like that).
Kevin Gregg and Jason Marquis brought back vivid memories of the Lost Decade.
Kevin Gregg: DFA'd May 11, 2015
Jason Marquis: DFA'd June 5, 2015
Get your nunchucks and the keys to your dad's car. I know where we can get a gun
My wife was guilty. In fact, the car ahead of her also ran the red light trying to make the light. So I'm sure they got a notification also.
I'm not sure how that situation would play out with a camera system, if you're sitting in the intersection waiting for oncoming traffic to get by so you can turn, and the light goes red.That's how they taught us in driving school. If you are in the intersection when the light's green, you're free to continue your left hand turn when traffic allows. I'd fight that one on principle.
I'm sure if they can make money on it they will.
"panic" only comes from having real expectations
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Did a B sesh on Fri and A yesterday
Squats- 135x8 225x6 315x6 355x6 x2x2x3 315x6
SLDL- 135x10 185x6 225x6 275x6x2x2x3
Leg Ext- 115x10 150x6 180x6x2x2x2
Pull downs- 150x10 180x6 200x6...
Type: Posts; User: Crapsicle; Keyword(s):
Did a B sesh on Fri and A yesterday
Squats- 135x8 225x6 315x6 355x6 x2x2x3 315x6
SLDL- 135x10 185x6 225x6 275x6x2x2x3
Leg Ext- 115x10 150x6 180x6x2x2x2
Pull downs- 150x10 180x6 200x6...
Hit A yest, Diet has been spot on
bench- 135x8 185x6 225x6 245x6x2x2x2
Side laterals- 15x15 25x8 35x6 40x6x2x2x2
Inc Db bench- 65x8 90x6 90x6 90x5 x2x2x2
r0ws-225x6 225x6 265x6 x2x2x2
B sesh today
squats- 135x10 225x6 315x6 355x6x2x2x3 315x3
BB curls- 45x10 105x6 105x6 105x6 x2x2x2
SLDL- 135x10 225x6 275x6x2x2x2
Calve raises done on leg press- 4ppsx12 4ppsx12 4ppsx12
Haha thanks, weight at the gym was 209
A sesh was a little weak. My allergies are killing me so bad I had to try Zurtec and it made me feel tired as hell.
Bench- 135x10 185x6 225x6 245x6x2x2x2 ...
Ahhhhhhhh just finished kickin my own ass for being inconsistant over spring break. To do so I utilized the B sesh
Squat(went completely ass to grass and I like it)- 135x10 225x6 315x6 355x6...
HEy, Im sorry I havnt posted in a bit. The past week and half has been flat out ridiculous for me. School and work have been kickin my ass all over the place. Last week I did the deload work outs......
B sesh today
Dint feel 100% goin in, but it went fairly well
Squats- 135x10 225x6 315x6 315x6 365x6 (almost got defeated by gravity on the last rep here) x1 315x2 315x3
SLDL- 135x8 225x6 ...
Thanks Daniel, Im pretty happy with the gains my self!
Rocked an A session today, diet was spot on.
10 min eliptical with 150-160 Heartrate
Pull Ups- B/wx8 b/w+45x6 b/w+80x6 b/w+80x5x2x2x2...
The diet has been on point i think. Havnt had the luxury of fitday since i dint have a comp at my disposable, but i ate pretty much exactly what i did the previous days. Got a new laptop now so ill...
yesterdays B
Squats- 135x10 225x6 315x6 365x6x2x2x2
SLDL- 135x6 185x6 225x6 275x6+2+2+2
Seated Calve- 2psx10 150x12x3
BB curls- 95x6 115x6 135x5 x2x2x2
Ab Machine- 130x6 150x6 190x6x2x2x2
O yea Im def still feeling the workouts the next day just not nearly as bad as the first week.
Hahaha thanks Munky, keep squatign and you'll get there in no time.
Feeling good after yesterdays session, not nearly as sore as the few times around
Plan on taking today off, except for the diet...
Heyo havn't been on for a while since i destroyed my laptop the other day.....
Diet has been right on, except for today where since i went out with the fam and ended up having a 20 oz steak with...
Thanks, Ill try to aim closer to 300g of protein
Improvised 1/2 "A" w/o looked like this.... wanted to start with incline hammer press but there was 3 guys using it so....
Machine flyes- 135x10...
Why thank you
Diet yesterday was pretty good Total 3,539 123.4 351.2 259.6
Hams are super sore from the sldl which i like, also my supps(THank you Atlarge for the amzing deal) came so ill be...
yuuppp I always do SLDL on one of those step up boxes, love that extra stretch. Diet is spot on so far....I mean I have only been tracking since yesterday(3,544 108.4 375.0 271.3 (F,C,P)) and today...
Few leg shots before heading out today, since Unholy is too lazy to walk down a flight of stairs and snap a few pics for me
Thats a great idea. I was thinking about doing the same with side laterals, but wasnt sure if that would be considered straying from the program. I also think that seated dbpress will be superior to...
Haha yea I love watching people "air hump". Diet wise I guess we'll just have to see what the 3500 does and adjust from there?
I got my dipbelt for christmas a year ago and I would never be able to train with out it. I too was a victim of tryin to keep heavy db's b/w my legs and focusing on not droppin it rather than the...


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Rugby Union
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The Rugby Championship
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Tom Varndell
Goode times for Tigers
Saturday 19th April 17:01
Leicester Tigers boosted their hopes of retaining the Guinness Premiership title with a 32-14 success against Bristol.
Varndell focuses on Tigers
Sunday 6th January 15:28
Tom Varndell is refusing to think about a possible England call-up despite his hat-trick in Leicester's 42-13 rout over Harlequins.
Varndell tipped for recall
Tuesday 27th November 14:09
Leicester forward Tom Croft has labelled team-mate Tom Varndell "world class" and believes he is ready for an England recall.
Tigers rip Edinburgh apart
Saturday 17th November 17:24
Leicester Tigers revived their Heineken Cup campaign with a clinical 39-0 victory against Edinburgh at Welford Road.
Champions up and running
Sunday 16th September 18:14
Tom Varndell's second-half try helped secure Leicester Tigers a 26-13 win away at Bristol.
Cruise for under-strength Tigers
Saturday 4th November 17:50
Leicester made light of the absence of their England stars as they toppled Worcester.
Howard's Varndell plan
Sunday 1st October 08:23
Leicester coach Pat Howard says Tom Varndell will benefit from his loan move.
Loan move for Tiger Varndell
Thursday 28th September 21:08
Leicester winger Tom Varndell is to join National One side Bedford on a short-term loan.
Tigers cling on at the Stoop
Saturday 23rd September 20:13
Tom Varndell's early try proved decisive as Leicester beat Harlequins 21-15.
Player Head Rugby U tom varndell
Friday 25th August 17:10
Varndell set for Sydney clash
Thursday 8th June 09:51
Tom Varndell is keen to help England to their third away win over the Wallabies.
Varndell lauded after Tigers win
Friday 28th April 23:21
Tom Varndell was praised by his captain and coach after Leicester beat Saracens.
Top Catt up for player gong
Monday 24th April 13:06
Mike Catt has been nominated for the Players' Player of the Year award.
Howard hails hat-trick hero
Saturday 22nd April 17:30
Pat Howard heaped praise on Tom Varndell after Leicester's win over Wasps.
Tigers edge derby thriller
Friday 14th April 21:29
Tom Varndell scored two tries to help Leicester edge Northampton 24-19.
Varndell: Bring on the Sharks
Friday 27th January 22:47
Tom Varndell insists Leicester are in good spirits going into the showdown with Sale.
What a weekend! - Barnes
Tuesday 24th January 17:11
Stuart is in love with rugby again thanks to Leicester, Leinster and Munster.
Tigers too Goode for Sarries
Monday 2nd January 17:00
Leicester went third in the Premiership with a 34-27 victory over Saracens.
Dewi Morris' end of year review
Wednesday 28th December 10:57
Sky Sports' rugby union expert Dewi Morris takes a look back at 2005 in rugby union.
Henson poised for comeback
Friday 9th December 13:02
Gavin Henson makes his first appearance for almost six months when the Opreys take on Leicester.
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Rupert Cox's Off Load: Clermont, England Sevens and Jean Deysel come under scrutiny
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The biggest and toughest hits and tackles plus the best tries from the world of rugby union.
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Phil Edwards
Read the thoughts and opinions of Phil Edwards with skysports.com


text:
Brandied Peaches
|5 Pound (Use Small Firm Ripe Variety)
|Lemon juice/Salt
|To Taste
|2 Cup (32 tbs)
|3 Cup (48 tbs)
|1 Cup (16 tbs)
Plunge peaches into boiling water to loosen skins, then into cold water and gently remove skins.
Keep peaches in salted water or lemon water (1 tablespoon lemon juice or salt to 2 quarts water) to prevent discoloration.
Let stand no longer than 15 minutes.
Combine water and sugar in a 4-quart kettle.
Stir over medium heat until sugar is dissolved and syrup comes to boiling.
Add about one fourth of the peaches (drained) at one time.
Boil gently 10 minutes, or until peaches are just tender but not soft.
Using a slotted spoon, remove peaches from syrup and pack into hot sterilized jars to within 1/2 inch of top.
Cover jars with their lids to keep peaches hot.
When all the peaches are cooked and in the jars, spoon 2 to 4 tablespoons brandy into each jar.
Quickly bring the syrup to boiling and pour over peaches, leaving headspace


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ECSF Game 2: Caps at Rangers 730 PM at MSG
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Stewie G
Needed more hitting!
Join Date: Oct 2009
Posts: 2,571
vCash: 500
Originally Posted by
I know I am not the only one that saw Dale had changed things up. He was more aggressive offensively. He opened it up. Defensemen were active in the offensive zone, yes with a lead. The shot totals reflect a more open game last night.
No, opening it up is not all about ramping up Ovi's ice time. Its a team wide approach. Torts is still looking for Ovi to get his dmen out. Dale laughs as heads explode.
Girardi: Coach, what do we do if Ovi isn't out there?
Torts: Just
I agree that the defensemen were much more active last night. Carlson especially was moving forward all night. More pinches on pucks that looked like 50/50 propositions.
The second point is downright laughable. Girardi is still playing 27 minutes per game. He just gets to play them against 3rd liners instead of Ovechkin. I fail to see how that is a negative for the Rangers. I don't see Torts looking around and giving Stu Bickel big minutes because he's waiting for Ovie to hop over the boards. He knows that if the Caps have the lead he doesn't have to worry about saving his horses.
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News Anchor Cracks Up Over Swimming Cat Story [Video]
"It's news when the news anchor cracks up over a swimming cat story" that's what I always say. Or at least I said that this morning when I saw this video.
"It's news when the news anchor cracks up over a swimming cat story" that's what I always say. Or at least I said that this morning when I saw this video.
Simple, effective and cheap too. This should keep those cats off my car!
Perhaps the only reason we give cats milk is because they can't get the milk themselves. What if they could? What if cats grew thumbs and started getting their own milk? What if they came and took our milk!
These cats can help you reach your goals for the new year.
This video just might hold the best solution I have seen for keeping the cats away and discouraging them from coming back. Watch and tell me if you think this is cruel or just funny as heck.
I know, another story about cats and my problems with them. As I have documented in earlier stories my neighbors have about a billion cats. The cats naturally like to hang out a my house because my hou
In response to my story from yesterday I was sent this video which appears to be a very effective method of cat removal from automobiles.
I have mentioned our neighbor's cats. I think they have a billion of them and naturally every one of them has chosen my yard to come hang out. I don't mind the cats hanging out. I do mind them walking all over my car and more importantly getting into fights with my dog
Maybe I am just a little punchy from a lack of sleep. Maybe I am so tired of politics that I just need a break. Maybe I just felt like laughing a little this morning. I have to tell you, this cat reminds me of my Grandpa.
I bet if you wat
The 4-month-old in this video does not mind the sound that dogs make. Cats, a different story.
Watch as he is fine with the dog barks but his face turns a bit sour as the meowing of a kitten is offered up.


text:
From Wikipedia, the free encyclopedia John Cage John Cage performed by the London Philharmonic under the baton of Laurence Foster. Another famous creation of Cage's is the prepared piano (a piano with its sound altered by placing various objects in the strings), for which he wrote numerous dance-related works and a few concert pieces, the most well-known of which is Sonatas and Interludes (1946–48).[7] His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music and coincidentally their shared love of mushrooms, but Cage's major influences lay in various Eastern cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text on changing events, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living".[8] In addition to his composing, Cage was also a philosopher, writer, artist, printmaker[9] and an avid amateur mycologist and mushroom collector. John Cage in 1956. John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer. A pioneer of chance music, electronic music and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde and, in the opinion of many, the most influential American composer of the 20th century.[1][2] He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives.[3][4] Cage is perhaps best known for his 1952 composition 4′33″, the three movements of which are performed without a single note being played. The content of 4′33″ is meant to be perceived as the sounds of the environment that the listeners hear while it is performed,[5] rather than merely as four minutes and thirty three seconds of silence,[6] and the piece became one of the most controversial compositions of the twentieth century (the work was recently televised on BBC Four, Life 1912–1931: Early years Cage was born in Los Angeles, California. His father John Milton Cage Sr. (1886–1964) was an inventor, and his mother Lucretia ("Crete") Harvey (1885–1969) worked intermittently as journalist for the Los Angeles Times.[10] The family's roots were completely American: in a 1976 interview Cage mentioned "a John Cage who helped [George] Washington in the surveying of Virginia".[11] Cage described his mother as a woman with "a sense of society" who was "never happy",[12] while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a submarine that gave off 1 From Wikipedia, the free encyclopedia bubbles,[10] others revolutionary and against the scientific norms, such as the "electrostatic field theory" of the universe.[n 1] John Milton Sr. taught his son that "if someone says 'can't' that shows you what to do." In 1944–45 Cage wrote two small character pieces dedicated to his parents: Crete and Dad. The latter is a short lively piece that ends abruptly, while "Crete" is a slightly longer, mostly melodic contrapuntal work.[13] Cage's first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey who introduced him to the piano music of 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition.[14] By 1928 Cage was convinced that he wanted to be a writer. That year he graduated from Los Angeles High School as a valedictorian[15] and enrolled at Pomona College, Claremont. However, in 1930 he dropped out, believing that "college was of no use to a writer"[16] by an incident described in the 1991 autobiographical statement: I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left.[12] Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies.[17] He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris.[18] Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it.[16] He then took up painting, poetry and music. It was in Europe that he first heard the music of contemporary composers (such as Igor Stravinsky and Paul Hindemith) and John Cage finally got to know the music of Johann Sebastian Bach, which he had not experienced before. After several months in Paris Cage's enthusiasm for America was revived after he read Walt Whitman's Leaves of Grass – he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent.[19] Cage started travelling, visited various places in France, Germany and Spain, as well as Capri and, most importantly, Majorca, where he started composing.[20] His first compositions were created using dense mathematical formulae, but Cage was displeased with the results and left the finished pieces behind when he left.[21] Cage's association with theatre also started in Europe: during a walk in Seville he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment."[22] 1931–1936: Apprenticeship Cage returned to the United States in 1931.[21] He went to Santa Monica, California, where he made a living partly by giving small, private lectures on contemporary art. He got to know various important figures of the Southern California art world, such as pianist Richard Buhlig (who became his first teacher[23]) and arts patron Galka Scheyer.[16] By 1933 Cage decided to concentrate on music rather than painting. "The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings", Cage later explained.[16] In 1933 he sent some of his compositions to Henry Cowell; the reply was a "rather vague letter",[24] in which Cowell suggested that Cage study with Arnold Schoenberg—Cage's musical ideas at the time included composition based on a 25-tone row, somewhat similar to Schoenberg's twelve-tone technique.[25] Cowell mentioned, however, that before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil.[26] Following Cowell's advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at the New School for Social 2 From Wikipedia, the free encyclopedia Research.[23] He supported himself financially by taking up a job washing walls at a Brooklyn YWCA.[27] Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every morning starting at 4 AM.[28][27] Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg.[n 2] He could not afford Schoenberg's price, however, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him for free.[29] Cage studied with Schoenberg in California: first at USC and then at UCLA, as well as privately.[23] The older composer became one of the biggest influences on Cage, who "literally worshipped him",[30] particularly as an example of how to live one's life being a composer.[28] The vow Cage gave, to dedicate his life to music, was apparently still important some 40 years later, when Cage "had no need for it [i.e. writing music]", he continued composing partly because of the promise he gave.[31] Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture Indeterminacy: After I had been studying with him for two years, Schoenberg said, "In order to write music, you must have a feeling for harmony." I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, "In that case I will devote my life to beating my head against that wall."[32] Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "[...] When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music."[30] Although Schoenberg John Cage never complimented Cage on his compositions during these two years, in a later interview he said that none of his American pupils were interesting, except Cage: "Of course he's not a composer, but he's an inventor—of genius."[30] At some point in 1934–5, during his studies with Schoenberg, Cage was working at his mother's arts and crafts shop, where he met artist Xenia Andreyevna Kashevaroff. She was an Alaskan-born daughter of a Russian priest; her work encompassed fine bookbinding, sculpture and collage. Although Cage was involved in a relationship with Don Sample when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at Yuma, Arizona, on June 7, 1935.[33] The Cornish School years In the late 1930s, Cage went to the Cornish School of the Arts in Seattle, Washington. There he found work as an accompanist for dancers. He was asked to write some music to accompany a dance by Syvilla Fort called Bacchanale. He wanted to write a percussion piece, but there was no pit at the performance venue for a percussion ensemble and he had to write for a piano. While working on the piece, Cage experimented by placing a metal plate on top of the strings of the instrument. He liked the resulting sound, and this eventually led to his conceiving the prepared piano, in which screws, bolts, strips of rubber, and other objects are placed between the strings of the piano to change the character of the instrument. This creation was influenced by his old teacher Henry Cowell, who wrote pieces requiring performers to pluck the piano strings with their fingers and use metal slides. The Sonatas and Interludes of 1946–48 are usually considered Cage's greatest work for prepared piano. Pierre Boulez was one of the work's admirers, and he organized its European premiere. The two composers struck up a correspondence which ended when they disagreed over Cage's use of chance in composing. For Boulez, this was an unacceptable abdication of the composer's control over his art. However for Cage this was to be a wholly necessary step in his subsequent aesthetic evolution. Another significant prepared piano work is The Perilous Night (1943). "Cage always 3 From Wikipedia, the free encyclopedia referred to it as his 'autobiographical' piece, and his biographer, David Revill has convincingly associated it with the traumas associated with Cage's divorce from his wife (1945) and the beginning of a parternership with Merce Cunningham, that lasted to the end of his life. [This piece was] Cage's attempt to express, and thereby relieve, the anxieties he was experiencing in his private life".[34] It was also at Cornish that Cage founded a percussion orchestra for which he wrote his First Construction (In Metal) in 1939, a piece that uses metal percussion instruments to make a loud and rhythmic music. He also wrote Imaginary Landscape No. 1 in that year, possibly the first composition to employ record players as instruments. It consisted of a quartet using "a muted piano, a suspended cymbal, and two variable-speed turntables on which single-frequency radio test records were played at various steady speeds and also sliding between speeds in siren-like glissandos".[34] Around this time, he met the dancer and choreographer Merce Cunningham, who became a major creative collaborator and his lifelong partner following Cage's split from his then-wife Xenia. (The couple divorced in 1945 or 1946.) In late 1942 and early 1943 Cage composed his "'Ten-Piece Percussion Ensemble' whose members included his [then] wife Xenia and Merce Cunningham"³. This piece was performed at the New York Museum of Modern Art, February 7, 1943. "It was widely written up in the press, including a picture spread in Life magazine, and won him his first fame".[34] While at the Cornish School, Cage encountered ideas that influenced his later work. From the Indian musician Gita Sarabhai he heard Thomas Mace's saying "The purpose of music is to sober and quiet the mind, thus making it susceptible to divine influences." Cage developed an interest in Hindu aesthetics through the writings of the nineteenth century mystic Sri Ramakrishna, the twentieth century Indian art historian Ananda K. Coomaraswamy and, through Coomaraswamy, the medieval Christian mystic Meister Eckhart. These influences are detectable in such pieces such as The Seasons and the String Quartet in Four Parts, whose anti-directional and harmonically static forms suggest the cycles of nature. Most influential, though, was Cage's discovery in the late forties of Taoism and then John Cage Zen Buddhism, through Japanese scholar Daisetz Teitaro Suzuki. In 1950, Cage received a copy of the I Ching from composer Christian Wolff. Rather than fortune-telling, Cage used it to make compositional decisions. The first work Cage composed by tossing coins was titled, appropriately enough, Music of Changes".[34] The reduced, static expression of the Indian inspired works faded as Cage aimed to dissolve personality, intention and expression altogether via the use of chance. Another important work from this era is the Concerto for Prepared Piano and Chamber Orchestra of 1951. John Cage put the influence of Zen Buddhism into practice through music. He described his music as "purposeless play", but "this play is an affirmation of life—not an attempt to bring order out of chaos, nor to suggest improvements in creation, but simply to wake up to the very life we are living, which is so excellent once one gets one's mind and desires out the way and lets it act of its own accord."[35] Hence comes his favorite saying nichi nichi kore kōnichi or, every day is a good day. Chance After leaving the Cornish School, Cage joined the faculty of the Chicago School of Design for a time, then moved to New York City. He continued to write music and establish new musical contacts. He toured America with the Merce Cunningham Dance Company several times, and also toured Europe with the experimental pianist David Tudor, his other closest collaborator during this period. After it was introduced to him by Christian Wolff, Cage began to use the mechanism of the I Ching (Chinese "Book of Changes") in the composition of his music in order to provide a framework for his uses of chance. He used it, for example, in the Music of Changes for solo piano in 1951, to determine which notes should be used and when they should sound. Another piece Cage wrote consisted of lines, running horizontally and some vertically across the page of all different length. The performer must determine the speed, pitch, clef, and length of each note based on what he perceived the line to instruct. He used chance in other ways as well; Imaginary Landscape No. 4 (1951) is written for twelve radio receivers. Each radio has two players; one to control the frequency the 4 From Wikipedia, the free encyclopedia radio is tuned to, the other to control the volume level. Cage wrote very precise instructions in the score about how the performers should set their radios and change them over time, but he could not control the actual sound coming out of them, which was dependent on whatever radio shows were playing at that particular place and time of performance. This piece marked a move away from scores which had been merely composed with indeterminate methods, to those which were also performatively indeterminate. Such pieces as the Variations series paradoxically placed great responsibility in the hands of the performer in the demands the music made in terms of realising indeterminate (chance) procedures. When applied to the often-conservative infrastructure of the symphony orchestra, in pieces such as the Concert for Piano and Orchestra (1958) and Atlas Eclipticalis (1961), Cage's radical demands resulted in markedly hostile performer reactions. The detailed nature of Cage's compositional use of chance remains poorly understood. Generally, Cage proceeded from the broadest aspects of a new composition to extremely specific ones. For all these decisions, he determined the number of possibilities for each aspect and then used chance to select a particular possibility: the number of possibilities would be related to one or a series of numbers corresponding to the sixty-four hexagrams of the I Ching. For instance, Cage might choose a musical pitch from three possibilities. Possibility A could be related to I Ching numbers 1–24, possibility B to 25–48, and possibility C to 49–64. The actual choice of an I Ching number, as described in the book itself when it is used as an oracle, was accomplished by tossing coins or (later) by running a computer program, initially the print-out of one designed at the University of Illinois at Urbana-Champaign under the supervision of Lejaren Hiller and later one designed by Cage's assistant, the composer Andrew Culver. There, at the University of Illinois at Urbana-Champaign, Cage wrote a "mixed-media performance called HPSCHD (computerese for "harpsichord"). Programming the computer to make the I Ching coin tosses for him enabling Cage to make enough random decisions—more than a million—to keep seven keyboard players, fifty-two tape recorders playing random computer-generated 'tunes' in fifty-two different tuning John Cage systems, fifty-two film projectors and sixtyfour slide projectors (showing scenes of space travel, some from old science-fiction movies) constantly busy for four-and-a-half hours, May 16, 1969"³. Cage called the generation of an I Ching number a chance operation.... A finished composition generally entailed numerous chance operations. Before "HPSCHD", He composed Atlas eclipticalis (1961). This piece was written for "eighty-six instrumental parts that could be played in whole or in part, for any duration and in any combination from soloist to full orchestra. The I Ching decided which staves carried which clefs, and how they were to be assigned to the various instruments. The performance was a fiasco. The orchestra rebelled along with the audience...some so enraged that they threw their microphones on the floor and stamped on them"³. These are just a few examples of 'Chance Music' that Cage comprised and the reactions he received. Most performers often felt that Cage's 'chance' music was so detailed that there was nothing left to chance (or improvise). The performers felt more like slaves of the music rather than interpreters. Cage later went on to say "In my opinion it is the composer's privilege to determine his works, down to the minutest detail"³. Black Mountain, 4′33″ In 1948, Cage joined the faculty of Black Mountain College, where he regularly worked on collaborations with Merce Cunningham. Around this time, he visited the anechoic chamber at Harvard University. (An anechoic chamber is a room designed in such a way that the walls, ceiling and floor will absorb all sounds made in the room, rather than bouncing them back as echoes. They are also generally soundproofed.) Cage entered the chamber expecting to hear silence, but as he wrote later, he "heard two sounds, one high and one low. When I described them to the engineer in charge, he informed me that the high one was my nervous system in operation, the low one my blood in circulation." Cage had gone to a place where he expected there to be no sound, yet sound was nevertheless discernible. He stated "until I die there will be sounds. And they will continue following my death. One need not fear about the future of music." The realization as he saw it of the impossibility of silence led to the 5 From Wikipedia, the free encyclopedia "composition" of his most notorious piece, 4′33″. Cage repeatedly claimed that he composed 4′33″ in small units of silent rhythmic durations which, when summed, equalled the duration of the title. Cage suggested that he might have made a mistake in addition. Some have speculated that the title of the work refers to absolute zero, as 4'33″expressed in seconds is 273 seconds, and minus 273 degrees is absolute zero in the Celsius scale; there is, however, no evidence that this relationship is anything more than a coincidence. The premiere of the three-movement 4′33″ was given by David Tudor on August 29, 1952 in Woodstock, New York as part of a recital of contemporary piano music. The audience saw him sit at the piano and, to mark the beginning of the piece, close the keyboard lid. Some time later he opened it briefly, to mark the end of the first movement. This process was repeated for the second and third movements[n 3]. The piece had passed without a note being played—in fact without Tudor (or anyone else) having made any deliberate sound as part of the piece. Only then could the audience recognize what Cage insisted upon, that "There is no such thing as silence. Something is always happening that makes a sound." Richard Kostelanetz suggests that the very fact that Tudor, a man known for championing experimental music, was the performer, and that Cage, a man known for introducing unexpected non-musical noise into his work, was the composer, would have led the audience to expect unexpected sounds. Anybody listening intently would have heard them: while nobody produces sound deliberately, there will nonetheless be sounds in the concert hall (just as there were sounds in the anechoic chamber at Harvard). It is these sounds, unpredictable and unintentional, that are to be regarded as constituting the music in this piece. The piece remains controversial among those who continue to take it seriously, and is seen as challenging the very definition of music. While it may challenge the definition of music, it does not challenge any definition of composition — the earliest score was written on conventional manuscript paper using graphic notation similar to that used in Music of Changes, with the three movements precisely scored to reflect their individual lengths. The most famous version of the John Cage score is the so-called Tacet edition, which features three movements all on one page, each labelled tacet — the traditional musical term for when a musician does not play for a movement. The score provides no time limits for any of the parts. Neither the whole piece nor the duration of the first performance were decided using chance operations. The piece can have any duration and thus any title, but is stuck with the famous first performance duration and title (i.e. movement I: 30''; movement II: 2'23''; movement III: 1'40'';). Cage himself refers to it as his "silent piece" and writes: "I have spent many pleasant hours in the woods conducting performances of my silent piece... for an audience of myself, since they were much longer than the popular length which I have published. At one performance... the second movement was extremely dramatic, beginning with the sounds of a buck and a doe leaping up to within ten feet of my rocky podium." (in John Cage: Silence: Lectures and Writings).[n 4] Happenings & Fluxus John Cage's 'Experimental Composition' classes from 1957 to 1959 at the New School for Social Research have become legendary as an American source of Fluxus, the international network of artists, composers, and designers. The majority of his students had little or no background in music, most of whom were artists. His students included Jackson Mac Low, Allan Kaprow, Al Hansen, George Brecht, Alice Denham and Dick Higgins, as well as the numerous artists he invited to attend his classes unofficially. Several famous pieces came from these classes: George Brecht's Time Table Music, and Alice Denham's 48 Seconds. Conceived in 1952, Theater Piece No. 1 consisted of Cage collaborating with Merce Cunningham, David Tudor, Robert Rauschenberg, and Charles Olson at Black Mountain College where the performance took place amongst the audience. "Happenings", as set forth by Cage, are theatrical events that abandoned the traditional concept of stageaudience and occur without a sense of definite duration; instead, they are left to chance. They have a minimal script, with no plot. In fact, a "Happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to 6 From Wikipedia, the free encyclopedia integrating art and (real) life. The term "Happenings" was coined by Allan Kaprow, one of his students, who was to define it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud's seminal treatise The Theatre and Its Double, and the "Happenings" of this period can be viewed as a forerunner to the ensuing Fluxus movement. In October of 1960, Mary Bauermeister's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik, who in the course of his 'Etude for Piano' cut off Cage's tie and then washed his co-performer's hair with shampoo. John Cage multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage's death. This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as Roaratorio: An Irish Circus on Finnegans Wake (1979), a many-tiered rendering in sound of both his text Writing for the Second Time Through Finnegans Wake and traditional musical and field recordings made around Ireland. During the seventies and eighties, Cage's compositions took on a variety of guises, from the overtly political and polemic Lecture on the Weather (1975, based on the texts of the naturalist-anarchist author Henry David Thoreau)[n 5], through to the hyper-virtuosican example being the Freeman Etudes (1980), initially composed for the violinist Paul Zukofsky. Cage conceived the latter as a useful social demonstration of the performer practically surpassing his own abilities. Given their immense difficulty, such pieces can be considered to be a forerunner of the New Complexity movement. Between 1987 and 1990 Cage composed a major series of works entitled Europeras, numbered one to five. Cage was invited to compose the first two works for the Frankfurt Opera. They deconstruct operatic form, yet are not merely parodic. Plots, librettos, and arias (often sung at the same time) were assembled via chance methods from a wide range of conventional 18th and 19th century operas whose texts and scores were in the public domain. Chance determined other aspects as well, from stage lighting, scenery, costumes and props to the actions of the singers. There was no conductor; performers were instead guided by large projections of a digital clock according to strict time intervals. Cage even went so far as to hand out two separate sets of librettos to the audience at the premiere, themselves culled from previous operatic works. Being overtly based as they are upon previous works, the Europeras provide one of the most intriguing examples Subsequent works Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with fifty-two tapes of computer-generated sounds, 6,400 slides of designs many supplied by NASA, and shown from sixty-four slide projectors, with forty motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there. More synaesthetic environment than "composition" in any normal sense, "HPSCHD" demonstrated Cage's intention to create a viscerally involving environment for exploration by the audience, in which the density and variety of individual elements prevent any single dominant center of interest from arising. Two years prior to this piece was the first Musicircus (1967), conceived by Cage and essentially an extension of the "Happenings" from the fifties. The first Musicircus featured 7 From Wikipedia, the free encyclopedia of Cage defamiliarising the familiar, rendering a complex new web of symbols and meanings overlapping across conventional aesthetic domains. Yet other works, such as Cheap Imitation (1972), Hymns and Variations (1979), and Litany for the Whale (1980) resemble the less radical works of his early career. Cheap Imitation, for example, was based on a re-writing of Satie's Socrate, and marked a return to conventional staff notation. In two groups of compositions from his last years — Music for _____ and the Number Piece series — Cage attempted to reconcile the experimental, process-oriented character of his mature compositions with the idea of a musical work or object. In the Number Piece series in particular, Cage believed that he had finally discovered a way to write music that had harmony, which he now defined as sounds noticed at the same time. John Cage perhaps inspired by the experimental poetry of e. e. cummings and lettrism. In addition a series of interviews between Cage and the critic Daniel Charles are collected in the book For the Birds (1981), whose title is a reference to one of Cage's favorite sayings, which is typical of his often subtle, self-referential humor: "I am for the birds, not for the cages people put them in." Richard Kostelanetz assembled a collage of various interviews in Conversing with Cage (second ed., 2003), and a volume of conversations with Joan Retallack from the 1990s, Musicage, appeared in 1996. From the late sixties Cage was also active as a visual artist, working on annual projects at Crown Point Press, from which he produced a series of drawings, prints and watercolours. Some of these were inspired by the drawings made by Thoreau in his Journal, and by the aesthetics of his earlier friend, and chess partner, artist Marcel Duchamp. One of his most striking visual pieces is the 1969 work Not Wanting to Say Anything About Marcel, which is a complex array of superimposed type encased within plexiglas panels. It seems at times as though Cage's increasing interest in writing and visual art indicated a certain frustration with musical composition. However, as Cage pointed out, he aimed to remain faithful to his promise to Schoenberg to devote his life to music. Cage had a lifelong interest in mushrooms. He co-founded the New York Mycological Society with three friends and his mycology collection is presently housed by the Special Collections department of the University Library at the University of California, Santa Cruz. Death John Cage died in New York City on August 12, 1992, only weeks before a celebration of his 80th birthday organized in Frankfurt by the composer Walter Zimmermann and the musicologist Stefan Schaedler was due to take place; however the event went ahead as planned, including a performance of the Concert for Piano and Orchestra by David Tudor and Ensemble Modern. [2] Writings, visual art, and other activities Cage was also highly prolific as a writer, producing a series of increasingly experimental texts that were largely incorporated into several books published during his lifetime. These are Silence (1961), A Year from Monday (1968), M (1973), Empty Words (1979), X (1983) and Anarchy (1988). In these books, featuring writings ranging from straightforward essays to diary entries to wholly experimental writing. For example, he invented the mesostic, a type of poem in which Cage 'wrote through' texts such as Joyce's Finnegans Wake. Cage employed chance methodologies to create texts which were often presented spatially on the page in a striking variety of font sizes, typefaces and layouts — an approach towards creating an increasingly visual dimension to text, Archives • The archive of the John Cage Trust is held at Bard College in upstate New York.[1]. • The John Cage Music Manuscript Collection held by the Music Division of The New York Public Library for the Performing Arts contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works. • The John Cage Papers are held in Special Collections and Archives department of Wesleyan University's Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and 8 From Wikipedia, the free encyclopedia ephemera. Other material, including clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations • The John Cage Collection at Northwestern University in Illinois contains the composer's correspondence, ephemera, and the Notations collection. John Cage See also • • • • • List of compositions by John Cage Fluxus Sound art List of custom-made instrument builders Anti-art Cultural references • The Tragically Hip recorded a song called "Tiger the Lion" for their Music @ Work album which refers to John Cage and some of his ideas. (see liner notes on album)[2] • The character John Cage in the American television legal dramedy Ally McBeal is named after him. • Sonic Youth on their SYR4 album perform two realizations of Cage's piece Six and one of Four6. • Stereolab on their Refried Ectoplasm album recorded a song entitled "John Cage Bubblegum." • In chapter 75 of Charles Bukowski's Women the narrator states, "If John Cage could get one thousand dollars for eating an apple, I'd accept $500 plus air fare for being a lemon." • Oscar-winning actor Nicolas Cage (born "Nicholas Coppola" and so-billed in his film début, Amy Heckerling's Fast Times at Ridgemont High), took the last name "Cage" from his admiring both the Marvel Comics character Luke Cage and composer John Cage.[36] • Cage is mentioned in Gore Vidal's 1968 novel Myra Breckinridge. • The villain of the 1976 film Lipstick (featuring the débuts of both Margaux Hemingway and Mariel Hemingway) is envious of the success of "Sean Gage", obviously based upon John Cage. • "John Cage Is Dead" is a track on Mickey Hart's Mystery Box album • On MC Paul Barman's album "Paullelujah!", track 7 ("Excuse You"), line three references Cage: "I can rock the mic to silence by John Cage with the arty flavor / I shoot the gift like a party favor" • "Jaune d'Oeuf en Cage" (yolk in a cage) is a track by David Fenech on his first album "Grand Huit". It is a joke around the John Cage / Jaune Cage homophone in French. References and further reading Books • Bernstein, David W., and Hatch, Christopher (ed.). 2001. Writings through John Cage's Music, Poetry, and Art. University of Chicago Press. ISBN 0226044076 • Boulez, Pierre, and Cage, John. 1995. The Boulez-Cage Correspondence. Edited by Robert Samuels and Jean-Jacques Nattiez, translated by Robert Samuels. Cambridge University Press. ISBN 0521485584 • Brown, Kathan. 2001. John Cage Visual Art: To Sober and Quiet the Mind. Crown Point Press. ISBN: 1891300164, ISBN: 978-1891300165 • Cage, John. 1973. Silence: Lectures and Writings, Wesleyan Paperback (first edition 1961). ISBN 0-8195-6028-6 • Fetterman, William. 1996. John Cage's Theatre Pieces: Notations and Performances. Routledge. ISBN 3718656434 • Kostelanetz, Richard. 2003. Conversing with John Cage, Routledge. ISBN 0-415-93792-2 • Nicholls, David (ed.). 2002. The Cambridge Companion to John Cage. Cambridge University Press, 2002. ISBN 0521789680 • Nicholls, David. 2007. John Cage. University of Illinois Press. ISBN 0252032152 • Patterson, David W. (ed.). John Cage: Music, Philosophy, and Intention, 1933–1950. Routledge, 2002. ISBN 0815329954 • Perloff, Marjorie, and Junkerman, Charles. 1994. John Cage: Composed in America. University of Chicago Press, 1994. ISBN 0226660575 • Pritchett, James. 1993. The Music of John Cage. Cambridge University Press. ISBN 0521565448 9 From Wikipedia, the free encyclopedia • Revill, David. 1993. The Roaring Silence: John Cage – a Life. Arcade Publishing. ISBN: 1559702206, ISBN: 978-1559702201 John Cage music, silent music',edited by Nicky Losseff and Jenny Doctor, Aldershot, Burlington: Ashgate 2007, pp. 97–126. Brooks argues that 4′33″ and the socalled 'Silent Prayer' do not share the same aesthetical basis. [5] Cage self-identified as an anarchist in a 1985 interview: "I'm an anarchist. I don't know whether the adjective is pure and simple, or philosophical, or what, but I don't like government! And I don't like institutions! And I don't have any confidence in even good institutions." John Cage at Seventy: An Interview by Stephen Montague. American Music, Summer 1985. Ubu.com. Accessed May 24, 2007. Encyclopedias • Pritchett, James, and Kuhn, Laura. "John Cage", Grove Music Online, ed. L. Macy (accessed 15 December 2006), grovemusic.com (subscription access). • Taruskin, Richard. 2005. Oxford History of Western Music, The. Vol. 5. Oxford: Oxford UP, Inc. Indeterminacy pp. 55–101. Dissertations and articles • Campana, Deborah. 1985. Form and Structure in the Music of John Cage. Dissertation, Northwestern University. • Curreri, Enrico. 2008. W: A Case Study in John-Cage-Centered Music Therapy. MA Theses, New York University. • Emmerik, Paul van. 1996. Thema's en Variaties: Systematische Tendensen in de Compositietechnieken van John Cage. Dissertation, University of Amsterdam. (Dutch) • Haskins, Rob. 2004. "An Anarchic Society of Sounds": The Number Pieces of John Cage. Ph.D., Musicology, Eastman School of Music, University of Rochester. References [1] Pritchett, Grove: "He has had a greater impact on music in the 20th century than any other American composer." [2] ^ "John Cage, 79, a Minimalist Enchanted With Sound, Dies". New York Times. August 13, 1992. http://www.nytimes.com/learning/ general/onthisday/bday/0905.html. Retrieved on 21 July 2007. "John Cage, the prolific and influential composer whose Minimalist works have long been a driving force in the world of music, dance and art, died yesterday at St. Vincent's Hospital in Manhattan. He was 79 years old and lived in Manhattan." [3] Perloff, Junkerman, 1994, 93. [4] Bernstein, Hatch, 2001, 43–45. [5] Kostelanetz 2003, 69–70. [6] Reviews cited in Fetterman 1996, 69. [7] Nicholls 2002, 80: "Most critics agree that Sonatas and Interludes (1946–48) is the finest composition of Cage's early period." [8] Cage 1973, 12. [9] Davies, Hugh. "Cage, John", Grove Art Online, Oxford University Press (accessed 20 February 2007), groveart.com (subscription access). [10] ^ Nicholls 2002, 4. [11] Cage quoted in Kostelanetz 2003, 1. For details on Cage's ancestry, see, for example, Nicholls 2002, 4–6. [12] ^ Cage, John (1991). "An Autobiographical Statement". Southwest Review. http://www.newalbion.com/ Notes [1] Cage quoted in Kostelanetz 2003, 1–2. Cage mentions a working model of the universe that his father had built, and that the scientists who saw it could not explain how it worked and refused to believe it. [2] Different sources give different details of their first meeting. Pritchett, in Grove, implies that Cage met Schoenberg in New York City: "Cage followed Schoenberg to Los Angeles in 1934", however, in a 1976 interview quoted in Kostelanetz 2003, 5, Cage mentions that he "went to see him [Schoenberg] in Los Angeles." [3] Tudor's movements in performance are often misdescribed: Cage's score (written after the first performance) states that the lid was closed during the movements, and raised for the breaks. [4] Compare this with William Brooks "Pragmatics of Silence", in: 'Silence, 10 From Wikipedia, the free encyclopedia artists/cagej/autobiog.html. Retrieved on 14 March 2007. [13] Recording and notes: John Cage — Complete Piano Music Vol.7: Pieces 1933–1950. Steffen Schleiermacher (piano). MDG 613 0789-2. [14] Kostelanetz 2003, 2. [15] Nicholls 2002, 21. [16] ^ Kostelanetz 2003, 4. [17] Nicholls 2002, 8. [18] Perloff, Junkerman, 1994, 79. [19] Perloff, Junkerman 1994, 80. [20] Nicholls 2002, 22. [21] ^ Perloff, Junkerman, 1994, 81. [22] Cage quoted in Perloff, Junkerman, 1994, 81. [23] ^ Pritchett, Grove. [24] Cage quoted in Nicholls 2002, 24. [25] Kostelanetz 2003, 61. [26] Nicholls 2002, 24. [27] ^ Kostelanetz 2003, 7. [28] ^ Pritchett 2003, 9. [29] This conversation was recounted many times by Cage himself: see Silence, p. 261; A Year from Monday, p. 44; interviews quoted in Kostelanetz 2003, pp. 5, 105; etc. [30] ^ Kostelanetz 2003, 6. [31] Cage interview quoted in Kostelanetz 2003, 105. [32] Cage 1973, 260. [33] For details on Cage's first meeting with Xenia, see Kostelanetz 2003, 7–8; for details on Cage's homosexual relationship with Don Sample, an American he met in Europe, as well as details on the Cage-Kashevaroff marriage, see Perloff, Junkerman 1994, 81, 86. [34] ^ Taruskin, Vol 5, Chapter 61 [35] John Cage, "Experimental Music", address given to the convention of Music Teachers National Association, Chicago, 1957. Printed in Silence, MIT Press, 1961. [36] Nicolas Cage - Biography John Cage discography, a bibliography and a list of forthcoming performances of Cage's work. A John Cage Compendium, website by Cage scholar Paul van Emmerik, in collaboration with performer Herbert Henck and András Wilheim. Includes exhaustive catalogues and bibliography, chronology of Cage's life, etc. Larry Solomon's John Cage Pages, a complete catalogue of Cage's music and a filmography, as well as other materials. Silence: Scholarly discussion of the music of John Cage James Pritchett: Writings, articles on Cage's music in HTML and PDF form by Cage scholar James Pritchett. Edition Peters: John Cage Biography and Works, Cage's principal publisher since 1961. Guide to the John Cage Mycology Collection Silence/Stories: related texts and poems by, among others, Lowell Cross, AP Crumlish, Karlheinz Essl, Raymond Federman, August Highland, George Koehler, Richard Kostelanetz, Ian S. Macdonald, Beat Streuli, Dan Waber, Sigi Waters and John Whiting Works by or about John Cage in libraries (WorldCat catalog) • • • • • • • • Link collections • John Cage Online • Web resources about John Cage Specific topics • The Music of Chance, article from the UK Guardian newspaper, quotes from various people who knew Cage. • John Cage's Europeras: a light- and soundscape as musical manifesto, essay by Stefan Beyst. • "Sounds Visions, The Work of Jacques Pourcher, Perspectives on John Cage", essay by Ulrike Kasper on the exhibition "John Cage and Jacques Pourcher, Works on Paper", Virginia Tech, Blacksburg, USA. • ORGAN2/ASLSP: As Slow as Possible — John-Cage-Orgelprojekt Halberstadt, Web site about a current ongoing performance of one of the longest pieces of music ever written, lasting 639 years; see: As Slow As Possible. External links General information and catalogues • John Cage Database, includes a complete catalogue of Cage's music with details on individual compositions, as well as a 11 From Wikipedia, the free encyclopedia • The online music review La Folia has an in-depth article about 1951 and Cage's Music of Changes John Cage • Other Minds Archive: John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965), streaming audio • Suite for Toy Piano (1948) performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco. • 1982 performance of Speech for 5 radios and reel (1955) on YouTube • Water Walk on YouTube from Cage's appearance on the game show I've Got a Secret in January 1960. • 4′33″ and Sonatas and Interludes for prepared piano performed by James Tenney at SASSAS sound, concert archive. Excerpts available on 'YouTube': 1, 2 Persondata NAME Cage, John ALTERNATIVE Cage, John Milton, Jr. NAMES SHORT Composer, philosopher, DESCRIPTION printmaker, writer DATE OF BIRTH PLACE OF BIRTH DATE OF DEATH PLACE OF DEATH September 5, 1912 Los Angeles, California, United States August 12, 1992 New York City, New York, United States Listening • In Conversation with Morton Feldman, 1966, Part 1 • In Conversation with Morton Feldman, 1966, Part 2 • In Conversation with Morton Feldman, 1966, Part 3 • In Conversation with Morton Feldman, 1966, Part 4 • In Conversation with Morton Feldman, 1966, Part 5 • Excerpts from sound archives of Cage's works Media • John Cage at UbuWeb: historical, sound, film. • John Cage's etchings at the Crown Point Press website • Art of the States: John Cage, audio files of In the Name of the Holocaust (1942), Nocturne (1947) and Primitive (1942). • Indeterminacy, Cage's short stories taken from various publications and accessed in random order. • FontanaMixer: computer program by Karlheinz Essl which generates a realtime version of John Cage's "Fontana Mix" (1958) • Other Minds Archive: John Cage interviewed by Jonathan Cott, streaming audio Retrieved from "http://en.wikipedia.org/wiki/John_Cage" Categories: 1912 births, 1992 deaths, 20th-century classical composers, American anarchists, American composers, American songwriters, American writers, American philosophers, Anarchist poets, Harvard University people, Anarchist musicians, Experimental composers, Fluxus, Gay musicians, Guggenheim Fellows, LGBT musicians from the United States, LGBT composers, Opera composers, People from Los Angeles, California, Western mystics, Black Mountain College faculty, Wesleyan University faculty, Contemporary classical music performers, American Zen Buddhists This page was last modified on 14 May 2009, at 19:46 (UTC). All text is available under the terms of the GNU Free Documentation License. (See Copyrights for details.) Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a U.S. registered 501(c)(3) taxdeductible nonprofit charity. Privacy policy About Wikipedia Disclaimers 12
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Day of Service August 22, 2015
- Charity & Causes
Day of Peace June 1, 2013
Project Peace East Bay
Saturday, June 1, 2013 from 9:00 AM to 12:00 PM (PDT)
We are partnering with Faith Network to help encourage and inspire kids to read over the summer break. Faith Network provides free library services to underfunded public schools and offers tutoring to students.
Please, bring any gently used or new books appropriate for elementary or middle school students to donate to Faith Network. They will distribute the books to students the last week of school.
LeConte Elementary School: We will be helping LeConte's staff and teachers with some clean up projects. Volunteers will help with organizing rooms and general campus clean up. Space is limited to 25. City: Berkeley. MAP
Friends of Five Creeks: We are partnering with Friends of Five Creeks on a bay shoreline clean up near the Berkeley Marina at the School House Creek site. Work will include removal of invasive plants and trash clean up. Work gloves are provided, but wear closed toed shoes and dress in layers. Meet in the parking lot of the Sea Breeze Deli which is on the south side of University just west of the 880/580 freeway. The School House Creek is a 5 minute walk north. Space is limited to 25. City: Berkeley. MAP
Claremont Middle School: Our longtime community partner Claremont Middle school in Oakland is looking for help with buildings and grounds improvements throughout the campus. We will assist the PTA both inside and out to help prepare their campus for the 100th Anniversary Celebration of Claremont. Space limited to 100. City: Oakland. MAP
16th Street Station: The 16th Street Station is a historic Oakland landmark. Built in 1912, it has played a significant role in the city of Oakland, but since has fallen in disrepair. Volunteers will help with trash removal, weeding, and general clean up both inside and out. Check out this video by Matt Beardsley on the restoration project. Not suitable for small children and very limited bathroom access. Space is limited to 30. City: Oakland. MAP
Project Peace creates partnerships that work together for just and sustainable communities in Berkeley, Oakland, and surrounding areas.
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Whitehurst: If we could just get down to business
CORPUS CHRISTI - Maybe a dozen years ago — maybe fewer, but definitely after the turn of the new century — the Texas Association of Business was about as far right politically as right could go without turning a corner. And for as long as I can remember, that organization has been unerringly consistent and unapologetic in pursuing the best interests of business.
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ARCTIC WHITE (DB147) WITH NAVY BLUE LEATHER INTERIOR, WHITE HARDTOP AND NAVY CANVAS SOFT TOP, LOVELY 2 OWNER SANTA BARBARA CAR EQUIPPED WITH AUTOMATIC... More
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Actress Aditi Rao Hydari, whose last film "London Paris New York" managed to pull audiences to theatres, believes in healthy competition and says the success stories of senior actors motivates new entrants.
"I guess happy, healthy competition is a good thing. You have people who have been working in the industry for a long time, they are doing good work and the entire nation is crazy about them. It encourages us to work much harder," she said when asked whether the young face stiff competition from the likes of the three Khans.
"We have people who we look up to. So I think it's a good thing and a good trend," added the 33-year-old. She was speaking on the sidelines of Big Star Young Entertainer awards where young and new talents were honoured for their achievements.
Aditi says the segregation between new and old is not necessary, but agrees that it helps youngsters who feel lost.
"I don't think there is a need for segregation. But maybe we are in a phase in our film industry where there are so many exciting people and there are lots of senior people who are still doing fabulous work. I think that's why the younger ones, who are entering the industry, tend to get a little lost.
"I think it's a good thing that so many wonderful people from all age groups and generations are working under the same roof," she added.
Aditi started her Bollywood career with "Delhi-6" and went on to do a small role in "Yeh Saali Zindagi". She featured as a journalist in Imtiaz Ali's "Rockstar" before landing the lead role in Goldie Behl's "London, Paris, New York" opposite Pakistani actor Ali Zafar.
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Nice statement. I think you're a wonderful actress.
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Episode 0333 and 0883 are both titled "The Eavesdropper", however they are uniquely different stories, not duplicates.
Mark Main, 2011-11-23 16:39:52
How right you are, Mark.
Randy Mc, 2012-05-22 13:07:50
I thought Teri Keane's acting was brilliant in this. The bartender was great, too. Good stuff.
Tracy, 2014-08-15 16:03:38
Really good episode. Teri Keane is really AWESOME!!
Charlotte, 2015-03-20 18:32:44