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Grasping their little hands, I led my daughters, then four and six, through their new house, excitedly pointing out the open-plan kitchen and living room and, upstairs, their bedrooms and specially designated art room, where they could get as messy as they pleased while working on their projects. They couldn't see any of it, or at least not what I was seeing. Of course not: The house was a construction site, a three-floor disaster littered with steel I-beams, clots of broken plaster and piles of particleboard flooring. But what I saw was the place where my daughters would grow up, where they'd have their own private sleeping spaces, where we'd dine together as a family. Home.
That was the summer of 2007, and this was the second place in two years that my husband and I were renovating. We weren't fancy people—definitely not rich (I was a freelance writer, he an independent consultant) but financially fine. We desperately wanted a beautiful, comfortable, happy home for our children and were willing to break the bank to do it.
My generation—the one known as X, born roughly from 1965 to 1980—grew up at the junction of the women's movement and the epidemic divorces of the 1980s. For my family, as for many members of Generation X, home was a moving target. By the time I was 11, we had uprooted from San Francisco to Manhattan to Berkeley to Palo Alto, before landing in Villanova, Pennsylvania, in 1979. That house was a monster: 12 bedrooms, three floors and two furnaces to heat it all. My dad was almost never home—traveling for work, he said, but mostly, it turned out, having an affair with his assistant. My mom, depressed, often didn't get out of bed. When they were together, they fought. Terrifyingly. After their divorce, in 1983, my father decamped to a city five states away, and the moves resumed for my mom, younger brother and me: from the Villanova leviathan to a rented cottage in the country to a shabby apartment on the wrong side of the tracks in Bryn Mawr. That three-bedroom purgatory was empty when my brother and I got home from school; our mom was, necessarily, working. When I graduated from college, I maintained the migratory patterns of my childhood, moving at least six times in three years. Home was a cheap place for me to pass out after working 12-hour days as a reporter. I wasn't bothered by my lack of roots. To me, quite literally, there was no place like home.
Once I got married, I started to settle down. For eight years, my husband and I lived in an 800-square-foot rental apartment in Brooklyn; it was the first time I'd ever stayed put for so long. Cramped as it was, the space still seemed far grander than any of our friends' walk-ups in Manhattan; plus, we were great roommates. So what if we didn't have the crazy, soul-locking passion of other couples? We knew how to live well together. Over time, we dotingly outfitted our place with a higgledy-piggledy collection of paintings inherited from my family, a flea market dining set that we'd stained what we imagined was Martha Stewart green, a Married to the Mob–style overstuffed black leather sofa that was outlandishly comfortable, if enormously ugly. We both worked hellish hours, and we went out a lot at night, but coming back to our apartment was like crossing the threshold of a sanctum sanctorum. We were safe here.
After I got pregnant in 2001, at 31, I had what I think of as a white-light experience. My miraculous little bunny rabbit! She was never going to live in the psycho-spiritual SRO of my childhood. Suddenly I wanted to set up house—not just a nice, practical spot but the coziest possible dwelling in a ridiculously family-friendly neighborhood. I wanted a place where my daughter could feel safe, comfy, understood: a real home. So we painted every room in our apartment a different shade of happy yellow and improvised a lovely nest for our newcomer in the anteroom off the master bedroom, tacking handmade quilts to the walls, hunting down a secondhand cradle and adorning shelves with framed family photos. After she was born, time was sweet, and one day dovetailed into the next. We'd haul out our laptops and work in bed when our daughter was sleeping; we played with her in bed; we all slept together.
Then, after about three months, I started doing the rounds of mommy groups and made a terrible discovery: The other families all owned their homes. Theirs weren't functional, above-the-corner-market apartments like ours but niceplaces that had been renovated with inviting, giant (read: expensive) kitchens, where the whole gang fixed meals together. I was astonished; so was my husband. Why hadn't wethought of buying a place? What was wrong with us? We must be stuck in some kind of lame adultescence to think we could raise our daughter in a noisy, junky rental, where she would have to sleep in the dining room, where we couldn't even control our own heat! We needed to invest in something stable and permanent.
And we proceeded to do so, but not in a way that was prudent or diligent. We were driven to find the perfect home, and perfection seemed to require, in HGTV parlance, a lot of "must-haves." Though it would have best suited our budget, we didn't want a newly constructed condo. To us, those places felt like antiseptic hospital wards. No, we wanted a homey home, with antique moldings and period light fixtures. So, blind to financial foolhardiness, we borrowed money from both sets of parents, emptied our 401(k)s and mutual funds and in 2002 put down 20 percent to buy a $550,000 prewar, three-bedroom apartment in Park Slope, Brooklyn, with an adjustable rate mortgage. A year later, our second daughter was born, and that made our nesting instincts even stronger. Suddenly the nice space itself wasn't enough: We wanted nice stuffto put in it. Soon we were renovating.
It was easy in precrash 2005 to take out a home equity line of credit, so we did. Everyone in our yuppie neighborhood was doing it, as was much of the rest of the country. Home prices were doubling, and a designer kitchen was the key to increasing property value. In the early to mid-2000s, virtually every playdate seemed to revolve around parental discussions of whether a Miele dishwasher was worth the cost ("So expensive but so quiet!") and the relative merits of various countertop surfaces ("I'm thinking poured concrete is 'it' now"). And to my husband and me, a kitchen was more than an ultimate resale payday. Raised on TV dinners and takeout, we saw our new kitchen not only as the place where we'd lovingly concoct meals for the kids but also as the heart of our family's home.
That lofty, almost spiritualgoal somehow drove our connection as a couple into decidedly materialistic territory. Once, we'd loved talking to each other about ideas, music, religion, books, the girls, reflecting on life at large. Now we talked only about our house and the things it needed. Sometimes I'd wake up in the middle of the night, struck that we were losing each other, that the essential glue that had kept us together was growing brittle with yuppie insatiability and envy. But I didn't dwell on it. Around the country, the housing market was going insane, and so did we.
We bought a $6,000 Wolf range, at least a grand's worth of glowy red Italian glass tiles for the backsplash and a $3,000 refrigerator (a compromise—the one we really wanted cost more than $5,000); we spent about $2,000 for old-fashioned-looking faucets and a farm sink, and God knows how much for marble countertops and wide-planked, hand-stained wood flooring. And so on, for a total of about $100,000. The children, of course, could not have cared less. As long as they had enough space to run around and some cast-off scarves and heels for dress-up, they were happy. But it's as though we somehow felt that the quality of such domestic aesthetics would translate into profound stability for them.
It turns out that many in our age group were thinking the same thing—that "home," laden as it was with the emotionalbaggage of our generation, was worth any amount of investment. By the early 2000s, a raft of studies had reported that Generation Xers were arguably the most attentive, involved parents on record, the result—according to a 2004 report—of having gone through their "all-important, formative years as one of the least parented, least nurtured generations in U.S. history." According to a study from Harvard, Generation X spent more money on home remodeling than the previous generation at the same age. Psychologically, it was a perfect fit: We weren't investing in glass tile from Italy; we were investing in our families.
Of course, now I know that a top-of-the-line stove doesn't engender stability. But back then I still needed to suffer a lot more in order to learn my lesson. So when, after little more than a year, my husband and I were fighting all the time, we decided the apartment we had just renovated was too small. The problem, we agreed, wasn't our relationship. No, we needed a houseto make a home. In 2006, with the help of a jumbo mortgage and another home equity line of credit, we bought a beat-up Brooklyn town house with gorgeous bones and began a gut renovation. Selling our apartment for almost twice what we'd paid for it, we poured all our gains into the new rehab, and this time we did it right. We bought all the same expensive kitchen appliances, updated the bathrooms (three), busted down walls. This was the house our kids would grow up in!
The rehab went on for months. And months. Such projects always take at least three times as long as expected and cost twice as much as estimated, and we got more and more broke. In the meantime, we lived with my husband's parents. First, we argued quietly, then loudly. We stopped sleeping in the same room. By the time the house was ready, we were deep in debt and barely speaking. Then, over a rare dinner out, my husband told me that he was miserable, had been for years, and that he was "done." I was, too. Our marriage was gutted. We separated before we'd even moved into that homiest of homes, which we sold six months later, at a small profit.
To the extent that people can have an amicable divorce, we did. But my vision of home died a hard death. I had been thinking of what we spent on our house as play money, outside the normal rules of finance since it was for something important, but now even I couldn't uphold that fiction. In 2008 the economy collapsed. Work dried up. No longer remotely able to afford our fairy tale neighborhood, I put a down payment—everything I'd made from the sale of our town house—on a tiny house with a hefty mortgage in a part of Brooklyn where teenage gangs swarmed at night on spray-painting raids. I put bars on the windows, kept a baseball bat by the bed and slept next to the phone, ready to dial 911. It was a horror.
The kids and I spent almost five years in that neighborhood, barely scraping by. In lieu of child support, my former husband paid to keep our children in the private school they loved. Thank God for that, because money was so tight that sometimes the lights at home were turned off when I couldn't pay the bill. Every month, thanks to my outsize mortgage, I lived in fear of foreclosure. I developed stress-related illnesses that hospitalized me three times. I couldn't pay the medical bills. The perfect home? All I could offer my children was unequivocal love.
But in the end, they still needed—we all needed—a real home, a safe home, one I could afford. And that meant moving again, this time to a less expensive city. I bought the cheapest house that met my requirements (a room for each child, a backyard, a working kitchen), paid off a chunk of debt with some of the money I made from selling the bad-neighborhood house (even a crummy house in Brooklyn is worth more than a nice place in lots of other cities) and used the rest to create the beginnings of a nest egg. I didn't buy a single new appliance; I didn't even repaint.
My children love having their own rooms, love that our suburban-feeling city neighborhood is so safe and full of families that they can walk around the block on their own (though I spy on them anyway). The transition to a new city was traumatic, but we are now doing fine. Looking back, I know I'm the mom version of Oedipus: I committed every atrocity I'd spent my life trying to avoid. In my own misguided way, I tried to create the most secure of homes—and ended up with a shattered marriage and wrecked finances. Money does not heal old wounds or prevent new ones. Even so, the experience gifted me with a truer vision of what home actually means. I don't need an open-plan kitchen; I just need to be solvent—for my family'ssense of safety, stability and comfort, which is to say, our happiness. We have everything we need. Everything that has to work does: heating, stove, fridge. More important, our house is cozy, warm, full of family photos and children's artwork—it's ours; we're not its. Finally, between their dad's house and mine, our children have all the home they need.
Susan Gregory Thomas is the author of In Spite of Everything: A Memoir.
Related: Marriage and Finance: The Naked Truth
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ABOVE-GROUND OVERLAP STYLE LINER 20-Gauge
Blue Swirl Bottom 24' Round, Fits 48" or 52" wall heights
Our premium liners are constructed of full 20- and 25-gauge virgin vinyl, our liners will last longer and maintain their beautiful appearance for years. Strong, double-welded seams will withstand winter's worst. Our liners are so rugged; they are backed by a 15-Year Warranty on 20-gauge liners. All of the flat-bottom liners will fit either a 48" or 52" sidewall.
Additional Shipping Information
The Ground Time-in-Transit Map below provides full color US maps illustrating the number of transit days for delivery via UPS ground service.

subset: commoncrawl


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ZF-2083: Can't register session validator before session is started
on register a session validator using registerValidator it store the validator informations in the session before it is started
Therefore the following code is not applicable:
Zend_Session::setOptions( array(/* ... */) );
Zend_Sesion::registerValidator( new Zend_Session_Validator_HttpUserAgent() ); // this will write data in $_SESSION['__ZF']['VALID']
// ...
// action that use sessions
$mysession = new Zend_Session_Namespace('mysession'); // this will start the session if it is not started
Changed priority to minor, since an easy workaround is present (start the session first; e.g., in your bootstrap or elsewhere, call {{Zend_Session::start()}}).
This issue should have been fixed for the 1.5 release.
This doesn't appear to have been fixed in 1.5.0. Please update if this is not correct.
I will have to explore the problem in more detail.
Updating project management info.
Will evaluate within 2 weeks


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The Young Waterfowlers hunting safety course in Smyrna is open to boys and girls ages 12 to 18. The free classes will start Thursday, Sept. 12 and continue on Tuesdays and Thursdays through Oct. 8 from 7 to 9 p.m. The program will be held at the home of instructor Larry Poore.
Topics will include waterfowl identification, hunting and trapping techniques, muzzleloader training, pistol training, archery, dog handling, boating, and NRA hunter safety.
Students who successfully complete the course will earn NRA hunter safety certification.
Although the course is free, registration is required. To register or for more information, call Poore at 653-1374 after 5 p.m.
Location, ST | website.com


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No. 14 Mens Water Polo Goes Undefeated at Princeton Invite
The Princeton men's water polo program has never lost to Iona and they were not about to start Sunday. After overcoming a slow start, the 14th-ranked Tigers responded with an 11-6 victory to improve to 18-0 all-time versus the Gaels. With the victory, the Tigers went undefeated, 3-0, to open the year at the Princeton Invitational.
Kayj Shannon captained the offensive effort with five goals, while Sam Butler added a team-high four steals along with a pair of assists and Thomas Nelson amassed his stats in twos: goals, assists and steals.
Iona took a 2-1 lead in the first quarter, before Princeton countered with a 3-1 run to go into halftime with a one-goal advantage, 4-3.
After the break, the Tigers completely dominated the third quarter. Princeton found the back of the net six times, while goalie Alex Gow tallied five saves to help his side build a 10-4 lead.
Gow (2-0) had 12 saves and a steal over the 32-minute match.
Princeton now hits the road for a 10-game road swing on both coasts beginning with George Washington, Johns Hopkins and Navy from Sept. 21-22.


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The walls of his home in Amsterdam are covered in art works. Beautiful books and limited editions by his favourite artists are treated like precious objects. There can be little doubt that the director Pierre Audi is passionate about the visual arts. On the occasion of the revival of his production of Pelléas et Mélisande, for which the sculptor Anish Kapoor designed the set, he talks enthusiastically about the particular challenges involved in working on an opera with painters and sculptors.
Working with visual artists seems to have been a leitmotif throughout your career as a director.
The desire to collaborate with sculptors and painters does, in fact, go back a long way. You will have noticed that these artists all have a very different and contrasting aesthetic. So yes, a leitmotif, but one which has taken many different forms. I will start by saying that the one thing all these artists have in common is that they are, at one and the same time, intimidated by the theatre yet lost in admiration for the singers and musicians. They all accepted the venture I proposed with humility and enormous curiosity.
When I first approached them with the idea of working alongside me on a new production, I had to, each time, make them understand that their job was more than just producing a work, albeit signed Kapoor, Kounellis or Baselitz. They are all very conscious of their position in the history of contemporary art and they know, better than anyone, the long road they have travelled in order to become the most sought-after artists of museums and collectors with their work displayed in the top galleries in both the States and Europe. Not only do they appreciate the fragility of this status but they know, better than anyone, its economic value. They realise that there are always people waiting for them to put a foot wrong and an encounter with opera is, by definition, risky. I must underline that I have never had a problem about money with them. They all saw their engagement as a prestigious invitation and the amount of their fee was almost a minor detail. It goes without saying that without that I would never have been able to bring these various projects to fruition.
Have you found similarities in each of these experiences that seemed linked to the nature of these particular collaborations?
One of the possible stumbling blocks, which can sometimes be a real drama, is how the artist's feelings are translated on stage. It's one thing to create a sculpture, it's quite another to create a set. Certain artists are used to working with a particular material which is not suitable for use on stage due to its cost, its fragility etc. Sometimes, in order to produce a set, they have to renounce a part of what forms their identity as an artist. With Jannis Kounellis, for example, we were able to use the iron panels that he uses in his sculptures and installations. However, used as part of a set, they were subjected to a lighting that was not that of a gallery or museum. Set on a stage and lit for a performance, the panels looked, to the artist himself, like a different material. In the two ventures I have undertaken with Anish Kapoor, for Pelléas et Mélisande and Parsifal, the question of scale arose. Stages like those at the Monnaie and the Nederlands Opera, both very different by the way, require the artist to work in volumes sometimes much larger than he is used to. These new situations demanded that he find new solutions.
Another major difference is the time/work ratio. To put on an opera with sought-after singers, who usually have more than one production in hand, means also trying to impose a work rhythm on the artists that is perhaps onerous in their eyes. The performing arts make demands that they are not used to. They have to be freely available to react to changes during the preparatory stages of work, at the moment when the world of the production begins to take shape. And often, they don't have the time or the patience to follow the progression of the project, which for them has nothing to do with their life as an artist. I would even go so far as to say that the rhythm of the theatre castrates them, frustrates them and bores them. The creative act is generally limited in time for them. They are always moving from one idea to another. In their workshops they have people working with them to realise their visions, who really produce their works. In an opera, the stage designer has to give the project his total attention. Here it is not the case. When I decide to use artists I know I will have to work differently. But to lead an artist, whose work I admire, on a new path is very exciting. And I have always learnt a lot when they share their thoughts with me. Each of these experiments has been a gamble, but a gamble that has usually paid off. The quality of the result depends on many things – for example, the number of work sessions I manage to get out of them, given their very busy diaries. Often, those sessions have taken place in restaurants during their journeys to the four corners of the world. Ideas have been scribbled down on tablecloths spattered with coffee or tomato ketchup. That was how the set for Lohengrin with Kounellis was conceived, for example.
Working with artists is to live dangerously. I realise that, as a director, I don't have total control over the project as I would normally. An exact idea of the space that will be available to bring my characters to life only comes very late in the process.
What do you get out of these collaborations?
In retrospect, I have understood that what really excites me in this is less the big visual gesture, an image, but more the theatricality of it. I discover, listening to the artists' suggestions, the way they don't want to tell this or that story. I learnt from Klaus Michael Grüber – who has not only been the director who has worked most closely with visual artists when collaborating with Gilles Aillaud and Eduardo Arroyo, but who, in his approach to theatre, is himself something of a visual artist – that what defines an artist is as much about what he doesn't do as what he does. I have tried to learn from his work and apply it to my own in the ventures we've been discussing. What doesn't interest the artist in this story? That's what I'm after. This is where something can happen. In general the artists are very generous and relaxed. They understand that I am the director and that, therefore, I know how to bring a set to life and how to allow the music and the acting to enliven it.
It can't be easy with visual artists, I imagine, imposing on them other artists who, by the colour and shape of their clothes particularly, affect the look of the set.
Yes, exactly. Sometimes it is difficult, and you can add to that the lighting. There are so many factors that can 'disturb' a set, redirect your attention in a direction that was not at all the one imagined by the visual artist. You need diplomacy; you have to make him understand all the qualities inherent in his set, the richness that he gives me. I have to exploit that and use it. A piece of art opens up possibilities, suggests dramatic pathways that I can realise theatrically afterwards.
So you find yourself having to adjust to a set, whereas when you work with a set designer, who is used to the demands of opera, you can tell him very precisely beforehand what you expect from him.
It's exactly that. It's what I call living dangerously. Sometimes it's refreshing, other times very worrying. One thing is sure, and that is a rule for me: I don't manipulate the artist in order that he gives me what I want. When you set out to work with an artist you have to be completely open. I have to let him move forward in the dark, alone. I need to intervene at the right moment. It's a question of intuition. I mustn't help him too much if I want to be surprised. In the end he gives me an idea that both limits me yet frees me. He delivers a kind of 'liberating obstacle' to me. The constraints he imposes on me are incredibly stimulating.
Is the way you get the singers to act in any way different when you get them to develop a role on a set designed by a visual artist?
Yes, absolutely. The acting must be far more stylised. A realistic style has always been out of the question for me in these conditions. With the exception, of course, of Schoenberg's Von Heute auf Morgen with stage design by Kounellis who had created a Viennese apartment above an abstract apartment – an extraordinary set. So, apart from that occasion, I have always stylised the acting, I have always tried to invent a specific body language. With Kounellis again, I did two versions of the same production of Schoenberg's Die glückliche Hand. The first was with actors and the second with dancers, because I thought that it was necessary to go further still with the stylisation so that the link between the music and the set would be stronger, more intense. The dancing allowed me to accentuate the stylisation. That was also the case with The Magic Flute that I did with Karel Appel.
Of all the different artists you have worked with I suppose that it is Jannis Kounellis, because of his installations at the end of the 60s at the Attico Gallery in Rome, who has the most experience in the field of live performances.
Yes, Kounellis had already worked in theatre before I approached him. He had a friend who was a theatre director and he had, in fact, put on performances which were a bit like rituals. But don't forget that Herzog and de Meuron, before our production at the Met, had already created a set for a production of Tristan und Isolde at the Berlin Staatsoper and that Appel had created sets for a dance production in Paris. As for Jonathan Meese, even if he had already designed for performances, he was still very overawed by the theatre. The two productions I put on with him – Wolfgang Rihm's Dionysos at the Salzburg Festival and Marc-Antoine Charpentier's Médée at the Champs-Elysées Theatre – helped him to discover a world he knew nothing about and led to him accepting the job of set designer for the next Parsifal at Beyreuth. Our second production together benefitted greatly from the experience of our first project. I'm very happy with what we achieved together in Paris, from a baroque work that was light years away from his artistic world. By way of an anecdote, I would add that, as the composer of Dionysos was late delivering the score, Meese designed the set without ever having heard a note of the music. That was another extremely risky situation. I learnt a lot working with Kapoor, and particularly on the Parsifal production, which helped me understand that we could find a different way of working, as different for him as it was for me. Because of that I'm sure we'll work together again in the future.
Why did you think of this particular artist for the sets of Pelléas et Mélisande, which the Monnaie is reviving sometime this Spring?
Two of the projects where I worked with artists were suggested to me by the managing directors of opera houses. Peter Gelb gave me the chance to work with Herzog & de Meuron in New York and Peter de Caluwe had the idea of bringing Kapoor and me together in Brussels. In the first instance, for many different reasons, it was far from easy, but the experience was amazing. With Kapoor, it was something completely different, of course. The Brussels' experience was as exciting for him as it was for me. At the time he told me that the only work that really interested him was Parsifal. I told him that, sadly, I had no Wagnerian project to offer him. Afterwards things moved on and when I decided to direct Parsifal in Amsterdam I naturally thought of him and he accepted the offer. I would like to add that in the case of Pelléas et Mélisande I was working with an artist that appreciated this work. And for me, who previously had not dared to approach Debussy's masterpiece although it had always fascinated me, Peter de Caluwe's invitation was decisive. He knew that alone I wouldn't have dared include Pelléas in the programme during my time in Amsterdam.
Amongst those visual artists no longer with us, is there one in particular with whom you would have liked to work on an opera production?
That's a difficult question. Without a doubt, to have worked with Joseph Beuys would have been fascinating, very complicated but fascinating. But in that case I would have liked to help him with the stage direction.
To finish off, do have you any more projects with visual artists planned for the near future?
No, not in the immediate future. I would like to work with James Turrell one day.
Interview by Christian Longchamp
article - 26.3.2013
file - 4.1.2016
video - 15.11.2015
video - 12.11.2015
video - 12.10.2015


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What happens when two musical giants collide, when two Rock and Roll Hall of Fame Inductees defying genres and generations share the stage? On October 28, 1970 just that happened on Johnny Cash's TV variety show, when he welcomed "the great Louis Armstrong." Cash opened the introduction, remarking: "This country has given the world three original art forms – country music, jazz and Louis Armstrong."
Promoting his 1970 collection of country and western standards (fittingly titled Country & Western) and sporting an oversized cowboy hat, Armstrong sang "Crystal Chandeliers," the country classic originally sung by Charley Pride; and "Ramblin' Rose," a song made popular by Nat King Cole.
With the performance wrapped, Armstrong took a seat beside Cash, both musicians holding their instruments of choice: a trumpet and a guitar, respectively. "You've been at it a long time," Cash said to Armstrong. "I know that. We did a little research on some of your recordings; we find that on July 16, 1930, you played trumpet on a session with the late Jimmie Rodgers, the Father of Country Music. That was in Hollywood, right?"
Armstrong explained the ostensibly unlikely pairing: "We had a meeting one morning and Jimmie said, 'Man, I feel like singin' some blues.' I said, 'OK daddy, you sing some blues and I'm gonna blow behind ya.' That's the way the record started."
At Cash's behest, Satchmo and the Man in Black set about recreating those Armstrong-Rodgers sessions from July 16, 1930. "We'll get Bill Walker to play piano, and I'll try to sing Jimmie Rodgers lyrics, those lyrics he recorded, and you wail like you did on the record," said Cash. "Can we do that?"
"We'll say, 'We give it to them in black and white,'" quipped Armstrong before the pair launched into song, on stage at Ryman Auditorium, home of the Grand Ole Opry.
Like this rare performance, the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio, unites the artists who have shaped music history and the course of rock and roll for more than 50 years. Johnny Cash is featured in the Museum's Cities and Sounds exhibit, while Armstrong is among the artists highlighted in a special exhibit, Jammin', Jazzin' & Jivin': Jazz on Film, which features 27 posters spanning nearly 70 years of jazz-related cinema. These promotional posters are works of art in themselves. Jammin', Jazzin' & Jivin': Jazz on Film helps illustrate the connection between jazz and its close relatives – rhythm and blues, boogie-woogie – and how these genres found audiences in the African American community and eventually worldwide. Numerous Rock and Roll Hall of Fame inductees including Nat King Cole, Bessie Smith and Quincy Jones are featured.


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How do I control the corresponding LEDs of the standard Mindstorms colour light sensor via the methods of the ColorLightSensor class? I find the API slightly confusing and the sample program did not help me very much either. Apparently, I can use the method setFloodlight() adressing the enum constants of the Colors.Color class. But how exactly? Can anyone please explain in a more detailed way the ColorLightSensor class and the methods relevant for controlling the LEDs?
Thanks in advance,


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All branches of Marin County Free Library will be closed on Monday, July 4 for Independence Day.
There comes a time in a child's life where "a little bit scary" becomes fun! It must be a rite of passage for all kids to share ghost stories by the campfire or in the dark----knowing that there's a flashlight nearby! Try these books for a scarier Halloween---but not scary enough to have nightmares!
And if your child doesn't like scary stories either he's too young or it's just not his thing and may never be. There are many adults who have passed through childhood without being the slightest bit interested and that's ok too!


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UT Arlington | find
people | maps | submit
an event
"Sweetie Pie"
In this exhibition composed of works made of cast granulated sugar, artist Janet Morrow examines the notion of sweetness and our ambiguous reactions to it. How sweet is too sweet? Ultimately the sugar pieces serve as metaphors for our mortal existence; exquisitely precious but also quite perishable.
Gallery 76102 Hours of Operation:
Wednesday - Saturday 12 p.m. - 6 p.m.
Located at:
1401 Jones Street, Fort Worth, TX 76102
(Inside of the UT Arlington Fort Worth Center Building) More information...
Office of
University Communications(for inquiries on individual
please contact the event sponsor)


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ASU will host the Pac-12 Championship Game Saturday, Dec. 7 against Stanford.
CLICK HERE for a printable version of the pricing map
CLICK HERE to purchase!
CLICK HERE to read IMPORTANT TRAFFIC INFORMATION!
- Season ticket holders SIGN INTO YOUR ACCOUNT TO ORDER TICKETS.
- If season ticket location is unavailable due to conference/visiting team requirements, seats will be located in close or comparable seating.
- Additional seats can be requested by calling you ticket service representative at 480-965-5333.
- General public tickets went on sale Nov. 29 at 9 a.m. CLICK HERE to purchase!
- Check out the Pac-12 Championship Game link right here


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Earlier this year we were at various Nike Coach of the Year Football Clinics across the country. Now, we have released seven new videos from this clinic series featuring highly successful college and high school coaches. Take a look at the new releases below to learn new ideas or refresh yourself on topics you learned if you attended one of these clinics.
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Ranked among the nation's most integrated healthcare systems, Community Health Network is Central Indiana's leader in providing convenient access to exceptional healthcare services, where and when patients need them—in hospitals, health pavilions, workplaces, schools and homes.
An increasing number of boys and girls are playing recreational and organized sports. As a result, there is a rise in the number of overuse injuries seen among children and adolescents. The majority of sports and overuse injuries are due to minor trauma involving soft tissue injuries - injuries that affect the bone, muscles, ligaments, and/or tendons.
Jumper's Knee
(Patellar Tendonitis)
Little Leaguers' Elbow or Shoulder
Overuse injuries can also lead to stress fractures. Stress fractures are weak spots or small cracks in the bone caused by continuous overuse. Stress fractures often occur in the foot after training for basketball, running, and other sports. There usually is no swelling, but pain and tenderness often increase during movement.
Specific treatment for an overuse injury will be determined by your child's physician based on:
The goal of treatment is to control the pain, promote healing, prevent complications, and restore normal use of the injured area.
Initial treatment for overuse injuries includes R.I.C.E. (rest, ice, compression, and elevation).
Be sure to consult your child's physician if there is a prolonged, visible deformity of the affected area, or if severe pain prevents use of the arm, leg, wrist, ankle, or knee.
Other treatment options may include:
Overuse injuries heal quite quickly in children. It is important that the child adhere to the activity restrictions and/or stretching and strengthening rehabilitation programs to prevent re-injury.
Most sports injuries are due to either traumatic injury or overuse of muscles or joints. Many sports injuries can be prevented with proper conditioning and training, wearing appropriate protective gear, and using proper equipment.
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text: I used to do mods to weapons and I loved it, but now I also mess with old bikes and I have several. I have a turbo charged ZRX, but found this old turbo drag bike and just had to have it. It didn't run, but it does now! Just a little more tweaking and I'm taking it for a ride.


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this was requested by a few people for more detail so here we go....
this conversion is based off of the same set up as my 1928a1 conversion and will even let your semi lowers interchange between your uppers.
the same conversion rules apply... and we'll get into those a bit later.
It's DISCLAIMER TIME!
you are risking a very expensive parts kit and if that bothers you........ then this build is not for you.
im in no way responsible if you ruin a kit or cant get it to run! BUT with any conversion i do, its going to be simple not only in design, but in tooling and skill level too!
this conversion is actually even easier than the 1928a1 because of the all 1 piece bolt. thats getting the cart in front of the horse a little bit, so lets get into the build.


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Arcade Fire is a crazy band to watch. In fact, just listening to them doesn't really do it justice. Their soaring, wall-o-sound, soccer-chant-laced music is much better seen in addition to heard. They are a frenetic onstage presence. There's like 50 members of the band (not really there are seven core members) and a seemingly infinite combination of musical expertise that spends the show hopping from seat to seat. Drummer moves to keyboard, keyboard moves to drums, violinist moves to keyboard--and round and round they go. It's a blast to watch and very much a product of our time. Meaning Arcade Fire is as to the early 2010s as the Talking Heads were to the '80s and Smashing Pumpkins was to the '90s. This is sountrack-to-your-life kind of stuff.
And the Talking Heads' comparison is probably most apt. Big band? Check. Distinctive sound? Check. High-level musician ship? Check. Like the Talking Heads, the band also extends its art into the visual realm. The show was punctuated by interesting and compelling films, directed and edited by the band, shown above the seizure inducing performance below. (In a good way, like Pokéman).
Frontman Win Butler has Utah roots. His grandfather lived in Sandy while Butler was growing up and he clearly likes playing for what is in many ways a home crowd. Utah loves bands like Arcade Fire. Easy, mildly angsty lyrics, nothing controversial really. Like Howard Jones and the Indigo Girls before them, Arcade Fire will always have an enthusiastic crowd here in Utan long after their nadir. (Although their song "Working for the Church" has interesting overtones for a show performed in Utah County. I actually attended the show with an old high school friend who, these days, is an LDS Bishop. In reaction, he commented that he tries really hard to balance his church life, home life and, apparently, going-to-rock-concerts-with-his-old-high-school-friends life.)
And, of course, all of this has been said about Arcade Fire. They are a hard-working band who approach their performances like high art and should be on your band bucket list next time they come to town.


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Ricoh's business philosophy has not gone unnoticed. We've been widely recognized
for putting environmental principles into action. The following is a summary of
the major awards and recognition Ricoh has received as of April 2014:
ENERGY STAR Excellence in Energy Efficient Product Design Award (2014)The
U.S. Environmental Protection Agency (EPA) has named Ricoh Americas Corporation
a 2014 ENERGY STAR Award winner for Excellence in Energy Efficient Product
Design for its outstanding contribution to reducing greenhouse gas emissions by
designing energy efficient products and educating consumers about energy
Global 100 Most Sustainable Corporations in the World, given by Corporate
Knights, Inc.Listed among the 100 most sustainable corporations in the world for
ten consecutive years (2005-2014).
Green Excellence in Partnership Award (2013)The Coalition for Government
Procurement has awarded Ricoh Americas Corporation a 2013 Green Excellence in
Partnership award for leading the imaging industry with energy efficient
equipment, effective sustainability services, and decades of contributions to
green procurement.
Ricoh Company, Ltd. has been recognized by the Dow Jones Sustainability Indices
(DJSI) and has obtained the industry best score in three categories: Innovation
Management, Product Stewardship and Digital Inclusion. Ricoh was recognized as a
leader in the Computer & Peripherals and Office Electronics industries (2013).
World's Most Ethical Companies, named by Ethisphere InstituteSelected
among the world's most ethical companies for five consecutive years (2009-2013).
FTSE4GOOD* Global Index recognized by FTSEThe FTSE4Good Global Index
Series has been designed to objectively measure the performance of companies
that meet globally recognized corporate responsibility standards. Ricoh Company,
Ltd. has been recognized for ten consecutive years (2004-2013).
World Environment Center (WEC), 19th Gold Medal Award in 2003Since 1985,
WEC gives its annual Gold Medal Award to one international corporation for their
corporate achievement in sustainable development. Ricoh is one of 29 Gold Medal
companies for 1985-2013.
World's First Copier of the Future Award, given by the International Energy
Agency (IEA)Ricoh won the IEA's Demand-Side Management Award of Excellence
in the Copier of the Future Division with its energy saving technologies meeting
both environmental and customer needs (1999).
ENERGY STAR ProgramRicoh continues its long-standing commitment to
developing office solutions with superior energy saving features without
compromising productivity.
Eco-Logo® Program (Canada)Ricoh Canada, Inc. participates in the Eco-Logo®
environmental label program. Ricoh's products have undergone stringent
examination, providing proof that they meet all the criteria for office
ISO 14001:2004 CertificationRicoh has acquired ISO 14001 Certification at
every one of its manufacturing facilities around the world. ISO 14001 is a
rigorous international standard that defines the framework by which companies
develop their Environmental Management Systems (EMS).
Zero Waste to LandfillMost of Ricoh's imaging equipment is designed by
Ricoh and is manufactured at its own manufacturing plants. In addition to being
ISO 14001 certified, Ricoh's manufacturing facilities have been "Zero Waste to
Landfill (ZWTL)" since April 2002. Ricoh Electronics, Inc., a Ricoh Group
manufacturing company located in Orange County, CA and Lawrenceville, GA, has
been ZWTL since 2001.
*FTSE4Good Financial Times Stock Exchange for Good Global Index, as one of
Socially Responsible Investment (SRI) indexes.
For details on Ricoh's EPEAT and environmental initiatives, visit
www.ricoh-usa.com/environment. Ricoh has posted to its website information on
take-back, recycling, paper content, reporting and design for its imaging
equipment/toner containers/packaging to meet EPEAT criteria. None of the
returned material goes to landfill or incineration.
For more information, email us at firstname.lastname@example.com.
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Laying Down the Law at Harvard
Graduating with a liberal arts degree and a minor in pre-law from Eastern Mennonite University (EMU) in 2010, Karissa Sauder wanted to challenge herself in the legal field but maintain a foundation of peacebuilding and conflict resolution. She found that unique blend at Harvard. ...More


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In Utah, there is no shortage of trails or backcountry open to snowshoeing. The Utah Division of Parks and Recreation grooms nearly 2,500 miles of trails in the winter for snowmobiles, skiers and snowshoers. By itself, the Uinta-Wasatch-Cache National Forest lists 125 trails and loops for snowshoes and Nordic skiing, 70 in the Evanston-Mountain View District alone.
Lee's website, snowshoeutah.com, is a complete digital book of snowshoeing and lists 61 trails, each with detailed information including distance, directions and trail description. The site also includes info on how to choose shoes, what to wear and where to buy, along with advice on technique. And, it gives a list of commercial snowshoe operations, locations, prices and distances.


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Joined IHG® Rewards Club at a Hotel?
Joining is easy and free
Earn points at over 4,700 hotels
Redeem points for free rooms and more
Contact your local IHG® Rewards Club Customer Care to source your PIN and to update your profile with your email address. When you receive your PIN you can also update your email address via www.ihg.com/updateemail.
Reward Nights
When redeeming points for a Reward Night, you may only book one room at a time.
Once you complete your Reward Night reservation you will be given the option to duplicate this reservation.
* Requires affiliation in the respective organization.
** Best Available Rate Search does not include affiliation rates.
To book more than 9 rooms for one stay or request a quote, please use our Easy Meetings tool, call 1-800-MEETING (in United States, Mexico and Canada) or contact a Global Sales Office.
Welcome to the Heartland. With Oklahoma's friendly and caring residents there is no better place to stay. Oklahoma City has a unique atmosphere you won't find anywhere else. The Holiday Inn Express® Hotel & Suites Oklahoma City - Airport - Meridian Ave is just three miles from Will Rogers World Airport and three blocks from I-40 off exit, making us ideally suited for everyone.
Conveniently located our hotel in Oklahoma City is excellent for
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Conveniently located our hotel in Oklahoma City is excellent for corporate guests. We're also just five miles from downtown attractions including Cox Convention Center and Devon Tower. Our 400-square-foot meeting room is versatile enough to host many types of events, the 24-hour business center and free Wi-Fi access make planning an event easy.
Oklahoma City has a variety of activities and attractions to pique your interest. Family activities abound at the nearby Celebration Station, and the vibrant nightlife of the Bricktown District is only five miles away. If you're in town for the many events hosted at the Oklahoma State Fair grounds we are only 1.5 miles away.
Your comfort is a priority to us, so we provide the best in amenities to ensure that you have a carefree trip. This includes a fitness center, free Internet access and our free Express Start breakfast that includes our signature cinnamon rolls and 100% Arabica bean coffee. Staying with us is something few hotels in Oklahoma City, OK can compete with.


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Israel and Egypt signed a peace treaty in 1979, marking the end of 30 years of relentless hostility and five costly wars. The treaty was preceded by Egyptian President Anwar Sadat's visit to Jerusalem (1977), at the invitation of Israel's Prime Minister Menachem Begin, as well as the signing of the Camp David Accords (1978), which constituted a basis for peace between Egypt and Israel and between Israel and its other neighbors. The accords also addressed the need to solve the Palestinian issue, following a five-year interim phase of autonomy for the Palestinian Arab residents of Judea and Samaria (the West Bank) and the Gaza Strip. President Sadat and Prime Minister Begin were jointly awarded the Nobel Peace Prize for their achievement.
The peace implemented between Israel and Egypt consists of several major elements, including the termination of the state of war as well as acts or threats of belligerency, hostility or violence; the establishment of diplomatic, economic, and cultural ties; the removal of barriers to trade and freedom of movement; and withdrawal by Israel from the Sinai peninsula, with agreed security arrangements and limited force zones. Israel completed its withdrawal from Sinai (1982) according to the terms of the treaty, giving up strategic military bases and other assets in exchange for peace.
Although Egypt was ostracized by other Arab states following the signing of the treaty, all have since reestablished relations with Egypt and reopened their embassies in Cairo. The headquarters of the Arab League, which had been transferred to Tunis, were reinstated in Cairo in the early 1980s.
Having to overcome 30 years of distrust and hostility, normalization of relations between Israel and Egypt is a long and arduous process. Yet, embassies and consulates were established by both countries, and meetings between government ministers and high-ranking officials take place regularly.
Following the renewed outbreak of Palestinian terrorism (September 2000), relations cooled considerably and Egypt recalled its ambassador, who was returned at the beginning of 2005. Nevertheless, trade and cooperation continued, and the joint military committee meets regularly. In light of Israel's disengagement from the Gaza Strip, to which Egypt contributed, relations have improved.
The peace treaty between Jordan and Israel, signed at the Akaba-Eilat border crossing (October 1994), was preceded by a meeting of King Hussein and Prime Minister Yitzhak Rabin in Washington three months earlier, when the two leaders proclaimed an end to the state of war between their countries.
Although de facto at war with each other for 46 years, Israel and Jordan had maintained secret contacts and concluded mutually beneficial agreements throughout that period.
The 1991 Madrid Conference led to public bilateral talks, culminating in a formal treaty (1994) in which both countries have undertaken to refrain from acts of belligerency, to ensure that no threats of violence to the other will originate within their territory, to endeavor to prevent terrorism and act together to achieve security and cooperation in the Middle East by replacing military preparedness with confidence-building measures. Other provisions include agreed allocations from existing water resources, freedom of passage for nationals of both countries, efforts to alleviate the refugee problem and cooperation in the development of the Jordan Rift Valley.
The international boundary delineated in the treaty has replaced the 1949 cease-fire lines and is delimited with reference to the British Mandate boundary (1922-48). With the ratification of the peace treaty, full diplomatic relations were established and, since then, the relationship between Israel and Jordan has been moving forward steadily.
The basis for implementation of the Israel-Jordan peace treaty was established with the signing and ratification of 12 bilateral agreements in economic, scientific, and cultural spheres. These treaties are to serve as the foundation of peaceful relations between Israel and the Hashemite Kingdom of Jordan. The most significant expression of the peaceful relations is the establishment of Qualifying Industrial Zones (QIZs), which enables Jordan, via cooperation with Israel, to export to the US quota-free and tariff-free commodities worth more than one billion dollars. Israel is also cooperating with Jordan in two agricultural projects and in public health.
King Abdullah II, who succeeded his father, King Hussein, in March 1999, visited Israel in April 2000.
Following the renewed outbreak of Palestinian terrorism (September 2000) in the territories, relations with Jordan cooled and Jordan recalled its ambassador. There has been a gradual development of relations and Jordan returned its ambassador in 2005.
In June 2003, King Abdullah II hosted a summit in Aqaba with President Bush and with Prime Ministers Sharon and Palestinian Authority Chairman Mahmoud Abbas. In April 2004, King Abdullah II visited then Prime Minister Sharon at his residence in the Negev.
Since the renewed outbreak of Palestinian terrorism in 2000, relations with the Gulf States have cooled. Israel's trade representation office in Oman has been closed.
In 1994, three North African Arab states - Morocco, Mauritania, and Tunisia - joined other Arab countries and chose to take the path of peace and reconciliation by forming diplomatic ties with Israel.
Initiated in different ways at various levels, relations between Morocco and Israel were formalized when Israel opened a liaison office (November 1994) in the Moroccan capital, Rabat. Four months later, Morocco opened its office in Israel, thus formally establishing bilateral diplomatic relations.
The Islamic Republic of Mauritania and Israel concluded an agreement at the Barcelona Conference (November 1995), in the presence of the Spanish foreign minister, to establish interest sections in the Spanish embassies in Tel Aviv and Nouakchott, respectively. Mauritania opened its diplomatic mission in Tel Aviv (May 1996) and indicated its wish to fully normalize relations with Israel. In October 1999, Mauritania became the third Arab country (after Egypt and Jordan) to establish full diplomatic relations with Israel.
Following a timetable worked out by Israel, Tunisia, and the United States (January 1996), Israel opened an interest office in Tunisia (April 1996), and Tunisia reciprocated six weeks later (May 1996).
Diplomatic relations with the moderate Maghreb countries are important because of the role these countries play in the Arab world, and also because of Israel's large population of North African emigres who retain an emotional attachment to the countries where their families lived for many centuries. This affinity is an asset which may lead to more profound relationships and make a practical contribution to the peace process.
After the renewal of Palestinian terrorism in 2000, Morocco and Tunisia broke off diplomatic ties with Israel. Nevertheless, some commercial relations and tourism continue, as well as contacts in other fields.


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March 27 Public Record
Published: Wednesday, March 27, 2013 at 12:30 a.m.
Last Modified: Tuesday, March 26, 2013 at 7:22 p.m.
The following people were arrested on felony charges by law enforcement agencies in Davidson County, and, unless noted otherwise, were either placed in the Davidson County Detention Center or released from custody and are scheduled to appear in Lexington District Court on the date given:
• Danny Ray Lanier Jr., 33, of 5057 E. Old U.S. Highway 64, was charged with injury to personal property and felony larceny, $1,000 secured bond, April 12.
• Kedrick Denard Glenn, 24, of 227 N. Graham Ave., Winston-Salem, was charged with felony larceny of motor vehicle, $7,000 secured bond, April 1.
• Eli Benjamin Grubb, 26, of 385 Grubb Drive, Denton, was charged with felony possession of burglary tools, driving while license revoked and possession of drug paraphernalia, $1,000 secured bond, April 10, Thomasville.
• Aaron Kennard Byerly, 22, of 111 Echo Glen Drive, Winston-Salem, was charged with felony probation violation, $10,000 secured bond, April 1.
The following larcenies more than $1,000 were reported to the Davidson County Sheriff's Office and the Lexington Police Department:
• A well pump valued at $1,000 was reported stolen from a home on Freewill Circle between Dec. 14, 2013, and 1:05 p.m. Monday.
• A 1995 Ford Mustang valued at $3,545 were reported stolen from a home on Harvey Tussey Drive between 9:30 p.m. Sunday and 10:24 a.m. Monday.
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Not pictured is Spree standing on scores table waiving Knicks
towel!!!! Screaming go home to the Mia fans!!! Classic
I watched that game and when C Weatherspoon took that shot my heart stopped and I was thinking of "all of the players to best us" the he missed and I was like "how the heck did they let that dude take the potential game winner!"
Miami was 0-8 during that last seconds in 4th Knicks got only ft's Hardaway as usuall 3pt as IYF but their D was outstadning.They also broke history in that game as no team in playoffs history have won b2b games vs 1seed.
also rememebr that it was the end of heat players
were traded to diffrent clubs.


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FHP identifies motorcyclist killed in S.R. 44 crash
Published: Sunday, January 27, 2013 at 5:47 p.m.
Last Modified: Sunday, January 27, 2013 at 6:22 p.m.
The Florida Highway Patrol identified the man and woman on a motorcycle that crashed into a barbed-wire fence off State Road 44, killing one and critically injuring the other.
Clarence Sieb, 75, of Edgewater was driving a 2008 Honda motorcycle east on S.R. 44 west of New Smyrna Beach near Genesis Way about 5:30 p.m. Saturday when he lost control and crashed into the fence. Though the initial FHP report said he was injured and taken to Halifax Health Medical Center, he was pronounced dead at Bert Fish Medical Center, Sgt. Kim Montes said in a written statement Sunday.
His passenger, Peggy Sieb, 78, also of Edgewater, was airlifted to Halifax Health in Daytona Beach, she said. Her condition was not available Sunday.
The accident was one of two fatal motorcycle crashes on Saturday in Volusia County, according to the FHP.
Rene Meigs, 25, of Pompano Beach was killed about 3:15 p.m. Saturday on Old Dixie Highway just south of Pumphouse Road in Ormond Beach. He attempted to pass two cars, according to the FHP, and lost control of his motorcycle, hitting a tree on the west shoulder.
Meigs was wearing a helmet, but it is "unknown" whether either of the Siebs were, Montes wrote.
-- Julie Murphy
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Ranked among the nation's most integrated healthcare systems, Community Health Network is Central Indiana's leader in providing convenient access to exceptional healthcare services, where and when patients need them—in hospitals, health pavilions, workplaces, schools and homes.
Treatment by a physician may be necessary when an individual's own efforts to lose weight have failed and/or when co-existing medical conditions make it crucial for a person to lose weight. Prescription medication may be necessary for those having obesity-related health problems while behavioral measures can play an important part of any weight loss regimen. Over-the-counter supplements are used by many people in an attempt to lose weight. Behavioral strategies may be used to help change dietary habits and increase activity levels. Eating disorders require treatment by a therapist, and may also require medication.
Specific treatment for obesity will be determined by your physician based on:
Medical treatment for obesity includes, but is not limited to, the following:
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The pictorial story behind the 'three' AFL Sydney Senior Premiership wins by the East Coast Eagles Football Club from 2009 to 2011.
I have been covering the AFL Sydney League since 2008 as the official photographer for the League.
Across the course of those four years I have only seen two clubs win the premiership. The Pennant Hills Demons and The East Coast Eagles.
During this period I have amassed over 40,000 images covering the league and this book is just a small representation of the East Coast Eagles and their 'three' Senior Premiership wins from 2009 to 2011.
In that time I have met some great people who have put in so much effort to bring the Eagles to where they are today and without their help this book would not be possible.
I would like to make special thanks to the East Coast Eagles Football Club, AFL Sydney and Garry Burkinshaw, all the players either in this book or who have contributed to the club, Peter Physick for all his help not only with this book but over the years, Rowan Bilkey for his efforts in getting the book to this stage and my girlfriend Brenda for being so supportive of my work and me being away on so many weekends to cover this great game.
It has been my pleasure to produce the book you see before you today.
by Michael Vettas
Michael Vettas Photography
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Repco Rally Team 2013 Publicado 17 de febrero de 2014
evo X rated Publicado 08 de diciembre de 2012
three - Dust Jacket Version Publicado 01 de febrero de 2012


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Also known as one of our SXSW Artist Spotlights, the cinematic band Exitmusic recently released their video for "Passage." These guys refuse to make music videos anything less than intensely rousing short films (also see their video for "The Sea"). Why not, though? Especially when your lead singer (Aleksa Palladino) was once cast in a Martin Scorcese series.
Look for their debut album, Passage, to drop May 22.