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Our run of Virginia
Done. FLUSHHH! That was the music going out of my brain.
Both performances of Mercadante's Virginia have passed.
Opening night was pretty much a trainwreck. Personally, I was on fire. I knew my music, I had good ideas for my character, and I tore the stage up, especially my first scene, which is mostly just me: my aria and cabaletta, with some minimum dialogue with Marco. Since I'm self-sufficient in the scene, and freshly optimistic since it's the first scene of the opera and nothing had gone wrong yet, I had a lot of positive energy and really went all-out with it.
The second act is where things really got messy. There is a lot of "scene" in the second act, ie a lot of each character saying one line here or there while the accompaniment plays music under us. As opposed to, you know, an aria or a duet or an ensemble. The thing is, these "scenes" are the hardest thing to learn when you don't have enough rehearsals, because you have to worry so much about your entrances- when you say what, what line is next, where to find your next note. Unfortunately, they are also the part that people spend the least time working on. So things can really fall apart, especially if not many people in the ensemble really know the music, or if you have no conductor, or if the pianist isn't strong in their part.
So, that's basically what happened. I had learned my part thoroughly, enough to stay on track even when other people didn't sing their lines. Largely because I knew we would be under-rehearsed, and honestly I was pretty sure not everyone would know all their entrances- or, they might know them, but not enough to get them even when the person before them missed their cue. I had prepared for this. But, I really only had a few lines in these scenes, so there wasn't much I could do to help. So yeah, there was a lot of everyone standing on stage looking at each other.
See, in theater, when you forget your line, there is some TORTUROUSLY uncomfortable silence, and either someone will look at you/give you a hint, or someone will improvise something, hopefully either paraphrasing your line for you or otherwise getting around it, maybe just skipping over it if it wasn't important.
In opera, if you forget your line, the music keeps going. Hopefully it doesn't go long before someone figures out where they are and jumps back in with the singing. In this case, it went quite a long time. It was pretty awful, one time I was really convinced that Ralph was going to cut us off and just start the scene over, on-book. But eventually we got to a part where everyone knew where we were and got back on track. The day was saved!
The rest of the opera pretty much went better, but it was a trying day. I needed a drink after that, but everyone was like, "next week, next week, I can't tonight." I did talk the mezzo and, with much prodding, another soprano, into going to El Vez for margaritas and guac. Then the mezzo was going to play in an open mic, so I went with.
It was really fun! There was no "open mic drama" about too many people wanting to play, having to fight for a decent slot, only getting to play two songs. Even though we got there late, the girl running it let me skip forward in the list so I could make my bus back to NY, and we were each allowed to play four freaking songs! That's a lot for an open mic, that's like half the length of most of my sets in New York! The audience was very responsive and I even sold a CD. So that made up for the lousy opera performance.
Today was the second and last performance. I'd say it went a lot better overall. There were still people missing lines, but at least we knew what to expect. I learned that, as the person who knew the score best, it was actually very useful to look intently (and in character) at people who were supposed to sing next so they felt assured that it was their turn. (Some people in this cast are inexperienced, so that kind of hint can go a long way.) In some of the big scenes, when people forgot lines, I would hum them just loud enough for the other cast members to hear- at least to help everyone know where in the music we were. I know over-helping can be obnoxious, but I think in this case it was needed.
I definitely felt less energized today. I guess that's normal for a second performance. Or maybe I was just jaded from the rough show last week. I perked up a lot during my final duet with Icilio, that came out fierce. The rest of it I was a lot less animated than last week.
Ralph did finally thank me. I was a little peeved he didn't say much after the first performance, but this time he specifically thanked me for coming in last minute. So, OK. I still wish he would just give me better roles. Every show I do for him I show up first rehearsal, off-book, sing circles around everyone, hold the scenes together- and he's still never given me a better role than Frasquita (replacing another Frasquita). Sigh. Who wants to be booked to sing in a church basement for free three years from now, anyways.
Nobody wanted to go out after this performance. I didn't even really ask, everyone sort of bolted for the door. LAME.
The perks: got to do my first pants role, which I think went well. I did pretty decent man make-up, but no one got any pics! I got to learn some really nice new music. Yeah, I made fun of it, but there is some really nice stuff in there. Got to meet some new people. Sold a CD to the mezzo. Made good impressions on people. Now no longer have a gap on my resume for 2010.
Anyways, I'm glad it's over, as my iPod is too full and now I can delete it and put something else on instead. :)
What's it's like for singers to talk to non-singers.
My friend Marcy made this and it has gone totally, insanely (at least for something in the classical music world) viral. I think EVERYBODY should watch this- singers because they'll laugh their asses off, but moreso non-singers so they'll know what we have to freaking put up with from their ilk.
Usually I hate these videos, because every single one I've seen follows the exact same format: one "normal" person, representing either a certain profession/viewpoint, or just being "everyman" to someone else, and another "annoying" person being totally unreasonable and asinine. They are sometimes funny and sometimes not, but the thing that gets me is how one-sided and formulaic they are.
However, this one is just really, really, really good. I have had SO many versions of this conversation, and getting most of these questions and comments is basically like being bludgeoned with a blunt object. Over and over. So I wanted to share for everyone's sake.
I thought if I'm going to post it I should at least make some commentary:
"You have a nice voice" OMG. I respond exactly the way the character does: "I should."
"All operas are in Italian, right?" I hear this so much. I guess you can't blame people for not knowing that, though.
"Sing me a song from Lulu. I'll recognize it from commercials, maybe." This line had me ROFLing. For those that don't know, Lulu is a "modern" opera, essentially atonal, and the arias sound something like this:
I myself love the music, but "Sing me a song from Lulu" isn't something you'd hear every day. Still, it makes me wonder what that commercial would be selling… hmm…
"You sound like Sarah Brightman." Yeah, take my word for it, never tell an opera singer this. We know you mean it as a compliment, but- ouch.
"Pavarotti is my favorite opera singer." Wow, I cannot tell you how many people who don't know anything about opera but want to pretend they do say this. Of course, Pavarotti was amazing and it's totally cool to have him as your favorite singer, but if he's the only opera singer you've ever heard of, just admit it. Oh, also I love, "My favorite opera singers are Pavarotti and the other two guys in the Three Tenors." C'mon, if you're gonna fake it, try harder.
"Just sing me a high note." Arghh, this one is so annoying. While I know many singers who use the "do for me for free what you do for a living right now" defense, I prefer to say, "I'm a professional, you have to pay me. I'm expensive." Hey, you never know, maybe I'll get twenty bucks out of it!
"I did not think they had opera there." I definitely hear this a lot. If you don't think your nearest small city has opera, google and check- and then GO TO IT!!
"It is a connection." Marcy was brilliant to put this in there, because people say it about everything they can think of. We appreciate the thought, and if you legitimately have somebody who can get us somewhere we will be eternally grateful, but at the end of the day, we know how it works better than you do- trust us. Oh, and I probably know more people who work at the Met than you do.
"You should be on American Idol." I hear this so much that I finally auditioned for them one year just so I had a comeback.
"You're to skinny." This is a HUGE one, but the response in this is brilliant!!!!!! Omg. Usually I just pull out a copy of Opera News from my purse and show them the pics of the singers.
"That does not seem right. I had no idea people were paid to sing in church." I can't tell you how much I hear this. So let me explain it in a new light. Think of it this way: churches use both volunteers and professionals. If you bring a specialized skill set, you get paid. This includes construction workers, engineers, architechts (I am speaking from experience, my father used to be a church building consultant), organists, priests (!!)- and highly trained and experienced singers. Not to mention, high-level liturgical choral singing requires its own skill set, apart from that of other classical singers (especially the ability to sight-read and to sing with no vibrato, which many opera singers can't or won't do). I agree with Marcy's response that church work has kept me away from my family during holidays- plus, forced me to give up Saturday nights out for as long as I can remember (as far back as high school). That's a big deal when all your friends are musicians.
I like how it sounds like she's saying "I have worked at McDonald's as a stripper."
"I'm afraid I can't." I love how people will rave about my singing to my face, then NOT buy my album- or come to any of my shows. I guess I appreciate the compliments, but they would seem more sincere if there was some follow-up, even in the form of $10 towards a CD.
Some big ones that I would have included:
"You're a singer? You're so lucky!!" Some people seriously think you are just born with a great voice and then you audition for something and become successful. Genetics do play a part. Unfortunately you never really learn how much of a part until you've already invested your whole life in singing for years.
"I never go to the opera because I can't understand what they're singing about." They are SO surprised when I tell them there are subtitles. I hope once I tell them, they are out of excuses and they go.
Have a great night everyone- and, GO TO THE OPERA!!!!
How Joan Sutherland ruined it for everybody, and how we loved every minute of it.
Joan Sutherland died. =…(
I'm so sad! I just knew this would happen soon. Ever since I was informed of her gardening accident during my run of Daughter of the Regiment, I just knew it didn't look good. I really, really wanted to interview her for Classical Singer, but didn't know how to get ahold of her or anyone who worked for her. I asked a conductor I'd worked with who knew her- actually I think I asked him twice, if he had any leads, any idea who to ask, and he never got back to me. I mean, since she wasn't singing anymore, she didn't have a whole team of agents and managers and PR people that I could go through. I'm not saying I exhausted my resources- I probably could have called the press office at the Met and asked them what I should do, but I've had bad luck with them in the past, when I had legitimate reasons for them to call me back- I didn't imagine I would have better luck asking them to help out just as a favor. (That said, I did once call Opera News with a random question and they were awesome about it and helped me out.)
It was just- I knew the end was approaching, and she was really, really, truly, one of the greats. Of ALL TIME. Like, top 5 on probably any list. And I just wanted to get her words for young singers. I knew she would have amazing things to say. But, no contacts were forthcoming in my initial inquiries, so I put it on the back burner until something seemed to come up, which it never did, and now it's too late.
Joan Sutherland- she was a problem. A big problem for people like me- for sopranos everywhere, really.
It's not just in a generic way, like "she was so good no one could live up to her." I mean, there are plenty of other singers you could ostensibly say that about, but no, they didn't ruin soprano's lives the way Dame Joan did.
See, we opera singers, and ESPECIALLY we sopranos, are divided up into different "Fachs" or categories of voice types, which correspond to the roles we sing. You can have a big loud voice, or you can have a luscious pretty voice, or, if you're like me, you can have a really high voice that does stunts.
The casting directors used to have to choose.
Then Sutherland happened. She had all of those things. She had a big, loud, luscious, pretty, high voice that did stunts.
And then the maestri, the artistic directors, the public- they didn't have to choose anymore. Now the sound they heard in their minds' ears when they pictured a coloratura was larger, richer- and still with extreme high notes and flawless coloratura. Why should they settle for a cute little voice, when there were people like Joan out there?
Of course, she was the only Sutherland, but I've always felt that there was a shift there. That she single-handedly ended the era that featured Lily Pons and Amelita Galli-Curci. Of course I'm over-simplifying and scape-goating, but that was how it was explained to me as a music student, and it stayed with me. It was the "reason people don't want to hire you to sing bel canto." And it's pretty much held true- to this date I have starred in only one bel canto opera, La Fille du Régiment- and that's sort of an exception, it is more traditionally associated with sprightly coloraturas than, say, Sonnambula or Puritani. Plus, it's in French, for which I have a leg up over other American sopranos.
She screwed things up for larger voices too- the bar had been raised. Sutherland can sing insanely fast and flawless coloratura, why can't YOU?
So I hated Joan Sutherland. Except you can't. She's too awesome.
On the surface, she never made my short list of favorite singers. Besides having a bone to pick with her about my career (being a small-voiced coloratura), I tend to gravitate towards singers I can relate to on a musical level- people with voices more akin to my own. My CD players during my musical formative years were stocked with Lily Pons, Amelita Galli-Curci, Beverly Sills, Sumi Jo- people who were not mistaken for Wagner singers early in their careers. But the truth is, I never sang one of Sutherland's roles without consulting her recording. OK, without buying her recording and listening to it over and over and over again because it's so great you can't tear yourself away.
To me and to probably more sopranos than anyone else, Sutherland represented the unattainable ideal. And she maintained this position with distinct imperfections. Most obviously, her diction. One – two?- of my voice teachers, trying to kick my legato in the ass, used to say, "You don't have to get that hung up on pronunciation. Look at Sutherland- nobody ever understood a word she sang, and it didn't stop her!" She was not commended for her acting abilities- and is one of the singers you know are being referred to whenever someone complains about how "opera singers of yesterday couldn't act." And her looks- being tall is great for models but bad for sopranos, as it leaves you towering over your often-shorter tenor. Plus she had a huge, wide jaw that made her a bit odd-looking. Of course many who fell in love with her voice fell in love with her face as well.
So, Dame Joan in Heaven (you get to keep your titles when you get your harp and wings, right?) a sarcastic "thank you" for making my career more difficult than it already is, and a heartfelt "thank you" for being the greatest soprano of our lifetime.
Now's the part where I obligatorily paste a YouTube video. There are a couple going around today, her Lucia, her Norma- I'm more of a Lucia-lover, and since so many of my readers are not opera people, this clip shows everything that's amazing about her.
Opera porn, Regie, and Bieito's Entführung
I don't write reviews on this blog, but I wanted to share my reaction to seeing Calixto Bieito's Entführung aus dem Serail at the Komische Oper Berlin last month, webbing into the controversial topics of Regie/Eurotrash productions and opera porn.
So, I didn't go to see as much opera in Berlin as you'd expect, with me being an opera singer and there being three really good opera houses there. I was living a block away from the Deutsche Oper Berlin, but they just didn't have anything I wanted to see while I was there. I tried to see Figaro at Unter den Linden, but the only affordable tickets left were the really really cheap ones, and the man at the counter told me you couldn't really see the stage from there, it was really just for listening. And I love to listen to opera, but damn Figaro is a really long opera to sit through if you can't see anything and don't have a beer. But I noticed that the Komische Oper was doing Entführung aus dem Serail on a night that I happened to be free.
Entführung, besides being a mouthful for those who don't speak German (you can get away in most circles with calling it "Abduction," as the full translation is "Abduction from the Seraglio" but nobody really uses the word Seraglio in common English yet tradition has decided on that as being closer to the German rather than Harem), is among those operas that I know up-and-down without ever having actually physically seen it live. I've studied it, translated the entire thing, listened to it many times, seen it on DVD, sung Durch Zärtlichkeit a billion freaking times since early college (as I've mentioned before, not my favorite aria but I think I'd like it more if I'd done the role in a full production), even memorized some of the dialogue for an audition once. But just never happened across a live production of it that was convenient to my schedule or budget. So when I saw that the Komische Oper was performing it on a night I had free, I jumped on the opportunity.
I had no idea what I was getting into. I hadn't ever heard (to my memory) specifically about this production of Die Entführung, which premiered in 2004 (explanation for non-opera buffs: although for most operas in the standard repertory, the words and music were written many many many years ago, the production- which is like, the staging, the sets, the costumes, the direction- is something that is always changing; a big company will usually have its own production that it uses again and again over the years, or sometimes companies share productions and the materials and "concept" travel from one theater to another), although I did have a very clear idea on how "Regietheater," sometimes known as "Eurotrash productions" because they are bigger in Europe (especially Germany) than here, liked to be innovative and often shocking. I guess the scope of explaining that to the uninitiated is beyond the scope of this blog post, but, you know- they get REALLY WEIRD.
What I didn't know I was getting into was an EXTREMELY INFAMOUSLY SHOCKING SCANDALOUS production that was literally forbidden to audience members under 18. That's right: X-rated opera.
Instead of me trying to recap everything that was insane about this production, I really really really want you to read this fabulous article about it by Lydia Steier, from the 2004 premier. Seriously, it's a thorough and wonderfully-written article and I know it's long, but if anything I'd rather you read this than the rest of this blog entry.
You can also watch this trailer, but I don't think it captures the entirety of the thing quite as well: (maybe a little NSFW, even though it's YouTube)
It's funny, because the overture to the opera opens with a trapeze act. As you know, I am an amateur aerialist, so I'm always happy to see that stuff. And I do see a lot of aerial work in opera. So I'm all like, oh look trapeze, maybe this will be a cool production after all! And then the rest of the opera had like NOTHING to do with that at all.
Let's see, where to start. Well, once I read that article and found out that a lot of the dirtier deeds in the opera had been done by specially-hired adult entertainers, I was actually MUCH less offended, because I'd been thinking all along that it they had been forcing chorus girls to do all that stuff. But I guess I'm getting ahead of myself.
Things that offended me most in the opera:
1. Pasha fingering Konstanze during her high notes (not actually fingering her, but realistically enough)
2. Osmin, pulling Blonde's panties off during Durch Zärtlichkeit (she still had a skirt on so you couldn't see anything but still it was gross)
3. Topless hookers
4. Pasha's monologue about fucking a pig and smelling its dying fart
5. Simulated sex in one of the hooker booths
6. When they just shot up all the hookers at the end (maybe that was less offensive and more just… STUPID)
(I was less offended than the rest of the audience when Osmin slaughtered the hooker, but I was also sitting in the back and thus did not get such a graphic view; in fact I wasn't even sure what was going on.)
Things in the opera that I actually thought were really cool ideas:
1. The Pasha was obviously coked up, justifying his schizophrenic "You are so beautiful I love you tenderly I KEEL YOU!!!!!!" dialogues
2. Blonde was a pill-head, which explains why she's so happy and peppy all the time despite her situation as a kidnapped sex slave
3. The general concept of updating a Harem to a brothel is not so far-fetched at all.
So, like I said, I was less offended when I realized they'd hired professional adult entertainers to be in the production. Because the main thing that offends me is less that gross things are happening, more that opera singers (and especially chorus members as they always seem to get the worst of it) are expected to do them. Like, classical music is something that's supposed to be sort of pure and good, even when it's badass and modern. Like, opera has always had adult themes, in fact opera is pretty much all about sex and violence all the time, but it's always been tasteful and/or artistic, not shock-value porn. Of course you have to account for different cultures and time periods, but things were very censored once upon a time, and even then censorship was more about politics than anything else.
So what I'm getting at is, like, parents make their little 5-year-old kids study classical music, we sing classical music in church, nobody is going into it with the expectation of ending up in low-paid porn. (I feel just as bad for the orchestra members who had to be a part of this production, who were apparently incensed, as I do for the singers acting it out.) And when I'm watching this stuff, what's really going through my mind is, "I would be fired for refusing to do that… and that… oh and I'd be fired again right there…" And I think it's really not fair for the amazingly talented artists who have made it this far in the field of opera, which requires an insane amount of talent and hard work and sacrifice and (usually) intelligence, to potentially lose their jobs or not get hired because they have slightly more traditional moral values (or self esteem or backbone) than those who are willing to cross those lines.
The magazine I write for, Classical Singer Magazine, dedicated an entire issue to this topic this year. If you are a subscriber, you can read it here. And I highly recommend it- some of the stories are shocking, but its also interesting to see the varied points of view on this.
As for Regietheater in general, I guess I feel the way a lot of people do- I'm not outright against it if it works with the original story and hopefully adds something. There are some more "creative" productions that I've really loved. But most of them are just plain silly and/or stupid. I do not want to go to the opera to be shocked, nor do I want to go to the opera to help digest my dinner, as some avant garde directors claim. I go to the opera because I love opera and I want to hear and see something amazing, maybe even be blown away. And I love to see a fabulously well-done traditional production. Yeah, I like the Zeffirelli shows. Not exclusively, but I do like them a lot. So, you know. Moderation I guess. Stop trying to shock us just to make us "feel" something. It's not that hard to make people feel something. I live in NYC, if somebody looks at you the wrong way you're gonna feel something- pissed off, threatened, aggressive- hell, you'll probably feel a lot of things. You don't win a medal for making people feel uncomfortable.
Honestly I have always thought this sort of opera production was sort of a phase opera was going through. But I thought we'd be past this stage of it by now. I mean, really, we're such a visual society that it makes perfect sense that the production would be the focus right now. And I figure we won't really get past it until we have the next really, really, amazingly huge superstar in one of the other facets- conducting, composing, singing, even the choir. But I'm talking Pavarotti-famous, not Juan Diego Florez-famous (love him though!!!!!).
In the meantime, I'm happy doing what I'm doing- I've been fortunate to be in a lot of productions that, while updated or modernized, have always been sensible and entertaining- and if somebody told us to do something that I thought was dirty, I was just like "Yeah no we're not doing that" and it was never an issue. I would like to start getting some work in Europe though, and then we'll see how that pans out. Maybe directors will have calmed the fuck down by then. I keep telling myself that…
Hey! I am mega overdue to speak with you. I never even finished writing about my trip that was over almost a month ago. I've had lots of ideas for things I wanted to blog about but haven't felt inspired to sit down and write any of them.
But lots of people are asking me about Germany so I feel like I should wrap that up for you.
You were there for an audition tour, right?
Sorta. I originally wanted to do that, but couldn't really pull it together in time and under the circumstances, so I was considering it more of an audition preview. So I just did a few very minor auditions, worked on my German, met some cool people, wrote an article for Classical Singer, checked out the city, had some coachings, did a little circus training, oh and jaunted over to Paris just 'cause it'd been too long.
Are you going back?
I don't know yet, it depends on the sublet situation on both continents.
Did you play any gigs?
Yes, I played a gig at my friend's art gallery, MMX. I hadn't realized at first that a girl I had worked with at Pink Inc. had moved to Berlin and helped found an art gallery there. So once I found out she was there too, I swung by the gallery and hung out, and they mentioned they were still looking for someone to play their closing at the end of the month. I was hesitant at first, because I was so far out of practice with guitar (as has gotten me into trouble before, I only practice when I have a specific gig coming up), and I hadn't brought anything with me- no instrument, no equipment, no CD's, no merch, no publicity materials, no charts. But I thought it would be cool to have my Berlin debut so I eventually offered. They lent me a guitar and had a PA system so it worked out. The gig ended up being a little weird because, since the crowds were all congregating outside in the garden, they suggested I play out there, but just about when I started, night finally hit (comes late in Berlin in the summer) and it got dark and cold very suddenly and people went inside, leaving me playing outside with no light and no amplification. So not that many people really ended up hearing my whole set, and I didn't have any CD's to sell and there was no pay, so I don't know if the gig did me any good or not. Only two people approached me afterwards, one who wanted to use my music in a movie he was working on whom I haven't heard from, and one who loved my set and was gung-ho determined to order my album online since I didn't have any with me, whom I also haven't heard from (and who hasn't ordered it- I have few enough customers that I can keep track!). But I got to have my Berlin debut, and play some guitar which always ends up being fun once I really get down to it, and it was a fun little project for the end of my trip!
So as for "how it went," it was a good trip. Love Berlin. The month was a little weird for me because for part of it I just did not have enough structure- even though I'm self-employed, vast stretches of free time are not a part of my vocabulary. And then the latter part of the month I was pretty slammed. So I guess it was unbalanced, and could have been fixed if I'd gotten off my ass in the first couple days and organized my plans- start right away organizing the interview for CS, set up coachings, get in touch with people to hang out with, instead of laying in bed "adjusting." But to be fair it took me awhile to get my phone and internet going.
As for singing and auditioning, the feedback I got was extremely varied, but it all hinged on "There's no positions available in your Fach right now and there's 1000000 people in line for those 0 positions." Ah, the curse of the coloratura. We have to sing circles around everyone else, but still can't get hired. Actually, you know what would be a really fun research project? Take a handful of standard audition arias, of the same length but of different Fachs, and literally count how many notes each singer has to sing. Like, a 3 minute full lyric soprano aria versus a 3 minute light lyric coloratura soprano aria. Of course the coloratura soprano will generally have more (generally, because there is florid singing in most Fachs, not just ours), but I'd like to see an actual ratio. Hm, that could be a potential article, or at least blurb. :)
Ariadnes 1 & 2
It's almost time for my second and last Zerbinetta of this run, and I haven't written about the first one yet. You know what else I haven't done since the first one? Practice. Bad! It just didn't happen- a lot of work, gig, writing, running around, trying to wake up at a non-zombie hour. Every day I wanted to, intended to, but it never worked out. No practicing, no blogging. And tomorrow (tonight, really) is the second show.
The show went alright. I haven't heard a recording or seen a video yet (though I did see one of the Prologue of the dress rehearsal, which was pretty good), so I don't really know how it looked and sounded. I took a lot of time to warm up and practice a few things after church in the upstairs room. All these parish kids kept running in and out between my high notes, getting their coats and looking for each other. They all said they liked my voice. :) Anyways, despite the practice time, I will admit I wasn't in my usual good voice that day. I've mentioned before, though I have excellent stamina, sometimes I get worn out singing straight tone for long periods, especially in high tessitura. Mind you, I love straight tone. Love it. Singing it, listening to it. Don't believe it's vocally unhealthy, don't usually have trouble with it. But- in moderation. When it drags on for hours, and when I'm singing up in my passagio (which tends to fall around G-A above the staff, which are the high notes for most choral music), I get vocally tired and icky. For some reason church that morning was kind of a screamer- lots of singing, lots of high singing. I did feel like it affected my voice, which is rare but does happen. So I was feeling vocally bleck. Not saying I missed my high notes or tripped over any runs, just felt vocally clumsy. Hopefully, and probably, it's the kind of thing only I can hear (most of my HUGE PROBLEMS with my voice I'm always trying to work out are tiny things nobody can hear but me), but don't you ever just have when you're singing and you're like, "Bleh, this isn't what singing's supposed to feel like. Singing is fun, this is dumb!" I spend enough time singing that it's a big part of my voice and it should be enjoyable. Especially during a big exciting performance!!
What else, hm, it was so many days ago now… the audience loved my "clowns"! I think they kinda stole the show. :) Got tons of laughs, from the moment they walked onstage during the second half. I think the whole "wo ist sie" part of the 2nd quintet (a trio at that point) was the funniest part, the guys are so hilarious there (running around the theatre pretending to look for me), and I'm sitting on Harlequin's lap in the audience making faces at them and being silly. We improvised a little audience interaction which just made the bit.
Oh, here's a good story- I mentioned before the Najade (OK I finally looked up how to spell it- so many options- Naiad, Nyade, Nayade, etc etc) was not double-cast, so I started learning her part just in case she got sick. So she DID get sick, but they called in the girl who was supposed to be her double but who dropped out due to schedule constraints, and she did the first show. I was sad, 'cause I really wanted to do it!! But then our real Najade was still sick for the second show (my first Zerbinetta, as I was in the second cast), and the "cover" couldn't do that one. I wish they had said something to me- I had expressed interest in singing it, and they said "but then you couldn't sing it on the nights when you're Zerbinetta" and I'm like YES I CAN SILLY, but nobody listens to me, no! Anyways they had no Najade so they had a flautist play her part. On the flute, from the orchestra. Weird. I totally could have sung her part from the orchestra pit- I only have one line during Najade's scenes and I'm offstage for that line anyways, and it doesn't overlap. But nobody else realized that except me, and nobody asked me, and whatever, somebody can play flute, it's not like she says anything that the other characters don't say or anything. Presumably the actual Najade will be back for tomorrow's (tonight's) show.
There was a person from the Epoch Times there! I guess that's why there was a guy snapping photos in the front row the whole time. See? Here's the write-up, featuring a big picture of me making Opera Face!
That can't possibly be the best picture he got of me. But I guess it's not TECHNICALLY all about me. This time. (Really it is, but not TECHNICALLY.)
Oh speaking of pictures, my friend Philine came and took mad photos. I was going to embed a bunch of them here, but she does this thing with her flickr account where you can't download or link to them. They're like super-secret or something. So you just have to go look at them here. Tons of good shots. enjoy!
Oh another thing about the show, I don't sleep on Saturday nights/Sunday mornings. Not very much at least. I'm a night person, and night for me is later than for many other people. Like right now it's 6:30 am and I'm still up. So even if I stay in Saturday night, I can't necessarily just fall asleep and wake up for a matinee on some kinda full night's sleep or something. But tomorrow I'm singing at a humane hour, hooray! See you at 7:30pm!
Carmen Completed
What a couple of months it has been. Every time I finish something and I think I'm about to be able to rest a little bit, just a little bit, I realize, "No, now I have this thing that I need to start on NOW." My backlog of Opera Newses and Classical Singers that I need to read has become so great that my mail holder will no longer stay upright, so I've been tackling them as my subway reading. I dog-eared a page of the 9/08 interview with Renee Fleming, with a quote that really hit home.
RF: There was a period of years where I just worked insanely, saying yes to almost everything- and that one horrible season when I had something like ten new roles scheduled. One or two of them fell by the wayside, but it was still too much.
ON: Did you do that at the time because you learn music so easily?
RF: Yeah, and that becomes a bad habit. Unfortunately, people who are facile, like me, do more, do more. That can be hard on your voice.
God, that sounds like me. This year especially. How many roles have I done this year? Kate in Pirates (small role and on book, but had to learn the chorus parts and understudy Edith and Mabel), Mascha in Chocolate Soldier (that one was on book), Rose Maybud in Ruddigore, Nedda in Pagliacci, Serpina in La Serva Padrona (those two were huge), Madame Herz (that one was on book again), Adele, Bastienne, Frasquita has been newly checked off… And before the year is out I'll be adding Marie in La Fille du Regiment and Mabel. So more or less, nine down and two more to go. Not counting the two lead roles I did in John Thomas's operettas. And I got a new church job. On one hand I'm kind of bragging, but on the other I'm exhausted. I mean, there hasn't just been this stuff. There's been hacking away at my technique, preparing for the (admittedly few) auditions in which I've participated (I tend to prepare stuff specifically for each audition if I can), and the concerts (especially Opera on Tap, which I've done almost every month). I'm not even touching on the rock, except to say does anyone know a bass player who wants to join my band??
Well anyone can complain about how busy they are, so I'll stop sniveling and get onto Carmen.
First off, I went to Philly Saturday, as you know, and crashed at Jessica Kasinski's house. While waiting to meet up with her, I enjoyed the most incredible salad ever, from the Tuscany Cafe on Rittenhouse Square. First off, it was so beautiful that I could hardly bring myself to eat it.
Baby spinach, slivered almonds, fresh sliced strawberries, dried cranberries, and I substituted feta for the blue cheese. Some sort of lemon poppy dressing that added to the sweetness. I didn't expect to be impressed, but that salad made me so happy.
Here's a strong message from the Ethical Society.
Jessica and I went to a cafe for breakfast that served us oatmeal in goblets. Damn.
Anyways, enough about food. We should be talking about opera.
The opera went very well overall- much better than could have been predicted from rehearsals. There were a few gaffes- even a minor one or two on my part which I assure you is highly unusual- but musically things went way better than I expected, even the quintet.
Blocking didn't feel too comfortable to me. Blocking at Amici is pretty much DIY, and we were much more in synch in rehearsals than in the performance. Standing around and not moving, clustering towards the back of the stage, almost getting run over by dancers, failed attempts at interactions. I guess it's easier in rehearsal, when generally people feel more open to play around. Nothing went wrong per se, just a lack of chemistry. Overall though everything went really well, no disasters, people knew the music, and we even got those annoying chorus parts we had to learn. (Except the first one, which we missed entirely, but no one noticed!)
The absolute highlight of my day was that my costume did not suck. I think it was lent to us by the troup of dancers that performed during what would normally be choruses. (They were fun!!) It was a light dress that fit me to a t. I wish I'd gotten more pics, but this is a good one.
I had to run off right after rehearsal to catch a ride with Micaela, and I got home totally wiped. Monday I had Pirates rehearsal, where we delightfully choreographed Climbing Over Rocky Mountain with parasols. Oh, and great news! My double, Elizabeth, and I have managed to get out of singing in the chorus on our off-nights. We will still be singing with the chorus at all appropriate moments when we are Mabel, but when we are not Mabel we don't have to go, THANK GOD. You know my deal by now- it's not the singing chorus I mind, it's just the time commitment.
Yesterday was my first Fille du Regiment rehearsal, though it ended up being a coaching just for me. We had a load of fun working through the duet with Tonio.
Tonight was Opera on Tap and I more or less memorized two new pieces for it, starting last night. The theme was Germany, and I sang the pretty aria from Bastien, except I had to finish learning it in German, as I had started doing before I found out we were doing the opera in English, and I decided for good times to sing My Hero from the Chocolate Soldier, which would have been in German except I only have the English version! Yes technically both of those composers are Austrian, not German, but it's all good. :) Oh, and then my friend and I decided to do a tag-team version of Zerbinetta, which was a circus!!!!
I have to finish this article for Classical Singer. Talk to you later!!!


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Rivington Grill Greenwich
The Rivington Grill, Greenwich sources all its food responsibly from the British Isles and is a true neighborhood restaurant. As well as a terrace for alfresco dining, the restaurant has a relaxed area at the entrance for cocktails and snacks like potted Morecambe Bay shrimps, Welsh rarebit and eggs Benedict.
This content has been supplied by Rivington Grill Greenwich
|Typical meal price:
|From £41.00 (USD61.65) per diner
£41 and over
This content has been supplied by Rivington Grill Greenwich
Reserve table96% customer satisfaction rate
Opening Times:
Breakfast - 10am to 12pm Saturday & Sunday
Lunch - 12pm to 5pm Monday to Sunday
Dinner - 5pm to 11pm Monday to Saturday (5pm to 10pm on Sunday)
Venue Details & Map
Rivington Grill Greenwich
- Address
178 Greenwich High Road
GreenwichLondonSE10 8NN
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Barley Risotto with Shrimp and Peas
I know I've been pretty vocal about my love for barley around here. I love that it's local, high in fibre, dense and nutty and chewy, and great for simmering with dry lentils for a hefty salad. I love that you can buy it in flour form to make pancakes and chocolate chip cookies and chocolate cake.
And I love that so many farmers grow it around here. So when Alberta Barley asked if I would help spread the news of their very first cookbook, Go Barley: Modern Recipes for an Ancient Grain, I was more than happy to. It comes out next month, but I have an advance copy to give away – remember when we did Free Stuff Fridays? I miss that. So even though it's Tuesday, let's get back on that horse. Some of you know the drill – leave a comment below, and I'll try to remember to make a (random!) draw at the end of the week.
(Two great Canadian food bloggers, Amy of Family Feedbag and Renee Lavalee of Feisty Chef are playing along too – Amy already posted a fab Mushroom Barley Soup, and I think Renee is posting something barley-ish this week.)
This barley risotto is far more nutrient-dense (and fibre-rich) than that made with the traditional short-grain rice, and as a happy bonus, it requires only one bout of vigorous stirring, halfway through the cooking time. No need to stand by the stove, afraid to stray from the pot. Shrimp and peas and a good squeeze of lemon make a perfectly springy risotto – we can pretend, can't we?
Barley Risotto with Shrimp and Peas
Excerpted (and slightly adapted) from Go Barley: Modern Recipes for an Ancient Grain by Pat Inglis and Linda Whitworth
1 Tbsp (15 mL) olive oil
1 small onion, finely diced
2 garlic cloves, crushed
1 tsp (5 mL) grated lemon zest
1?4 tsp (1 mL) pepper
1 cup (250 mL) pot or pearl barley
4 cups (1 L) low sodium chicken stock
12 oz (350 g) peeled and deveined raw shrimp
1 cup (250 mL) fresh or frozen peas
2 Tbsp (30 mL) chopped fresh parsley or sprigs of fresh mint
Heat the oil in a large saucepan set over medium-high heat; add the onion, garlic, lemon zest, and pepper, and saute until the onion is softened, about 3 minutes. Stir in barley and stock and bring to a simmer.
Reduce heat; cover pan and simmer for 45 minutes, stirring vigorously halfway through for 15 seconds. Stir in shrimp and peas; cover pan and simmer until shrimp are pink and peas are tender, about 5 minutes. Sprinkle with parsley or mint and serve.
Serves 4.
February 25 2014 | appetizers and grains | 82 Comments »


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Rebecca McMillan is an illustrator and watercolour artist from the British Countryside. She set up Rebecca McMillan Illustration in 2012, selling wedding stationery, greetings cards and art prints designed using her hand-painted watercolour and ink illustrations.
In 2014, Rebecca set off to fulfil her dream of travelling the world for a year to explore and absorb the beauty it has to offer. This shop is continuing to run, managed by her Mum, Pat, and her sister, Susannah. They are accepting all wedding stationery orders as usual, and are more than happy to answer any questions you might have. Rebecca's wedding stationary is featured in the November 2014 and the January 2015 editions of Vogue Magazine. Please contact us via the 'contact the seller' button.


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Autumn 2009 in Barcelona is chock a block with exhibitions, concerts, festivals and theatre to cater for every taste. The boys from Depeche Mode make a visit to Palau Sant Jordi on 21st November, while Marilyn Manson is set to appear at the next door Sant Jordi Club on 4th December.
Other acts include Franz Ferdinand (5th December, Pavello Olimpic in Badalona), Muse (27th November, Palau Sant Jordi), The Prodigy (3rd December, Sant Jordi Club), The Editors (12th December, Razzmatazz) and Camera Obscura (9th November, Sala Apolo).
The Barcelona International Jazz Festival also hits town, running from 18th October to 6th Decembetr at a variety of venues across town. Highlights include Miles Davis, Jimmy Cobb and Marcus Miller.
Cinema is also represented this Autumn, with the Barcelona Festival of Independent Cinema (13th-21st November) with 250 films due to be shown. It aims to showcases a representative selection of independent film-making from the last two years with the goal of promoting new directors and little-known, original films from the current audiovisual scene; and the Festival of Gay and Lesbian Cinema started on 16th October and runs through until the 25th.
And the Miró Museum hosts Spain's first retrospective exhibition of Czech artist Frantisek Kupka, with close to 80 works by the pioneer and co-founder of the early phases of the abstract art movement. The exhibition runs from 28th November 2009 to 24th January 2010. Meanwhile, MNAC starts to celebrate its 75th anniversay with an exhibition of Catalan art that includes Miró, Dalí, Picasso, Rusiñol and Casas.
Lastest posts in Events
- "Mientras los niños jugaban" premieres on May 25th - May 14th, 2011
- Catalonia's bullfight ban provokes emotional response [BBC] - July 29th, 2010
- Referendum on the future of Avinguda Diagonal - May 17th, 2010
- Snow brings chaos to Barcelona - March 9th, 2010
- Poker tour in Barcelona - January 15th, 2010
- Barcelona wins top spot in British Travel Awards - November 11th, 2009
- Barcelona Snow Show 2009 - November 4th, 2009
- Barcelona Boat Show 2009 - November 3rd, 2009
- Free Public WiFi in Barcelona - October 13th, 2009
- L'Any Cerdà - October 2nd, 2009
- Exhibition - Photography and Conflict in the first quarter of the Twentieth Century - September 18th, 2009
- Tutankhamun Exhibition - September 11th, 2009
- Festa Major de Sants - August 19th, 2009
- Festa Major de Gràcia - August 12th, 2009
- The Tour de France comes to Barcelona - July 3rd, 2009
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The TED Prize turns our staff into genies: every year, we give a million dollars to one inspiring leader with a bold wish for the world. Here's a sampling of wishes that have won in recent years:
"My wish is to help design the future of learning by supporting children all over the world to tap into their innate sense of wonder and work together. Help me build the School in the Cloud." —Sugata Mitra, winner of the 2013 prize
"I wish for you to stand up for what you care about by participating in a global art project, and together we'll turn the world…INSIDE OUT." —JR in 2011
"I wish for your help to create a strong, sustainable movement to educate every child about food, inspire families to cook again and empower people everywhere to fight obesity." —Jamie Oliver in 2010
"I wish you would use all means at your disposal — films! expeditions! the web! new submarines! — to create a campaign to ignite public support for a global network of marine protected areas, Hope Spots large enough to save and restore the blue heart of the planet." —Sylvia Earle in 2009
Nominations are open for the 2016 TED Prize now through March 31, 2015. Using our nominations page, you can introduce us to an incredible colleague, friend, teacher or mentor — or even nominate yourself. And while the nomination form asks for a wide range of information, the most vital element is the wish itself. A vivid, compelling wish — like the ones above — excite our entire office.
Below, a look at the anatomy of a great TED Prize wish, to help you craft your thoughts into the perfect wish.
The heart of a TED Prize wish: A creative approach to solving a problem.
A great TED Prize wish is a new, fresh way to think about one of the world's intractable issues. It should be simple and free of jargon. It must be compelling and infused with passion. And while it may not eradicate the problem entirely, it offers a way for people to join together and create a movement toward that end. Anna Verghese, Deputy Director of the TED Prize, explains, "The wishes that get us excited are the ones that, in a couple of sentences, clearly set out the issue that needs the world's attention, and provoke you to want to take action on it." Sarah Schoengold, our TED Prize Project Coordinator, adds, "The wishes that excite me most are those that capture my imagination and make me think again. Sugata's kid-centered learning labs — it's easy to picture how this take on group learning could spiral across cultures and intersect with classical learning. And JR's wish made us rethink the power of paper and glue. Who could have imagined that something so simple could be so compelling?"
The brain of a TED Prize wish: A leader with the ability to inspire action.
A key element of a TED Prize wish is that is geared toward action — that there is a clearly defined plan for how the wish can be achieved. This means that the ideal TED Prize wish comes from a pragmatic dreamer — someone with a big idea who also has a proven track record in his or her field. We're looking for a leader who is able to manage others and who can demonstrate the ability to execute a multi-year project (we give winners 1 to 3 years to implement their wish), to budget a million dollar initiative (the award goes fully toward the project), and to produce measurable results (we ask that the bulk of the project be completed in year one). But beyond being a great strategic thinker, a TED Prize winner must be a great communicator, with the vision and charisma to get people outside of their field excited to take part in the wish.
The arms and legs of a TED Prize wish: The TED community.
As soon as a TED Prize wish is announced, it has a global army of willing foot-soldiers: the members of the TED community. This includes not just the TED Prize staff but our international network of TEDx organizers, our diverse community of speakers, the members of our TED Fellows program, and our web of Open Translation Project translators. A TED Prize wish should point towards concrete ways for these communities to get involved. Explains Verghese, "The TED community's resources and desire for change provide a wish with that foundation to encourage mass, global collaboration."
The lungs of a TED Prize wish: The public, at large.
A great TED Prize wish allows members of the public — whoever they may be — to breath fresh air into a field. Part of Jamie Oliver's wish: that families to cook together, as a way to teach kids about food. The core of JR's wish: that people photograph themselves and paste the image publicly, in a global effort to surface unheard voices. These wishes invite people in, give them a way to take action, and let them run wild with their creativity. Schoengold explains, "The most powerful wishes use really inclusive, visual language, asking everyday people to take part in an experiment that will only work with their help."
So what is the wish that won the 2015 TED prize? We'll reveal that during TED2015 "Truth and Dare" in March. In the meantime, we can't wait to see what wishes you make for 2016. We are looking to you dreamers out there to wish big for the world!
Note: This post originally ran in March of 2014. It was updated on January 13, 2015, when nominations for the 2016 TED Prize opened.


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Stem Cell Research Funding
Mr. Greenwood and Mr. Prentice discussed H.R. 810, sponsored by Reps. Mike Castle (R-DE) and Diana DeGette (D-CO) that would… read more
Mr. Greenwood and Mr. Prentice discussed H.R. 810, sponsored by Reps. Mike Castle (R-DE) and Diana DeGette (D-CO) that would provide grants for embryonic stem cell research (ESC). The bill would also have the effect of overriding the ban on some ESC put in place by President Bush. They responded to telephone calls, faxes, and electronic mail from viewers. close
People in this video
- James "Jim" C. Greenwood U.S. Representative (Former) [R] Pennsylvania
- David A. Prentice Co-Founder Do No Harm Coalition
- Steve Scully Senior Executive Producer C-SPAN
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Participating by telephone, Mr. Curran talked about the Embryonic Stem Cell Research Bill up for vote in the House.


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House Bill 2504 Spring 2011 Course Syllabus ECON-2302-60 (Prin Economics - Micro)
Spring 2011 Course Syllabus
ECON-2302-60 (Prin Economics - Micro)
|Faculty Information
|Spring 2011
|Boudreaux, Lowell Anthony
|(409) 984-6389
|Course Information
|Course ID #
|Course Subject-Number-Section
|Course Title
|Prin Economics - Micro
|Course Description
|Introduction to economic principles; allocation of resources; determination of output and prices; distribution and managerial economics.
|Course Prerequisites
|Basic skills competency in reading and writing.
|Required Textbooks
|Required Economics by McConnell and Brue, Eighteenth Edition, McGraw-Hill, ISBN 978-0-07-337569-4; MHID 0-07-337569-1
|Learning Objectives
•Define Economics.
•Explain what economic principles are and how they are derived.
•List eight economic goals and give examples of conflicting and complementary goals.
•Define the economizing problem.
•Identify the four economic factors of production and income associated with each.
•Explain the concepts of allocative efficiency, productive efficiency and full production.
•Describe in detail the production possibilities curve.
•Differentiate between supply/demand, graph supply/demand curves, and state the Law of Demand and Supply.
•List the major determinates of demand and supply.
•Explain the concept of equilibrium price and quantity.
•Differentiate between economic and normal profits.
•Explain the three forms of business.
•Define and explain the differences between spillover benefits and cost.
•Identify the major sources of revenues and expenditures for local, state and federal government.
•Define price elasticity of demand, explain the meaning of elastic, inelastic, and perfectly inelastic demand, and list the determinates of demand
•Use total revenue changes to determine elasticity of demand.
•Explain income elasticity and its relationship to normal and inferior goods.
•Explain cross elasticity of demand and its relationship to substitute and complementary goods.
•Define marginal utility and state the law of diminishing marginal utility.
•State the utility maximizing rule and use it to determine consumer spending.
•Distinguish between implicit and explicit cost and between normal and economic profits.
•Compute marginal, average, and total product, fixed, variable and total cost.
•Explain the difference between marginal and average cost.
•Distinguish between the long and short run in profits and cost.
•List the causes and explain economies and diseconomies of scale.
•Describe the characteristics of a purely competitive firm, and compute average, total and marginal revenue.
•Explain the long run equilibrium position for a competitive firm.
•Differentiate between productive and allocative efficiency and how it is achieved in a purely competitive firm.
•Describe the characteristics of a pure monopoly, and compute marginal revenue for a pure monopoly.
•Describe the differences between a discriminating and nondiscriminating monopoly.
•Explain the two pricing goals of monopoly regulation and the dilemma of regulation.
•List the characteristics of monopolistic competition, explain the reasons for excess capacity and discuss nonprice competition.
•List the characteristics of oligopolistic industries.
•Describe and compare the four-firm concentration ratio and the Herfindahl index.
•Identify the three models of oligopolistic price-output behavior.
•Differentiate between homogenous and differentiated oligopolies and overt and covert collusion.
•Explain price leadership, cost-plus pricing, and the two theories of advertising.
•Explain marginal-revenue of product and marginal-resource cost and explain the MRP schedule.
•Find the least cost and profit maximizing combination of resources.
•Differentiate between real and nominal wages and show how equilibrium wages are determined.
•Explain the effects of labor unions on wages and the difference between inclusive and exclusive unions.
•List factors behind wage differentials and describe various salary systems.
•Discuss economic rent, rent differentials, and rents cost to the individual.
•Differential between real and nominal interest rates.
•Describe how the interest rates are established and its effect of investment.
|Major Assignments
|Six major exams will be given during the semester. The final exam will not be comprehensive and will only comprise material covered after the fifth exam. Students may elect to have their lowest exam grade to be dropped. A student may volunteer to take a comprehensive final exam over all covered material. The student's grade will then be averaged using the final exam score. If the student scores higher on the final than his/her semester average his/her semester grade will be the higher of the two. Questions for all six exams will cover textbook readings, handouts, and class discussions. The daily average is made of selected assignments from the text, pop quizzes and other assigned projects. Each student will have the opportunity to earn 30 points of extra credit, which can be used to supplement their total possible points. Extra credit projects and activities will be assigned throughout the semester. Students, who elect to participate, will have the opportunity to pick from among several various assignments.
|Discussion Topics
|Assignments are due when specified by the instructor. If you miss a daily or homework assignment, you will be given a grade of 0 for that assignment.
|Attendance Policy
|Research has shown a cause and effect relationship between attendance and college success. Record will be taken at the beginning of each class, by seating chart. Being in class, on time, each class meeting is extremely important. A student, who enters the classroom after the bell and/or the roll, has been checked, will be considered absent. If a student is late or absent, it is the student's responsibility to obtain the assignment. Under special circumstances make-up exams will be given at the end of the semester. I must be notified, the day of the exam if a special circumstance exists.
|Determination of Final Grade
Six major exams (100 points each) 600 Daily average 100 Total possible points 700
Course grades will be assigned using the following scale
Points Grade
|Final Exam Date
|May 11, 2011 - 1:55 PM
|Campus Policies
Copyright ©2010 Lamar State College - Port Arthur. All Rights Reserved.


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MANTEE – Jessie James Cannon, 59, died Thursday, Jan. 31, 2013, at his home.
Services will be at 2 p.m. Sunday at Siloam M.B. Church. Burial will be in the church cemetery. Carter's Mortuary Services in West Point is in charge of the arrangements.
Visitation will be from 3 to 6 p.m. Saturday at the funeral home.
A complete obituary will be published in the Wednesday, Feb. 13, Chickasaw Journal.


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Wednesday, June 15, 2011
For further information see King County Office of Civil Rights
Housing owners, property managers, tenants, housing advocates - Whatever your role, you must be familiar with the federal Fair Housing Act and other applicable state and local fair housing laws. This knowledge is not only critical to prevent costly violations, it also leads to good business practices.
The Fair Housing Basics Workshop is designed to help you be proactive - to prevent violations of the fair housing laws before they occur. Attendees will gain insight into the following:
Fair housing enforcement agency roles and local fair housing laws
Advertising tips
Suggestions on developing nondiscriminatory application and tenant selection procedures
Guidelines for establishing and enforcing tenancy rules, rule violations and evictions
Claims of retaliation
Familial status issues, occupancy guidelines and housing for older persons (HOPA)
Renting to people with disabilities - reasonable accommodations and modifications issues
The Advanced Fair Housing Seminar provides further training in fair housing topics such as service animals, domestic violence issues, occupancy standards, etc. This is the perfect seminar for those who have already mastered the basics or who need a fair housing update. Bring your specific questions!
Participants at the workshop and seminar receive extensive free fair housing materials, in print and CD format.
The Fair housing workshop and seminar are co-sponsored and taught by staff from the U.S. Department of Housing and Urban Development, the Washington State Human Rights Commission, the King County Office of Civil Rights, and the Seattle Office for Civil Rights. These training workshops are offered six times per year.
Driving Directions to
Jackson Federal Building
The Jackson Federal Building covers the entire block between First and Second Avenues, Madison and Marion Streets. Enter through the security checkpoint on the east side, off Second Avenue (this is the fourth floor).
Driving southbound on I-5:
Take the Union Street exit (number 165B). Follow Union about six blocks, turn left onto Second Avenue, and drive five blocks.
Driving northbound on I-5:
Take the Seneca Street exit (number 165) on the left. Turn slight left onto Seneca and drive three blocks, then turn left onto Second Avenue, and drive three blocks.
Parking Near the Federal Building
Street parking is very limited. Several parking garages and lots are nearby. (Info current as of April 2006)
Parking Garages (All garages are covered and have accessible parking)
Allright Parking - On west side of First Avenue between Columbia and Cherry
5 Star Parking - On east side of First Avenue between Columbia and Cherry
Norton Bldg. Parking - On east side of First Avenue between Columbia and Cherry
Madison between Second and Third, under Wells Fargo Bldg
Cascade Parking - In the alley between Second and Third
On north side of Columbia between Second and Third
On north side of Seneca between First and Second
Open Parking Lots
NW corner of Spring and Western
SE corner of Marion and Western
NW corner of Columbia and Western
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SPRINGFIELD, Ohio -- Authorities say an Ohio sheriff's deputy was injured after a suspect in a high-speed chase rammed his cruiser.
The Clark County Sheriff's Office said it happened Sunday evening near Springfield.
Deputies say a suspect led them on a high-speed chase through four counties before he ran over "stop sticks" and intentionally crashed into the cruiser.
The Springfield News-Sun reports that Sgt. Steve Elliott and the suspect were taken to the hospital with injuries that were not life-threatening.
The Ohio State Highway Patrol said the suspect, Shane Stokes, was wanted on several felony warrants.
Authorities did not release details on how the pursuit began.
The Associated Press


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Katy Perry's latest single "Dark Horse" is re-imagined 20 different ways in this 4-minute video. The creator tackles everything from 'N Sync to Red Hot Chili Peppers, Run DMC to Slipknot. It's pretty amazing to watch him easily bounce from one genre to the next and most are emulated with near perfection. (Or, at the very least, a zillion times better than I could do.) Plus, all of the music was produced and recorded in house.
What do you think?
Tags: videos, Katy Perry
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Chinese group buys old Detroit Free Press building, David Stott building
DDI gets Free Press building with highest bid of $4.2 million
Published On: Oct 16 2013 08:30:36 PM EDT
The old Detroit Free Press building downtown has a new international owner.
Chinese investor group DDI was the highest bidder in an auction this past month at $4.2 million. DDI is planning a $50 million redevelopment of the building that would include ground-floor shopping and about 150 apartments.
Work is expected to begin next year and finish by late 2015.
DDI also bought the David Stott building.


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Washington, DC -- Two more uncontrolled multiple wildfires have been added to the list of recent Washington State blazes designated for federal fire suppression funding by the Federal Emergency Management Agency (FEMA).
The assistance requested by the state last weekend was approved immediately after it was reported that populated areas were being threatened by the 22,000-acre Rex Creek Complex Fire in Chelan County and the 20,000-acre Mt. Leona Complex Fire in Ferry County.
According to the agency, approximately 300 homes and a number of historic structures in the town of Stehekin were at risk from the Rex Creek fires, while another 30 residences near the town of Republic were endangered by the Mt. Leona fires. Up to 100 people had been evacuated in the two threatened areas at the time of the request.
The authorizations bring to eight the number of state fires that have been approved for FEMA assistance since late July. Fires previously designated for FEMA funding were the Tonasket Complex Fire in Okanogan County and Spruce Dome Complex Fire in Yakima County (August 16); the Icicle Complex Fire in Chelan County (August 14); the Brewster and Virginia Lakes Complex Fires in Okanogan County (August 14); and the Union Valley fire in Chelan County (July 28).
Under the authorizations, FEMA is paying 70 percent of the state's eligible firefighting costs that are above $1,061,941. The figure, called a floor cost, is derived through a formula based on the state's five-year annual average cost for fighting fires.
Federal fire suppression aid is provided through the President's Disaster Relief Fund and made available by FEMA to assist in fighting fires when they threaten to cause a major disaster. Eligible state firefighting costs covered by the aid can include expenses for field camps; equipment use, repair and replacement; tools, materials and supplies; and mobilization and demobilization activities.


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Two questions.
I've been buying WD black internal harddrives and putting them into Rosewill enclosures. I'm looking at an ad for a Seagate Barracuda 2 TB for $90. Sounds good but my question is - is it as good as a WD black?
Second question: My iMac is a few years old - 2.66 GHz core i5 w/OS 10.6.8
'About This Mac' shows it has Serial-ATA Device Tree. Does that mean it is SATA and I can use a SATA HDD connection? The Rosewill enclosures have both SATA and USB 2.00 outputs, so I imagine I can use the SATA HDD anyway. Right?
Edited by sequitur - 4/18/13 at 7:57am


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wow thx for this tutorial ;)
GhostWriter is a game based on the corruption of nursery rhymes. By rewriting the nursery rhyme book, the crooked man has turned what was once good to evil. It is now up to the player to right this wrong and change the nursery rhymes back to their original state. The player must do this by taking control of a new character that has been written into the nursery book. The player will travel through nursery rhymes, meeting the now deceptive characters and it is up to them to bring peace to the nursery rhyme world.
A tutorial looking at how to create flashing lights in Unreal 3. They can be used for effects such as lightning, explosions, disco lights etc.
Posted by matt_barry on Jul 13th, 2008
Intermediate Mapping/Technical.
This tutorial will show you how to make flashing lights in the Unreal 3 editor. They can be used for lightning, disco lights, explosions etc
Start off by opening Unreal 3 Editor. Open your scene that you wish to add the light(s) to. I'm going to use a simple box room for this tutorial.
So here's my scene. You cannot use the standard point light to make lights that flash. We have to use a 'PointLightToggleable'. You can find this in the Actor Classes browser. Click on the generic browser icon (), then select the Actor Classes tab. The light we need can be found under - Light - PointLight - PointLightToggleable.
With the PointLightToggleable selected, right click in your scene and select 'add PointLight Toggleable Here'. Move it to the desired position.
So now we have our light, we can start to change its properties to make it flash. With the light selected, open Kismet (). Right click in the Kismet window and select 'New Matinee'.
Double click the matinee box and an 'UnrealMatinee' window should open. Right click in the grey box to the left and select 'new empty group'. Name the group appropriately. Your group should now appear in the grey box. The group is now known as a track (for the timeline).
Next you need to right click on the track and select 'Add NewFloatProperty Track'. Click on the drop down bar and you should get properties relating to the pointlight (if these are not available, you may have forgotten to select the light before you created the matinee). Select 'PointLightComponent0.Brightness'.
You should now have a 'Brightness' track on the timeline. If you select the track and press enter, a key should appear on the timeline. Right click this key and it will give you the option to change its value.
Set the value to whatever you want (1 = 100% brightness, 0 = light off). I'm going to start off with it off and then flash the light twice (both at 1 second intervals).
I need to select the point in the timeline where I want the light to flash (1.00). So I must drag the timeline scroller (the black bar) and place it at that time. Next, I must select the brightness track and hit enter. A new key should appear.
I want the light to flash at this point. If I change the value of this key to 1, there will be a gradual increase of brightness from key 1 to key 2. Therefore, another key needs to be set shortly after key 2 (by selecting the brightness track and hitting enter after the timebar has moved). This key should have a value of 1. Now if you slide the time bar, you should be able to see the start of the flashing sequence.
To make the light turn off again you must add more keys and change the value to your desired effect. You'll probably have to adjust the keys at some point. You can easily move them by holding down control and clicking + dragging the key across the timeline.
Here are the keys I needed to create an effect like the video below.
If you were creating lightning, you could add a sound track to the matinee sequence (right click the light track - 'Add New Sound Track'). You could then time the flashes with the volume of thunder in the sound (tweaking will probably be required). Also, if you want the flashes to loop, make sure you tick the 'bLooping' box in the properties section of the matinee box.
Before you test out your light(s), remember to:
· Save your map!
· Rebuild Geometry/Lighting
· Activate the light using Kismet.
For this tutorial I want the light to start flashing on level startup. So go back to Kismet - right click - new event - level startup. Link the startup to the play channel of the matinee box.
That should be all you need to do to get a basic flashing light working. You don't have to play it from level startup, the matinee could be started through a trigger/event. Here's a video of the light from this tutorial and also a look at lightning in the wine cellar from GhostWriter.
Thanks for checking out this tutorial!
I have simply posted this tutorial to share my knowledge of the Unreal Editor and so that the modding community have a resource in this certain area. There may be a million different ways of carrying out the task but this is the way I do it, and it works!
wow thx for this tutorial ;)
Thanks a lot. Very useful
Tx A Whole Lot !, however i did it in a different way, a toggle that turns on a light and a delay of .075, then that delay goes to another toggle that turns off the light... btw my purpose was different, just a flash for a cannon shot.
thanks man! =D


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Google capitalizes on online music
updated 11:55 pm EST, Wed December 21, 2005
Google search for music
Google is on surging digital music interest, creating a a results page tailored to music for related searches. PC Pro reports that "Google is now offering a single box at the top of a results page that it has decided is about music. Clicking on a link will give you a standard list of links to official pages and fan sites, and news and pictures for the News and Images indexes. However, the bulk of the page is given over to a discography and reviews of the artist's albums and, surprise, surprise, where to buy the records online culled from the Froogle service." The report, however, points out that Yahoo! has been doing the same with music-related search for some time now: "Similarly Yahoo! offers its 'shortcuts' which are also collections of links. Often, in the case of musicians this will be a link to Yahoo! Music which will not only offer background information but also offer to sell selected downloads."


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November 1, 2015
Need a Boost?
Using Booster.com, eight-year-old Ethan Katz raised almost $16,000 for City Dogs Rescue by selling custom T-shirts.
November 1, 2014
Strength in Funders
Learn how crowdfunding can boost your online donations.
September 1, 2014
Fundraising's Human Equation
Fundraising experts Jennifer McCrea, Jeffrey Walker and Tracey Durning discuss different ways to engage supporters to tap their full potential.
May 1, 2014
To Protect...and Serve?
Shelters wrestle with the issue of humane menus for their events.
March 1, 2014
A Little Help for Our Little Friends
In the March/April 2014 cover story, read how putting the spotlight on your little critters by posting colorful photos, giving them fun names, and placing them in high-traffic areas are just a few ways to boost small-animal adoption rates.
January 1, 2014
How Much is that Doggie Sweater in the Window?
Advice from successful shelter and rescue thrift stores on how to create a profitable stream of customers, donated goods, and cash for programs.
July 1, 2013
Clunkers into Cash
Shelters around the country use car donation programs to generate much-needed cash to support their lifesaving efforts for animals.
May 1, 2013
Make it Snippy
The HSUS's World Spay Day campaign powers on, and the quest for a nonsurgical alternative to sterilization continues.
May 1, 2013
Driving While Canine
SPCA Auckland teamed with a top trainer and carmaker MINI to teach shelter dogs how to drive a modified automobile. The promotion, which attracted worldwide attention, highlighted the dogs' intelligence and adoptability.
March 1, 2013
Unforgettable: Big Daddy's Big Family
Although Big Daddy's time with the staff of Greenbelt Animal Control was short, it was long enough for this abandoned pit bull to warm hearts and change minds in the larger community about this often misunderstood breed.


text: [ How To Apply Realistic Zombie Make-Up For Halloween [VIDEO] By Patty Campos October 23, 2012 Halloween is just a week away! Easiest most affective costume? A zombie of course! Read More Category: Holidays, Videos Tags: halloween costumes, how to, zombie make up Send to a friend! Share on Facebook Share on Twitter Pin it! Reddit This! Share on Tumblr!


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EL DORADO — The Union Mine varsity and JV wrestling programs hosted the annual D'back Invitational last Saturday, attracting over hundred young wrestlers from the area.
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EL DORADO — The Union Mine varsity and JV wrestling programs hosted the annual D'back Invitational last Saturday, attracting over hundred young wrestlers from the area.
The Invite had 25 wrestling groups, each with 4-to-6 wrestlers vying for first through fourth place on the podium. The format was round robin.
Local schools participating were: Georgetown, Northside, Gold Oak, Sierra Ridge, Markham, Pleasant Valley, Golden Sierra Jr. High, El Dorado Hills Wrestling Club, Herbert Green, CPM Montessori and Gold Trail.
"We wanted to put something on so that younger kids can experience wrestling in a comfortable environment — not something that runs until midnight or where the wait is four hours between matches," Union Mine varsity coach Tim Brown said. "It a good community event and a chance to see Union Mine and its facilities."


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Ciara and Future Get Engaged on Her 28th Birthday: See the Ring!
Ciara's "Goodies" are officially off the market!
This weekend, Future proposed to the "Body Party" singer in New York City, where she was celebrating her 28th birthday. The "Turn Off The Lights" rapper popped the question with the help of a shiny, 15-carat diamond ring, their publicist, Chris Chambers, told the Associated Press Sunday night.
"The ring, which doubled as a special birthday gift, is a beautiful 15-carat emerald cut diamond designed by Avianne & Co.," revealed the publicist.
Ciara took to Twitter shortly after to express her happiness:
If I'm Dreaming I Don't Want To Wake Up..Aaaaaahhh!!!:)
— Ciara (@ciara) October 27, 2013
Today Has 2 Be Like One Of The Sweetest Days Of My Life! #TheBestBirthdayEver
— Ciara (@ciara) October 27, 2013
On Monday, E! Online had an exclusive peek at the mega rock:
Ciara Engaged to Future—See the Singer's 15-Carat Engagement Ring! – http://t.co/k35DoP5xbv pic.twitter.com/JjNrMBG2Tn
— GeEkY GoSsiP (@GeEkYGoSsiP_) October 28, 2013
The couple have been dating for a year, and so far, no dates have been announced for their nuptials.


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As of Thursday, May 2, 2013
© Copyright 2015 Albany Herald
ALBANY, Ga. -- Dougherty County District Attorney Greg Edwards says truancy in the public schools is nothing but trouble for students and the community and it's time to do something about it.
Edwards offered an example of those troubles in the form of a grand jury indictment for statutory rape. According to the indictment Wednesday, Kevin Antron Harper, 31, is accused of having sexual relations with a 12-year-old girl on Dec. 20.
"She was supposed to be in school," Edwards said. "He mother drove her to the bus stop, but (the girl) didn't get on the bus. Instead she became collateral damage in a truancy issue."
Georgia law requires all children between the ages of 6 and 16 to attend school during normal hours, and Edwards said when that doesn't happen the parent can be prosecuted in criminal court or the child can be prosecuted in juvenile court. Unfortunately, the problem may be bigger than current resources available to attack it.
"These students are skipping school illegally," Edwards said. "They gravitate toward hanging out in people's houses. Often in those situations, kids commit crimes or become victims themselves."
Edwards advocates uniformed, full-time truancy officers to help solve the problem, and at a Tuesday meeting of the Student Attendance Protocol Committee, members were in agreement.
The committee is made up of all the county judges, Edwards said, as well as law enforcement officials, school board members, health officials and others. According to Edwards, the committee meets at least twice each year.
"Because of cases like (Harper's), the committee has agreed we have to crack down hard," Edwards said.
waltspecht 2 years, 7 months ago
This will only affect those parents that have something to begin with. Does anybody really see some of these Parents paying fines or doing jail or community service? If it happens, where will the money come from, and who will supposedly look after the other children while the Parent does their time. I have seen it all to often. This is unenforcable for probably the parents of 80% of the problem students. Plus from what I understand the schools are better places because of some these students cutting classes. The attendance programs at many of the High Schools are jokes, according to posters here and casual conversation. Mosley has a lot more he will have to clean up because the student attendance share contribution currently outweighs the need for attendance control.
VietVet1 2 years, 7 months ago
But they still get their "Letter of Attendance" don't they? By skipping school - two things: 1) they start early motherhood & welfare 2) they're not in school annoying those that want to learn something.
FryarTuk 2 years, 7 months ago
Damned, Greg. Welcome to the party! Better late than never.
VietVet1 2 years, 7 months ago
If you're referring to me as "Greg" - - I'm not.
erock 2 years, 7 months ago
When you put the parents in jail enough, it begins to hit them in the pocket. When they can't do their dirt cause they're locked up, this becomes unacceptable. Most would rather have their hands chopped off than to part with five dollars. I believe you'll see attendance go up, because with jail time looming over them, they'll drop the kids off at school themselves. I think they are on to something. I've always thought that truancy was the root of the problems that plaque Albany. Holding the parents accountable is the answer. Stick to your guns and don't make any exceptions.
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More like this story
- Students sue to soften 'cruel' truancy policies ( June 12, 2013 )
- Juveniles indicted in gang-related incident ( December 2, 2010 )
- Experience critical in House District 153 ( July 25, 2012 )
- Replacing departing assistant DA up in air ( April 15, 2010 )
- ELECTION 2012: State Representative Seat - Muarlean Edwards ( July 30, 2012 )


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The Woodford Sun
Versailles, Ky.
Recent Obituaries
October 28, 2004
Andy T. Beasley, 68, of Pinckard Pike, husband of Teresa Beasley, died Friday, Oct. 22, 2004, at St. Joseph Hospital in Lexington.
Born June 21, 1936, in Mortonsville, he was the son of the late Edward Thomas and Nettie Harold Beasley. He was a manager for IBM and attended Pinckard Baptist Church. He also was a co-owner of Andy's Pawn and Teresa's Treasures on Main Street.
Survivors include a daughter, Angie Beasley, Shelbyville; two sons, Rick and Mike Beasley, both of Versailles; a stepson, Josh Routt, Versailles; three sisters, Mae Freda, Lexington, Dorothy Jones, Versailles, and JeanRobinson, Versailles; and eight grandchildren.
Services were conducted Monday, Oct. 25, 2004, at Clark Funeral Home, Rose Hill, by the Rev. Doug Simpson and the Rev. Tom Hinckle. Burial was in Rose Crest Cemetery. Casket bearers were Roland Patton, James (Sonny) Briscoe, Gary Briscoe, Mike Blaurock, Kelly Briscoe and Richard Maloney.
Guest book at Legacy.com.
Dallas Ray Dews, 69, of Frankfort, husband of Rosemary Dews, died Thursday, Oct. 21, 2004, at his residence.
Born July 25, 1935, in Owen County, he was the son of the late Robert and Florence Riddle Dews. He was a retired employee of the Bendix Corporation, had served in the U.S. Army, and was a member of the Thornhill Baptist Church.
In addition to his wife, he is survived by three sons, Anthony Wayne Dews, Marion Ray Dews, and Darren Scot Dews, all of Frankfort; a sister, Alice Weber, Frankfort; three brothers, Robert Dews, Versailles, Walter Dews, Corinth, and Billy Dews, Frankfort; and four grandchildren. A sister, Sue Weber; and two brothers, Everett and Leonard Dews, are deceased.
Graveside services were conducted Saturday, Oct. 23, 2004, at Sunset Memorial Gardens by the Rev. Steve Payne. Clark Funeral Home, Frankfort Road, was in charge of arrangements.
Memorials are suggested to Hospice of the Bluegrass.
Mary L. Harrod, 72, of Frankfort, widow of Thomas E. Harrod, died Wednesday, Oct. 20, 2004, at her home following a long illness.
A native of Woodford County, she was the daughter of the late Nelson and Corine Groves. She was a retired employee of the Commonwealth of Kentucky Department of Transportation, Division of Motor Carriers. She was a member of the Wednesday Morning Juniper Hills Ladies Golf League and a member of the Thornhill Baptist Church and the Ruth Sunday school class.
Survivors include a son, Charles "Butch" Harrod, Frankfort; three daughters, Audie Rodgers, Sherry White, and Donna Grimes, all of Frankfort; six brothers, Robert Groves, Berea, Karl Groves, Florida, David Groves, Dale Groves, and Richard Groves, all of Frankfort, and Ronnie Groves, Harrodsburg; a sister, Doris Hogg, Lexington; and six grandchildren.
Services were conducted Friday, Oct. 22, 2004, at Harrod Brothers Memorial Chapel by the Rev. Steve Payne. Burial was in Sunset Memorial Gardens. Casket bearers were Roy Grisham, Lewis Jenkins, Randall Gay, Freeman Sudduth, Howard Dawson, and Harold Bernard. Honorary bearers were Bobby Gaines, Lonnie Trent, and Bill DeBord.
Contributions are suggested to Hospice of the Bluegrass, 208 Steele Street, Frankfort, KY 40601, the American Cancer Society, or the Suzanne Joy Elam Memorial Scholarship Fund, Thornhill Baptist Church, 1142 Holmes Street, Frankfort, KY 40601.
Louis W. Holman, 38, of Maysville, died Friday, Oct. 22, 2004, at the University of Kentucky A.B. Chandler Medical Center in Lexington.
Born Jan. 2, 1966, in Lexington, he was the son of Patricia Beckett Holman of Maysville and George L. Holman of Woodford County. He was a facilities technician for Mitsubishi in Maysville.
In addition to his parents, he is survived by a sister, April Holman Miller, Denton, and numerous aunts, uncles, and cousins.
Services were conducted Tuesday, Oct. 26, 2004, at Palmer Funeral Home in May's Lick. Burial was in Bluegrass Memorial Gardens.
Memorials are suggested to the American Heart Association.
Guest book at Legacy.com.
Ethel Irvine, 98, formerly of Frankfort, died Wednesday, Oct. 20, 2004, at Taylor Manor Nursing Home, Versailles.
Born March 18, 1906, in Midway, she was the daughter of the late Franklin and Maimie Ballard Mitchell. She was retired from the Accounts Division of the state Department of Finance. She was a member of the South Frankfort Presbyterian Church.
Survivors include two sons, Julius Turner, Frankfort, and Sonnie Turner, Grand Rapids, Mich.; two sisters, Dorothy Helen Wallace and Fannie Margaret "Lou" Johnston, both of Georgetown; a brother, J.T. Mitchell, Georgetown; six grandchildren; 10 great-grandchildren; and four great-great-grandchildren.
Services were conducted Saturday, Oct. 23, 2004, at Rogers Funeral Home by the Rev. Alan Sorem. Burial was in the Frankfort Cemetery. Casket bearers were David R. DeMarcus, David R. DeMarcus II, Matthew B. DeMarcus, J. Jeffrey Turner, Jonathan E. Turner, and Kane Johnston.
Martha Jane Snapp, 91, of Carlisle, widow of Clyde Wesley Snapp, died Monday Oct. 18, 2004.
Born in Nicholas County, she was the daughter of the late Matthew and Bettie Snapp. She was a retired employee of Jockey International, a member of Marie Chapter O.E.S. and was a member of Carlisle Assembly of God Church.
Survivors include a son, Clyde Snapp, Versailles; two daughters, Sylvia Young, Lexington, and Ruby Land, Georgetown; six grandchildren, Jody Hardin, Gainesville, Fla., Ty Hardin, Orlando, Fla., Paige Kincaid, Georgetown, Charity Sexton and Chad Land, Carlisle, and Melanie Sizemore, Scottsburg, Ind.; eight great-grandchildren, Drew Land, Cierra Kincaid, Corrin Hardin, Allen Pelfrey, Brooke Kincaid, Bryce Kincaid, Micah Land and Aven Sexton.
Services will be conducted at 1 p.m. Friday, Oct. 22, 2004, at Carlisle Assembly of God by the Rev. Darrell Sexton and Chaplain Gary McQuain. Burial will follow in Carlisle Cemetery. Casket bearers will be David Foster, Jeff Fryman, Jimmy Harris, Kevin Kincaid, Bill Loyer and Chris Sexton. Visitation will be from 5-9 p.m. today, Thursday, at the church. Mathers-Gaunce Funeral Home is in charge of arrangements.
Contributions are suggested to Hospice of the Bluegrass.
Guest book at Legacy.com.
Mark A. Spencer, 35, of Campton, formerly of Versailles, husband of Loretta Webber Spencer, died Saturday, Oct. 23, 2004.
The son of Nellie Pearl Sloan and Martin L. Spencer Sr. of Versailles, he was an employee of the Trane Company in Lexington,
In addition to his wife, he is survived by two children, Cody and Heather; four sisters, Jo Ann Owens and Maxine Higgs, both of Versailles, and Anna Little and Darlene Ward, both of Lawrenceburg; and a brother, Luther Spencer, Versailles.
Services were conducted Tuesday, Oct. 26, 2004, at Blackburn & Ward Funeral Home by the Rev. David McCracken. Burial was in Rose Crest Cemetery. Casket bearers were Gene Owens, Brian Rose, Brandon Pennington, Roy Arvine, Otis Carroll, and Chris Clemmons.
Memorials suggested to the Leukemia Foundation or a favorite charity.
Guest book at Legacy.com.
Obituaries from past issues: Click here