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Raikkonen: Yes, he's still motivated, otherwise he wouldn't be here
Apr 23, 2014, 10:05 AM EDT
We have a contender for "best early Kimi Raikkonen sound bite" of the 2014 season. Thing is, I wish we had the audio file.
You might remember earlier this week – and judging by the comments section you certainly had an opinion on it – I opined that Fernando Alonso has to my estimation taken the Ferrari F14 T to results it shouldn't have achieved while leaving Raikkonen relatively in the weeds.
That assessment does not speak to a lack of motivation on Raikkonen's part. Still, the Finn hit back to reporters this week who suggested that may have been the case upon his return to the Scuderia, where he found his greatest F1 success.
"I don't know why you always come up with motivation – if I didn't have motivation I wouldn't be here," said Raikkonen, via Autosport.
"It's f*** all to do with this.
"We have bad races and it's an unfortunate thing, but that's how it goes sometimes. The aim is to improve."
This is why Kimi remains undeniably awesome and unique in the F1 paddock.
- ijusth - Apr 23, 2014 at 11:03 AM
I can imagine him saying this with that typicalmonotoone voice. Hurrah to him
- 950003cups - Apr 23, 2014 at 11:49 AM
The guy made $50 mil to do nothing for a year. He's set for life. Even without that paid vacation. Motivation to win is all that keeps him behind the wheel.
- techmeister1 - Apr 23, 2014 at 12:21 PM
Many in the media are technically illiterate and ignorant. They have no clue about the racing or a driver's motivation. These drivers are the best-of-the-best in the world and they want to prove it every race. It's just like when Schumi came back and had to deal with an ill performing Mercedes. No one wanted to succeed more than Schumi but you can only do so much with a duff car.
- fireblade22 - Apr 23, 2014 at 1:29 PM
What? What did he say which was so unique and awesome?
If Kimi goes to Bahrain and remarks "It's hot", there are many people who would go into raptures about it.
"We have bad races and it's an unfortunate thing, but that's how it goes sometimes. The aim is to improve."
That could be any driver from any team other than Mercedes this season.
"It's f*** all to do with this."
Where are all the prudes who had a gigantic fit of the vapors when they heard Vettel swear? I recall some people wanting him banned from a few races for supposedly "bringing the sport into disrepute"!
- techmeister1 - Apr 23, 2014 at 3:56 PM
Don't offend Kimi by mentioning scumbag Vettel in the same comment. Cussing at the media's ignorance is often quite appropriate. LOL
Ferrari's official F1 website states that they are streamlining the internal decision making process and trying to ramp the production and delivery of new components for the cars including leaning on their outside vendors. That can lead to a lot of QC issues but let's hope in the end they improve the process instead of compromising it.
- crunge4461 - Apr 23, 2014 at 6:13 PM
Speaking of Ferrari, it would not surprise me if the do not win this year. It also would not surprise if they did. When Schumacher was so dominate with Ferrari people got the idea that the prancing horse was going to always be the car to beat, but history tells a different tale. Ferrari was one of the best, second to Lotus I would say, in the 1970s and took home 4 championships that decade, then from 1980 until 2000 they were a podium team, but not a championship team….they took victories with Alboretto, Villeneuve, Pironi and so on, but it was a long while of trying to catch lightening in a bottle again which they did in unprecedented fashion with Schumacher and Ross Brawn. It looks like they are back in this difficult space again….everyone expects them to be dominate, but they are more like a podium car right now, not a championship car. The Ferrari is ugly too, but it looks way better than those cars with the Gonzo noses, those things look so ridiculous, it amazes me that people complain about the sound…what about the atrocious looks of every car minus the Mercedes and Red Bull, which are both pretty slick looking machines.
- redrock81 - Apr 23, 2014 at 11:01 PM
I don't think this is surprising at all… Kimi just doesn't have Alonso's consistency. There are times when he's great and times when he barely registers at all. When he's great he's lightning quick (during his 05 Mclaren days)
Though I never bought into the who "Iceman" persona…
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Circles: Radius, Diameter, Circumference, Area
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Print out these worksheets on circles. Practice naming circles and calculating circumference, radius, diameter, and area of a circle.
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Circumference and Area (Intermediate)Circumference of a Circle 1 Free
The diameter of each circle is shown. Students must calculate the circumference, or the distance around the circle.Circumference of a Circle 2 Member
The radius of each circle is drawn. Pupils must figure out the distance around the edge of the circle, or circumference.Circumference of a Circle 3 Member
Each circle picture shows a radius or diameter. Students must use this information to figure out the circumference.Finding Pi Project Member
Students measure various circular objects and divide the circumference by the diameter to get pi.Circle Questions Member
Students answer the short answer questions about circles, circumference, and pi.Area of a Circle 1 Member
A radius is drawn on each circle shape. Find the area of the circle.Area of a Circle 2 Member
Either the diameter or the radius is shown on each shape. Calculate the area for each.Area of a Circle 3 Member
Use the formula pi-r-squared to calculate the area of each circle.Area of a Circle 4 Member
Determine the area of each circle. Includes a sample problem at the top.Area and Circumference Member
Students will need to find both the area and circumference for each circular shape.Pi Song Member
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Radius and Diameter (Basic)Naming the Radius & Diameter Free
Can you name the diameter and diameter of each of these circles?Calculate Radius & Diameter of Circles Free
Find the radius and diameter of these circles.Another Radius & Diameter Worksheet Member
Find the diameter and radius of each circle. Also, figure out which circles are the largest, which are the smallest, and which are the same size.Radius, Diameter, and Circumference Member
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Financial leaders in Europe met this week to discuss continuing economic challenges in the region. On the top of the priority list was whether to move ahead with a proposed tax on financial transactions, often referred to as the Robin Hood Tax. The tax grew out of concerns about future bailouts following the 2008-2009 banking crisis in the European Union.
The crux of the European proposal is the imposition of a tax of 0.1% on stock and bond trades and a tax of 0.01% on derivatives. While details have not yet been hammered out, including where the products would be taxed (where sold, where purchased or both?), initial estimates suggest that the tax would bring in 31 billion euros ($42.62 billion US) annually.
Members of 11 EU states have formed a coalition to push the tax forward. Those countries are Belgium, Germany, Estonia, Greece, Spain, France, Italy, Austria, Portugal, Slovenia and Slovakia. Germany and France, the EU's largest economies, are among the strongest supporters of the measure.
Missing from the list of supporters? The UK. Britain remains staunchly opposed to the tax. London is considered the EU's single most important banking center and there is considerable worry the tax would undermine the nation's economy.
British backing will, of course, be key if the measure goes to a vote. That vote is expected to happen in May of 2014. If the measure hasn't been pushed through by then, protocol would delay the tax until 2015. It's a pretty tight timeline and so far, there's not been a lot of angling for public support.
Cue wildly popular British actors and filmmakers. Celebrities in the UK worked together on a short film released today in support of the financial transaction tax. The three minute film is designed to influence negotiations:
The short, entitled Future News was directed by David Yates. Yates is best known for directing the last four Harry Potter Films (in reverse chronological order): Harry Potter and the Deathly Hallows: Part 2; Harry Potter and the Deathly Hallows: Part 1; Harry Potter and the Half-Blood Prince; and Harry Potter and the Order of the Phoenix. He said, about the film, "I agreed to direct the film because the Robin Hood Tax is a simple yet brilliant idea. We need to learn the lessons of the financial crisis and ensure that banks and hedge funds work in the interests of society not the other way around."
The film is set 10 years in the future. In the short, Andrew Lincoln, star zombie-fighter on the hit AMC TV show The Walking Dead, anchors a newscast looking back at the impact of the tax. Bankers from three countries which currently support the tax, Spain, Germany, and France, are interviewed about the positive impact the tax has made overall. Spain is represented by Javier Cámara, star of Pedro Almodóvar's films Talk to Her and Bad Education; France is represented by actress Clémence Poésy, who played Fleur Delacour in the Harry Potter films and did a recurring stint on the TV show, Gossip Girl, and Heike Makatsch, known best as the scheming Mia in Love, Actually.
The lone hold out, a Brit, stammers over his country's failure to support the measure. That part is played by Bill Nighy who played the deliciously pathetic Billy Mack in Love Actually; Davy Jones in the Pirates of the Caribbean movies and as Douglas Ainslie in The Best Exotic Marigold Hotel franchise. In contrast to his character in the short film, Nighy said, alluding to Britain's role in the tax:
Four years after the launch of the Robin Hood Tax campaign, this tiny tax that could do so much good is on the verge of becoming a reality. France, Germany and nine other European countries are about to introduce it. It would be deeply regrettable if the rest of the world were caught on the wrong side of history.
Makatsch further poked holes at the banking lobby, saying:
European leaders have spent long-enough talking about the Robin Hood Tax. It is now time to get serious, push aside the discredited arguments against the tax from the financial lobby and implement a fair tax which could help millions of people across Europe and in the developing world.
Lincoln and the film's stars encouraged the public to get behind the measure, noting that there has been "incredible support from people across Europe." You can show your support by signing onto the 1 Million Strong for the Robin Hood Petition; the petition is sponsored by the international aid agency, Oxfam, which also helped produce the film. The petition has 637,954 signatures as of this writing.
The hope in Europe, of course, is that support for the measure will spill into the United States. The Obama administration isn't on board with the idea but variations on the tax have made their way into proposed legislation.
In 2011, Rep. Peter A. DeFazio (D-OR) introduced H.R. 3313. The official title of the act was the Wall Street Trading and Speculators Tax Act but it was better known as the Robin Hood Act. Twelve co-sponsors in the House signed onto the bill but it was referred to the House Committee on Ways and Means more than two years ago (a euphemism for "it died"). Rep. DeFazio tried again in 2013. H.R.880 was introduced about a year ago, again as the Wall Street Trading and Speculators Tax Act. It garnered 25 co-sponsors before again being relegated to sit it out at the House Committee on Ways and Means.
Similar proposals have been raised by Sen. Tom Harkin (D-IA) and Rep. Keith Ellison (D-MN).
None of the proposals for a Robin Hood tax in the U.S. have made much inroads despite indications that there might be public support. A January 2013 poll conducted by Hart Research for Americans for Tax Fairness concluded that 62% of Americans approved of a "small tax on all stock/bond/market trades."
Sarah Anderson, Institute for Policy Studies (IPS) Global Economy Project Director, said about the newest push, "We've had the people on our side for some time now. Having major cultural figures join the fight will greatly increase our chances of overcoming Wall Street's opposition." The IPS has been a firm advocate of efforts to advance a transaction tax. In 2012, the group helped organize a support letter signed by more than 50 financial professionals, including former executives from Goldman Sachs, JP Morgan, Progressive Insurance, AXA Investment Managers and NYSE Euronext.
Critics of the bill claim that more taxes will hurt, not help, the economy, which is still fragile after the banking crisis. Opponents also cite the potential cost of the bill to consumers since taxes will surely be passed along in the form of costs.
Realistically, some form of a transaction tax will eventually be implemented Europe. If it doesn't pass this year, pressure will mount to pass something in 2015 – if for no other reason than Germany is growing weary of bailing out its neighbors. Whether that will translate into real pressure to pass something similar in the U.S. is another story: that may require a level of magic that not even Harry Potter could muster.
Want more taxgirl goodness? Pick your poison: receive posts by email, follow me on twitter (@taxgirl), hang out with me on Facebook or check out my YouTube channel. If you want to keep an eye on documents I've posted, check out my profile on Scribd. And finally, you can subscribe to my podcast on the site or via iTunes (it's free).


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August 4, 2015
The New York Stock Exchange says its test run of Twitter's initial public offering was a success, as the exchange takes pains to avoid the technical problems that marred Facebook's debut.
Twitter will be the biggest technology IPO since Facebook went public in May 2012. While Nasdaq won Facebook's listing, one of the biggest IPOs in years, the debut was hit with trading delays and order failures. The Securities and Exchange Commission later fined Nasdaq $10 million, the largest sum ever levied against an exchange.
Twitter, which is expected to go public sometime before Thanksgiving, has chosen to list on the New York Stock Exchange. It plans to sell 70 million shares between $17 and $20 each for a possible take of $1.6 billion. Shares will trade under the ticker "TWTR."
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When I talk about the Vancouver Canucks and rivalries, different team names will emerge. Younger fans will talk about the Chicago Blackhawks and their recent playoff clashes with the Canucks, while some fans caught up in the exuberance of last year's Stanley Cup Final and the heated regular season re-match will talk about the Boston Bruins.
Fans with slightly longer memories will point to the Calgary Flames, and for good reason. There is the geographical proximity to consider, but more importantly, the Canucks and Flames have met up in the playoffs a half-dozen times, including three straight seasons in the early 80′s. Their first-round match-ups in 1989, 1994, and 2004 were particularly important, as the winner in those 7-game series went on to the Stanley Cup Final each time.
But here's a name that you might not have considered: the Seattle Totems. One of the Canucks earliest rivals may be on their way to being revived in the Emerald City.
Thursday afternoon, Seattle mayor Mike McGinn held a press conference announcing the details of a proposal to build a brand new, state-of-the-art sport arena in the SoDo area of Seattle. The arena is being largely funded by private investor Christopher Hansen, a San Francisco hedge fund manager who grew up as a massive SuperSonics fan in Seattle.
Hansen appears to be passionate about bringing the NBA back to Seattle and is pledging $290 million towards the building of the arena on land that he already owns. The deal is particularly sweet for the city as it involves no new taxes, will be entirely self-funded through revenue created by the arena itself, and has a series of conditions that need to be met in order for any public money to be used.
This is where hockey fans can get excited: one of those requirements is that both an NBA and an NHL franchise need to be brought into Seattle to play in the arena for public funds to be committed to the project.
While Hansen won't be buying an NHL franchise, other groups have been identified that want to bring the NHL to Seattle and Hansen will now be motivated to work with these groups to make this happen. The biggest obstacle in the way of the NHL coming to Seattle has been the lack of a suitable arena, as KeyArena has only 10-12,000 unobstructed seats for hockey. With this new arena deal coming together, Seattle has to be considered a frontrunner for NHL relocation.
Seattle has tried to get an NHL franchise twice previously, as outlined in my post yesterday at Backhand Shelf, but this may be their best chance to actually succeed. There are still a lot of hurdles to overcome, but one of the biggest has been removed. This is great news for the Vancouver Canucks.
Like many teams in the Western Conference, the Canucks don't have any other NHL teams in close proximity. The closest is Calgary, but it's not exactly a short drive. A team in Seattle, however, would just be a few hours away, close enough to leave work early, drive down, enjoy a game, and drive back up late at night. Tickets in Seattle would potentially (aka. almost certainly) be cheaper than at Rogers Arena as well. Once NHL realignment rolls around, Seattle and Vancouver would undoubtedly be in the same division, resulting in even more games between the two franchises.
Seattle and Vancouver have a long hockey history together, dating back to the days of the Vancouver Millionaires and Seattle Metropolitans, Stanley Cup Winners in 1915 and 1917, respectively. They were two of only four teams in the Pacific Coast Hockey Association and battled for the PCHA championship six times.
But the Vancouver Canucks had a Seattle rival themselves, during their pre-NHL years in the Pacific Coast Hockey League and Western Hockey League. The Seattle teams went through a series of owners and name changes before settling on the Seattle Totems.
The Totems and Canucks were the two longest lasting teams in the WHL and were, at times, the two best teams in the league, as the Totems won 3 championships and the Canucks won 4. They met up 4 times in the WHL playoffs, including once in the finals. By the time the Canucks joined the NHL in 1970, however, the Totems were on a decline. But the Canucks' association with the Totems didn't end there.
When the Totems began experiencing financial troubles, the ownership of the Canucks saved them from bankruptcy by purchasing a majority share in the team, with the understanding that the original owners could buy back that share if and when the Totems were able to join the NHL. The Totems became the Canucks' farm team and were awarded an expansion NHL franchise in 1974.
Unfortunately, the Totems' ownership were unable to procure the necessary funds to pay the NHL's expansion fees and buy back the team from the Canucks and the team collapsed.
Professional hockey left Seattle in 1975, but it might be on its way back. If so, it might be the chance for the Canucks to renew a 60-year-old rivalry.
The bulk of my information came from the superb website, seattlehockey.net, a great resource for the history of hockey in Seattle.Tags: Canucks, Hockey History, NHL, Seattle, Seattle Totems
I'm guessing that I may be one of a handful of PITB readers who is old enough to have seen the Canucks & Totems play in the WHL (in the PNE Forum, to boot), I gotta say that those uniforms look *awesome*, and when Seattle gets its NHL team they'd better bring those beauties back.
As a life-long Seattle resident and a Canucks fan, I am so excited about this possibility and really hope this comes together. We're hearing it is still very very early in the process from our city and county officials.
Naming ideas have been bantered about on sports talk radio and the Totems have been mentioned, along with the Thunderbirds. The name i like best so far however is the "Seattle Chinooks".
The real question is who do I root for if/when these two teams play each other!
As much as I like the spunk of your rose coloured half full glass, I think there are many issues that have not been considered nor addressed by this article:
- First of all, this article expounds at great length about how a Seattle NHL franchise would be great for Vancouver. I'm amused at all the talk of Canuck fans taking over the seattle arena when the canucks play Seattle, but what about the other 30 odd games in Seattle? The best interests of their residents need to be considered from their perspective too; after all, the franchise will be located in Seattle, not the Pacific Coliseum. And, believe it or not, Seattle has to worry about filling the building night after night, year after year when the Canucks are not in town.
- Seattle already has the Sounders MLS, Mariners MLB, SeaHawks NFL. Do they really have what it takes to support 2 more major league sports franchises? It's not just about population and demographics, just ask LA. Owners can change their mind too. Do they have 20000 rabid fans who will fill the building for 41 games of a full NHL season? Do they have an ownership group who is committed to the long term viability of the franchise? For the next 5 seasons after that?
- I remember the honeymoon period that Vancouver fans had for the Grizzlies. What happens if the Seattle NHL team goes on a losing streak? Will there be 20000 die hard fans to fill the building then? And for the next 5 losing streaks after that? Any ownership group that wants to bring the NHL to Seattle would do well to interview NY Islanders, Dallas, Columbus, or Phoenix to find out why the NHL isn't working out in those cities
I fully recognize that I am the unpopular Grinch throwing cold water on this hot topic. But I think we should ground ourselves in reality first before we reach for the stars.
From my experiences, there are a ton of hockey fans in both Seattle and the surrounding area (you can count Oregon in there as well). Given the lack of Pro hockey anywhere near buy, and the size of the market, I have no doubt that they would succeed. Seattle is neither a poor city, nor a southern city with warm climate and interest only in sports one plays in the outdoors and sunshine.
I wonder if the Canucks have any say in this at all. Do they have any territorial rights in Washington? We all know that Toronto (or southern Ontario in general) could probably support another NHL team but the Leafs are a major obstacle to it. Does anything similar exist in the Pacific Northwest?
I also happen to agree with Phileo99 to some extent. The NHL is a fringe sport in most American cities where it has not existed for a long time. Just consider in which cities the relevance of the NHL is palpable outside out of the fans in the stadium: Boston, New York (more so the Rangers, though I don't blame Islanders fans on that), Chicago, Detroit, Minnesota, Buffalo, the two Pennsylvania teams and to some extent St Louis and San Jose. All those teams have existed for generations, save for Minnesota (though they obviously replaced the North Stars and are in a hockey hotbed), and San Jose, who have found a good niche market in Northern Cal. Why would Seattle, which has gone a generation without professional hockey, fit in with that group, and not with Dallas, Colorado, Tampa Bay, Carolina and Anaheim, all of whom have won the Stanley Cup in recent history and still can't fill their stadiums or matter to anyone more than a couple of blocks away?
Columbus is only a 3 hour drive from Detroit. But the Red Wings fans don't show up for Blue Jackets tuesday nighters against Nashville. Why would it be much different for Seattle when Vancouver isn't in town?
Both you and Phileo bring up valid points. Don't forget however, that there are several semi-successful minor league teams also within 3 hours of Seattle – Everett, Portland, Tri-Cities, Wenatchee, not to mention the Seattle (Kent) Thunderbirds. These teams have hockey fans that would love to be able to go in person to an NHL game. Sure, Vancouver is just as short a drive, but it isn't economically feasible for many Seattle-area based fans to attend regularly. I've been a Vancouver fan for 10+ years and only made it up to one game so far (a Sunday night game vs Florida) just due to the expense involved.
As for attendance for an NHL team in Seattle and any other Seattle sports, it's been proven time and time again that fans will support winning teams. Get a team here and get the right people in place and there is no reason it can't work here.
I would love to see an NHL team in Seattle, but I'm not getting my hopes up yet. I've been a Canucks fan ever since I got into hockey in college, but I was barely aware of the existence of hockey as a kid growing up near Seattle. Hockey is definitely not popular in Seattle, but it could really catch on if people were more aware of it and could see games in person.
I think another key point in all of this is the question about corporate support. It's an unfortunate reality of the pro sports world that a team can't just have supportive fans, but also needs to attract money from businesses, ie: to buy season tickets and suites, advertising space and naming rights, etc. Sure there are a number of large corporations calling Seattle home (eg: Microsoft, Boeing, Starbucks…), but an NHL team would also have to compete for those dollars with the Seahawks, Mariners, Sounders and a prospective NBA team, all of which play sports with a stronger foothold in the Seattle market. If anything does work in Seattle's favour, I think it's how successful the expansion Sounders have been at drawing support. However, one still wonders if an NHL team would end up a victim of oversaturation. Sure there are some hockey fans in Seattle. But there were also some hockey fans in Atlanta.
This would be great for Seattle and Vancouver… but it's yet more terrible news for Phoenix. I'm desperate to keep my Coyotes in the desert where they belong (so I can keep seeing hockey, even if it does mean that I cheer *against* them when the Canucks are in town… I'm not a fickle fan, I just have priorities.)
On the bright side (for me), the Coyotes situation needs to be fixed this year, and neither an arena in Seattle nor Quebec City will be ready in time for next season.
I'm probably naive (see above re: wanting the Coyotes to stay as proof if you like…) but I have to wonder if Seattle's sudden new arena might be a piece of quiet groundwork for the expansion that seems logical (if not exactly desirable or even necessarily workable) if/when the realignment goes forward and 32 teams are more even divisible into 4 divisions…?
Guyld Fielder vs Phil Maloney at the PNE Forum. I used to ride the # 14 from Dunbar and pay 75 cents for a student ticket to sit in what they called the promenade seats right on the boards with no glass in front of you. i think there was a rider on the ticket about getting hit with the puck.
Great fun. I remember also Buddy Boone scoring a lot of goals a couple of years. Great atmosphere in the old Forum when the Totems came to town.


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The University of Central Florida Libraries, in conjunction with the Kerouac Project of Orlando and the Orange County Library System, is planning a series of programs this fall to celebrate the 50th anniversary of the publication of Jack Kerouacs seminal works, On the Road and Dharma Bums. Kerouac has long been acknowledged as one of the most significant and influential figures in American literature and is recognized as the father of the Beat Generation. These programs will emphasize Kerouacs connection to central Florida in general and the Orlando area in particular. While it is known that Kerouac spent the final years of his life in St. Petersburg and died there in 1969, what is often overlooked is that he was living in his home in the College Park neighborhood of Orlando when On the Road was published in September of 1957 and that he returned shortly thereafter to write his follow-up, the Dharma Bums which was published in 1958.
For a complete schedule of upcoming events, please visit Kerouac in Florida Programs will run from mid-September through October 31 and will include a keynote address by Bob Kealing, author of Kerouac in Florida: Where the Road Ends.
Upcoming programs of interest include:
7:00 p.m.Thursday 9/27 Library room 223.
Bob Kealing, Emmy Award winning WESH-TV reporter, will provide insight into his research and discovery of lost photographs. His book Kerouac in Florida: Where the Road Ends will be available for purchase.
3:00 5:00 p.m Saturday 9/29 Kerouac House Tour and program by Darlyn Finch. This is the house where Kerouace wrote Dharma Bums.
9:00 a.m 9:00 p.m. Thursday 10/4 UCF Library lobby. Marathon reading of Dharma Bums. Come join
Sigma Tau Delta Literary Club and read the book straight through.
To all those who love Jack Kerouac - New Documentary
One Fast Move or I'm Gone: Kerouac's Big Sur. http://www.kerouacfilms.com


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Always consider any relevant work experience when looking for a job. Your resume can include volunteering, job shadow experiences, or seasonal jobs. Clubs you were a part of in high school might even be relevant to a job.
Similar to an old saying, be dressed for a job you desure, not the one you already have. Even if you are already employed, you should take heed of this advice. You might encounter someone who can help you professionally at work, at a career fair, or in the grocery store. Therefore, look your best at all times. Check out employment agencies before you sign up with them. It's a good idea to understand that some of these businesses only care about quotas and taking your money. Perform the necessary research and find an agency in your local area that is honest. A good agency can be a great asset that will lead you to options you wouldn't otherwise know about.
Your job title may be restricting your job search. Expand beyond it. You may need to do some homework to find other job titles that compare to the job you are seeking. This will broaden your range of possible jobs.
You should still work hard at your current job even if you are seeking something else. Being a slacker will give you a bad reputation. You never know when word might get to potential employers. Success comes with hard work.
Why not just search for the exact job that you would like online without going through a middle site. Save time and effort by querying the details of your ideal position. The number of results may vary significantly from one week to the next, but at least you do not have to weed through irrelevant and expired listings. Once you've applied for several jobs, you should be getting calls soon. Therefore, your tone and what you say when you answer the phone is important. You want to leave a good impression on the first attempt and an embarrassing introduction is not a pleasant way to start things off.
When you are searching for a new job, being properly prepared can make all the difference. Be sure that your resume is updated with all of your job qualifications. You need a good record of your education, certifications and accomplishments. Do not leave out anything that is relevant to your previous employment.
If you are short on money during your job search, consider getting a job in a different field for the time being so you can pay your bills. Tend bars or wait tables while looking for a position in your desired field. Now that you are aware of excellent advice, you can turn things around for the better. Apply these tips, and you can turn yourself into a more desirable applicant. Doing this can improve your chances of getting into a great position. During the interview, make sure that your clothing is up to par. This will make you look more qualified than casually-dressed competition. Even if all you are doing is dropping off an application or a resume, dress well without going overboard. If you like more than one company, send them a copy of your resume. Understand that your duty is not done. You should then follow up once each month to see whether or not they checked out your resume, as well as any other open positions. You can also show up at the headquarters if you want to make a statement. Going this extra step makes it apparent that you are diligent and interested in the company. If a position opens up, it is possible that you will be contacted before the listing is posted.
You have to take note of your presence online as many businesses are checking things like this. Occasionally Google your name to see what the results are. It will give you a good idea of what employers will see, so you can make any changes you need to.
Use the employer's insurance plan for your health insurance needs. This will be taken out of your check before there are taxes taken out which makes it fairly cheap. Married couples should compare plan offerings, so that they choose the better plan.


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Following the path
Right after she put her shoes back on and began leaving Duke Chapel, Pierette Simpson's eyes began to flutter and she almost started to cry.
Tuesday was, she recalled, the first anniversary of her mother's death, and walking the chapel labyrinth, methodically, slowly following the intricate paths, had "evoked so many memories of her."
And then, as she continued walking, "I remembered my father and my grandfather and my grandmother and it was wonderful to surround myself with those memories, to remember all those lovely moments."
The labyrinth, Simpson said, had brought her some peace. "I don't know how to explain it, but it did."
Laid out on the chapel floor in front of the imposing altar, the simple, intricate labyrinth is designed to offer that kind of relief. It's supposed to inspire reflection and contemplation, helping those who walk its circuitous pathways find a calmness that may elude them in their daily lives.
Placed in the chapel once a year by the Resource Center for Women & Ministry in the South, the Duke labyrinth is a replica of the medieval labyrinth in the French cathedral of Chartres. It's a mirror for where we are in our lives, said Jeannette Stokes of the resource center, and "touches our sorrows and releases our joy."
Students and families, the religious and the non-believers, walked the paths Monday during the lunch hour. Some walked with their hands clasped in front of them, their heads down. Others paused on their journey when they reached the center of the labyrinth, sat down with their legs crossed or on their knees, and stayed to meditate.
Some made the sign of the cross as they finished walking.
The labyrinth is a religious symbol, found in many traditions around the world, but belief is not essential for succumbing to its allure.
Jonathan Lee, who works at Duke, "grew up a Christian," he said, but now considers himself an agnostic. He hadn't planned on walking the labyrinth, but decided to try it and found the walk "very centering."
"It let's you focus just on the path and you can toss out all other thoughts," Lee said. "It very much frees the mind from distracting, random thoughts. You have a chance to mull over that freedom."
Bill Olsen, his wife Jenna and their 12-year-old son Brandt, were visiting from Atlanta, doing a basketball tour of Tobacco Road. They had come just to see the chapel, and then all of them decided to walk the labyrinth.
"You walk into a place great place like this and you don't generally feel connected," Olsen said. "But this gives you a purpose, helps you feel connected. It's really calming."
For 30 or so minutes, the family walked. It was like walking the path of life, Olsen said.
"It helps you think of where you've been and where you're going," he explained.
Simpson, visiting family from Michigan, "kind of hesitated" before walking the labyrinth. "I'm not very religious," she explained.
But then she decided to do it "and the memories came rushing back."


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The Mahler Everyone Loves
Gustav Mahler, it would seem, is our most successful 20th-century composer. Despite the fact that the century is now almost eighty years old—and that Mahler died more than sixty-six years ago—his is still the newest name to penetrate the consciousness of both musicians and non-musicians, of committed fans and casual concert-goers alike.
The frequency of concert performance of his music is itself impressive. In the number of times his works have been played by the New York Philharmonic, we are told, he shares third place with Tchaikowsky, behind only Beethoven and Brahms. Just one year ago, the New York Philharmonic spent the month of September at Carnegie Hall doing a Mahler Festival which included most of his compositions; and this itself was only a replay of the Bernstein-Mitropoulos Mahler celebration of 1960, which may be said to have made Mahler big time in the American musical world. And even in the Soviet Union, where Mahler's music had fallen under the Stalinist ban, by the I960's no secret was being made of Dmitri Shostakovich's high regard for Mahler, and Yevgeny Svetlanov, the conductor of the State Symphony Orchestra of the USSR, could say: "I personally consider Mahler the greatest genius of all peoples and all times."
On records, the story is the same. Important conductors—among them Bernstein (Columbia), Bernard Haitink (Philips), Rafael Kubelik (Deutsche Grammophon), and Georg Sold (London)—have, by their complete sets of the Mahler symphonies, furthered their careers as such careers have always been furthered: by convincing audiences that they are hearing personal interpretations of vital and relevant music only recently come to public attention and recognition. As for recordings of the individual symphonies, one of the least popular—the Seventh—is currently available in no fewer than five separate stereo versions. Of the more popular works, the First and Fourth Symphonies are available in thirteen performances each, and the Second in twelve. And in an attempt by a record manufacturer to serve an even larger market than is made up by the lovers of serious music, works of Mahler have been packaged on one of the releases in London's "Orphic Egg" series under the title "Mahler's Head," with liner notes by Dave Marsh, the editor of Creem magazine.
Not only is there a rush to perform those pieces of Mahler which are by now familiar, but his forgotten early works are exhumed, and one of them—his ballad Das klagende Lied ("The Wailing Song")—has been recorded for Columbia by no less a musical figure than Pierre Boulez. At the other end of Mahler's life, there have been the variously successful attempts to complete and render performable the entire corpus of his Tenth Symphony, left unfinished at his death.
In addition to recordings and concerts, Mahler has captured the imagination of moviemakers. Ken Russell has included Mahler in his collection of artistic subjects, and Luchino Visconti, having discovered that Thomas Mann was thinking of Mahler while working on Death in Venice in 1911, turned Mann's hero, the author Aschenbach, into a composer and used Mahler's music for the film score. The liner notes for the Deutsche Grammophon recording of this score call it "the most beautiful film music ever written."
The fourth and final underpinning of Mahler's present popularity is the emergence of a Mahler literary industry, ranging from musicological studies through biography to large new gift books splendidly illustrated and printed on expensive paper. The musicological works subject Mahler to the kind of exegetical analysis heretofore reserved for the music of Bach and Beethoven, and among the increasing number of treatments of Mahler's life are two volumes (so far) by Donald Mitchell and the excellent short biography by Kurt Blaukopf, which appeared in Germany in 1969 and in English translation in 1973. In that same year, the numerous previous biographies were crowned by the publication of Henry-Louis de La Grange's ineffably detailed Mahler; this work, whose second and possibly concluding volume seems eagerly awaited, constitutes the most ambitious and exhaustive book written about the life of a musical figure since Ernest Newman's four-volume study of Richard Wagner was issued over a thirteen-year period from 1933 to 1946. And not even Newman, no slouch when it came to searching out and recounting minutiae, displayed the consuming passion for intimate facts and buried references which characterizes the work of the indefatigable de La Grange.
For display on the proverbial coffee table, the new presentation books on Mahler1 demonstrate, in their similarity to two recent works celebrating Wagner and the centenary of Bayreuth (and even brought out by the same publishers, Oxford and Rizzoli), just how great a composer Mahler is pressently seen to be. The Oxford volume concentrates on documents, often reproduced in facsimile, and illustrations of Mahler and his friends in their musical and geographical habitats; the Rizzoli volume confines itself to fairly long articles—among them an introductory essay by Boulez—as well as illustrations covering Mahler's career in Vienna before, during, and after his engagement as Director of the Vienna Opera.
All this present activity and reclame surrounding Mahler and his music contrast oddly with the bleak, depressing picture of pain and failure one carries away from most of the literature about him. For it is a literature that represents him as obsessed, oversensitive, born to suffer, and above all doomed by a cruel fate which begrudged him the happiness and success properly owing to a supremely great artist.
Mahler was born in 1860, in his own expression a Bohemian among Austrians, an Austrian among Germans, and a Jew among the nations. His parents were ill-matched and poor. Of his eleven siblings, five died in infancy, one died at the age of thirteen, and one committed suicide at twenty-five. Gustav, the eldest survivor, did poorly in school but seemed greatly talented in music. At fifteen, he entered the Vienna Conservatory where he had a checkered career. Upon graduation in 1878, however, he won a prize for composition and formed a sympathetic relationship with the outcast Anton Bruckner (of whose Third Symphony he had helped make a piano transcription).
His professional career began in 1880 with a position as conductor in a tiny summer theater where the standards were mean and the duties unsatisfying. But from there he went on to a series of other conducting jobs, each one more important than the last. As he gained in experience and authority, his reputation also grew, so that within fifteen years he had become a serious contender for the most important post of all and the one of which he had always dreamed—Director of the Vienna Opera.
This dream of a triumphal return to Vienna was aided by the support of such figures as the already mythic Brahms, Eduard Hanslick, the greatly powerful critic of the Neue Freie Presse, and Rosa Papier, an influential singing teacher and mistress of both political intrigue and a high official in the Imperial and Royal Court. As against all this, Mahler had an almost crippling disadvantage—his having been born a Jew. But he let it be known that he had been (rather freshly) converted to Roman Catholicism; with the obstacle of Jewishness out of the way, he was named a conductor at the Vienna Opera in 1897 and shortly thereafter its Director.
The decade he spent in Vienna was considered a golden age by his admirers, but as the years passed, the Viennese opposition to him (which contained a strong anti-Semitic component) quickened. Thus he welcomed the offer made him in 1907 to become principal conductor at the Metropolitan Opera House. He opened in New York with Tristan und Isolde and scored heavily. Soon, just as the possibility arose at the Met of conflict with the newly arrived Arturo Toscanini, the constitution of the New York Philharmonic was altered to permit him to become its director with absolute control. This was the last post he was ever to occupy.
All this time, of course, Mahler had also been composing. Unlike Richard Strauss, he found it impossible to write music during the winter when he was busy as a conductor, but he did manage to set aside the summers for composing. Moving on from the grandiose dimensions of Das klagende Lied, he converted the experience of an unhappy love affair into the Lieder eines Fahrenden Gesellen ("Songs of a Wayfarer"), based on his own adaptation of texts drawn from the early 19th-century collection of German folksongs, Des Knabens Wunderhorn ("The Youth's Magic Horn"). These poems of doomed love provided Mahler with the literary framework for the musical mood he was to cultivate all his life—a melancholia simultaneously abject and lofty, disturbed by frequent interjections of coarse peasant humor, and saved by the prospect of redemption both sublime and certain.
Although more and more celebrated as a conductor, Mahler the composer was forced to suffer rebuffs both from critics who disliked the few public performances he was able to arrange (sometimes with his own funds) and—much worse, of course—from those great men whom he most admired and who were his greatest supporters as a conductor—Brahms and the famous pianist and conductor Hans von Bülow. He felt Brahms had, when serving as a juror for the Beethoven Prize in 1881, blocked him from winning with Das klagende Lied; and Bülow had exclaimed after Mahler played for him part of what was to become his Second Symphony: "If what I have just heard is music, then I no longer understand anything about music!" When Bülow died in 1894, Mahler was finally able to complete that symphony, and in 1895 he began a third.
By the time of his death in 1911 he had composed nine symphonies, with the Tenth existing in a far-advanced sketch. He had also added to his works for voice and orchestra Das Lied von der Erde ("The Song of the Earth"), a cycle written to poems from the Chinese, and the Kindertotenlieder ("Songs for Dead Children"). These last, settings of Rückert poems, though begun before the arrival of his first child in 1902, and completed two years later, eventually became his memorial to the death of that child from scarlet fever and diphtheria in 1907.
His own death four years later seemed to put paid to his career both as conductor and composer. In an era before recordings, his conducting would only be quickly forgotten, and his music could no longer profit from the performances his power as a conductor was able to garner. Not only did the predominantly conservative audience of the day find his music too modern for its taste as compared to the great Viennese masters, but music itself was changing; the decadent and overblown romanticism which Mahler seemed to typify was being replaced- by the new aesthetics of expressionism, primitivism, and neoclassicism. In 1908, Schoenberg had, in his Second String Quartet, followed a quasi-atonal passage with a setting of the famous words of Stefan George, "I feel an air from other planets blowing"; in 1911, the year of Mahler's death, Stravinsky began work on Le Sacre du Printemps and Strauss started Ariadne auf Naxos. Then came World War I which, with its four years of unprecedented slaughter and destruction, was everywhere felt to mark the burial of the world of 19th-century sentimentality and self-indulgence.
So the brief spurt in Mahler performances in Vienna immediately after the war, no less than the Amsterdam Mahler Festival in 1920, seemed no more than a limited nostalgic survival. His music remained fitfully popular in German-speaking countries, and even that limited fame vanished in the avalanche of Nazi anti-Semitism. As far as Anglo-Saxon countries were concerned, it was only the influx of refugee conductors—and, one suspects, refugee audiences—in the 1930's that led to any widespread programming of Mahler's music.
After World War II the phenomenal development of recording based on magnetic tape and the long-playing disc made possible—at first monaurally and after 1958 still more effectively in stereo—the presentation of Mahler's music as he had conceived it, full of clearly heard polyphony distributed among the instruments of the orchestra by novel scoring and the separation of textures through actual physical spacing. From this point, it was only to be expected that he would quickly reach his present eminence; had not Mahler been told by an irate listener whom he was admonishing for booing a work of Schoenberg, "I hiss your symphonies too" ? Thus, at long last, justice was done, and Mahler's prophecy about himself—"My time will come!"—was fulfilled.
This impression of martyrdom and resurrection, of personal tragedy and artistic survival, of public error redressed by public adulation, is the idea of Mahler we get not only from his biographies, or even from such a painstaking effort as that of de La Grange. On an artistic and philosophical level far surpassing a mere recounting of the facts of the composer's life, we find Pierre Boulez beginning his piece on Mahler—the introductory article to Gustav Mahler in Vienna—with the words: "How long it took until he stepped forth, not from the shadows but from purgatory! A long lasting purgatory that held him prisoner for a thousand reasons. . . ." And more than sixty years earlier, just after Mahler's death, the same note was sounded by perhaps the seminal figure of 20th-century musical thought. For Arnold Schoenberg
Gustav Mahler was a saint.
Anyone who knew him even slightly must have had that feeling. Perhaps only a few understood it. And among even those few the only ones who honored him were the men of good will. The others reacted to the saint as the wholly evil have always reacted to complete goodness and greatness: they martyred him.
They carried things so far that this great man doubted his own work. Not once was the cup allowed to pass away from him. . . .
Rarely has anyone been treated so badly by the world; nobody, perhaps, worse.
It is clear that what Schoenberg is propounding here is a myth of Mahler as Christ. But the problem with this myth, as perhaps with all religious stories, is that its emotive force does not guarantee historical exactitude. At the least, as we learn from the facts if not from the mood of the Mahler biographies, the history is vastly more complicated and ambiguous than the myth. Arguably, what we have in the case of Mahler is a life in many ways closer to a fabulous success story than to the martyrdom of Schoen-berg's homily.
Consider those facts: A poor Jewish boy from a provincial Central European backwater, born to a family barely participant in even such limited emancipation as the 19th century allowed to his people, without outside material assistance, without effulgent charm, nonetheless in a short life of fifty years goes from smaller to ever larger assignments, from the shadow of his father's near-poverty to a leading position on the world artistic stage. As Director of the Vienna Opera, the most important opera house in the world, he is able to refuse a personal request concerning the hiring of an artist from the Emperor Franz Josef himself, from whose purse the Opera subsidy is drawn. His conducting is greeted by wild enthusiasm in a most significant part of the European press and he is made a handsome offer to come to America where again he scores triumph after triumph.
As a composer his success was less flamboyant, but his works were earning enough royalties by the end of his life to support the publication of the music of Bruckner. By then, too, Mahler's works, considering that they required such extravagant forces, were being performed reasonably close to the time they were written: his Eighth Symphony—called the "Symphony of a Thousand" because of the number of performers needed—was finished in 1907 and performed in 1910. The young Bruno Walter and the already established and famous conductor of the Amsterdam Concertgebouw, Willem Mengelberg, were both avid proselytizers for Mahler.2 In addition, his music received the public support and approval of Richard Strauss, the most successful composer and one of the most powerful conductors of the day.
Plainly, the evidence exists to support either a triumphant or a tragic interpretation of Mahler's musical career. Why then does the tragic interpretation prevail in most of the literature about Mahler? To answer this question one must proceed to an assessment of his achievement, and use that standard to evaluate both how he fared while alive and how he has been seen in the years since his death.
Perhaps the easiest aspect of Mahler's career to evaluate is his conducting. There can be little doubt that he was one of the greatest figures in the rather brief history of that branch of musical performance—the founder of the 20th-century tradition of the virtuoso music director as a creative musical force.
Musically, by claiming the right in the classics not only to change tempos and dynamics in ways not indicated in the score but also and more importantly to alter in ways large and small the very written notes themselves, he contradicted the sober and respectful approach of his admired predecessors and colleagues in Vienna. To this willingness to alter the written notes, he added a sense of rhythmic flow which depended upon fluctuating tempos rather than classical steadiness; in this he has been followed by such conductors as Wilhelm Furtwängler, and in our time Leonard Bernstein, rather than the literalist school popularly exemplified by Toscanini and Pierre Monteux. His choice of repertory, in its alertness to new music (even to music which he disliked) and its revivification of acknowledged masterpieces, provides a model worthy of study, particularly today. Regrettably, however, it is his personal behavior, so demanding as to verge on cruelty, that has been taken up as a model by too many of his successors. Perhaps as a result of that behavior, he was able to extend into the area of orchestral music that ascendancy of the performer over the music which had been earlier accomplished for the piano and the violin (and of course the voice) in the 19th century.
Much the same verdict can be passed on his work both as a musical administrator and opera producer. Throughout his career, wherever he had the chance, he enforced the idea that the director of a musical institution ought to combine managerial and artistic control, and that such control rightly belonged to the institution's chief performing artist, the conductor. He also reformed contemporary notions of opera production by diminishing the role of star singers in favor of the ensemble as a whole, and by allowing new ideas of staging and design to begin the process of destroying 19th-century operatic naturalism. He was thus the spiritual forebear of the revolution in operatic staging associated with Wieland Wagner and post-World War II Bayreuth.
But it is of course as a composer that Mahler's achievement must finally be judged. And here it must be said that an assessment of Mahler written from this time and place cannot substantiate a ranking of him on the level of the very few immortals of classical music. His output is much smaller than theirs, it is restricted almost solely to orchestral music instead of the enormous variety of musical media characteristically used by the immortals, and its narrow concentration on disappointment, depression, and despair contrasts sharply and unfavorably with the vast emotional range of a Bach, a Mozart, a Beethoven.
Viewed strictly in formal terms, Mahler's pieces fail to achieve the perfection one associates with the work of the highest masters, the perfect relationship between means and ends. Each piece—the slow movements excepted—is full of starts and stops, of strains and anticlimaxes. And most important, his music often lacks stylistic assurance and integrity—the ability to convince the listener that the composer is speaking with his own voice, and that of no one else.
For Mahler's compositions are those of a late 19th-century romantic, a continuer and developer of the tradition of Austro-German music. This tradition contains, in the music running from Bach to Brahms and Wagner, the most widely and strongly appealing serious music ever written. In the operatic world it is challenged only by the Italianate works of Verdi and Puccini which, however, it deeply influenced. In the world of orchestral and instrumental music it is unchallenged and is today the backbone and by far the largest part of the repertory. What a general audience hears and loves in Mahler is precisely his membership in that tradition, and his ability to draw, most especially in his beautiful slow movements, on the legacy of Beethoven, Wagner, Liszt, Brahms, and Bruckner. If Mahler cannot be considered a great melodist—notwithstanding the affective power of his melodic writing—it is because his tunes are evocative of the old rather than newly creative in their own right.
Nor is this reliance on the past limited to his slow music or to his relation to his great predecessors. It is implicit in all his material, so much of which is drawn from trumpet and horn calls, and from folk music. A particularly interesting example of this process, because it is at the same time so obvious and so little remarked, is the extraordinarily close resemblance between much of the posthorn solo in Mahler's Third Symphony and one of the themes of Liszt's Spanish Rhapsody, written in 1863; significantly, Mahler's work was written in June and July of 1895, and we learn from de La Grange—though he does not mention the connection—that the great Italian pianist and composer Ferruccio Busoni was soloist in his own arrangement of the Spanish Rhapsody with Mahler as conductor in Hamburg in October 1894. And even Liszt's usage of the theme is second-hand, for it is in origin part of a well-known jota from Spanish Aragon.
Another and very significant characteristic of Mahler's melodic writing is the instrumental function these melodies serve even when they are scored, as so often happens in his work, for voice and accompany a text. Beethoven made a revolutionary alteration in the conception of symphonic music when he ended the Ninth Symphony with a solo vocal and choral setting of Schiller's "Ode to Joy." But two widely divergent paths were taken as a result of this revolution. One was to use the orchestra as a means of extending and completing the work of the voice, as in the music-dramas of Wagner. The other road—chosen by Mahler and his successors—was to use the voice and even the sound of the text itself as an acoustical and thus instrumental component of the orchestra.
It is here that one may find the most satisfactory answer to the persistently asked question of why Mahler, the greatest of opera conductors, never composed an opera. The answer is implicit in his vocal writing; no matter how much he needed the stimulus of a verbal text to fire his musical imagination, he did not view the voice as the embodiment of a character. For Mahler the voice was a sound of great beauty to be orchestrated, not the expression of a human being with an independent existence. The practical consequence of Mahler's treatment of the voice is that singers are chosen for Mahler performances today not for their ability to project the text but rather for their beautiful creamy sound and its capacity to blend with rather than stand out against the orchestra.
Yet to judge Mahler so harshly is to say no more than that he falls short of six or so individuals out of the tens of thousands who have composed in the past three centuries of the flowering of Western music. Below that level of exalted, quasi-divine genius there are many composers who wrote music of beauty and force. In the symphonic tradition in which Mahler worked there were several such composers writing at roughly the same time. Coming slightly before him were Dvorak and Tchaikowsky—whose Symphonie pathétique resembles in its fundamental pessimism much of the mature work of Mahler. And coming slightly later were Rachmaninoff and the composer Mahler replaced in the affection of English and American audiences, Sibelius. Though there are of course significant differences in the nature and quality of these men's music, they remain linked as epigones of the 19th-century greats. Mahler's relation to Strauss is a more difficult matter; certainly one cannot know whether Mahler would have followed Strauss in his retreat after the dissonant modernism of Elektra into the enclosed garden of classicism, or instead have gone along with Schoenberg into the rejection of an easily comprehensible music.
If this assessment of Mahler as a composer is correct, it follows that there was, even in his lifetime, a rough equivalence between his musical worth and his career. No one expects the path of new serious music to be easy, and naturally a famous performer is more generously remunerated than a composer. And if his reputation as a composer grew after death while the memory of him as a conductor faded, that too does not seem unnatural. Why, then, is he seen today as a specially tragic figure?
There are at least two parts to the answer. The first is perhaps less important; in any case, it is trite, cruel, and to the artist deeply offensive. It is the idea that an artist must pay for his creative powers with his life. One sees this delusion in the 19th-century view of the artist as either tubercular or syphilitic; Thomas Mann played on both these ideas, most directly in The Magic Mountain and in Doctor Faustus. In our time this idea satisfies, by its crude retributive justice, the fans of great movie and rock stars like James Dean, Janis Joplin, and Elvis Presley—and it may well have been the prospect of just such a denouement which inspired the camp followers of Maria Callas. Not only does this view of the artist's suffering and death enable the audience to master its otherwise overwhelming envy; it contributes to the comforting feeling that the artist by dying has more fully lived for others. It is thus the tragedy of Mahler's life, including his career failures and personal miseries, which "proves" the authenticity of his art, whereas it is the success of Richard Strauss's life—his longevity, acclaim, and contentment—which "confirms" the basic falseness of which his music is often accused.
More interesting, however, is the way Mahler's life is conceived by musical intellectuals like Schoenberg and Boulez who see their own role as creators of the new in opposition to a superseded tradition. Though to a wide audience and to those musicians who primarily serve that audience, Mahler's general popularity rests on the appeal of his melodic writing, for the intellectuals his melodies and their rhetorical setting are initially embarrassing in their old-fashioned and vulgar sentimentality, their naked evocation of the passions of love and death. What the intellectuals have singled out as valuable in Mahler is his "modern" side—his violation of classical and even romantic bounds of length and permissible scale, his tendency to mockery and burlesque, his rapid alternation of wildly contrasting material, and his use of orchestral instruments in unaccustomed ranges and timbres.
Yet while it is true that these "modern" features can loosely be seen as adversary in the context of Mahler's time to a traditional conception of music—though no more so than much of the music Richard Strauss was writing during Mahler's lifetime—and thus responsible for much of the dislike with which Mahler's music was originally received, it is obvious that today they have lost their capacity to shock. Not only are they no longer seen as adversary, but they actually seem to the general audience to define the very nature of romantic music.
In any case, it is as a martyr to the new that musical intellectuals tend to revere Mahler—a tendency that can only be explained in the context of the predicament of new music in the past half-century. This predicament, for a long time called a crisis, can now fairly be called a collapse. Not all the government and foundation support, not all the tenured positions in colleges and universities, and not all the performances extorted in the name of the musician's duty to one's time can conceal the fact that there is not now, and has not been for decades, any intellectually admired new music being written which anyone outside a small educated group, highly conscious of its presumed historical role, has any desire to hear. Indeed, the major use of the word "contemporary" in music today refers to popular and "rock" music and not to classical music at all.
This verdict of failure has been passed despite an unprecedented burst of publicity from the most intellectually respected salesmen of culture to the masses—salesmen who in literature and painting have been fairly successful in communicating the gospel of the new. There is no point in denying that the sense of this failure, notwithstanding the mutual reinforcement musicians and composers have freely given each other, has bitten deep. No less than other hurts, the misery of public rejection loves company. What better company can there be than Gustav Mahler—so interested in the work of the young pariah Schoenberg, so conscious of the failure of his own music to elicit universal acclaim, and so confident of future vindication—when that same Gustav Mahler is now so plainly the darling of something approaching a mass audience?
It is this conjunction of the audience's love for what it hears as a deeply romantic and therefore essentially conventional music with a life which it is possible to see as martyrdom in the service of the new in art that is responsible for the current unanimity of opinion about Mahler. Here may be found the explanation of the otherwise incongruous appearance of Karlheinz Stockhausen, the enfant terrible of postwar avant-garde music, as the writer of a hagiographical introduction to de La Grange's biography of Mahler; here may also be found the meaning of Pierre Boulez's eagerness to secure the first complete recording rights to Das klagende Lied, despite the evident distaste Boulez shows for Mahler's grandiosity; here may also be found the reason for the use of Mahler quotations in the work of ambitious American modernist composers. It is as if they were all saying: "My time, too, like Mahler's, will come."
Though Mahler's present success and his contemporary image can be described and analyzed, it is obviously impossible to forecast the future rank his music will occupy.
There is much truth in the motto which is so often quoted as describing the right of new art like Mahler's to be accepted—"To each epoch its art, to art its freedom." One cannot say whether the needs which his art fulfills today will be fulfilled in the same way in the future, or indeed whether these needs will even continue to exist. But one can point out the shaky nature of a reputation which depends upon a double weakness—in this case the desire of an audience for satisfactions from music which can artistically be better provided by the music of other composers, and the need of frustrated composers and musicians to reassure themselves about their own future by the arbitrary interpretation of the life of a man long dead.
1 Mahler: A Documentary Study, edited by Kurt Blaukopf, Oxford University Press, 280 pp., $3750; Gustav Mahler in Vienna, edited by Sigrid Wiesmann, Rizzoli, 160 pp., $25.00.
2 Fortunately, both these conductors recorded some of the works of Mahler: the Fourth Symphony performed by Mengelberg was available on Turnabout until recently, and the Walter recordings of five Mahler symphonies are still available on Columbia/Odyssey.


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Everybody seems to have an opinion on Tiger Woods and his cheating scandal, but 50 Cent has some words of advice. According to the rapper, Tiger wouldn't have been caught had he behaved in a more "gangster" way. 50 says, "Tiger, it's interesting. Fear factor – you need a little fear there, a woman need to feel that maybe he's going to snap, 'So I ain't going to say that'"
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"And he says, "Hey it's Tiger baby I was trying to get my freak on a little later – if you could call me back. "
"Damn, he's been tried and convicted when his wife hears that."
The best advice that 50 gave however, was that Tiger should have used condoms. "Thirteen women and no condoms – you're a gambling man ain't you Tiger?" [Source: Mirror; Photo: Getty Images]


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The Drive Home with Jonathan:
Your Favorite CurrentFM Music, Music News, Traffic and Weather.
Weekdays: 2pm-7pm
Top 5 at 5- Monday Thru Fridays
Count Down the Top 5 Songs of the Afternoon & Get Your Vote in for the countdown! Call Jonathan with your vote at 757-631-7777 or email it to email@example.com.
New Music Tuesdays
Hear brand new music on CurrentFM and hear about all the new releases in Christian Music.
What's Your Answer Wednesday
Call in with your answer to the Question of the afternoon. Who knows you might just make it on the air!
Free Stuff Friday
Sometimes its Music, Sometimes Concert Tickets, Sometimes Movies. Tune in Every Friday for your chance to kick off the weekend with some Free Stuff!
Your Favorite CurrentFM Music, Music News, Traffic and Weather Weekdays 2 to 7pm with Jonathan.
- Jon Cash – MP3
- David Crowder – MP3
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Jonathan's Bio
Birthdate – April 12, 1983
Birthplace – PTown, VA!!
Favorite Movie? The Green Mile, Passion of the Christ
Favorite Food? Anything Italian, oh and Cinnamon Buns Ben and Jerry's Ice Cream, its incredible!!
Favorite TV Show? Perfect Strangers/Friends/Everwood
Favorite Currentfm Artists: Jimmy Needham, The Afters, Family Force Five, Kutless, P.O.D, Switchfoot, Hillsong United, Mainstay, Chris Tomlin, Edison Glass, Flyleaf, Pillar, K-Drama, Kj-52, and Lecrae (I could go on but I will spare you.)
If I was a candy bar, I would be… Reese's Peanut Butter Cups
What is your life bible verse? Do not conform any longer to the pattern of this world, but be transformed by the renewing of your mind. Then you will be able to test and approve what God's will is—his good, pleasing and perfect will. Rom 12:2
How you ended up in radio? I was in my radio class at ODU and we were told to call a station in the area and interview the program director, so I did and the rest is history. Morning Show intern…. Overnight DJ… Afternoon DJ… Production and On-Air!! I love my job!! I am blessed!
What do you do with your free time? RELAX with my beautiful bride! Play Nintendo Wii, and hang with friends.
The One Thing that CurrentFM Listeners DO NOT know about you… That I lead worship at a 18 to 20 Somethings service in Chesapeake. Its called 17:17, its based off of Proverbs 17:17 and we meet every Sunday evening at 7:17 at Western Branch Community Church! Come check it out!!!


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The 1999 evolution of the Lamborghini Diablo VT used fixed headlights and massive 18-inch wheels.
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For links to the stories behind the cartoons for the 2015 Calendar please go here
Note: Most of the links are on Bishophill/Josh tab
There are a few 2015 Calendars left so if you would like to order one please go here.
The Calendar page for 2014 is here.
The Calendar is a review of the year with as many of the cartoons from
2014 as possible
and I have been adding links to the cartoons' background stories to the Calendar page.
New cartoons usually on BishopHill
- see the CartoonsbyJosh
sidebar link -
and most are featured in the 2015 Calendar.
If you want to get in touch my email is: josh [at] cartoonsbyjosh.com
One thing that I do not have space for in the Calendar are Cartoon
I hope to set up a page specifically for notes in the future but in the meantime here are some notes from 2012.
The cartoon notes of the RMetS Communicating Climate Science meeting
There are some more recent cartoon notes from 2014 on BishopHill too,
The Royal Society's conference Next steps in Climate Science
Battle of ideas: New Environmentalism and the brilliant Ross McKitrick at the GWPF
Thanks for looking!
And thanks to these referring blogs
Hill • WUWT
• Climate Audit
• The
Blackboard • Judith
Curry • Roger
Pielke Jr • Jo
The Climate Scam • Our changing climate • James Delingpole • RealClimateGate • Tallbloke • The Air Vent • Shub's blog
Copyright © 2013, Josh. All rights reserved.


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Latest Headlines
After three big lead changes the O's come out on top
Posted on 23 Aug 2013 by Brendan Keelan.
Both the Baltimore Orioles and the Oakland Athletics are teams who are both fighting to make the postseason, as they were last season. Baltimore came into this game trying to reach closer to the second wild-card spot in the American League and they did winning tonight by a score of 9-7 despite being outhit by the A's. The lead changed three times in the bottom fourth, top fifth and bottom seven...
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Giants Salvage One Win vs. A's in Bay Series
Posted on 31 May 2013 by Daniel Trucios.
It had largely been a disappointing week for the Giants until Thursday. Finishing a four game Bay Series, the last two of which were at AT&T Park, the San Francisco Giants (29-25) manage to beat Oakland Athletics (31-24) by a final of 5-2. Oakland had won the first three between them and the Giants, even the first of this two game series at AT&T. But a 4-run 6th inning allowed the Giant...
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A's Take Two at Home in Bay Series
Posted on 29 May 2013 by Daniel Trucios.
The two games in Oakland go to the A's. The Oakland Athletics (30-23) manage to win both Bay Series' games in Oakland winning the 2nd one last night 6-3. The A's have now won five straight. The San Francisco Giants (28-24) sent out Triple A pitcher Mike Kickham (L, 0-1) to the mound making his MLB debut. Kickham failed to go beyond the third, however, being pulled after allowing 4 earned runs. ...
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A's Steadily Improve: Trade for Jaso
Posted on 18 Jan 2013 by Josh Muller.
The Oakland Athletics have had a relatively quiet off-season by their standards. After shocking the baseball world by winning the AL west on the last game of the season in 2012, the A's found themselves in unfamiliar territory when the year ended. The Oakland fans had finally come out of hiding, they had a manager everyone loved and respected and the A's roster, which was comprised mostly o...
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One Giant Leap for San Fran-kind
Posted on 29 Oct 2012 by Steven Keys.
California and baseball, they were made for each other. They go together like hot dogs & mustard, guacamole & chips, politics & debate. Kismet. Long before Walter O'Malley (Dodgers) and Horace Stoneham (Giants) moved their New York business interests cross-country to the Golden State ('58), the game of baseball was already well-situated on the Pacific Coast, producing such gems ...
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Los Angeles Angels Update
Posted on 26 Sep 2012 by Joshua Skelton.
Manager Mike Scioscia has been trying really hard for us to lose these very important games. His pitching changes have been curious at best. He took Jerome Williams out of the first game, in a very important series against Texas, when he was shutting down the Rangers in a big way, for Garrett Richards who proceeded to give up 2 runs when we were on our way back into that game. Then, instead of ...
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Los Angeles Angels update
Posted on 14 Sep 2012 by Joshua Skelton.
Do they have it in them? Some games, they look like the dominate team that everyone thought they should be this season. Some games, they look completely offensively inept and look unsure of their roles on the team. Manager Mike Scioscia should be treating every game as a playoff game. I was a little bit surprised to not see some type of squeeze play two nights ago with no outs and runners on fi...
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From The Stretch: Who Makes The Playoffs And Who Wins It All (AL)
Posted on 27 Aug 2012 by Connor Callaghan.
A few days ago I posted my predictions regarding the NL pennant race, giving an edge to the Washington Nationals winning it all. You can find the article here: (http://www.prosportsblogging.com/2012/08/24/from-the-stretch-who-makes-the-playoffs-and-who-wins-it-all-nl/). Today I list my favorites to make the playoffs in the American League while also giving each team their chances of winning the...
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Playoff Push Belies MLB Grind
Posted on 29 Jul 2012 by Steven Keys.
The 'dog days' of summer have arrived. The genesis of that phrase? I haven't a clue. To tell ya' the truth, sometimes I just don't want to know the answer. Call it Information Age burn-out. Suffice to say, 'dog days' feels apropos come late July. It's that time in baseball when the pep & vigor of spring has vanished like a cool summer breeze. Players, managers and umpires st...
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Pitchers give up leads, Batters grab the leads but still strikeout
Posted on 28 Jul 2012 by Brendan Keelan.
Both the Orioles and the Athletics needed to win some games in this series to move closer to a American League Wild Card lead. In this series opener it was the A's in the end who would take the game in the ninth and win by a score of 14-9. Both the O's pitching and batting are to blame. The O's offense improved in way tonight because they clawed back when they were down and had big run innings ...
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A's Draft Trio of High Schoolers on Day One
Posted on 5 Jun 2012 by Josh Muller.
If there is one constant in the draft philosophy for the Oakland Athletics, it is the clear preference of college players to high school players. In fact, since 1997 the A's have only drafted one high school player (Jeremy Bonderman) in the first round. Billy Beane, the A's general manager, is famous for drafting the "safer" college talent to the more risk/reward nature that's general...
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Our First Look at the 2012 A's… in Japan
Posted on 31 Mar 2012 by Josh Muller.
I'm not a fan of Major League Baseball starting it's season in Japan. The games are on super early in the morning (the first wasn't even televised live), no one seems to be paying attention and now that the two games are over, the A's and Mariners will return to the states to finish up spring training. What?! The entire situation is weird. I get that MLB is trying to expand its brand to...


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BOLTON Three miles past the end of the paved portion of Padanarum Road, Bill Campbell has lived for 23 years off the grid in a passive solar home, pursuing a lifestyle that avoids materialism, savoring the rhythm of nature in the Adirondacks.
While dozens of others have adopted such a sustainable lifestyle for several years and then returned to civilization, Campbell has pursued his close connection with nature for a generation or so.
Wearing his trademark grin, Bill Campbell recently stood in the yard of his passive-solar home, gazing past his vegetable garden towards Tongue Mountain. Not far away was his biodiesel distilling equipment, which he puts to use in producing fuel for heat and to power his vehicles.
"I'm very happy," he said, playing with his dog amid four solar panels in his yard. These and six others on the roof of his home provide several thousand watts to provide power for lights and a few efficient household appliance.
"To tell the truth, I'm the happiest person I know," he continued.
Campbell inspected his garden, reviewing plans to rotate his crops, which sustain him and his son Liam throughout the year.
Most years, the produce he grows organically — kale, mustard greens, tomatoes, carrots, squash potatoes and beets — provide most of the food they need in season as well as through the winter. He also has apple trees and blueberry bushes that are productive.
But nature is not always cooperative. Last year, the lower Adirondacks experienced a drought which prompted Campbell to construct a supplementary irrigation system for his garden. In response, Campbell harnessed nature's power to provide water needed for a bountiful harvest.
With the help of friend Dave Cummings, Campbell devised a ram pump which employs the kinetic energy of falling water to transfer water, ounce by ounce, from a brook 150 yards away uphill to his house. Without employing electricity or fuel, the system fills a 250-gallon tank at his house overnight. From there, it's distributed to his garden as needed.
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Advancing Biomedical Research
Small Forces, Big Impact
Popped Secret: The Mysterious Origin of Corn
When a malaria-carrying mosquito bites a human host, the malaria parasite enters the bloodstream, multiplies in the liver cells, and is then released back into the bloodstream, where it infects and destroys red blood cells.
Free resources for science teachers and students, including animations, short films, and apps.
Browse and order from HHMI's free, award-winning library of publications and films.
HHMI's science magazine explores biomedical research through in-depth features, news, and perspectives.
HHMI's innovative research center where scientists pursue challenging problems in a collaborative setting.
HHMI's production company creates science films for broadcast, cinema, and digital media.


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Penn State Student-Athletes Earn NCAA and Big Ten Titles and High Graduation Rates During Outstanding 2011-12
Nittany Lions Place 12th in Directors' Cup Standings; Post 88 Percent Graduation Rate
Ettl and Rosenthal Honored with Big Ten Sportsmanship Award
Nittany Lion gymnasts recognized for distinguishing themselves through sportsmanship and ethical behavior
Women's Gymnastics Holds Annual Awards Banquet
Musser was named the team MVP
Sixty-Three Nittany Lions Earn Winter Academic All-Big Ten Recognition
Penn State has a total of 3,915 honorees during 18 years of the program
No. 12 Women's Gymnastics Travels to 2012 Big Ten Championships
No. 2 seed Penn State will compete in session two at 7 p.m. ET
2011 (Junior): First Team All-Big Ten ... Big Ten Sportsmanship honoree ... Academic All-Big Ten ... Big Ten Uneven Bars Champion ... anchored the Nittany Lions on bars in 11 of 12 meets ... averaged a 9.807 for the season ... finished in the top five event finishers eight times, including earning four event titles ... scored a 9.800 or better nine meets and a 9.900 or better six meets ... won the uneven bars title with a 9.900 at a tri-meet with Big Ten foes Illinois and Michigan (1/14) ... placed second with a 9.925 in a meet at Florida with N.C. State (1/28) ... won the bars crown with a 9.900 at North Carolina (2/11) ... scored a career-high 9.975 to tie the program record in a quad meet at Maryland with Rutgers and William & Mary (2/18) ... defended her uneven bars title at the Big Ten Championships (3/19) with a 9.925.
2010 (Sophomore):Second Team All-Big Ten ... Big Ten Sportsmanship honoree ... Academic All-Big Ten ... competed in 13 meets on bars with an average score of 9.808 ... finished in the top five finishers 10 times, including winning five titles ... scored a 9.800 or better in 11 meets ... won her first uneven bars title scoring a 9.900 in a quad meet with Cornell, Iowa and Yale (1/23) ... scored a 9.950 for top honors vs. Illinois (2/7) ... won the event at Pittsburgh (2/13) with a 9.900 ... posted a 9.950 vs. Maryland, Michigan and Bridgeport (3/7) ... scored a 9.875 vs. Nebraska (3/20), good enough for second place ... won the Big Ten uneven bars title with a 9.925 (3/27) ... finished third with a 9.875 in the NCAA Regional Championship (4/10).
2009 (Freshman): Competed in 10 meets on bars with an average score of 9.805 ... finished in the top five finishers on six occasions ... earned the Ann Carr Award for most inspirational gymnast of the meet versus Cornell, William & Mary and Penn (2/7) where she finished third on bars ... placed third with a score of 9.800 at Illinois (1/17) ... scored a 9.750 at Nebraska to finish third ... recorded a 9.825, good enough for third place, versus Cornell, William & Mary and Penn (2/7) ... won bars with a 9.850 at Michigan (2/13) ... scored a versus Alabama and Ohio State (3/1) and again at the Big Ten Championships (3/21) ... scored a 9.800 at the NCAA Regionals (4/4) and again at the NCAA Championships (4/16).
High School/Club
Born Natalie Clare Ettl on April 19, 1990 in Waukesha, Wis. ... parents are Steve and Beth Ettl ... has one brother, Will (18) ... majoring in kinesiology ... names camping and fishing as hobbies, Dave Matthews Band, Jack Johnson, Hootie and the Blowfish and Kenny Chesney as favorite entertainers, the Green Bay Packers, Milwaukee Brewers and the Miami Heat as favorite pro sports teams, "Mind Gym" as favorite book, "Grey's Anatomy," "The Next Great Baker" and "Law & Order SVU" as favorite television shows, "Despicable Me", "Life as We Know It", "Taken" and "The Proposal" as favorite movies and her cabin in northern Wisconsin and anywhere with a beach as favorite places to visit ... names goals for the season as "to help lead my team to win the first-ever Big Ten Championship title for Penn State and qualify to the NCAA Championship and Super Six. I want to enjoy my senior year with my amazing teammates and most importantly, have fun!"
Why Penn State?
Quoting Coach Thompson
Natalie's Favorite Quote


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We understand that many of the same things that were important to you 10 or 20 years ago are just as important to you today - staying healthy, being with family and friends and enjoying all that life has to offer.
Just as aging is inevitable, so is change. And change comes in a variety of forms - such as the birth of a grandchild, retirement, the loss of a spouse or friend, or the excitement that learning brings.
That's why at Palmetto Health, we've developed PrimeTimes, a unique program for people ages 55 and older. Since its inception in 1989, PrimeTimes has grown to more than 17,000 members.
Although most members live in the Midlands of South Carolina, some are as far away as Pennsylvania, Florida and Alabama. Because of the variety of programs and services available to members, even those who live out-of-state can benefit.
As a member, you are eligible for the following benefits:
- monthly health seminars and educational programs on a wide-range of topics such as arthritis, gardening, financial planning, travel and memory improvement
- up to $40 off mammograms after insurance and/or Medicare pays
- up to $45 off osteoporosis scans after insurance and/or Medicare pays
- discounted meal tickets for members who are inpatients at Palmetto Health
- free health insurance claims filing assistance
- 30 percent discount on meals in the hospital cafeteria and bistro
- free discount prescription card
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- a variety of travel opportunities
- osteoporosis exercise classes
- lessons in areas such as defensive driving and creative writing
- and the opportunity to participate in programs and events offered throughout the year such as Zoo Walkers
The only requirement for membership is age — you must be at least 55 years old to join. Lifetime membership is only $5 per person. After receiving your application for membership, we will mail you a membership card and a PrimeTimes benefits brochure.
To download a PrimeTimes membership application, click here. The application requires Adobe Acrobat Reader to open and print. If you do not have it, click the Adobe icon to download it for free.
Applications are usually available for in-person pickup at the Information Desk at Palmetto Health Baptist, and the Volunteer Services office at Palmetto Health Richland.
For additional information or to receive an application by mail, click here to send us an e-mail or call us at (803) 296-5978.
Zoo Walkers
To promote good health, PrimeTimes and Riverbanks Zoo and Garden have joined together to offer Zoo Walkers, a health education and exercise program just for older adults.
Whether you roar Good Morning to lions from Africa, spend your lunch time in the botanical gardens or your afternoon in the rainforests of South America, the Riverbanks Zoo and Garden can provide a safe, entertaining and educational environment for exercise.
Riverbanks provides a safe and interesting place for older adults with many well-paved footpaths essential for walking. Enjoy meeting new friends of all species while participating in one of the safest forms of exercise.
All participants in Zoo Walkers must be members of the Riverbanks Society and PrimeTimes of Palmetto Health Baptist. Membership in Riverbanks Society begins at $39 per year for an individual membership.
For additional information on the Zoo Walkers program, please call us at (803) 296-5978 or click here to send us an e-mail.


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Vietnam becomes largest investor in Laos
Vietnam has become the largest foreign investor in Laos after taking over the top position from China and Thailand, according to a newsletter issued by the Ministry of Planning and Investment.
The newsletter, published by the Investment Promotion Department, shows Vietnamese firms invested in 252 projects in Laos worth about $2.77 billion from 2000 to 2010, putting Vietnam top in foreign investor rankings for the first time in a decade.
"The value of Vietnamese investment has exceeded that of China and Thailand since the end of last year. One of Vietnam's major projects is the $1 billion golf course development in Vientiane," Investment Department deputy director general Manothong Vongsay told Vientiane Times on Friday.
In recent years Vietnamese firms have also embarked on a number of mining and hydropower projects in Laos, causing investment by the country to increase rapidly.
The surge in investment follows on from an agreement between Laos and Vietnam to boost bilateral trade to $1 billion in 2010, to $2 billion by 2015, and to $5 billion by 2020.
Most of Laos's exports to Vietnam are timber, mining products and electricity, while Vietnamese exports to Laos mainly comprise machinery and consumer goods.
According to the newsletter, Chinese firms have invested in 397 projects worth about $2.71 billion over the past decade, putting them in second place as investors. Thailand has invested in 276 projects worth $2.68 billion.
The fourth largest foreign investor in Laos is the Republic of Korea with projects worth $512 million, while the fifth largest foreign investor is France with projects worth $459 million.
Japan, India and Australia fill the sixth, seventh and eighth investor spots, while Norway and Malaysia are ninth and tenth respectively.
The top largest investment sector from 2000 to 2010 remained electricity with an investment value of $4.5 billion. In second place was mining with an investment value of $3.2 billion. Services, agriculture, and the industry and handicraft sector are the third, fourth and fifth largest foreign investment sectors.
According to statistics, investment in natural resources is still the most attractive sector for foreign investment, despite government efforts to boost investment in the non-resource sector with a view to sustainable economic growth.
The Lao government amended and promulgated the Foreign Investment Promotion Law in early 2010, aiming to attract foreign firms to the non-resource sector. The law offers a number of investment incentives including tax breaks and the right to own residential land in Laos.
The law also creates a one-stop service for foreign firms seeking investment permission in Laos and aims to accelerate investment proposal consideration.
Category: Economy


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Labrys Systems
The cutting edge in software engineering
Labrys Systems provides consulting services and training in a wide variety of software engineering practices and problem domains. We have extensive expertise in Object-Oriented analysis/design and development in Java, C++, C# and VB.NET as well as relational database design and implementation in SQL Server, Oracle and MySQL. We also provide website design and implementation services and consulting.
We have worked with the full spectrum of clients from Fortune 100 giants to part-time "Mom & Pop" businesses. Our problem domain expertise also covers many specialized areas including retail and industrial inventory, package shipping and other commercial and enterprise applications as well as extensive expertise in Public Safety systems for police, fire and EMS agencies including Computer-Aided-Dispatch, criminal records check (NCIC and CJIS) and records management systems (RMS) for police and fire/EMS.
We firmly believe in giving back, so we have created and maintain several website on a
pro bono
basis for local non-profit organizations.


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|Saturday, 29 December 2012 09:20
The Glasgow Fire Department responded to two fires on Thursday night. The first happened at 6:01pm for a fire in the roof of J. L. French at 20 Prestwick Drive. Upon arrival firefighters found that work being done on some ceiling lights likely started a fire near the underside of the roof on some beams. The beams had a small amount of dust on them causing the fire. Firefighters with the help of plant personnel were able to extinguish the fire. Plant personnel are calculating a damage estimate and will released it at a later time. No Injuries were reported on scene.
The second fire was reported to firefighters just two minutes after the arrival at J.L. French. One engine left the first scene and responded to a residence on Humble Ave. for a reported fire in an electrical outlet. Firefighters requested assistance from the East Barren fire Department to the Humble Ave fire. When firefighters arrived, they found light smoke in the structure and a blackened wall socket. Firefighters used an ax to open up the wall to contained fire to the wall outlet. No injuries were reported and the damage was minor at the residence.
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