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Major "Justice League" #50 Revelations, Changes Lead Into "DC Universe: Rebirth"
Comic Books
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Dynamite Entertainment has provided CBR News with exclusive first looks at Darick Robertson's cover for "The Boys" #56 and Ryan Sook and Alex Ross' covers for "Kirby: Genesis" #2.
Ryan Lindsay gives writer Rick Remender and artist Billy Tan's "Uncanny X-Force" #8 a 5-star review, calling the series "one of the subversively smartest books Marvel [Comics] puts out."
Marvel Comics has released an advance look at "Venom" #3 by writer Rick Remender and artist Tom Fowler. The issue, guest-starring Spider-Man, hits stores Wednesday, May 35.
The Hero Initiative and Marvel Comics are offering a Josh Medors illustrated Spider-Man print to offset the costs of Medors' cancer treatments. The print goes on sale on Free Comic Book Day.
Rob Liefeld spoke with CBR about this summer's return of his fan-favorite character Avengelyne under the creative watch of writer Mark Poulton and artist Owen Gieni. Plus, exclusive art from issue 2!
Dynamite Entertainment has provided CBR with advance looks at new comics on sale this Wednesday, April 27 including "Danger Girl and the Army of Darkness" #1, "Warlord of Mars" #6" and more.
Judge approves Borders executive-bonus proposal! Dark Horse CEO offers context for layoffs! Gene Colan art auction! Interviews with Shaun Tan, Karl Stevens, John Layman and more!
Courtesy of Image Comics, CBR presents an exclusive preview of Ian Churchill's "Marineman" #5. Created, written and illustrated by Churchill, the issue hits stores Wednesday, April 27.
You voted in droves, and now we continue counting down your all-time favorite comic book writers and artists. We're up to the 70s, so come see where your favorites ended up!
ROBOT 6's Tim O'Shea talks to the creators of the upcoming zombie/war series "Graveyard of Empires," discussing the title's cover designs, how their creative partnership has changed over the years and more.
CBR brings our 2011 WonderCon photo parades to a close with pics from Sunday at the show, featuring comic book pros, Hollywood celebrities and the ever-popular, always in attendance cosplayer contingent!
BOOM! Studios has provided CBR with advance looks at new titles on sale April 27, including "Stan Lee's Traveler" #6, "Amory Wars" #10, "Incorruptible" #1, an exclusive 10-page preview of "Planet of the Apes" #1, and more!
Superstar cover artists Frank Quitely, Adam Hughes, Bill Sienkiewicz, Francis Manapul, and Amy Reeder gave a packed Wondercon audience the inside scoop on what makes an attractive cover—and what doesn't.
With Tokyopop shutting down its publishing division, ROBOT 6's Brigid Alverson looks back at the impact the publisher, and manga in general, has had on the comics industry.
CSBG's Greg Burgas feels that superhero comic books are not taking enough chances with their artwork. Read his call to action to see what he wants to see the Big Two try out on their books!
Tom Brevoort opens up on Marvel's blockbuster Avengers franchise from the Bendis effect to the heroes that can never leave, featuring loads of exclusive art from "Avengers," "Secret Avengers," "Avengers Academy" and more.
The legendary artist behind Marvel's "The Kree-Skrull War" will return to the Avengers franchise this fall with a special #16.1 issue of "New Avengers" by series scribe Brian Michael Bendis.
"Spawn" and "Streets of Gotham" artist Szymon Kudranski spoke with CBR News about "Repulse," a gritty tale examining death, robots and how the two can come together in a spectacularly violent fashion.
Writer Rob Williams and editor Tom Brennan team up to explain the ins and outs of the upcoming Iron Man epic "The Iron Age" in Marvel's latest "Next Big Thing" call, revealing the full creative teams and more.
CBR spoke with writer James Asmus about "Namor: The First Mutant Annual" #1, which brings his "Escape From the Negative Zone" storyline to a close and pits the X-Men and Steve Rogers against a berserk sea lord.
Image Comics has provided CBR with an exclusive preview of "Haunt" #15 by the creative team of Robert Kirkman, Greg Capullo and Todd McFarlane. "Haunt's" new status quo continues on April 27!
Marvel has released an advance look at "Iron Man 2.0" #5 by Nick Spencer and Ariel Olivetti with a cover by Salvador Larocca. Iron Fist and the Immortal Weapons guest star as Rhodey faces "Fear Itself" on May 25.
Discover the rather sordid history of how DC Comics forced changes on how Lois Lane appeared in the Superman comics. Did Howard the Duck make a dent in the 1976 Presidential race? Plus, more!
Dynamite has provided CBR with an exclusive first look at "Danger Girl & the Army of Darkness" #1, written by Andy Hartnell with art by Chris Bolson. The crossover begins Wednesday, April 27!
Marvel has released an advance look at "Avengers" #13 by Brian Michael Bendis and Chris Bachalo, with covers by Alan Davis and Paul Renaud. "Fear Itself" enters Earth's Mightiest Heroes' lives on May 18.
CBR News spoke with legendary filmmaker, writer and comics creator Alejandro Jodorowsky about his creative process, new volumes of "The Incal," tarot and his return to filmmaking.
"Spider-Man" musical producers talk candidly about musical! "Naruto," Vol. 50, tops bookstore chart again! Gary Groth challenges Jim Shooter's version of Jack Kirby artwork dispute!
Writer Jeff Cahn crafts a story of super soldiers using solid science in the pages of "Red Spike," a tale of two adrenaline-powered soldiers handling their newfound abilities in different ways.
Courtesy of Marvel, CBR brings you advance looks at new comics on sale next Wednesday including "Avengers" #12.1, "FF" #2, "New Mutants" #24, "Ruse" #2, "Venom" #2, "X-Men" #10 and many more.
In "Generation Hope" #6, the new mutants leave on their first mission as a mutant rescue team. We spoke with writer Kieron Gillen about the undertaking and setting up the book's status quo moving forward.
This week Ron talks about "Thor," the book he always wanted to write, and exactly what happened when he got his wish. He also touches on some of his work on titles he wasn't as attached to going in.
Courtesy of Marvel, CBR presents an exclusive preview of Victor Gischler and Goran Parlov's "Tomb of Dracula Presents Throne of Blood" one-shot. Dracula's ties to "Fear Itself" begin to be revealed on April 27.
CBR News spoke with Arafaat Ali Khan, one of the organizers behind the coming Middle East Film & Comic Con, discussing comics culture, planning the event and the reasons for postponing the anticipated show.
Marvel Comics has released an advance look at "Invincible Iron Man" #504, the next chapter in the saga of Tony Stark by writer Matt Fraction and artist Salvador Larocca. The issue hits May 18.
It's even sailing as there're no jumps, very few true tragedies and nothing seriously wrong. Storybook legends in fancy costumes and Tony Stark humbled by a punchline led the charge to the land of "okay."
"Once upon a time" is today as our artists draw your suggested mash-ups of comic book characters and classic fairy tales! Catwoman and Puss 'n' Boots! Kitty Pryde in Wonderland! And more!
Courtesy of Marvel Comics, CBR presents an exclusive first look at "Amazing Spider-Man" #659 by Dan Slott, Fred Van Lente and Stefano Caselli. Spidey continues his adventures as a member of the FF on June 27!
Image has released artwork and solicitation information for new comics on sale in July 2011, including new issues of "The Walking Dead," "Morning Glories," "Shinku," "Super Dinosaur," "Skullkickers" and more. UPDATED WITH NEW ART
Amazon announces Kindle Library Lending! Former DC Comics editors at DC Entertainment's Creative Affairs division! Japanese man arrested for illegally uploading manga, anime! Plus more!
Once Tony Stark finishes a deadly game of wits with Doctor Octopus, he'll become embroiled in "Fear Itself." We spoke with "Invincible Iron Man" editor Alejandro Arbona about the future of Marvel's brilliant playboy.
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Why the 2012 Buick Regal GS Matters
Buick pulls no punches with the high-performance version of its Buick Regal: the 2012 Regal GS.
Read This Article
Confession time here: When we first saw the 2013 Buick Encore at the 2012 North American International Auto Show in Detroit last year, we were underwhelmed.
Not terribly surprising, the 2013 Buick Encore has earned good marks in a recent wave of both government and private safety testing.
In a complete surprise move to most of the automotive industry-following public, General Motors introduced a Buick Riviera concept coupe for the Shanghai Motor Show that follows up on the 2007 concept of the same name.

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"It Feels Like. . . Times Have Changed": The Films of Sam Peckinpah
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"Danny Boyle's bungle in the jungle."
USA 11-Feb-2000 (R) DVD: 22-Oct-2002UK N/AAustralia 09-Mar-2000 (MA)
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Obama in BIG Trouble.
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I don't doubt for a minute that scumbag did what the retired admiral accuses him of. That said, this will see as much of the light of day as the birth certificate. Anyone in any position of authority knows, to bring down Obama is to start riots in every major city in America.
Not a single one of them has the balls.
It's not about balls
It's about his boss. EVERYONE has a boss, even the Pres.
His boss gave him his assignments like any boss. "Bringing him down" is your wet dream. Try bringing down his boss if anyone. Pres is just doing his job that his boss assigned him.
Anonymous Coward 31791855
The majority of people on this site, and unfortunately in general, are sheeple. They literally, and I do mean LITERALLY HATE Obama. Little to know, if they actually met Obama, he is probably a pretty cool guy. A criminal sure, but nothing more, nothing less. He takes his orders , like you said, from the ones above him. And stupid people think the President of the United States is the highest office in this country. Yea, officially it is. However, our President answers to the International Banksters, and the wealthiest of the wealthy bloodlines, not to mention others. On the 'real' totem pole, he isn't very high up.
All this Obama hate I feel is either from shills, or just really stupid sheeple. Instead of focusing on real issues, they focus on liberal vs. conservative , obama, niburi and other stupid fabricated theories, and a bunch of other things that do nothing but waste time and divert attention away from things that really matter.
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A world map of Neanderthal and Denisovan ancestry in modern humans
Scientists: Neanderthals Mated with Humans 100,000 Years Ago
Edward Snowden: Osama Bin Laden is 'Alive And Well In The Bahamas'
Woman Reveals Mortifying First Date Bathroom Incident in Twitter Rant
Warning for young children, the elderly, and those with respiratory problems. 22 PA counties are under a Code Orange for May 25th.
University Scientists Capture Raw Footage of UFO Showing Up At Their Observatory in Norway
Has Bill Gates gone too far?
NASA Dropped a 2-ton Kinetic Missile on the Moon: What Did They Destroy?
Russian News Documentary Confirms that Nibiru Is Headed Towards Planet Earth
Independent scientists WARN: 'Most currently published research findings are FALSE..
American doctor sends brutal warning to the public: Money, marketing and legislation are fueling the opioid epidemic
Government Secrets: Secret Plane in Space for a Year Now, Nobody Knows its Mission [Video]
Model That Correctly Predicted Every Election Since 1980 Gives 2016 Verdict
The Illuminati Were Amateurs — The Facts Shows These Five Families Rule the World
The FBI's Secret Biometrics Database They Don't Want You To See
Mysteriously, our Genetic Code Stopped Evolving 3 Billion Years Ago
Consciousness survives after physical organs stop functioning; study proves the mind does not die with the body
Police could take over your self-driving car
The FBI Wants to Keep the National Biometric Database a Secret
Perverts can take photos of you through your TV without you ever knowing
Are You Letting Witchcraft Into Your Home?
House erupts in chaos after LGBT vote
Thousands are dying under government-run healthcare in the UK
Girl Scouts Now Welcoming Transgender Boys
HIV cure a step closer after scientists remove virus's DNA from living tissue
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Handicap Sign decal
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Handicap decal signs are used in commercial and office spaces. It is an iconic sign for handicap accessible doors walkway and doorways. This sign decal is available in 5 different sizes.
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"Where Fillmore County News Comes First"
Online Edition
Friday, May 27th, 2016
Volume ∞ Issue ∞
- 3:16:33, May 26th 2016 - SV resident - Wish this report included more of the specifics about what the public h ... [Read More]
- 1:46:00, May 26th 2016 - Livin' The Dream - grow up....Man, your parents were twisted to give you that name. ... [Read More]
- 12:26:28, May 26th 2016 - Kim Wentworth - @Paul- I have read through the above commentary and can not find muc ... [Read More]
- 10:51:07, May 26th 2016 - grow up - People that are to afraid to put there name on something they post are not ... [Read More]
- 7:23:26, May 25th 2016 - ### - You want to tell your school putting a handicap sign up on steet that will bloc ... [Read More]
- 12:35:31, May 25th 2016 - Kit Kat Bar - I don't know... Everyone gets awards these days, but that, is ONE HUGE ... [Read More]
- 4:18:09, May 24th 2016 - Give me a break - This paper has officially turned into what every comedy movie think ... [Read More]
- 1:43:25, May 24th 2016 - Cervidae - In my husband's defense, he is the most unselfish person I know and anyon ... [Read More]
- 4:29:20, May 23rd 2016 - - His house and all his surrounding land is for sale, yet he's not going to move and ... [Read More]
- 11:16:49, May 23rd 2016 - Paul - Well read does not mean only reading books that you find that are in-line wit ... [Read More]
James S. Pollema
Fri, Jan 24th, 2003
Posted in Obituaries
Posted in Obituaries
James S. "Jim" Pollema, 96, of Rochester, formerly of Houston, died January 18, 2003 at Whitewater Healthcare Center in St. Charles.
He was born Oct. 2, 1906, in Houston, grew up there and farmed in the Houston area. From April 1941 to September 1949 he served in the Army with overseas duty in France, Africa, Holland and Germany. On June 7, 1955, he married Mechthilda Schoenmeyer in Germany. They lived in Houston and Rochester. Mr. Pollema was a member of Looney Valley Lutheran Church and was involved with moving wild turkeys to southeastern Minnesota from Missouri. He enjoyed music and wildlife. Survivors include nieces and nephews. He was preceded in death by his wife, two brothers and two sisters. The funeral was held Jan. 22, 2003 at Looney Valley Lutheran Church in rural Houston, with the Rev. Kris Fahey officiating. Burial was in Silver Creek Cemetery in rural Houston. Hoff Funeral Homes-Houston Chapel was in charge of arrangements.


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A project of People For the American Way dedicated to monitoring and exposing the activities of the right-wing movement. Learn More >
Bryan Fischer: Homosexuality Causes Blindness
On his radio program yesterday, Bryan Fischer responded to reports of ocular syphilis cases among gay men in California by declaring that homosexuality is now turning people blind. This led Fischer to promote the myth that immigrants are bringing measles and polio-like illnesses into the U.S and to claim that immigrants and gay people are bringing back diseases once thought to be eradicated.
Fischer eventually connected the health story back to a popular slogan used to protest racial discrimination: "All we've heard over the last number of months is 'black lives matter,' 'black lives matter,' 'black lives matter.' I agree, black lives matter. If you've got a behavior, you've got a conduct, you've got a lifestyle that is resulting in potentially blinding health risks for black males and their risk is five times higher than white males, I would say if black lives matter, it is time we started doing something about that."
Fischer, who supports criminalizing homosexuality, said that by "warning homosexuals of the consequences of homosexual behavior," he is showing them far more love "than those who are urging them to engage in conduct, celebrating conduct, promoting conduct, providing special privileges on the basis of conduct that can leave its practitioners both blind and dead."
Filed Under
Organizations:American Family Association , American Family Radio
People:Bryan Fischer
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Internet Safety
SafetyNet 2 booklet cover
The Adult Protection Committee internet safety materials educate adults about internet risks whilst also stressing the positive aspects of being connected online. The SafetyNet booklet is also available in an Easy Read version and a BSL version has been distributed by the Deaf Communication Service.
Age UK has created two guides on internet safety for older adults: Internet Security - Staying Safe Online and Making the most of the internet: a practical guide to getting online. The Foundation for People with Learning Disabilities Easy Read guide 'Staying safe on social media, and online' provides tips on writing a safe profile, and using Skype and webcams safely.
Keep Safe Online: Sexting and Cyberbullying
If you have posted something you regret, there are ways of making it disappear. Even if someone else has posted something about you. Get advice at: thinkuknow.co.uk. Advice and information about 'sexting' is available at: cybersmile.org/advice-help. Or read the 'so you got naked online' information at: saferinternet.org.uk/sexting. Information on the campaign 'Pose, Sext—What Happens Next?' is at: thecorner.co.uk. Information is also available at: fifedirect.org.uk/safetynet.
I want to talk to someone:
If you are a young person and want to talk to someone your own age or a counsellor, BeatBullying has qualified counsellors online from 8am-2am.
- beatbullying.org (also has information for parents, carers and teachers)
- Childline on 0800 11 11 (24 hours) or
- Samaritans - 08457 90 90 90 (24 hours) or email email@example.com (available for children, young people or adults)
I want to report something:
The Child Exploitation and Online Protection Centre (CEOP) works to combat the sexual abuse of children and young people online and offline. Get advice and information about how to report concerns at: ceop.police.uk. To report a concern about an adult you can also call Police Scotland on 101 or the Adult Protection Phone Line on 01383 602200.
I'm a parent. Where can I find information?
A parents' guide to the latest social media and instant message trends can be found at: familylives.org.uk. Parent information is also available at: thinkuknow.co.uk/parents/
- SafetyNet2 Easy Read (opens in a new window)
Tel: 01383 602200


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A call to get involved
While this year's presidential campaign has already defied expectations and drawn enormous attention, the political season won't come into full focus for most Rhode Islanders until later this summer and fall. The attention of many will turn to other
Don`t make the same mistake twice
To the Editor: The proposed legislation Interstate Medical Licensure Compact (S. 2497 and H. 7771) and revised Nursing Compact (H. 8077) are a set of wolves in sheep clothing. Beyond the flowery introduction, these proposed laws transfer legislative
Age more about attitude than years
My father-in-law was right: "People are funnier than anyone." Carol called him "Pops," and so did I. He enjoyed being with people, and even in his days in assisted living and then a …
Humbled by turnout
To the Editor: I would like to thank the group of over one hundred people who came out last week to my campaign kickoff. Dave's Bar and Grille was a great host, and the food was outstanding. I was truly humbled to see how many of my neighbors, friends


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Junior Dos Santos at UFC 131
Dos Santos says he'll be ready for Velasquez.
Junior Dos Santos officially solidified himself as the top heavyweight contender, again, with his one-sided decision win over Shane Carwin at UFC 131.
With the win over Carwin, Dos Santos secured a match up with champion Cain Velasquez later this year, and thinks it will be his biggest challenge to date.
"I think my biggest challenge is coming because Cain Velasquez is (the) best and the champion and he deserves that. He's proved that he is very good, so I will be ready for him," said Dos Santos about the titleholder.
During the UFC 131 post-fight press conference at Rogers Arena in Vancouver on Saturday, Dos Santos discussed how he and Velasquez match up stylistically.
"I think the best of Cain is his cardio. He's very good in wrestling too, so I have to train a lot of this. I've been learning very fast, wrestling. I will try to make it stand up to his takedowns," he said. "All the time I'm looking for the knockout and it's not going to be different."
The Dos Santos and Velasquez bout was tentatively scheduled for UFC 136 in Houston, but the match up will likely take place in November according to UFC president Dana White.
"This fight is going to happen, probably in five months," White told MMAWeekly.com following the UFC 131 event.
Junior dos Santos suffered a shoulder injury in his fight with Ben Rothwell at UFC Fight Night 86 in early April. read news >>
Fabricio Werdum became the undisputed heavyweight champion when he defeated Cain Velasquez at UFC 188. Watch the full fight! read news >>
read news >>
Cain Velasquez addressed injuries and staying healthy, maintaining that, when he is healthy, he is the best fighter the UFC heavyweight division has to offer. read news >>


text: By Cristina Arreola • January 29, 2014 • 11:36am 1 2 3 4 next Share this About this author Cristina Arreola, Associate Editor Follow Cristina Mari Arreola on Goodreads, Twitter and Instagram. What We're Reading Shakira Loves This YouTuber's Acoustic Version of "Hips Don't Lie" No Bueno! Christina Aguilera's Fiancé Caught Driving With Daughter On His Lap Try Not to Pee Your Pants As Kevin Hart Brilliantly Auditions for a Telenovela Police Drop Charges Against Chris Brown for Allegedly Assaulting a Brazilian Model Like this post? Contribute to the discussion! View the discussion thread.


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Chart-toppers Third Day play Ocala this weekend
Published: Thursday, November 13, 2008 at 6:30 a.m.
Last Modified: Thursday, November 13, 2008 at 7:33 a.m.
Recently, Atlanta-bred Christian rock band Third Day prepped for a taping of The Late Late Show with Craig Ferguson. The bands latest disc was a chart presence with one track coming down off No. 1 and another ascending rapidly.
WHO: Third Day, with opening acts Revive and Needtobreathe
WHEN: 7 p.m. Sunday
WHERE: First Baptist Church, 2801 S.E. Maricamp Road, Ocala
INFORMATION: 866-440-7880 or www.thejoyfm.com
Whats all the fuss?
Download these three songs from your favorite online music source for a quick course in Third Day 101:
- Ive Always Loved You
- You Are Mine
- Call My Name
We were trying to pick the songs to do, and were like, Well, weve already done Call My Name, and thats sort of had its good presence on radio, so lets do the next single, recalled Third Day bassist Tai Anderson. We felt great about that. We did Revelation for it. Some of the other songs, weve been doing them in concert and theyre really good, but for a TV performance, I dont know if we really have them dialed in yet.
Anderson, however, is quick to note Third Day tends to micromanage its sound and song selection. Fact is, these days Third Day could have performed Row, Row, Row Your Boat on kazoos for Ferguson with their reputation intact, if not bolstered.
With its husky, Southern rock sound and polished-to-the-note style, Third Day already has played The Tonight Show with Jay Leno multiple times. The band has won 23 Dove Awards and three Grammy Awards and has sold more than 6 million CDs.
As of this writing, Revelation, the title track, was No. 13 on the Billboards Christian singles chart, the weeks biggest gainer. The CD itself was released in July and remains at No. 11 on Billboards Christian album chart, where it hit No. 1.
The band knows Billboard charts very well; so much so that, this year, Third Day was the first Christian band to be on the cover of Billboard magazine.
In short, Third Day is a very big deal. Especially now.
And on Sunday night, Third Day will perform at First Baptist Church of Ocala as part of a concert series backed by The Joy FM radio network.
We did about a 25-city tour that ended a couple of weeks ago. Then we had a couple weeks off, and I think we all went to weddings, Anderson said last week in a phone interview with the Ocala Star-Banner. He said family members plan such events around the bands tour schedule.
We say, Heres your two-week window, he said laughing.
Its really a trade-off because you miss a lot of specific things you want to be there for A lot of people feel really challenged by the road as they first start having kids. I have five kids, so to me, its actually harder as the kids get older because the stuff theyre doing is a lot cooler.
All four members are fathers, and as such, the band limits touring to four shows a week. Family is a priority, Anderson said.
We work really hard, he said. I think were known as a hard-working, touring band. But you can do a lot and still get home every week.
Anderson speaks with an easy demeanor; from his tone, he could be the cool, fun-loving youth pastor or dude at the neighborhood sports pub second-guessing coaches. Asked what hes listening to these days, and he cites fellow Christian chart-topper Brandon Heaths CD What if We alongside AC/DCs chord-crunching Black Ice.
As a rock band, they are the real deal a band with the roots of Lynyrd Skynyrd and the passion of Steven Curtis Chapman.
Third Day is a great band. They do a great job of putting out a message while connecting with straight-up music lovers, noted Drew Copeland of the Gainesville-bred, platinum-selling rock band Sister Hazel.
Third Day has managed to create music that is rooted in Christianity but resonates with all kinds of people, added Sister Hazels Ken Block. Its a testament to clever songwriting and just being a flat-out good band.
That said, being a celebrated, top-selling Christian rock band comes with much pressure to elevate music many consider a subgenre, Anderson said.
On one side, it can be kind of overwhelming, that we have a responsibility to not just be the best Third Day we can be, but to really represent all of Christian music, he said.
Thats pretty heavy, hell tell you, considering the bands humble beginnings.
When we started, we really didnt have all these huge goals. Our focus was playing music together, hanging out. We liked playing at the local church and the roller rink, he said.
When we see a new band now, for one, theyre already so styled. I mean, we were just geeks. We didnt know how to dress or look cool. We were just happy to be making music.
All the same, it worked. Third Day had a record deal before the members could define music publishing. In the early days, Anderson said, they spent much time in Barnes & Noble learning about the business.
Even on our first few albums, we felt kind of outside of Christian music. Not being from Nashville, wed go there, and there would be all these stars and, not to overemphasize it, we always just felt so unhip. All these people looked like stars all the time, you know? Wed maybe pull it together when we were on stage. We were like these regular dudes who were just glad we didnt have to go to class.
The big turning point, Anderson said, was in 2001 when Offerings: A Worship Album was still fresh and the band won Artist of the Year at the Dove Awards.
I remember we went backstage and were like, Whats going on? We dont get the awards on the show. We get them before the show, for the rock bands. We were scratching our heads, and I said, Oh, no. Now, when people make fun of Christian music, theyre making fun of us. It was a realization.
But this was like a mantel; this is a responsibility. And heres the great thought: Its not as if its this heavy burden. All we have to do is be the best band we can be, and thats going to help all of Christian music. Its been cool to see that.
Contact Dave Schlenker at 867-4120 or email@example.com.
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Corinne Ramey on http://www.wnyc.org/http://www.wnyc.org/people/corinne-ramey/2012-04-08T00:00:00-04:00The Consortium Conundrum: More Performances, Logistical Nightmares 2012-04-08T00:00:00-04:00http://www.wqxr.org/blogs/wqxr-blog/2012/apr/08/consortium-conundrums-more-performances-logistical-nightmares/
In the myriad articles about whether Ovaldo Golijov improperly used the work of another composer, reporters and bloggers tossed around all kinds of different verbs for the act: recycled, borrowed, plagiarized, stole, repurposed. Golijov, for his part, maintained that he merely used material from a previous musical collaboration in Sidereus, a nine-minute orchestral work.

But regardless of verb preference, perhaps one of the reasons the whole mess got so much press in the first place was because a consortium of 35 orchestras, called the Henry Fogel Commissioning Consortium, paid the composer's $75,000 fee. These orchestras had both paid for and planned to play Sidereus, meaning there were a lot more stakeholders involved.

In an age of decreased funding for new music, consortiums are becoming an increasingly common way of funding new works. Consortiums seek to address two basic problems of commissioning new music: cost and repeat performances. The more funders who split the cost of a work, the cheaper the fee is for each member. If a work is heard by more people, and performed more times, it theoretically has a greater chance of entering the repertoire. But a consortium can also be like the adult version of a middle school group project: a logistical mess, where if something goes wrong there are a lot more people involved.

Repeat Performances

There are major advantages to these consortiums, said composer Ellen Taaffe Zwilich, who wrote Millennium Fantasy for Piano and Orchestra for pianist Jeffrey Biegel and a consortium of 27 orchestras. "The consortium means the piece gets out there, and the performers make a big investment in a new piece," Zwilich said. "They have a chance to let it get in their bloodstream. I find it downright inspiring."

Violinist Jennifer Koh likes the assurance that she'll have multiple chances to perform a new work. "The way that our business works is we're booked so far in advance," said Koh (right). "From an interpretive standpoint, I want to know I can let the piece marinate and grow and evolve." Koh was the soloist for a consortium of three orchestras that hired composer Jennifer Higdon to write The Singing Rooms, for orchestra, chorus and solo violin.

This increase in consortium commissions from orchestras is due to several reasons, said Scott Winship, director of grantmaking programs at the nonprofit New Music USA formerly called Meet the Composer. Small regional orchestras are more likely to share a music director, which leads to collaboration between groups, he said. A program of the League of American Orchestras and Meet the Composer, called Ford Made in America, is an example: The program commissioned two works, by composers Joan Tower and Joseph Schwantner, each of which included 58 orchestras representing all 50 states. Tower's work, titled Made in America, received more than 80 performances.

"Consortiums got a big jolt when we did those two big ones," said Jesse Rosen, president and CEO of the League of American Orchestras. "Those whet the appetite of a lot of people who hadn't been into consortium commissioning."

While large consortiums are on the rise, Winship said consortiums in general are still in the minority of overall commissions; in the current round of New Music USA's granting applications, 23 of about 120 applications included some kind of consortium element.

Saxophonist Eliot Gattegno, executive director of the World-Wide Concurrent Premieres and Commissioning Fund, Inc., organizes consortiums in which all members premiere a piece on the same day, thereby getting rid of the perennial question of who gives the world premiere. On December 3, 1995, 43 saxophonists premiered the group's first commission, John Harbison's alto saxophone sonata San Antonio. The piece has since become a staple of the repertoire, with over a hundred performances that year and thousands since, Gattegno said.

Too Many Cooks?

But not everything always goes so smoothly. Consortiums can suffer from the "too many cooks in the kitchen" effect, said Timothy Russell, music director of the ProMusica Chamber Orchestra in Columbus, Ohio. "The minute you have the consortium, you have a longer time line, and more things that can go wrong," he said. While ProMusica has had plenty of good experience with consortiums, like a recent commission for a viola concerto from Joan Tower, titled Purple Rhapsody, sometimes things don't go as planned.

Music directors and other commissioners interviewed for this article recounted all kinds of problems that had happened with consortiums, although most declined to publicly name names: composer lateness, works that sounded nothing like what the consortium expected and pieces that were commissioned but never actually written.

Any problem that happens with a regular commission only becomes magnified when you have more people involved, said Gattegno, the saxophonist (left). Often this leads to choosing composers who are "safe" choices, either in terms of delivering on time or stylistically. "I want to make sure whoever I'm commissioning is responsible and safe," he said. "You have a lot of people to answer to if it's too difficult, or not good enough, or they don't like how it sounds."

Logistics are often a concern as well. "Even if one orchestra -- or dozens -- can agree, it's often difficult to coordinate season and timing," said Michael Geller, executive director of the American Composers Orchestra.

"Being the sole commissioner is easier," said Russell, of ProMusica. "But a consortium is cheaper, and establishes that the piece will have a longer shelf life and better chance of entering the repertoire."

According to guidelines published by New Music USA [PDF], a full orchestra piece under ten minutes can range from $9,000 to $24,000, and a 10-25 minute orchestra piece $13,000 to $60,000. Gattegno, of the Commissioning Fund, said his organization usually pays from $5,000 to $10,000 to commission a solo with piano or a small chamber piece, with between 25 and 100 co-commissioners paying between $100 to $250 each.

The League of American Orchestras declined to comment on the composer fee for the previous large commissions from Tower and Schwantner. But music directors and commissioners stressed the wide range of composer fees, saying that Golijov's fee was not atypical for a big-name composer, but that younger, less-established composers often write music for substantially less than the New Music USA guidelines.

Going forward, most composers and commissioners predict the growth of consortiums, especially among regional orchestras. Using a broad definition of a consortium, composer Robert Paterson (right), who is also artistic director of the American Modern Ensemble, thinks crowdfunding sites like Kickstarter will become more prevalent, making composers less dependent on granting organizations. "I think Kickstarter and other sites will change the face of composing dramatically," said Paterson, who recently wrote a piece for harp duo Duo Scorpio, which was partially funded by a Kickstarter campaign that raised over $14,000.

As for the Golijov kerfuffle, consortium members are still playing the work, including a late April performance by the Vermont Symphony Orchestra.

"We initially thought it was a non-issue, and I think it became a non-issue," said Vermont Symphony Orchestra executive director Alan Jordan. "Finally Osvaldo and his publishers came out with a reasonable response. Osvaldo does some of his composing in a very collaborative process, which is fine as long as the co-collaborator doesn't have a problem."

Scott Faulkner, executive director of the Reno Chamber Orchestra, echoed that sentiment. "Certainly, it was something we were not aware of, and it raises an eyebrow," he said. "But we didn't think we were cheated, or want our money back."

 "And you know, they say there's no such thing as bad publicity if they spell your name right."

Photos: 1) Jennifer Koh (Janette Beckman) 2) Saxophonist Eliot Gattegno 3) Composer Robert Paterson (Morrissey)
 Help Wanted: Orchestra Musician. Job May or May Not Actually Exist. 2011-05-27T14:57:34-04:00http://www.wqxr.org/articles/wqxr-features/2011/may/27/help-wanted-orchestra-musician-job-may-not-actually-exist/
When the New York Philharmonic plays their free Memorial Day concert at St. John the Divine on Monday, there will be a handful of empty seats in the orchestra.

Not literally empty. But some of those chairs will be filled with substitute players, because the orchestra, for various reasons, hasn't filled certain vacancies for several years. These include section bass and cello openings, both of which have gone through multiple no-hire auditions.

The Philharmonic certainly isn't unique in this respect. Orchestras, both large and small, have historically kept seats open, sometimes temporarily for economic reasons. In other cases it is the result of auditions where – for artistic, logistical or other reasons – the relevant parties can't agree on a candidate.

The seats tend to get filled eventually; the longest anyone interviewed for this story remembers a seat being open is about a decade. In most cases orchestras say they really do want to hire. "When I sit at an audition table and a winner isn't chosen, I'm really disappointed," said Boston Symphony bass trombonist Douglas Yeo, who regularly sits on audition committees. But it's a big decision. "I sit between the same two people every day of my life, and I see them more than anyone else on earth except my wife," he said.

The Philharmonic declined to comment, saying it is orchestra policy not to discuss the audition process.

Since 2008, orchestras have been more up front about not filling positions, said Drew McManus, a Chicago-based arts consultant and author of the blog Adaptistration.com. For example, Minnesota, Chicago, Baltimore and Atlanta have all made agreements between management and musicians to leave positions open as a cost-containment measure. The terms, most of which are publicly available, usually have clear deadlines for when vacancies must be filled. The Minnesota agreement, for example, allowed for ten vacancies in the 2009-2010 season, which have to be reduced to four by 2011-2012. "As soon as finances are such as they can do it, we tend to see these spots get filled," said Jay Blumenthal, financial vice president at Local 802. The Minnesota Orchestra declined to comment.

In the past several decades, orchestral auditions have only gotten more competitive. A section position for a major orchestra might have 200-300 applicants, and then 100 will be invited to actually audition, said Jonathan Mednick, CEO of MyAuditions.com, an orchestra job posting website. Available jobs have decreased as well, he said. "Three years ago, we were averaging 300 plus jobs per month, and recently we averaged about 120."

While it may seem strange that such a plethora of qualified musicians could result in a no-hire, it does happen with some frequency. People interviewed for this story recalled no-hire auditions at orchestras including Boston, Cleveland, Chicago, Houston, Los Angeles and other symphonies. One notable exception is the Metropolitan Opera Orchestra, which has a policy to always hire someone from an audition.

"At times you hear these great candidates who play flawlessly," said Bruce Ridge, a bass player and chairman of the International Conference of Symphony and Opera Musicians [ICSOM]. "But just like personality plays a role in life, the person who might be the perfect fit in one orchestra might not fit in another."

Multiple openings – such as the New York Philharmonic's three section cello spots, all three of which remained empty after a recent audition – can actually make it harder for a committee to come to an agreement, said McManus, the arts consultant. "When there's a large ratio of openings, three players will have a substantial impact on the collective sound."

And there's a sense of permanence to the hiring process.

"Once you hire someone, you're pretty much married to that person until they leave," said Robert Levine, principal violist of the Milwaukee Symphony and senior editor of website Polyphonic.org. "It's a permanent investment."

Sometimes the logistics of holding an audition get in the way. The Boston Symphony, which has a reputation for holding auditions that result in no-hires, usually manages to schedule about five or six auditions a year. "The Boston Symphony's main constraint has been scheduling auditions within the BSO's calendar of activities," said spokeswoman Bernadette Horgan.

At other times consensus is impossible. While in some orchestras the director has final say, others assign a number of votes to both the committee and director. "In some cases committees and music directors arrive at a Mexican standoff where they can both pull the trigger," said McManus. "If they can't get each other's way, they'll make sure that no one gets their way."

Musicians said persistent vacancies can have a detrimental effect on artistic product. "When positions stay open too long, it undermines the orchestra as a product," said Ridge, of ICSOM. "You can't just keep plugging in substitutes. They're wonderful, but they don't become part of your artistic family."

Unfilled vacancies can eventually decrease the quality of the applicant pool, said Raymond Hair, president of the American Federation of Musicians. "Out there in Federation field, if an orchestra gets a reputation of never picking a winner, then it will have a chilling effect on the attraction of applicants for that position."

Ultimately, some say the crux of the problem lies with the audition process itself. "Auditions are an artificial setting," said an administrator at a mid-level orchestra, who declined to be named. "Let's say someone plays great, but isn't a good citizen. How do we figure that out?"

"It's a terrible process, except no one has come up with a better one," said Yeo, the bass trombonist. "It's like what people say about our government – it's the worst system of government in the world, except for all the others."
 They Called Him the Bernie Madoff of Violin Dealers 2011-04-12T17:41:37-04:00http://www.wqxr.org/articles/wqxr-features/2011/apr/12/they-called-him-bernie-madoff-violin-dealers/
German violin dealer Dietmar Machold lived in an Austrian castle, owned a collection of sports cars and was always impeccably dressed. Over a period of several decades, Machold allegedly swindled banks, customers and dealers from millions of dollars, leaving behind a trail of bankruptcy, deep debts and unhappy customers.

On March 16, Machold, 61, was arrested on charges of aggravated fraud, misappropriation and fraudulent insolvency, said Thomas Vecsey, spokesman for the Vienna public prosecutor's office. Machold is officially charged with debts of $27 million Euros, or about 36 million dollars, but sources familiar with his business dealings suspect that sum is considerably higher, and the Austrian paper Der Standard has reported that there are over 100 million Euros in bankruptcy claims against him.

Machold's arrest has been met with a sense of eventuality in the rare violin world, a business known to be rife with fraud, kickbacks, hidden commissions and lack of transparency. Locally, Machold is entangled with the embarrassing sale of $49 million worth of instruments to the New Jersey Symphony, and has done business with or knows personally most of the violin dealers in New York. Many of Machold's colleagues, some of whom wouldn't talk on the record because "it's easy to get burned in this business," compared Machold to Bernard Madoff: the big crook who comes to symbolize a business with plenty of smaller ones.

Acquaintances and colleagues described Machold as charming, flashy, ambitious, a smooth talker and a playboy. "He is elegant, well tailored and kind of a Gatsby," said David Schoenbaum, an author writing a book on the social history of the violin who met Machold several times. At the height of his success, Machold had shops in New York, Zurich, Bremen, Vienna and agents in Tokyo and Seoul. His New York shop, open from 1995 to 2006, was known for paying salaries extravagant enough to bring in workers from competing firms, leaving a sour taste in competitors' mouths. Machold also appraised the so-called "Golden Age" instrument collection that the New Jersey Symphony Orchestra purchased for $16 million, hugely exaggerating the values of the purchase.

Born in Bremen, Germany, to a violin dealer, Machold learned violin-dealing from his father. He has a law degree, and no formal violin-making training. "He bought his way into the field, and being a successful attorney, he had the capital to invest in instruments," said Phillip Injeian, a violin maker and dealer in Pittsburgh who knew Machold professionally. No one seems to know if Machold actually played the violin. "I think he took a few lessons as a child," said Schoenbaum, the author. "He's coquettish about it."

The arrest took place in Zermatt, Switzerland, on a warrant issued by the Vienna prosecutor's office, and Machold will go through extradition proceedings, said Folco Galli, a spokesman for the Swiss justice ministry. Machold was charged with misappropriation because when selling customers' instruments he pretended they were his own, said Vecsey, the Vienna prosecutor's spokesman. The fraudulent insolvency charges are because he didn't disclose assets when filing for bankruptcy and fraud charges are because he gave worthless instruments to banks to safeguard credit, Vecsey said. Some of these instruments, which Machold claimed were Strads, were later reported to be worth less than the cases that held them, said Schoenbaum, the author.

While some see Machold as a crook looking to deceive, others said his questionable business practices just spun out of control. "I feel that Machold was a little bit careless," said Julie Reed-Yeboah, a New York City-based violin restorer who worked for Machold for twenty-one years. "He would put values on things based on what the owner wanted. I don't think that he was so concerned that that would be considered fraud."

He's not a criminal but just did bad business at shaky financial times, said Dr. Wilhelm Häusler, the Austrian attorney who represented Machold in previous bankruptcy proceedings and has been corresponding with Machold in prison. "He suffered beneath the crisis," he said. "He couldn't make all his deals with Stradavaris and Amatis, because the persons who usually buy those instruments didn't want to spend so much money for those things."

Granted, putting a value on a violin is no simple task, especially in an unregulated market without guidelines like, say, like a bluebook for cars. A Strad violin can be worth anywhere from a half million to ten million dollars, said Injeian, the Pittsburgh maker. "To the dealer, the thing that is important is the authenticity of all parts of the instrument, then the condition, and then the playability."

It's a lot like the art market, said Stefan Bauni, a New York-based violinmaker who first met Machold in Europe, and later worked in the same building as the dealer. Names and origins – especially old Italians – are of paramount importance, and dealers and sellers work to create hype and stories around certain instruments, he said. "How many first violins of a great player can there be?"

Much of it is based on the individual sale, said Fritz Reuter, the Chicago-based violin maker and dealer. "Dealers analyze the customer and see what he is willing to pay."

How common corruption is in the violin world is up for debate. "[Machold] is only one of a dozen individuals who do the same thing," said Reuter, who lists dealers he calls the instrument world "mafia" on his Web site. "If any business is crooked, this one is." In New York, there are probably a dozen people like Machold, said Emmanuel Gradoux-Matt, a violin restorer and dealer in New York who met Machold on several occasions. In the world of high-end instruments, it is common for a dealer not to disclose the source of an instrument and to give hidden commissions, such as to a teacher whose student buys an instrument from a recommended shop.

But some violin firms have gradually cleaned up their act, said Gradoux-Matt. "The good thing about people like Machold is that we've had to change some of the ways we've done business," he said. About ten years ago, Gradoux-Matt said he increased transparency significantly, disclosing who bought an instrument, what they paid, and how much the dealer received in the commission.

Whether Machold's arrest will cause major change in the business remains to be seen. "There have always been shysters and thieves of the like of Machold," said Gradoux-Matt. "There were people like this in the 1800s, and there will be people like that 100 years from now. It's the cost of dealing with beautiful artistic things at high price."

Image credits:

1) Top: The location where Machold used to have his shop across from Lincoln Center. The building has since been torn down (Corinne Ramey).

2) Bottom: Emmanuel Gradoux-Matt, a violin dealer located on East 28th Street, says that dealers like Machold have led him to make significant changes in his business practices (Corinne Ramey).
 Touchy Questions for a Museum's Rare Instrument Collection 2011-03-15T14:08:43-04:00http://www.wqxr.org/articles/wqxr-features/2011/mar/15/touchy-questions-museums-rare-instrument-collection/
In 1981, a donor gave the 1701 "Servais" Stradivari cello to the Smithsonian Museum of American Art. One of the curators at the time sent a hand-delivered note to legendary cellist Mstislav Rostropovich asking if he'd like to come try out the Strad. Two months later, the museum received a note from the cellist's secretary. "Maestro Rostropovich does not believe in the incarceration of musical instruments," the note read. "He will not come."

Rostropovich's curt response – though a bit extreme -- illustrates the way many string players feel about the beautiful instruments in museums' glass cases. In the musical instrument gallery at New York's Metropolitan Museum of Art, Strads, Amatis and other string instruments by famous makers are rarely played. The way the Met balances preservation with performance illustrates an ongoing debate about the purpose of musical instruments in museums and the value of performance, both for the public and for the well-being of the instruments themselves.

"Our main focus is to preserve the instruments, and like any other object in the world, if you use it, then you have to replace parts, so then you have to replace the original hand of the maker," said Ken Moore, curator of musical instruments at the Met. "It's like any other object -- you use it, and it's going to be used up." The Met has 5,085 musical instruments in its collection, about 200 of which are European string instruments and bows.

Although musicians do occasionally play the Met's instruments – any given violin might get played three times a year – Moore believes that preservation is the essential role of the museum. "You have to have an example for people to rebuild instruments in the way the instruments were originally built," said Moore. "We try to have the evidence of the past available for the present and hopefully for the future."

The Met's approach is different from that of other museums and represents a fundamental divide within the preservation field. "I think there is a basic philosophical difference between what the Met does and what we do," said Kenneth Slowik, artistic director of the Smithsonian Chamber Music Society and curator of musical instruments at National Museum of American History. The Smithsonian's instruments are played regularly, including in the museum's concert series, said Slowik. The series often features the same players, performing on instruments they've played in the past. "We try to have not drive-by encounters with these instruments, but have people who get to appreciate them over a period of years," he said.

"It's a balancing act," said Carol Lynn Ward-Bamford, curator of the musical instrument collection at the Library of Congress, which has a collection of about 2,000 instruments and an immense archive of musical reference materials. For the Library, some decisions on performance are based on the bequest of the donor. For example, in 1935, one donor gave a group of three Strad violins, one viola, one cello and five Tourte bows, and provided an endowment assuring that they would be maintained and performed on in the future.

There is widespread agreement that string instruments sound better when played regularly. "There is a diminishing of musical quality when instruments aren't used at all," said William Monical, a violin restorer who lives and works on Staten Island. "It's like the atrophy of the human body when someone doesn't walk." The curator of a collection of violins in Cremona's Town Hall plays the violins daily, said violinist Eric Grossman, curator of string instruments at the Juilliard School. "The more instruments are played and the more their molecular structure is resonating, the better they sound," said Grossman.

Moore, the Met curator, argues that an instrument doesn't need to be played daily to keep its sound. "I like to think of them as going to sleep," he said. "When a performer comes, our instrument will sound awful if it hasn't been played for a year, and after 45 minutes of playing, something happens."

Violinist Sean Carpenter, who played Bach solo works on the Met's 1694 "Francesca" Strad at a concert, experienced the awakening. "By the time I finished playing it really did take off in sound, and improve dramatically," he said.

Juilliard's Grossman – who waxes poetically about what he calls the "silky, golden, extraordinary" sound of the Met's 1717 "Antonius" Strad -- argues that while preservation certainly matters, performers can usually play old instruments without damage or harm. "If a few instruments are kept away from players, I understand, but I think predominately these instruments can still be played without doing harm," he said. "If you quarantine an instrument for long periods of time, the waking up of the instrument may take longer."

The Met hasn't always been so focused on preservation. In 1960s, in the wake of the destruction of World War II, the philosophy of conservation changed, said Moore. When UNESCO was formed, the organization set up subcommittees for museums. The International Committee for Museums and Collections of Musical Instruments, known as CIMCIM, provided a forum for curators to discuss ethical issues of preservation and performance, leading to a greater focus on the importance of preserving instruments for posterity.

Although Rostropovich would certainly disapprove, most curators believe there is room for – and value in – both approaches. "Are we keeping these instruments as fresh as possible for future generations, or do these instruments not fulfill their artistic destiny until they are under the chin of an artist?" said Kerry Keane, head specialist for musical instruments at Christie's. "I don't think we'll ever answer that question, and I'm happy with that."

Photos (top-bottom):

The Met's 1669 Nicolò Amati violin, currently on display in the musical instrument gallery (Corrine Ramey)

Visitors look at the Met's 1714 "Batta-Piatigorsky" Stradivari cello (Corrine Ramey)

Visitors look at the Met's collection of viola da gambas (Corrine Ramey)

Sean Carpenter plays the Met's 1694 "Francesca" Stradivari in the musical instruments gallery at the Metropolitan Museum of Art (Don Pollard)
 Audition Politics Confront YouTube Orchestra 2010-12-22T13:36:07-05:00http://www.wqxr.org/articles/wqxr-features/2010/dec/22/audition-politics-youtube-orchestra/
A traditional symphony orchestra audition takes place behind a screen, prohibiting the judges from knowing the identities of the applicants. Some women wear flats, so the clicking of heels won't give away gender, and musicians don't talk so as not to disclose identity.

But the auditions for the YouTube Symphony Orchestra, which concluded last Friday, were anything but traditional. The tryouts took place not behind a physical screen, but a digital one -- through hundreds of videos uploaded to YouTube, and viewed freely on computers around the world. They show applicants playing orchestral excerpts on couches, concertos in dorm rooms and a cellist playing a Bach prelude while sitting atop a camel in Jordan.

The approximately 96 players chosen for the orchestra will convene in Sydney, Australia in March 2011 for a week of rehearsals, master-classes and concerts at the Sydney Opera House conducted by Michael Tilson Thomas.

In 2009, the YouTube project got plenty of press coverage lauding the international, multimedia and collaborative nature of the project. But after the event, the reviews of the actual music-making itself weren't nearly as strong, with the Washington Post criticizing the orchestra sound as "ragged, uneven, of wildly different quality," and the New York Times suggesting that while "worthy, and in ways inspiring," it was more gimmick than substance. The Guardian went further, calling it "mediocre and pointless." The second time around, it begs the question of whether an orchestra with an unproven, American-Idol-type voting process and a less-than-professional sound deserves this level of attention.

Applicants submitted videos by late November, finalists were announced in early December, and last week, the voting frenzy began. Anybody could vote up to once a day, for as many candidates as they liked, by clicking a button next to the video on YouTube.

 There are 12 finalists, out of 336 total, who live in the New York City area. During the voting period, which ended on Dec. 17, they engaged in a mostly-virtual campaign to win as many votes as possible.

Bass clarinetist and doctoral student Christine Carter, 27, sent emails to everyone she knew and contacted the newspaper in the town where she studied as an undergraduate. Clarinetist and graduate student Mark Dover, 23, emailed all his old teachers and band directors, and encouraged them to email all their friends, creating what he called an "exponential" effect. Everyone made Facebook groups and events, continually reminding all their friends, in the Facebook sense of the word, to vote daily. "While I try not to make myself obnoxious, that might be a side-effect," said 24-year-old cellist and graduate student Ben Larsen (pictured, right) who consulted a friend who had worked on political campaigns for pointers.

"It's sort of funny," said freelance violinist Monica Davis, 27. "It's the opposite of any other orchestra audition, because you're campaigning for someone to vote for you as opposed to it mattering what you actually sound like." [see Davis's audition video]

Although YouTube doesn't post vote counts, finalists scrutinized the number of views each video received, hypothesizing that the view counts, which varied from a hundred to tens of thousands, could be related to the number of votes.

They didn't all like what they saw. "One guy has way more views than the rest of us, and he is by far the worst," said one finalist, who declined to be named. "He could potentially win, and he sounds terrible."

But in the fine print, a statement that confounded the finalist pool: the final decision rests with Michael Tilson Thomas. The conductor said that he consulted with a panel of musicians from major orchestras, which determined the finalist selection, and took into consideration the public vote but ultimately makes his decision based on artistic merit and personality. In the case of two equally qualified candidates, he does look at the personal stories and backgrounds of the musicians, he said.

Exactly how much the public vote counts – a matter YouTube and Tilson Thomas have been particularly guarded about – perhaps doesn't matter, said David Cutler, author of the The Savvy Musician and coordinator of music entrepreneurship studies at Duquesne University. "So what if it does become a popularity contest?" he said. "If you only have people who really are qualified, but you find that some people are building a fan base, isn't that exactly the kind of energy that our symphony orchestras need?"

This year's project will be slightly different from the last one, said Tilson Thomas. Not only does he think the quality of applicants is higher, but there is more time for rehearsal and more unstructured time built into the schedule. "We left them space to make their own projects, which we hope leads to a more creative, democratic situation," said Tilson Thomas. "And that's new territory for classical musicians."

The orchestra – which broadcasts widely the personal stories of its members -- is a model for a future where orchestras are more about personality and relationship, and where the audience is part of the process, said Cutler.

"In the sports world people are totally aware of life stories and past injuries of the members of a team," said Tilson Thomas. "But we haven't been aware of the life story of the bass clarinet player in our local orchestra. One of the reasons people root for their team is they have a sense of all the members of their team and what they contribute." The YouTube project explores how social media and technology can broadcast identity and personality, making the orchestra more than just an anonymous collection of musicians but a narrative that interacts with a community.

"You couldn't be further away from playing something behind a screen."
 From Double Reeds to Double Scoops 2010-11-08T13:01:52-05:00http://www.wqxr.org/articles/wqxr-features/2010/nov/08/double-reeds-double-scoops/
Douglas Quint leads a double life. During the summer, he's the face of the Big Gay Ice Cream Truck, making soft-serve concoctions with ingredients like extra-virgin olive oil, balsamic-infused syrups and wasabi.

He goes to sleep at night dreaming up new flavor combinations – one of his favorites involves bacon and chocolate ice cream – and during the day, uses Twitter to tell all his fans where to find him (he frequently parks on the corner of 17th St. and Broadway, near Union Square).

In just two summer seasons, the truck has been overwhelmingly successful, earning plaudits from press including the New York Times, New York Magazine and the Village Voice, and even a recent a spot on the Rachael Ray show, praised by fans because Ray accidentally used a four-letter word after tasting an ice cream concoction that included vanilla soft serve, chocolate sauce, cashews, sriracha and a pickle.

But on Oct. 31, Quint stored his truck and put on his other hat: that of a professional bassoonist.

Quint, 39, has been on a bassoon-playing track since he was in high school. Originally from Pittsfield, Maine, he earned a bachelor's degree at the Manhattan School of Music and his masters from Juilliard. After finishing school, he did freelance work in New York and Boston, performing with groups including the Orchestra of St. Luke's, the Orpheus Chamber Orchestra, the Brooklyn Philharmonic, the Boston Pops, and the Chamber Music Society of the Lincoln Center.

He's currently pursuing a doctorate at CUNY Graduate Center, where he's done all but his dissertation, which he hesitates to discuss lest someone else discover the "spurious Mozart bassoon work" that he's currently researching.

Like many classical musicians, Quint found that work tended to dry up during the summer. One day in January 2009, Quint logged in to Facebook.

"There was this flute player who I went to Juilliard with who had been driving a truck for a few years," he said. "Her status said 'If you want to drive an ice cream truck get in touch with me.'" On a whim, Quint sent her a message, and soon thereafter, launched the Big Gay Ice Cream Truck with the help of his partner, Bryan Petroff.

"We didn't really care if it was a big success," said Quint. "We just wanted great customer service and strange treats."

This bassoon season, Quint has his plate full. He'll spend time in Boston, playing in the Pro Arte Chamber Orchestra and Opera Boston. In December and January, he'll play an onstage bassoon role in the American Repertory Theater's production of "The Blue Flower," which Quint described as chamber rock with a "Kurt Weill meets Hank Williams" sound.

Although Quint has spent most of his career playing classical chamber music and orchestral works, these days he enjoys more out-of-the-box roles. "Now that I found this job where theatrics is part of the job, I feel like my playing is going in that direction, too," he said.

Friends and colleagues described Quint as quirky, passionate, enthusiastic and creative. "I think his personality and his playing are very similar -- very positive and full of character, just like he is," said Quint's former teacher, bassoonist Frank Morelli.

Quint's musical colleagues have been overwhelmingly supportive of his ice cream endeavors.

"At first I thought the ice cream truck was such a wacky idea," said harpsichordist and organist Paolo Bordignon. "But then I saw how much Doug loves to do this, and it makes so much sense."

"I'm totally blown away by it," said violist Nadia Sirota, who is also a host on WQXR's Q2. "He took this kernel of an idea and turned it into something that is almost a franchise. I wouldn't be surprised if I saw Big Gay Ice Cream Trucks in Minneapolis."

In a climate where funding for the arts continues to decrease, and orchestras struggle to maintain full seasons, having multiple creative outlets is an asset, said Morelli. "I think successful musicians redefine what a career in music is."

Balancing his two careers isn't always easy, said Quint, who even uses different tones of voice when talking about his two passions. Although he continued to work as a bassoonist during his first ice cream season, he stopped performing this summer when he found he couldn't quickly switch gears between the two.

"The difference between dealing with two reeds and a sheet of music and several hundred customers a day is extreme," said Quint, who declines to say which side of his career is more lucrative. "I wanted to do both, and love doing both, but I couldn't."

But ice cream and classical music are related. From a business perspective, the skills he uses as a freelance bassoonist have helped him build his ice cream business. "I definitely honed my skills touring with chamber music groups," he said. "I've always been talking about my business, because as a musician you have to get the word out and interact with all kinds of different people."

For now, after a busy ice cream season, the double-life-leading Quint is happy to dust off his double reed. "Right now putting the metronome on a slow tempo and focusing on a page of etudes is so welcome," he said. "I just can't wait."


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Here is a link for you. Please see under "Program tuition and fees":
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I usually train 1 or 2 at the same time, but in general I have anywhere between 8-10 clients at the any given time.
Good responses. My suggestions would be listen to your body, maybe hire a running coach if you can, get enough rest, eat well, increase your mileage slowly and methodically, hydrate, take care of your feet and have a realistic plan.
I really don't care if they chew gum or not. If they can do both at the same time, more power to them :-)!
Marketing and networking. These two are the most important factors when it comes to growing a business and I wish I knew then what I know now :-).
Learn from my mistakes so I won't repeat them.
Canceling their sessions at the last minute
Showing up late
I don't have such fees. If someone is more qualified than me on a specific method or training technique and he/she will be better for my client, then I just refer them to that trainer with no additional fees.
I like to set realistic and attainable goals for my clients. The body image issue will slowly disappear when they realize they are achieving their goals and continue to improve. If they don't reach their goals then other factors are coming into play (such as disappointment, lack of self-esteem, etc....
30 minutes before the class:
1. Make sure I'm not late.
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4. Make sure I have any extra waivers with me.
5. I don't spend to much time thinking about it and try stay relaxed.
Hi Jenny,
You have some great responses here and I agree with the others. Clubs will pay a fixed salary or hourly wage especially if you going to work as one of their employee. But, if you try to go to a studio of a gym where you could work as an independent contractor, then you will be able to n...
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This product has not yet been rated. Please Login to submit a review for Teak Tisbury Bench - 5 ft
Our solid teak square table arrived last week. I wanted to let you know that it's just perfect - exactly what we wanted! Although there was a slight glitch when I first placed the order, you were so easy to deal with, and most of all, above board, in getting it all taken care of. We will certainly deal with Golden Teak, and The Wood Carver, when we are looking for the next piece of fine teak furniture!
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It's a big weekend in the Big Ten, with five spring games on tap (Northwestern will wrap up its spring with a regular practice). Only one team is playing in a different city than its campus, and that's the Ohio State Buckeyes. Here's a look at what to expect when the Scarlet squares off against the Gray ...
When: Saturday, 1 p.m. ET
Where: Paul Brown Stadium, Cincinnati
Admission: General reserved seats are $12 and $5 for ages 2-6; children younger than 2 and students with a valid ID get in for free. Parking is $10.
TV: Live on BTN2Go. Big Ten Network will air the game on tape delay at 7 p.m. ET.
Weather forecast: Partly cloudy, with a high of 54 degrees.
What to watch for: With some repair work being done at the Horseshoe, the Buckeyes decided to move their spring game south to Cincinnati. This should make for an interesting atmosphere, and it could ultimately serve another purpose: helping Ohio State bridge the gap to the Queen City in recruiting.
Urban Meyer doesn't really need to see Braxton Miller, Carlos Hyde, Corey "Philly" Brown or Bradley Roby perform in a game-like setting. This is a bigger day for some less-heralded positions, like the right tackle spot that has been an open competition between Taylor Decker and Chase Farris throughout the spring. There will also be a lot of focus on the defensive line, where all four starters are gone from last year. Noah Spence, Adolphus Washington and Michael Bennett are near locks to start there this year, but there is still plenty of competition for playing time in the rotation.
Meyer would also like to see more production out of his receiver group, but don't get too excited if one of them has a breakout performance. Remember Michael Thomas' huge spring game last year as a true freshman? He didn't contribute much during the season and still isn't one of the Buckeyes' top four wideouts. Also keep an eye on the linebacker spots, especially since Ryan Shazier is expected to be limited at best. This is a big offseason for Curtis Grant, the former highly decorated recruit who needs to make an impact this year as a starter for a young unit.
You'll probably see a lot of time for backup quarterbacks Kenny Guiton and Cardale Jones, whom Meyer said showed this spring that he can handle the position. Maybe we'll even see some of the diamond formation with three backs in the backfield that Ohio State has experimented with this spring.
More than anything, it will likely be a celebration of the Buckeyes as they visit a different part of the state.


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How much trust can we have in the Google founders?
Sometimes it can be very interesting to look back into the past. As an historian I know that you can get new insights from looking back. With 2010 just starting and many bloggers looking forward, a view back in time can give you a lot of insight.
Seen it? Have you noticed anything in particular? Except for that Brin and Page are almost seven years younger and that the globe with all the searches looks fantastic?
Most of these products were only just launched or about to launch in that period of time. And as you may noticed, most of them didn't make it. In 2004 Brin and Page were all excited about products like Orkut, Google Answers and Froogle. Where are these products now?
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- One of the leading contributors to our understanding of the universe sits in our rural backyard. The CSIRO's Parkes radio telescope, also known as the Dish, which is located in central west NSW turns 50 in a few days time but is still ranked among the top ten radio telescopes in the world. ...Thursday 27 October 2011
- The year in wool, and what next year may hold...Monday 20 December 2010
- A group of Tas forest activists being sued over a protest at Gunns' Triabunna woodchip mill have lodged a counter-claim against the timber company....Wednesday 4 February 2009
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- Removing worn-out cells may be the secret to slowing down the ageing process. Eliminating these cells delays the onset of age-related diseases and extends lifespan in mice and this research could translate into anti-ageing therapies in humans....Friday 29 April 2016
- Stories from wildly different lives in science as told at the World Science Festival Brisbane....Wednesday 20 April 2016
- Sean is a world-renowned science fiction writer. ...Wednesday 23 March 2016
- The bestselling author of 'Still Alice' investigates the shockwaves of Huntington's disease....Thursday 3 March 2016
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|Name: _________________________
|Period: ___________________
This test consists of 15 multiple choice questions and 5 short answer questions.
Multiple Choice Questions
1. When Linda hears that someone from her hometown is coming to find her, where does Linda flee?
(a) Albany.
(b) England.
(c) Philadelphia.
(d) Boston.
2. Linda changes her mind, and goes ahead and flees North when someone spots her. Who is it?
(a) Ellen.
(b) Dr. Flint.
(c) A local gossip.
(d) Benny.
3. What two things does Linda immediately notice about Ellen?
(a) She noticed that Ellen's hair and face have been burned.
(b) She noticed that Ellen did love her anymore and that she wanted to live with her father.
(c) She noticed that Ellen's care and education have been well-cared for.
(d) She noticed that Ellen's care and education have been neglected.
4. In whose house does Linda meet her daughter?
(a) At the train station.
(b) At the dock.
(c) At an abolisher's house.
(d) A former slave's house from her hometown.
5. On what mode of transportation does Linda continue her journey to New York?
(a) By train.
(b) By foot.
(c) By carriage.
(d) By boat.
6. How much is paid for Linda's freedom?
(a) $300.
(b) $500.
(c) $100.
(d) $800.
7. What horrific truth does Linda learn about Ellen's situation with the Hobbs'?
(a) Linda learned that Ellen was being raped by Mr. Hobbs.
(b) Linda learned that Ellen was being beaten.
(c) Linda learned that Ellen was still a slave.
(d) Linda learned that Ellen loved the Hobbs' more than her own mother.
8. What group of people does Linda's host introduce her to in order to help her continue her journey to New York?
(a) The underground railroad society.
(b) The Catholic Church.
(c) The Red Cross.
(d) The anti-slavery society.
9. What does the letter from Linda's legal owner state?
(a) That Benny and Ellen had been captured and sold.
(b) That Aunt Marthy was returned to slavery.
(c) That she was 'cordially invited' to join them on their plantation in Virgina.
(d) That Linda was no longer a slave.
10. Who continues to go out of his way to help Linda and her companion when they reach Philadelphia?
(a) William.
(b) Peter.
(c) The ship's captain.
(d) A homeless man Linda meets on the street.
11. What is the Fugitive Slave Law?
(a) It is a law that stated all fugitive slaves were to be imprisoned immediately.
(b) It is a law that allowed escaped slaves to claim their freedom.
(c) It is a law requiring Northerners to turn over slaves to their Southern owners.
(d) It is a law that stated all slaves were now free.
12. How do Linda and the appendix writer meet?
(a) They met through Benny.
(b) They met through Ellen.
(c) They met through William.
(d) They met through Aunt Marthy.
13. What distressing news does Linda discover about Benny when she returns to Boston?
(a) She found out that he returned South.
(b) She didn't find anything out because Benny was with her on the trip to England.
(c) She found out that he was discriminated againist and took a job on a whaling ship.
(d) She found out he had died.
14. Where is Linda's escape route from the South taking her first?
(a) Boston.
(b) New York.
(c) Washington D.C.
(d) Philadelphia.
15. What good news does one of Aunt Marthy's letters bring?
(a) That Dr. Flint has died.
(b) That Aunt Marthy has escaped from slavery.
(c) That Mr. Sands wants to marry Linda.
(d) That Linda is now free.
Short Answer Questions
1. Who is staying at the Hobbs' house when Linda goes to visit Ellen?
2. After Linda's meeting with Ellen, whom does she begin looking for?
3. Where does Linda leave Benny when she travels to England?
4. Who complains about delivering meals to Linda?
5. What one lie does the author point out in the letter from Emily?
This section contains 650 words
(approx. 3 pages at 300 words per page)


text:
CINCINNATI (CBS Cleveland/AP) — A former Ohio poll worker sentenced to five years in prison for voting illegally on behalf of other people has been released from prison after less than a year behind bars.
Melowese Richardson of Madisonville was released Tuesday after her attorney says she gave him permission to reveal that she has bipolar disorder.
Her attorney, David Singleton, shared Richardson's medical records with Hamilton County Prosecutor Joe Deters.
After reviewing the case, Deters asked Judge Robert Ruehlman to allow Richardson to be released.
"In the interest of justice, it is time for her to go home," Deters said, according to WCPO-TV.
RELATED: George Zimmerman Signs Autographs At Florida Gun Show
Ruehlman agreed and placed Richardson on five years of probation.
Singleton said justice was served with Richardson's early release.
REALTED: Justin Bieber's Disrespectful Deposition
"Justice was done in this case today,"Singleton told WXIX-TV. "We are grateful to Prosecuting Attorney Joe Deters for stepping up to ask the judge to release Melowese in light of the new information. We are thankful to Judge Ruehlman for revisiting his sentence and placing Ms. Richardson on probation."
The 59-year-old Richardson previously told a TV station that she had voted multiple times for President Barack Obama on behalf of herself and family members. She had said she had no intent to commit voter fraud.
(TM and © Copyright 2014 CBS Radio Inc. and its relevant subsidiaries. CBS RADIO and EYE Logo TM and Copyright 2014 CBS Broadcasting Inc. Used under license. All Rights Reserved. This material may not be published, broadcast, rewritten, or redistributed. The Associated Press contributed to this report.)
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Product Reviews
Great toddler book
After seeing my 3 year old great niece love this book and memorize it page by page, I bought it for my 2 year old granddaughter. She loves it! I think it is the rhythm of the verse. It also helps her learn letters. She goes to the book shelf and pulls it right out.
Was This Review Helpful?
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Staff Picks
Communio: Communion Antiphons with Psalms (hardcover)
Hardcover: $33.00
Prints in 3-5 business days
Prepared by Richard Rice This wonderfully useful book in hardcover collects the authentic Gregorian Communion Antiphons from the Proper of the Mass with the Psalms appropriate to each, covering the... More > Sundays and Solemnities of the Church Year for both the current Roman Missal, using the modern calendar with its three year cycle, and the antiphons for the 1962 Roman Missal, following the traditional calendar. These 110 chants are pristine, verbatim recreations of those in the Solesmes editions, and cover Masses that are most likely to be sung during the year, including major feasts (under both old and new liturgical disciplines), and the more important seasonal and ritual Masses (Ash Wednesday, Nuptial Mass, etc.). In accordance with the Church's recommendation, Psalm verses in notated editions are included for each Communion antiphon. These verses, either singly or in pairs, are sung between repetitions of the antiphon. This book fills a gap in the existing liturgical books.< Less
Psallite Sapienter: A Musician's Practical Guide to the 1962 Missal
Paperback: $12.97
Prints in 3-5 business days
Psallite Sapienter: A Musician's Guide to the 1962 Missal, by B. Andrew Mills, addresses a critical need in today's Catholic Church. In one volume, the author provides a comprehensive, ... More > authoritative, and easy-to-understand guide to providing music for the Extraordinary Form of the Roman Rite. It covers the types of sung Masses and and what is required of the organist and choir, and the expectations and needs of the full liturgical year, plus weddings, funerals, and Benediction. It combines an explanation of the rubrics with the author's own extensive experience with the 1962 Missal, which is particularly useful since the author understands the ordinary form as well and the differences. This one book does the work of a full library on the topic of the extraordinary form, telling musicians just what they need to know. The author is the organist and choirmaster at the Church of St. Agnes in New York, New York. < Less
The New Songs
Paperback: $14.00
Prints in 3-5 business days
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Obi (The word of God in kolanut and Coconut)
eBook (PDF): $25.00
The book teaches, how to use kolanut or coconut for divination in orisha worship and also as an Oracle to investigate matters.
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