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text:
A wildfire that began Friday night in the Croatan National Forest is now 100 percent contained, according to officials with the U.S. Forest Service.
Fire managers will continue to monitor small pockets of smoldering embers but believe there is very little chance of fire spreading to other areas, according to a release issued Monday.
The fire started off Bogue Road near N.C. 24 in Newport. The cause of the wildfire is still under investigation, according to the release.
The wildfire grew to more than 1,100 acres over the weekend. About 700 acres are in the national forest, with about 450 acres on private land. On Saturday, firefighters back-burned areas to control the wildfire.
Nearly 20 firefighters from the U.S. Forest Service, N.C. Forest Service, volunteer fire departments, Department of Defense and other agencies fought the wildfire over Easter weekend.
No injuries or property damage were reported.
Meanwhile, the forest service plans to conduct a prescribed burn today near Gray Road just outside Havelock. The burn is designed to reduce the amount of underbrush that could fuel a potentially dangerous wildfire while also improving habitat for the endangered red-cockaded woodpecker and restoring the longleaf pine ecosystem.
Location, ST | website.com

subset: commoncrawl


text:
May 2, 2016
Monday, February 6, 2012
GILBERT, S.C. (AP) -- A Lexington County teen has been struck and killed by a car as he tried to remove an injured deer from the road.
Seventeen-year-old William Patrick Corley of Gilbert died when he was hit about 8:30 p.m. Saturday.
The coroner's office says Corley had parked by the road and was helping move the deer when he was struck.
The driver of the car was not hurt. No charges have been filed.
The Highway Patrol and the coroner's office are still investigating the death.
(Copyright 2012. Associated Press)
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Two people died in Elkhart this morning. Here are some images from the scene from Chief Photographer Jennifer Shephard.
We were on the scene and quickly got information to social media and to elkharttruth.com.
But then we started having server issues. Our servers are currently hosted by NEWSCYCLE, which was called Saxotech before a merger. And they had some hosting issues which affected us.
We're gritting our teeth. During breaking news, news that our community needed to know, a situation beyond our immediate control keeps us from deliver the news immediately to our web readers.
The web site is functioning erratically and loading slowly. We're sorry. We've come to rely on our website to deliver such news and many of you have as well. When there's a server issue - even if it's not our fault - we see that as a big, big problem.
We're hoping the people who can get the web stuff straightened out do so in a hurry. We apologize for the inconvenience and we don't like it either.
Marshall V. King, Managing Editor


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Pearson: This is the Friday, November 9, 2012 version of the Market Plus segment. Joining us now are Elaine Kub and Walt Hackney. Guys, welcome back.
Hackney: Thank you.
Pearson: Glad to have you here. We've got a lot of questions here from our Twitter and Facebook pages. Walt, this one is to you. Robert in Oklahoma is asking what is your price outlook for feeder cattle in the spring? He says, wheat pasture in Oklahoma is very limited.
Hackney: It is. That is a fact. Plus the fact a lot of wheat producers are reluctant because of the fear of damage to their crop with wheat worth somewhere in the $8 a bushel range. So that is logic. The other thing being the price of feeder cattle in the spring is going to be very aggressive due to limitation of numbers. We have got the lowest cow herd in near history in the beef cow herd. We got totally decimated with the 2011 drought and the 2010 drought. This year the drought worked its way through the Midwest and the western states. As a result of all of that the availability of feeder cattle will probably be more so than it was this past spring and we had a highly aggressive market at that time.
Pearson: All right. So things to look forward to there if you're a feeder cattleman?
Hackney: If I was a cow-calf operator I would be extremely optimistic. As a buyer I'm reluctant because I don't know what the projected outcome of these high price feeders this next spring is going to be and we don't know where the deferreds are going to lead us and we need to know those things.
Pearson: All right. And here is kind of a follow up to that. What -- looking into your crystal ball, do you have any expectations for next week's cattle on feed report? What do you think we're going to see?
Hackney: Oh, it won't be anything. It'll be nearly a non-event. It can't show any excessive amount of cattle on feed, it can't show any excessive placements. It may show a reduction in marketing. That would not be bullish. As a result of that some people are asking me, as we speak Mike, what do you think about the fat cattle market? I say I think if you had cattle for sale last week was the time to have sold them.
Pearson: All right. So get your time machine ready and get back there. Elaine, this one is to you. Todd in Rice Lake, Wisconsin is looking into your crystal ball for next year, corn or soybeans? What do you see being more profitable?
Kub: Well, that is going to be highly dependent on South America I would say. But at this poet in time if you look at the stocks to use ratio, what does the world need more? What is the world more short on? You're still looking at corn being the winner which is just as well because we have a dry fall and I think a lot of guys are putting down fertilizer and planning ahead on a big corn planting for 2013.
Pearson: So with that in mind do you have any advice for producers as to selling and of next year's crop? Do you see wait and see what happens there?
Kub: Well, there is a huge potential that if things don't go bad in South America and we grow 15 billion bushels of corn here in the U.S. in 2013 that it could be drastically bearish at some point in time and move quickly. So yes, even though this is not really the timeframe seasonally when you would want to start making forward sales for 2013, I think maybe once we get through the end of this year, once we get all the fund stuff taken care of and the general economic uncertainty of this fiscal cliff, once that is out of the way and you want to start making 2013 forward sales in 2013, January, February timeframe I would say above $6.50 on that December contract. I don't see anything wrong with selling $6.50 corn. You can probably make money on that.
Pearson: All right. Looking at -- this one, Elaine, I'm going to address it to you but it's Walt -- looking at the market as we go forward we had some good news today on the broader market, exports up, consumer confidence is up, folks are feeling a little bit better about the economy. Walt, you mentioned we were seeing all-time highs ten days ago, choice beef cutout values and all of that. Where do you see that headed as we roll past this fiscal cliff into 2013? Is the strong economy, if the economy continues to strengthen do you think consumers are going to be better able to pay these prices that cattle producers are going to need?
Kub: In the U.S. maybe but when you talk about the economy you're really talking about the U.S. economy. But the global economy, and maybe there is some hopefulness there, it seems like Europe has done what they needed to do and it cost them a bunch of money and we had to price it into the price of the dollar but they have taken care of it. China is still a big wild card though. When you talk about a global economy they tend to sound like they're not as robust or they're not growing as robustly as they were before and they have even made noises saying they don't intend to import as many soybeans from us as they did previously. So I would look at the U.S., at signs of a U.S. economy being a huge driver of our agriculture market futures prices yet. But perhaps certainly with the retail meat demand that might be a more direct link there.
Hackney: Well, I think common sense would indicate this country is used to luxury beef.
Kub: Yeah.
Hackney: And you can use all the negatives in the world about that term being compared to pork, the predictability of pork versus beef, the cheaper of the all three is the poultry. But if people have got extra money and recovery through the economy they're going to pick up more beef. That is the solution to the dilemma that we have as we speak in the beef industry is the sluggish market we have endured nearly all fall of this beef market. The people simply can't continue giving these prices.
Kub: And it's a direct cause and effect in the U.S. consumer dollars.
Pearson: Final question, Walt. This is from Brent in northwest Oklahoma. He is asking how is the continuing drought in central and the southern regions of the United States, we know we're still 12 to 16 inches of rain below what is needed in South Dakota and as we get through the Plains, how is that going to affect cow numbers as we roll through this next year if we get another drought here in those regions?
Hackney: Well, I think that logic would indicate that if they can't get more moisture than they currently have in the southwest, that is western Oklahoma, west Texas, southeast Colorado, if they can't get enough to produce spring grass there is no need to worry about the cow herd down there. They can't afford to put $200 a ton in the hay, you can't support a cow with $200 a ton and winter her. So you're better off not having her. We had a huge liquidation in 2010 and in 2011. We have had more liquidation in the Midwest in 2012 due to the same factors. So if we don't have spring grass and it is all dependent on the moisture.
Kub: Yeah, at this point in time, like 84% of the high plains is in a severe drought.
Hackney: They certainly are.
Pearson: And not a lot of good news on long-term forecasts. You guys seeing any relief out there as we look forward?
Kub: Well, I don't know what they're looking for in the winter but it's certainly not unprecedented to have many years of drought. We have to think about that. We would think you're never going to have this many years in a row of a poor harvest or poor yields but there's nothing that says we can't. The 50s were like that, the Dust Bowl years. If we had several more years of this drought things get --
Hackney: Mike, to indicate how hard it is down there they can get a rain today but it's so dry that rain is only 50% moisture.
Pearson: Wow, all right. Well, that kind of wraps up this edition unless you guys have anything else to add? Not leaving on a terribly upbeat note.
Kub: I'll just -- just to add to this of the dry weather and al little bit of rain, like the winter wheat crop, I look at this from the winter wheat crop standpoint in that it had the worst condition ratings that the National Agriculture Statistics Service have ever released this early in November. But that doesn't necessarily mean that it's not going to make it through the winter. If we get -- if it gets rain wheat is a tough crop. It's green. I was just in Kansas earlier this week and it looks nicely green so far because it's so tough and it could make it through the winter. So you're right to look at the forecast, the long-term winter forecast to be the deciding factor in a lot of these things.
Hackney: Fall rains -- and doesn't have to be continual or that consistent -- fall rains can make a wheat pasture crop. Will it make grain crop? I don't know. But no one really cares as long as they can pasture cattle on it.
Pearson: That's right. So keep an eye on the skies, watch for some rain. Thank you so much Elaine Kub and Walt Hackney, appreciate having you both here.
Kub: Thanks, Mike.
Pearson: Take care.


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Informix Certification Prep is the fastest way to prepare for the Informix Certification programs. Attend this class for everything you want to know about the Informix certification programs. This class will cover following:
Informix Certification Prep will build your confidence by evaluating your knowledge and skills prior to taking the actual exam. Participate in this tutorial and you'll be well on your way to that much sought after perfect exam score!
Rev Up Your Engine, Improve the Speed of Your IDS — John Miller
This presentation will focus on how to improve you database performance. We will examine a few main areas which will give the student detailed knowledge about IDS. These include the how to improve the efficiency of your network, getting more bandwidth for less, improving the response time of SQL statements, when and how to utilize fragmentation/partition to improve response times of queries especially on large tables, indexing and how you can improve the efficiency of indexes and the btree scanner. Lastly how to utilize the new performance features in IDS increasing performance for less work.
Informix Warehouse Unleashed! — Pamela Siebert
This hands-on lab gives you a look at the Informix Warehouse Feature and its components. It will first introduce you to the context behind the new tools available and the value they add in a data warehouse scenario based on Informix, and then, it will give you a hands-on and example-driven view of the Informix Warehouse Client component, the Design Studio, by going through the steps for creating a simplified data warehouse and data extract-load-transform (ELT) project, identifying the source and the target databases involved, and designing the database physical model you have planned for your target Informix warehouse. Then, you will continue using Design Studio to create and test the jobs for extracting, loading, and transforming data from various sources into the target warehouse repository on Informix. Finally, you will learn the usage of the server components in the Informix Warehouse to manage and monitor resources associated to your warehouse.
Troubleshooting Methods and Techniques (about 3.5 hours) — Mark Jamison, Ron Privett, Hyun-Ju Vega
This tutorial presented by members of the Informix Advanced Support Team will explain troubleshooting techniques through a mix of classroom material and case studies of real-life situations. Students will learn how to troubleshoot performance, connectivity, gls, and security issues.
HALF-DAY AFTERNOON TUTORIALS: 1:00 PM - 4:30 PM - Includes lunch 12:00 pm - 1:00 pm
Enhance and Troubleshoot ELT Jobs Execution using Informix Warehouse — Veronica Gomes
Do different exercises around the same business case to practice specific scenarios of troubleshooting, customization and performance tuning of ELT jobs using Informix Warehouse Feature and taking advantage of new IDS features for warehousing.
How to Use the Database Scheduler and SQL Admin API — John Miller
This talk will focus around the database scheduler and the Admin API. Students will use the database scheduler to eliminating work by designing and programming repetitive tasks in the database scheduler. Several new example tasks will be created in a step by step fashion giving students the understanding and thought process of how to design their own tasks or sensors. In addition the SQL Admin API will be utilized to show people how to change the server configuration in simple SQL scripts.
Hands-On with IDS Storage Optimization — Carlton Doe
This session will provide a hands-on experience for those needing to understand and use the latest Informix Dynamic Server feature -- the ability to compress and/or manage data pages on disk. Participants will learn about the Storage Optimization feature and the functions it contains. Topics include data compression estimation, compressing and uncompressing data, repacking data pages as well as shrinking used pages. A hands-on lab gives students the opportunity use each function with graphical and command line utilities.
This class is limited to a maximum of 10 students.
Advanced Troubleshooting Scenarios (about 3.5 hours) — Mark Jamison, Ron Privett, Hyun-Ju Vega
This tutorial presented by members of the Informix Advanced Support Team will feature the same approach as the morning troubleshooting session, mixing classroom material and case studies. Students will learn best-practice methods for MACH11/ER problems and tips on avoiding problems during migrations and backup/restores.
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By Rabbi Daniel Lapin
May 11, 2011
During the past year or so, despite the recession, I have been noticing quite a few companies reporting excellent earnings. Upon reading their reports it became clear that many of them achieved this without increasing sales revenues. Instead, it was rigid cost discipline that allowed these firms to post profits. Many families have followed a similar culture of frugality. They are enduring a depressed economy not by generating larger incomes but by ruthlessly cutting their expenses.
Things will improve and the tough times of 2008—2012 will eventually fade away, though for many of us painful memories will linger. But maybe that is not all that will linger. While reaching for the stars, an awareness of restraint is healthy. It is good to balance the belief that we can do anything and have everything with a subtle sense of limitations.
The affluent Beverly Hills family that raises its children with no obligation other than to accept the keys to a new car on their sixteenth birthdays seldom sees a more successful younger generation than those who raise their children fully aware of budget realities.
The company indulging in grandiose spending might practice profligacy with apparent impunity while the economy is booming. But when the tide turns, as it always will, management will lack the skills and character necessary for coping in a recessionary climate.
On the threshold of entering the Promised Land, ancient Israel could hardly have been riding higher. Forty years earlier they had seen their tormentor, Egypt's Pharaoh, wiped out. They had defeated their enemy Amalek, received the Torah at Mt. Sinai, and successfully completed a forty-year desert journey. The land lay before them, triumph was assured and the future looked limitless.
Moses the beloved teacher and leader of Israel had one final task. He was to bless his people. (Deuteronomy 33:6-24)
Fortunately, Moses didn't have to pull his blessings out of the air. There was a heritage of blessings which had been passed down by Abraham, Isaac and Jacob. Not surprisingly, the blessings that Moses delivered to the twelve tribes in Deuteronomy were an echo of those delivered by Jacob to his sons. (Genesis 49:2-27)
After blessing each
tribe individually, Moses blessed the people in its entirety:
May Israel live alone securely,
the fountain of Jacob
shall be upon a land of grain and wine,
and his heavens shall drop down dew.
(Deuteronomy 33:28)
This blessing echoed that which earlier Isaac bestowed upon Jacob:
May God give
you of the dew of the heaven
and from the fat of the land
and plenty of grain and wine.
(Genesis 27:28)
But wait! Isaac's blessing to Jacob contains six elements: dew, heaven, fat, land, grain and wine. Moses' blessing to Israel contains only five of these elements. Why did Moses omit fat?
Ancient Jewish wisdom
provides an incandescent clue. Notice that Moses precedes his blessings
of the individual tribes with a special name for Israel, Yeshurun.
He was a King in Yeshurun…
(Deuteronomy 33:5)
As the closing of these blessings we find:
There is none like the God of Yeshurun…
(Deuteronomy 33:26)
This term for Israel, Yeshurun, only occurs three times in all the Torah.
word's other appearance is when Moses delivers sad prophecies about
Israel's behavior in the future:
Yeshurun became fat
and kicked (rebelled)…
and it deserted God its Maker…
(Deuteronomy 32:15)
What scintillating clarity! We see that fat connotes luxury and that luxury easily slides into moral rebellion and spiritual failure. For this compelling purpose, just before they enter the Promised Land, Moses blesses them but omits the word 'fat.' On the eve of Israel's triumph, Moses introduces a note of restraint. Long-term survival depends upon being able to live with restraint and limit.
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May God offer you every blessing along with the wise restraint to enable you to live within the limits that keep you faithful to His teachings.
We have been trimming our own expenses, but I'm afraid that the cost of producing our Torah teachings has risen. Next week, the price of the Genesis Journeys Set will be going up. Use this opportunity to acquire these four 2-audio-CD packages before that change is introduced.
© 2011 Rabbi Daniel Lapin - All Rights Reserved
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Rabbi Daniel Lapin, known world-wide as America's Rabbi, is a noted rabbinic scholar, best-selling author and host of the Rabbi Daniel Lapin Show on San Francisco's KSFO. He is one of America's most eloquent speakers and his ability to extract life principles from the Bible and transmit them in an entertaining manner has brought countless numbers of Jews and Christians closer to their respective faiths. In 2007 Newsweek magazine included him in its list of America's fifty most influential rabbis.
You can contact Rabbi Daniel Lapin through his website.
Web Site: www.rabbidaniellapin.com


text:
As far as I know, all the records of Francisco Viñas were made in Italy and so we are used to seeing his name as it appears on their labels, spelled Francesco Vignas, which seems to be the way he wrote his name everywhere he sang outside Spain and perhaps Portugal.
This great Catalan tenor was born Francesc Viñas in Moiá, near Barcelona, on 27 March 1863, and died there on 14 July 1933. Just as the healthy influence of singers like Adelina Patti and Emma Albani, trained in the old Italian school of singing, influenced taste in London and New York until the First World War, keeping before critics and singers the virtues of a steady, radiant tone and graceful phrasing, so the popularity in Spain and Russia of such highly esteemed and paid Italian singers as the tenors Masini and Marconi or the baritone Battistini preserved a respect for certain old-fashioned styles and mannerisms that local singers were quick to imitate. Emulation of role models played an important part in the education of singers lucky enough to be able to attend opera performances or, after the issue of Caruso's first discs in 1902, wealthy enough to own a gramophone. Fernando De Lucia studied the personal traits of the three great tenors–Gayarre, Masini and Stagno–active at the San Carlo in his student days, about 1880-1885, and reproduced them in his own singing, so that his recordings are a sort of living museum of already antiquated stylistic quirks. In the records of Viñas we hear a bright, open, silvery tone similar to that of other "Spanish" tenors such as Valero and Constantino and, we believe, also typical of the way Italian lyric tenors sang before the age of Caruso–Marconi is somewhat similar in his more lyrical moments, while Signoretti has something of the declamatory brilliance of Viñas.
Viñas began to study, apparently with Gonçal Tintorer, at the Conservatory in Barcelona when he was 23. Juan Goula, a principal conductor in Madrid and Barcelona, heard the young man in the Conservatory concerts and invited him to study the role of Lohengrin. On 9 February 1888 Viñas made his debut in Lohengrin at the Teatro del Liceu, Barcelona, singing with the famous soprano Medea Borelli (who had failed in London but was a big star in Latin countries). Gayarre, the great tenor whose place he was in part destined to take, was so impressed with this first performance that he gave the young Viñas his own Lohengrin costume.
The steady progress of his career has been meticulously plotted out by Larry Lustig and Clifford Williams in the Record Collector, Vol. 34, nos 5-6-7, July 1989. After more performances of Lohengrin in Barcelona and Mefistofele in Valencia, Viñas was already invited to la Scala, Milan, where he sang Lohengrin in 1889 and again in 1891; he was also heard there in Cavalleria rusticana (1891), Carmen (1896), and Germania (1904). Over the years he also sang in Brescia, Treviso, Turin, Genoa, Catania, Palermo, Modena, Florence, Rome, Cremona, Venice, Perugia, Pistoia, Padova, appearing in most of these cities at least once in his famous interpretation of Lohengrin, and closing his Italian career with performances of Lohengrin in Bologna (1913) and Parsifal in Pisa (1914). (He was announced to sing Tristano at the Teatro Adriano, Rome, late in 1914, but these performances seem to have been cancelled by the outbreak of war.) The theater in which he was most loved was the San Carlo, Naples, where he returned again and again. He first sang there in 1893, inevitably as Lohengrin, which he repeated in 1896, 1901, and 1910. Naples also heard him in Mefistofele, Lorenza (Mascheroni) with Gemma Bellincioni (world premiere), Germania, Aida, Manon Lescaut, Andrea Chénier, La Gioconda, L'Africana (with Ruffo, Bonini, Amato, and Caronna sharing the baritone role in eight performances), La Perugina (Mascheroni), and, in 1910, his last season in Naples, Don Carlo, Il Profeta, and Lohengrin all with the great American mezzo-soprano Eleonora De Cisneros. Naples also heard him in concert performances of Massenet's Marie Magdeleine (1902), Lorenzo Perosi's Mosè (1903, with Salomea Kruschelnytska and Giuseppe De Luca, conducted by the composer), and Rossini's Stabat Mater. Throughout his distinguished but perhaps less than spectacular career he was constantly to be heard in Madrid and Barcelona, and did not neglect the other theaters of Spain: a frequent visitor to the Teatro Principal, Valencia, after 1905 he was also heard in Seville, Malaga, Córdoba, La Coruña, Vigo, Santander, Oviedo, Gijon, and Palma de Mallorca. The Teatro São Carlos of Lisbon first heard him–need one say, in Lohengrin–in the 1904—1905 season; he returned in 1905—1906, 1907, and 1908, also appearing in Tannhäuser, Mefistofele, Aida, Tosca, La Gioconda, L'Africana, Pagliacci, Carmen, Fedora, Il Profeta, his first performances of Tristano e Isotta (with the ill-fated Cecilia Gagliardi), Amor De Perdiçao (Joao Arroyo), and Sansone e Dalila.
The pure quality of Viñas's voice and his classical, even rather severe style of singing made him the perfect partner for such artists as Melba, Albani, Calvé, Nordica, Eames, Litvinne, Tetrazzini, Plançon, Edouard de Reszke, Ancona, Lassalle, and Maurel, with whom he sang in London and in the United States. His popularity in London does not seem to have been affected by the frequent observation by critics that he was by no means a good or convincing actor. (One wonders how plausible he can have been in verismo roles, for his vocal style was remarkably chaste and free from any cheap effects–what a perfect partner for Melba!) He made an instant hit with his singing of Turiddu in the first performance in London of Cavalleria rusticana in the adventurous Signor Lago's season at the Shaftesbury Theatre on 19 October 1891: "Signor Francisco Viñas, who uses a tenor voice of remarkably good quality with skill and intelligence, received still further favours from the audience, as the 'brindisi' of the final scene, being the one very conventional number in the work, was doubly encored" (the Times). Cavalleria rusticana was performed at Windsor Castle by command of the Queen, and Viñas also appeared in a concert there, accompanied at the piano by Tosti. As generally happened to the best artists "discovered" by Lago, he was snatched up by Augustus Harris who engaged him for Covent Garden. For some reason he was not able to return in 1892 but made his Covent Garden debut as Lohengrin with Nellie Melba on 15 May 1893: "The Lohengrin of Signor Viñas, an impersonation not yet seen in London, though expected for some time, proved entirely successful. If the artist is hardly an ideal representative of the character, his vigorous style, manly bearing and artistic singing, exhibited in the first and third acts, make up for what he lacks in romantic charm" (the Times). Photographs of Viñas in costume underline this lack of "romantic charm," but in those days any tenor who sang certain roles in London or New York was inevitably compared with the elegance and charisma of the aristocratic Jean de Reszke. The same critic later wrote: "Signor Viñas was a very satisfactory Tannhäuser and the part must rank as one of his very best, even though he has scarcely exhausted its possibilities." Emma Albani was his Elisabeth in Tannhäuser, and he sang with Emma Calvé in Cavalleria rusticana and L'Amico Fritz, and with Lillian Nordica in Stanford's Il Profeta velato. On 15 July he sang with Calvé and Ancona, with Mascagni conducting, a Royal Command Performance of Cavalleria rusticana and Act Two of L'Amico Fritz for Queen Victoria at Windsor Castle.
As was practically inevitable in those days, his success at Covent Garden was followed by an invitation to the Metropolitan (Maurice Grau would be artistic director of both theaters from 1897 to 1900, thereby strengthening the bond). He made his debut on 29 November 1893 as Turiddu; it was rather unfortunate that on the same evening the dynamic Emma Calvé was making her American debut as Santuzza, and that Pol Plançon, the greatest bass of his day, was also making his debut in the other half of the double bill, Gounod's Philémon et Baucis, so poor Viñas, although favorably noticed by the press, was hardly the center of attention that most tenors would expect to be. Even worse was to come, for when he essayed Edgardo on 4 December, his Lucia was Melba, making her New York debut! Fortunately, between these historic events he had managed to sing a performance of Lohengrin on 1 December, with Nordica. As Irving Kolodin says in his The Story of the Metropolitan Opera, 1883—1950 (Alfred A. Knopf, New York, 1953, p.123): "As of the mid-nineties there was a problem common to both London and New York: how to admit the immense push of the Wagnerian literature to the common repertory without making it, as it had been in New York during the 1880s, an exclusively German enterprise, or as it had been in London–and still was–an exclusively non-German enterprise." Performances such as Lohengrin sung in Italian by such sopranos as Melba, Nordica, and Eames and such tenors as Viñas and Jean de Reszke (with whom Viñas had to share the title role both in London and New York) were a satisfactory compromise until the Polish tenor and the Australian and American sopranos were ready to embark on their Wagnerian roles in German. Viñas continued to sing them only in Italian.
At the Metropolitan and on tour with the company in Philadelphia, Brooklyn, Boston, Chicago, and St. Louis, Viñas sang further performances of Lohengrin and Cavalleria rusticana and Lucia di Lammermoor, in Tannhäuser with Melba, Nordica, Ancona, and Plançon and in Aida with Nordica and Lassalle. Fortunate those Met subscribers who, on 22 December 1893, heard a double bill of Pagliacci with Melba, Fernando De Lucia, and Mario Ancona and Cavalleria rusticana with Calvé and Viñas.
To some extent Viñas may have shared the fate of Pertile at the Metropolitan, appearing beside stars of extraordinary charisma who eclipsed him; however, such an excellent singer would certainly have been invited to return, for after all he was welcomed back to Covent Garden in 1895, 1904, and 1907. The problem seems to have been that he was struck by a severe kidney illness after the close of the Metropolitan season, preventing him from singing for nearly a year, and furthermore he had the same dread of the Atlantic Ocean that kept Battistini from ever singing in the United States. (Gaps in the chronology of his career may indicate other periods of ill health.)
After tentatively resuming his career with a few performances in Turin and Genoa, Viñas finally made his debut in Madrid as Lohengrin on 6 March 1895; he would return in 1898, 1899, 1901, 1904, 1905, 1906, 1907, 1911, 1912, 1913, 1914, and finally in 1916, when he made his last stage appearances there, as Tannhäuser. Barcelona, the city of his debut, heard him as Lohengrin again in 1889 then had to wait until 1903 for his return–not only in Lohengrin again but also in Aida, Lorenza, and L'Africana. He returned in 1907—1908 (when he sang L'Africana with Hariclea Darclée and Tannhäuser with Battistini), 1908—1909, 1909, 1910, 1911, 1912, 1913—1914, 1914—1915, and 1915—1916. His last official public appearances were at the beautiful Palau de la Musica Catalana in Barcelona in February 1918, singing in excerpts from the opera Acté by Joan Manén.
In 1910 his old mentor Juan Goula persuaded Viñas to overcome his fear of ocean crossing one more time and accept an engagement to sing Lohengrin in Spanish at the Teatro Colon, Buenos Aires; he also appeared with the company in Bretón's Los Amantes de Teruel in which the fifteen-year old Conchita Supervia was making her debut.
The list of operas in Viñas's repertory is not particularly long for such an excellent and famous tenor–about 35 works–and it includes several that he sang only once, such as Gli Ugonotti, Der Freischütz, Don Carlo, Sansone e Dalila, Fedora, Andrea Chénier, and Un ballo in maschera. In Valencia in 1901 he sang in two operas by the local composer Salvador Giner, Sagunto and El soñador (world premiere) and in Madrid in 1913 he sang in the first performances of Tabaré by Tomás Bretón. With the passage of time his Tristan became as famous in Spain as his Lohengrin, and his Parsifal, a fitting conclusion to his career, was considered a distinguished interpretation: he first sang it in Barcelona on 31 December 1913, but earlier in the year he had already sung portions of the opera (perhaps in Catalan) in concert.
Viñas married Giulia Novelli, a mezzo-soprano with whom he had sung Carmen in Palermo in 1892 (the Micaela was Olimpia Boronat, and how one would have liked to hear them in the duet!). He died of cancer of the lung in his hometown.
Perhaps no better example of ideal voice production could be found for a young singer to emulate than Francisco Viñas; the voice we hear on the records is of a purity rivaled–but not surpassed–only by Caruso. The voice is perfectly free of the throat, easy and natural in emission, and, like Caruso or Gigli, does not have any very obvious vibrato: an example of how a voice should be firm and steady without being "fixed" in the way Latin ears find so detestable. It is a voice of silver, perhaps, rather than of gold, with the clarion ring of a Bach trumpet on the high notes. His range, on records, is from the low D (a weak note) to the high B natural. It is not surprising that a tenor born in Spain in the 1860s should have embodied so many virtues of the old Italian school, nor should we then wonder if we find that his major triumphs in Italy (where Tetrazzini and Battistini were considered rather old-fashioned) should have been in the older operas, Meyerbeer and Wagner, rather than in the new works of the verismo school.
The distinguishing technical features of the old Italian school are the correct method of breathing (described in the Vocal Method of the Conservatoire de Paris, 1803, and the Treatises of Garcia and Lablache), the pose of the voice on the breath, and the mastery of the registers, including the correct method of ascending to the high notes through adroit handling of the passaggio di registro. Antonio Cotogni, the great baritone and teacher of the Roman school, used to say that tenors and baritones should appear to be singing with an open tone at the top whilst correctly "covering" the notes: this is how Viñas sings. His voice has the most appealing, boyish, open timbre (even at the age of 50). When he ascends the scale he passes from "chest" to "head" voice on E flat or E natural, fourth space, but the difference in quality is only evident to the practiced ear. Many tenors would prefer to prepare the passaggio on C sharp or D, but Viñas always sings these notes with a fearlessly open sound, except in descending passages, when often we can clearly hear the darker and "dreamy" sound of the mixed voice brought down to D or D flat. The effect is of a seamless, homogeneous scale. The F, fifth line, is always a perfect mixed note whether he takes it loudly or softly. He is capable of very accurate singing in florid passages (an inheritance from his Catalan background, perhaps) and when he wants to effect a diminuendo or a crescendo (not, perhaps, as often as we should like) his voice floats easily and smoothly through the desired modulation. He never–or hardly ever–forces his voice, even on the highest notes or in the most taxing dramatic outbursts. He can linger dreamily on a sustained piano phrase, like the opening of "O paradiso," or sweep majestically through ringing, fortissimo outpourings, as in the Germania apostrophe.
Like all the greatest names in singing, Viñas has an individual timbre and style that stamp him as a distinctive and recognizable musical personality. His wonderfully clear and pellucid diction, with limpid consonants and rounded, equalized vowels (the "i", as so often happens, not quite so mellow as the other vowels, but helping him at times to get brilliant high notes) is an important feature of this distinctive style.
There are not many singers whose entire recorded output I long to hear, but Viñas is one of them: after at long last having had the opportunity to hear all his records, I find that they are all good, and quite a lot of them I shall want to hear again and again. Apart from the beauty of tone and the flawless legato, his singing is distinguished by a high sense of artistic endeavor.
There are not many joyous outbursts among his recorded repertoire, which seems to concentrate on rather serious pieces, but some of the songs feature a charming smile in the voice. His style is noble, and if the solemnity and measured tempi, as well as the brilliant high notes, remind me of Tamagno, I feel that his recorded excerpts from Lohengrin, his most famous role, must have something of the solemnly mystical aura of Jean de Reszke (as distantly suggested by the Mapleson cylinders).
All his records from Lohengrin are particularly lovely and explain why his performance was so famous; I cannot think of any other tenor on records who sings this music so affectionately. He has re-thought and modified Salvatore Marchesi's Italian translation. His style is thoroughly Italian: in his first record (on G & T) of Lohengrin's narration "Da voi lontan" (In fernem Land) he even inserts appoggiaturas on the penultimate syllables of "Monsalvato" and "ornato!" This record comes to a gloriously ringing conclusion. In "Ben altra prova" ("Prova maggior" in the score) his marvelously grand and yet affectionate phrasing of "della tua bocca la voluttà" is so faithful to Italian ideals of the shape of phrases that it practically constitutes re-composing! One of his greatest records, even better than the later Fonotipia, is the G & T "S'ei torna alfin," in which he makes a lovely contrast between the fortissimo of "l'acciar gli accorderà" and the haunting piano of the succeeding phrase, "Ma se all'anello volgerà il suo sguardo." He sings particularly slowly in this record, which might serve as a model for the execution of upward and downward portamento. There are some very long phrases but the voice floats on the breath with ineffable serenity throughout this profoundly eloquent performance. The grand style, indeed.
Wagner hoped for singers who could sing his works in the Italian style, and Viñas, whose Lohengrin and Tannhäuser were welcomed in London and New York, fitted in perfectly with such partners as Nordica, Melba, Lassalle, and Ancona. We should not, therefore, be scandalized to hear Wagner's music sung in Italian nor disconcerted by hearing it sung with such loving reverence.
Viñas is a master of the legato style, tends to sing deliberately with grandly sweeping portamento, savoring the melody and the words and, especially at the fermate and at significant closes, he likes to introduce long-held and gracefully diminished notes; he also embellishes the vocal line occasionally with affectionate mordents. The extraordinary beauty and eloquence of his singing must surely make his records among the most important, stylistically and historically, among all documents of 19th-century Wagnerian performance practice.
The earlier, piano-accompanied Fonotipia recordings of 1905—1907 capture the beauty of the voice better than the slightly primitive G & Ts recorded in 1903. However, as happened with many other singers on the Fonotipia label, Viñas is further from the recording horn in the orchestrally-accompanied records made from 1908 and many of these do not capture the bloom on the tone so well. The earliest G & T matrices, the arias from Aida and I maestri cantori di Norimberga and La Walchiria, two operas he never sang in the theater, are rather dimly recorded but still very beautiful performances. It is worth noting that he sings Siegmund's love song much more slowly than we are accustomed to hearing it, with lovely sustained legato, and so the speeding up at the climax is all the more effective–I do not find the "concert ending" in the Fonotipia recording at all inappropriate. (A simple concert ending, involving the cut of just one bar, is also used in his version of the Love Duet from Tristano e Isotta.) In the score the aria goes down to C below the stave, a note not really possessed by Viñas, but he solves the problem by transposing the Cs (and at least one of the Ds) an octave higher–an obvious solution indeed to an "Italian" singer of his generation. He sings Walther's prize song with boyish enthusiasm and enviable ease. The "Studenti, udite" from Germania is a fine, forward recording; now that we are sitting in the front row, we can hear clearly how he blends the registers.
The Viñas voice is especially forward and present in the brilliant Fonotipia records of February 1905, allowing us to appreciate the full beauty and charm of the tone in his salon songs. Copies of these records are easy to find in Spanish junk shops, but alas! their inevitably worn-out condition is a testament to their having been enjoyed all too often. Viñas has left us several versions of his interpretations of the Aida and Africana arias, but these are the best, sung with insolent ease. He tries to observe the composers' pianissimo markings (as in the opening of "O paradiso") wherever artistic refinement might not upset those fans who clamor for loud high notes. His "Celeste Aida" is one of the very best, once we have accepted the fact that it is all going to be rather loud. His legato is exemplary, as is his use of portamento, though Verdi's score calls for even more. His technical mastery is evident in the descending phrase on "vicino al sol," five bars before the end, which he begins on a beautiful and quite soft F and continues to diminish in volume as he descends. The short excerpt from Mascheroni's Lorenza, a most interesting work in which he and Gemma Bellincioni had really long and trying roles to get their teeth into, is one of the great records in the Fonotipia catalogue, a marvelous example of tenor declamation with a superbly ringing tone throughout. The culminating phrase, rising to the high C flat, is thrillingly sung and reproduced. In contrast the lyrical shadings of the stornello "Se ti dicessi" are enchanting.
A group of Wagner "chunks" recorded in September 1906 finds him in very fine voice, and in "Di', non t'incantan" ("Atmest du nicht") his singing is particularly charming, the legato style ravishingly persuasive. The first half of "Lohengrin's Farewell," "Cigno fedel," is so poetically sung that it is a great pity that the second part ("S'ei torna alfin") recorded the same day could not be published, because it could not stand the factory test of 50 playings with a steel needle! Viñas recorded the complete scene again on two sides in 1908, with orchestra, but the recording is not so vivid.
The pastorale "Sopra Berta, l'amor mio" from Meyerbeer's Le Prophète is one of Viñas's best-known records, and he sings it very well in his most boyish, radiantly open tones. Tamagno, despite his 53 years, gives more of a virtuoso performance in this aria, still having a command of soft singing on the high B flat, but Viñas has more breath at his disposal and can include the downward scale at the end that the older tenor is forced to cut out. There were other dramatic tenors who, in the first 20 years of the last century, were recording arias from the old-fashioned repertory requiring the effortless delivery of brilliant high notes, but in Viñas, a 19th century singer of the old school, these notes are integrated into a perfectly produced and solidly supported scale in which all the notes are beautiful.
A small group of very good records is brought to us in 1907. The aria from Lucrezia Borgia, an inevitable number in any Spanish tenor's repertory then, although Viñas never sang the role in the theater, suggests perhaps that his days of sustained, high singing in the voce mista may have been over. Both the Verdi arias are models, the tone saddened and thoughtful in "Ma se m'è forza perderti," with a brilliant B natural in the cadenza; I wonder whether Viñas sang the aria onstage, for in those days it was usually omitted.
Sadly, the very first orchestrally accompanied records of 1908 occasionally hint at decline: in "O paradiso" and "Sopra Berta" the voice is not so steady as before, and the performances are rather effortful. "Celeste Aida" fares better, with graceful phrasing and a few diminuendi; the final high B flat is the only forced note. The Wagner pieces do not show any falling off in the singing, but neither does the recording reveal the full beauty of the timbre. "Nel verno al piè" from the Meistersinger is a charming performance. Viñas is back in fine fettle for the duet from Act Three of Aida, with very grand phrasing of the opening bars and a typical Viñas touch in the diminuendo on "Odimi, Aida." Although all Mazzoleni's records from this opera show that she has thoughtfully prepared the role, she is not a suitable partner for the mellow-toned Viñas: her voice is too open in emission and her rapid vibrato too obtrusive, so for all her care in phrasing her singing lacks nobility. There is no doubt of her effect in the theater, but she is not a "gramophone singer."
Even less satisfactory is the little-known Maria Alessandrovich who joins Viñas in some Wagnerian duets; no adequate substitute for Melba, she is certainly not helped by being placed further away from the horn than her tenor, making her sound weak, but she seems at least to be singing accurately and in the same portamento style as Viñas. This style, harking back to the great days of opera, makes Wagner's music sound even more languorous and erotic. In the central, duet proper section of the Tristan duet, an ambitious choice for Fonotipia (though the opera was very popular at the time in Italy), Viñas sings lyrically and caressingly with admirable steadiness, displaying the bright, manly and noble tone that sounds so unusual today in this music. The excerpts from Parsifal were recorded before he had ever sung the role in the theater, explaining perhaps the lack of variety in his otherwise splendid singing of the long scene from Act Two beginning "Amfortas! La piaga!" His voice, with its appealing, adolescent timbre, is perfectly suited to the character. I do not suppose that Bayreuth would ever have approved the high A flat which he interpolates to end Parsifal's final scene, "Si salvo, assolto alfin!" It was a great coup for Fonotipia to get these celebrity recordings from Parsifal into their catalogue before the opera came into the public domain on 3l December 1913.
In 1911 in Barcelona Viñas made a series of records for Fonotipia whose engineers had, in previous years, traveled to London, Paris, and Berlin to make "out of house" recordings of their celebrities. Typically for a Spanish tenor trained in the old traditions, Viñas is careful to invest the two arias from Mefistofele with a wealth of shading and expressive detail that he does not always lavish on his pieces. A very ambitious diminuendo on the words "sacro mister" near the beginning of "Dai campi, dai prati" gives him no trouble, but in these arias we notice for the first time that he is uncomfortable on the F, top line, if the vowel is an "a", which has suddenly become too open and wooden sounding. In later records he has corrected this fault. The vulgar "alternative" ending to "Giunto sul passo estremo" was, unfortunately, a variant hallowed by tradition (McCormack sings it much better.)
We listen to him in Tannhäuser with the greatest interest, as this was probably his most successful role after Lohengrin. In the "Hymn to Venus" he sings rather fast but brilliantly, with near-perfect accuracy in the difficult intervals. How beautifully he sings the "Rome Narration," often a wearisome trudge through tuneless pages in the hands of less musical and imaginative tenors. With Viñas the music seems perfectly written for the voice. He employs a hauntingly beautiful dark and doleful tone for the remorseful passages, brightening when he sings of Elisabeth. The Narration comes to a thrilling climax with the Pope's sentence.
Viñas may have been invited specially to Milan in 1912 to make his last series of recordings; now in his 50th year, the great singer is still in magnificent voice and Fonotipia are recording him nearer again, so the tones pour out with splendor. The prayer "O Padre santo" from Rienzi can surely never have been sung better than in this triumphant recording, showing off the instrumental perfection of Viñas's line and his warm, pleading tone rising easily to high notes that are incorporated into the line and never unduly stressed. The high tessitura of Chapí's "Flores purisimas" is surmounted with elegant ease. It is a pity that he opts for an unwritten high-note ending in Mascagni's lovely "Serenata" for this rather spoils the stornello character of the piece. Viñas is at his brilliant best in Tirindelli's "O Primavera" and Lorenzo Filiasi's "In riva al mare." In emulation of G & T, Fonotipia had–apparently in 1907–embarked on a music-publishing venture, publishing the sheet music of songs by Leoncavallo, Giordano, Filiasi, Paul Vidal, and Ernest Reyer, together with some piano compositions by Waldteufel and the enticing march "Alabama" by Elsa Gregori. The idea may have been for all the songs then to be recorded by some Fonotipia star, but this did not always come about (though Amedeo Bassi recorded Giordano's "Canzone guerresca" just as Caruso had recorded Leoncavallo's "Mattinata" for G & T). Two of the Neapolitan-composer Lorenzo Filiasi's earlier songs had been dedicated to Bonci and Zenatello: he had more luck with Viñas, who recorded "In riva al mare," dedicated to him, a pleasant enough song sung rather well with a ringing high B flat in the last phrase. I can find no evidence that the sheet music of this song was ever published by Fonotipia.
In conclusion, the main importance of Viñas's recorded legacy lies in the records from Lohengrin, in which he was always highly regarded. These lovely and thrilling records will repay close study with the score in hand, and I do hope that young singers will be able to hear them. However, all the other Wagnerian excerpts, even from the operas that he never sang on the stage, also illustrate how the beauty of the music is fully realized only by the kind of elegant, aristocratic, Italianate style of singing that Viñas brings to it. Later tenors such as Pertile, whose most beautiful records are also from Lohengrin, tried for this style but did not boast the flawless technique and radiant tones of Viñas. During my lifetime of opera-going we have lost the habit of performing Wagner's operas in translation, but this seems to me a symptom of decadence: we no longer listen to the words. Another custom to have disappeared from our opera houses is that of encores: Lustig and Williams quote a Madrid newspaper, ABC, revealing that in Lohengrin in 1911, after Lohengrin's Narration "... there was so much applause that he had to repeat it." No doubt this happened elsewhere, too. The Mapleson cylinders have demonstrated that as late as 1903 at the Metropolitan, New York, audiences would interrupt the music by applauding after the "arias" in Wagner's operas, even in Siegfried. This particular custom is, perhaps, better not revived.
©Michael Aspinall, 2006
This essay could not have been written without reference to the definitive article "Francisco Viñas" by Larry Lustig and Clifford Williams, which includes a complete chronology and discography, in the Record Collector, Vol. 34 Nos. 5,6,7, July 1989.
The Complete Francisco Viñas
Viñas possessed a powerful, heroic-tenor voice that was beautifully focused with great warmth, which made him well suited for a wide range of roles including Wagner in Italian. Viñas (1863–1933) began his studies at the Conservatory in Barcelona, where he made his debut in 1888. He quickly rose to great success in Italy and soon was engaged at opera houses around the world. He was especially loved at La Scala and was a popular member of the Metropolitan Opera from 1893–1897. This three CD set is the first complete Viñas edition ever assembled including some extremely rare Fonotipia titles. This set reveals a beautiful voice and consummate musician who was often referred to as the successor to the great Spanish tenor Julien Gayarré.


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Capital Markets
Company Overview of Family Capital Growth Partners, L.P.
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Dr. Fredda Herz Brown is the Founder and Managing Partner at The Metropolitan Group, LLC. Dr. Brown is a leading family business consultant. He serves as a Member of the Advisory Board at Family Capital Growth Partners, L.P. and Qsac, Inc.
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Basford Library
Also See
Basford Library is a small community library surrounded by Vernon Park and close to the David Lane tram stop.
Opening Times
- Monday - 2:00pm to 5:00pm
- Tuesday - 10:00am to 5:30pm
- Wednesday - Closed
- Thursday - 10:00am to 5:30pm
- Friday - Closed
- Saturday - 10:00am to 1:00pm
- Sunday - Closed
Contact Details
Vernon Road
Telephone/ Fax: 0115 915 5797
View Nottingham Libraries in a larger map
Transport Information
Nottingham City bus numbers 68 and 69 stop outside the library.
The library is very close to the David Lane tram stop.
To plan your journey to the library visit www.travelineeastmidlands.co.uk
- Community meeting room available for hire
- Book a computer
- One2One computer help sessions
- WiFi
- Urdu and Punjabi language collection
- Polish fiction
- Newspapers and magazines
- Fax and photocopier
- Information Services: Health Information, Jobs Info Point and Local History
- Reserve DVDs and CDs
- UK Online Centre - offers free or low cost computer and internet access
Regular Activities
All these activities are free
- Tots Time, every Tuesday 10:30am to 11:00pm
- Homework Help Session
- NEW! Knit and Natter, 1st and 3rd Tuesday of each month, 10:30am to 12:00pm
- Basford Library Club, 2nd Tuesday of each month 10:30am to 11:30am
- Sure Start Messy Play, every Thursday 10:30am to 11:30am
- Councillor Surgeries, 1st and 3rd Saturday of each month, 10:30am to 11:30am
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- Inhabitat – Green Design, Innovation, Architecture, Green Building - http://inhabitat.com -
Electree Solar-Charging Bonsai Now Available for Pre-Order!
Posted By Lori Zimmer On September 20, 2011 @ 6:56 pm In Environment,green gadgets,Innovation,News,Solar Power | 1 Comment
We've reported on Vivien Muller's beautifully designed Electree before [2], but now her spectacular design is finally available for pre-order! The bonsai tree fits on any side table, and also doubles as a solar charger [3] for your devices. The tree, fitted with 27 solar panel "leaves," will be available for around $400 USD.
Muller has spent the last three years perfecting Electree's eye-catching design [5]. The bonsai tree's base has been altered from its initial concept of silver, and is now clad in smooth white, resembling a porcelain sculpture. From the branches, the 27 violet high quality amorphous silicon solar panels sprout like leaves. The tree rests on a flat tray, which holds the devices [6] while they charge.
The Electree's branches can be manipulated into different shapes [7], rotating to fit a shallow window sill or a tight corner. The charging station is not only aesthetically pleasing, but also beautifully illustrates nature's process of photosynthesis. The solar bonsai, like a real tree, converts the sun's rays into energy – only this time passed onto you and your devices!
Customers can pre-order the unique charging station from Mister Ecologie and One Development & Consulting [8]. If 400 Electrees are pre-ordered before October 15th, production will allow buyers to receive their pieces just in time for the winter holidays!
+ Pre-order Electree here! [8]
Article printed from Inhabitat – Green Design, Innovation, Architecture, Green Building: http://inhabitat.com
URL to article: http://inhabitat.com/electree-solar-charging-bonsai-now-available-for-pre-order/
URLs in this post:
[1] Image: http://inhabitat.com/electree-solar-charging-bonsai-now-available-for-pre-order/electree-5/
[2] Vivien Muller's beautifully designed Electree before: http://inhabitat.com/vivien-muller-photosyntheses-solar-charging-tree/
[3] solar charger: http://inhabitat.com/solar-dok-create-a-solar-charging-point-for-university-of-florida-students/
[4] Image: http://inhabitat.com/electree-solar-charging-bonsai-now-available-for-pre-order/electree-4/
[5] eye-catching design: http://inhabitat.com/sennheisers-eco-vinyl-turntables-are-both-environmentally-and-budget-friendly/
[6] devices: http://inhabitat.com/top-14-green-gadgets-for-back-to-school/
[7] manipulated into different shapes: http://inhabitat.com/flexible-samsung-galaxy-skin-smartphone-folds-to-fit-in-your-pocket/
[8] Mister Ecologie and One Development & Consulting: http://www.ulule.com/electree/
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May 5, 2016
A judge imposed a prison term seven months longer than the maximum sentence recommended by court officials. They suggested that geddings receive up to almost three and a half years in prison. Geddings was fined twenty five thousand dollars. He doesn't have to report to prison immediately.
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- Homepage >
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Noncommissioned officer's career takes a presidential turn
February 13, 2009
By Anna Staatz
FORT RILEY, Kan. -- When Staff Sgt. Randy Hubbard joined the Army in 1994, it was to be a tanker. He never imagined his path in the Army would include a trip past the presidential reviewing stand on inauguration day 2009.
Hubbard worked as a tanker from 1994-2000, spending the entire time in Vilsek, Germany. He was medically discharged after his hand was pinched while working on a tank.
"I lost a lot of the sensation in my hand because of that injury," he said.
Hubbard didn't leave the Army willingly. For five years, he fought his medical discharge until it was finally overturned.
"I love what I do," Hubbard said. "There is nothing better to me than being a Soldier."
He re-entered the Army in 2005 as a transportation management coordinator and was stationed at Camp Darby, Italy. He deployed to Afghanistan with the 10th Mountain Division in 2006. After returning from deployment, Hubbard got the first stateside assignment of his career: Fort Riley, Kan.
While in-processing at Fort Riley, Hubbard heard a briefing from the former first sergeant of the Commanding General's Mounted Color Guard, 1st Infantry Division.
"He said they had a platoon sergeant slot and because there's not a lot of platoon sergeant jobs available in my MOS, I thought coming here was an excellent opportunity to get some leadership time," Hubbard said.
Dealing with horses and training Soldiers to ride for many of the parades, competitions and public events the color guard participates in is a far cry from the duties of most Soldiers. The unit is one of the most often-seen Army units in the Midwest.
The unit learned in late 2008 that it had been accepted to participate in the parade following the presidential inauguration in January 2009 and quickly began preparation.
Saddles and sabers were polished and the unit had several special practices to help acclimate its horses to an urban environment with lots of noise and people. Fourteen of the unit's Soldiers rode in formation during the parade.
"I am extremely proud of each one of my Soldiers, their perseverance under the circumstances and their dedication," Hubbard said of a very long and cold inauguration day. The Soldiers' day started at 3 a.m. The parade - scheduled to start at 2 p.m. - was delayed by several hours. The unit passed the reviewing stand about 7 p.m.
"These guys were cold and hungry and they just did what they needed to do, and they looked good doing it," Hubbard said.
It's hard to miss the pride Hubbard has in his Soldiers when he talks about them.
"As an NCO, the greatest reflection of what I do isn't in me," Hubbard said. "It's in my Soldiers. If they succeed, I am successful. If they fail, it's my fault."
Hubbard has about six months left in his time with the mounted color guard. Once that time is up, he hopes to be able to take a slot in the Headquarters Battalion of the 1st Infantry Division, and deploy.


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May 5, 2016
ASHBURN, Va. (AP) -- Washington Redskins quarterback Robert Griffin III has been fined $10,000 by the NFL for wearing Adidas at his postgame news conference Sunday.
The NFL on Wednesday confirmed the fine for "unauthorized apparel."
Griffin was inactive for the game because of a sprained knee, and he wore an Adidas T-shirt and sweat jacket when he addressed reporters afterward. Griffin has a sponsorship deal with Adidas, but the league has a deal with Nike.
It's the second time this season Griffin has been rebuked for his attire, but it's his first time he's been fined. He covered up the Nike swoosh on his official team warm-up shirt before the regular opener against the New Orleans Saints.
Copyright 2016 by The Associated Press. All Rights Reserved.
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campaign to watch: trick-or-treat-or-help fund water.
campaign: Halloween Water Festival
start date: Oct. 25
goal amount: $5,000
amount raised from Halloween night alone: $1,350.50
With hundreds of kids and their parents hitting your doorstep on Halloween, why not use that opportunity to share how they can help fight the water crisis? That's exactly what Martin Petersen of San Pedro, Calif., did this year. We'll let him explain how:
So a little bit of background. We live in a neighborhood where lots of kids stop by for Halloween. This year we had 901 guests (yes, we count).
For each child that came by, we gave a piece of candy, and a little slip of paper telling them about charity: water. Then we donated $1 per candy handed out, and a friend of ours donated $.50 per candy.
When I started everything, I shipped out a BCC email to about 100 people and promised updates on the campaign to all of them. I also loosely promoted on Facebook. These promotions outside of Halloween raised about $400.
So far, we've raised about $1,700 from all sources. I'm going to try to get to $5,000 by end of the year to build our own well. We'll see how that goes. I'm happy with results so far. There are a few arms I can probably twist to give, but I think the grassroots thing is a more organic approach capable of making bigger change over the long run.
Between now and year's end, I'll most likely do two more large mailings like that — insert photos, show off the amount collected so far, link to the charity: water blog, find water facts and post the link onto Facebook, etc. The larger donors will also get a hand-written note and I will encourage them to spread the word. And I've ordered a nice set of postcard-size cards, with water info (and a link to the campaign page) to be inserted in my Christmas cards this year. They are very handsome and hopefully will result in a few donations.
My advice for doing things like this on Halloween — anywhere that you have people gather in large numbers such as what happens in our neighborhood, you'll have an opportunity. Since it was my party, then I could make up the rules!
I don't expect donations to roll in from people who got cards. Everybody read the cards, I knew that the message got out because new people came to the door and said, "You're the water guy, aren't you?" But there are techniques for getting sales material converted to an actual sell. In this case, the child would need to get the card to the parent, the parent would need to be motivated to go to his/her computer, go to the URL and the put money into the hat. I did not have high expectations that the whole stream of events would occur. We'll see, but I doubt it.
I think you need to consider, going in, whether the material you give out is informative or it is intended for generating contributions. I'll give more thought about what I'll do in the future.
This is my first engagement with charity: water. It's been fun and rewarding.


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"Every day is one day less," as poet Buddy Wakefield said in his terrific piece, "Human the Death Dance," which I urge you to look past the funky title and check out.
With limited time here as fleshy beings, it's important to occupy that time with things we're passionate about, I suppose. Per the definition, passion is a strong and barely controllable emotion. Now, since I tend to stray from letting emotions get the best of me, I'm going to tread lightly with the term – but it fits well here, so I'll stick with it.
I'm writing this from my back yard, as I attempt to check out the meteor shower currently in progress. I'm either having alright luck, or I need to clean my glasses.
Regardless, it's got me to thinking, and apparently feeling. Feeling like a pretty happy soon-to-be 25 year old. I've got my head on semi-straight, and a solid group of folks that are either family or damn close to it.
My closest friends are grown-ups now. Most of them have the whole nine; husband or wife, a kid or two, house, job, 401k and all that jazz. They're happy; I'm happy for them.
That life, though … That's not for me.
What do I want to do with my time here? When I wake up tomorrow and remember that yesterday's crossed off and it's a brand new day ... I want adventure.
I want adventure sans diaper changing and bottle sanitizing. I don't want to spend my Saturday searching for the safest car seat or best breast pump. I'm not checking in with the husband to let him know he'll be on his own for dinner because I'm getting lost in the woods – but I have to admit I may call him for assistance when I realize I can't find my way home after hours of trying.
I am free and clear to get in the car after work and drive until I run out of gas. Then fill the tank back up. I can meet countless interesting folks along the way and hear stories I'll never forget.
If by any chance the man who went by "Double D" from somewhere in Tennessee is reading this, thanks for the watermelon, and for giving out free grilled cheese. Man from Philadelphia begging for change but wearing brand new sneakers … thanks for being appreciative of the Mountain Dew I gave you. They were two for three dollars, and yes, one was enough to keep me awake for the drive home; I still remember your hesitance to accept it as you were afraid I'd get sleepy.
At eighteen I was carefree and full of adventure. I had a car packed full of my closest friends, a few bucks in our pockets, and off we'd go at a moment's notice.
Seven years later I'm elated I've still got that spunk.
Now that's not to say those who opt for families and children don't have terrific, fulfilling lives; I'm not saying that in the least bit. They love what they have and what they do, and have adventures of their own. I just love that I don't have to worry about day care costs right now ... or school registration. When it rains, I go out to play in the puddles by myself – I don't need a little tyke to give me a reason to.
There's lots I'd like to see with my limited time here. I'd like to make an impact in a great number of little ways. One day I'll own some land – seven acres or so – and I'll grow my own food. Maybe I'll be totally off the grid and self-sustaining. I'd like to see other countries. I'd like to see voluntary interactions between individuals take place without repercussions. It would certainly be nice for people to get by without initiating force or violence against one another. I'd like to see ideas being shared in a manner that is more cohesive to fostering connections, collaborations, and actual change. And I suppose I'd like to see "Bambi," because I hear it's worth the watch.
Back in the day I thought I wanted to be a defense attorney when I "grew up." When we had our mock trial in high school, I realized speaking in front of people wasn't my gig, and spent my time as juror number one instead. If I remember correctly, the verdict was not guilty, but I digress.
I've found that's not the life for me. I still want to jump in the car, scoot down to North Carolina to visit a place I've never been just because a near-stranger said it's a beautiful part of the world. I want to pop a coin in an expired meter to spare someone from a ticket based on legislation that's ridiculous. I want to find secret hidden waterfalls. I want to stop at a coffee shop and throw a couple bucks to the guy playing guitar. I want ice cream twenty minutes before I decide what to make for dinner. If it's an adventure I can't physically make it to I donate as much as I can, and am supporting their adventure in spirit.
"The answer," wrote Wakefield, "The answer comes in the form of a handwritten letter from the moon. It says, 'This is brutally beautiful. So are we. This is endless. So are we. We can heal this. Signed, Craterface. P.S., See me for who I am. We've got work to do.'"
I don't know. I guess just checking out the sky – and that Craterface up there somewhere (although I can't see him from my location) has got me to thinking. I don't dig that whole "white picket fence" sort of life; the wake, work, sleep, nine-to-five thing just to survive isn't where I want to be. I'm going to live for a living.
I've grown up, but I'm hardly a grown-up. And I absolutely love it.
Follow me on Twitter


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On Monday, April 7, Assistant Secretary of State for Population, Refugees, and Migration Anne C. Richard was in Bangui, Central African Republic (CAR) for meetings with government officials, representatives from the United Nations and other humanitarian organizations, as well as meeting with residents of a camp for internally displaced persons. This trip comes at the end of a visit to Chad where she met with Chadian government officials and representatives of both international and nongovernmental organizations, and traveled to southern Chad to visit refugees from the Central African Republic, as well as Chadians and other migrants who had been living in the Central African Republic but have had to flee the violence there.
The United States continues to support efforts to restore security in CAR and end the dire humanitarian crisis. To date, 625,000 Central Africans have been internally displaced, and over 320,000 have become refugees, including 90,000 who have fled to neighboring countries since December 2013.
The United States is providing over $45 million in Fiscal Year 2014 funding to support humanitarian assistance operations. This support provides food, water, medical care, agricultural support, and protection for people in need inside CAR and for those who have sought refuge in neighboring countries. In addition, the United States supports humanitarian coordination and logistics activities to strengthen relief agencies' capacities to deliver aid.
For more information on PRM, you can follow us on Twitter or Facebook. For questions about this trip, please contact Public Affairs Officer Christine Getzler Vaughan at firstname.lastname@example.com or (202) 453-9370.


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PENDLETON The La Grande softball girls had a rough day in the field, but rallied from a 7-3 deficit against Pendleton to win their season opener in eight innings 11-10 Tuesday.
Jennifer Funkhouser had a home run, a double and four runs batted in. Coach Majalise Tolan said Funkhouser's double went to the fence and was the best-hit ball of the day.
Des McCoy had a double and two RBIs, including the game-winning hit, and she pitched the final four innings to pick up the victory.
Caylin Goss had two RBIs and scored the winning run.
La Grande won despite making seven errors. Tolan said Pendleton did a good job of capitalizing on any mistake La Grande made. However, she was impressed with how the Tigers didn't give up after a six-run Pendleton fourth inning.
"The main thing I'll take from that game is they showed a lot of work ethic," said Tolan.
The Tigers bounced back with a seven-run sixth inning to take a 10-7 lead. They allowed three Pendleton runs in the sixth and seventh innings to let the Buckaroos tie the game at 10-10 after seven.
The Tigers scored the winning run in the top of the eighth when Goss got on base on an error and stole second. McCoy then hit a double to score Goss, and La Grande was able to keep Pendleton at bay in the bottom of the eighth.
Tolan said the outfield played well, cutting down two Buckaroo runners on the basepaths.
La Grande next plays March 25, hosting Yamhill-Carlton for the Tigers first home game.
La Grande 11, Pendleton 10 (8 innings)
La Grande 200 107 01 11 10 7
Pendleton 100 601 20 10 5 6
Bethany Wolford to Des McCoy, McCoy (5) to Jennifer Funkhouser. Nirschl to Dick, Merrimer (6) to Dick. WP McCoy. LP Merrimer.
La Grande 2B, Funkhouser, McCoy, HR Funkhouser. RBI Funkhouser 4, McCoy 2, Caylin Goss 2, Krystle Gore, Ashleigh Wilson, Kinsey Chadwick.
JV result La Grande 14, Pendleton 4.


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