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The world of video games is expanding more and more to give composers even more freedom to experiment and create musical worlds that other mediums such as films and television prohibit at times. Video games have also helped expand careers and in one particular case, introduce us to Oscar Winner Michael Giacchino of "Disney's Up!", and composer of "Star Trek" and the hit series, "Alias" and "Lost."
That leads us to composer Jeff Broadbent who is in a similar position of exploding someday soon to become an elite composer like Michael Giacchino. Jeff is a multitalented composer who upon interviewing him, is not afraid to take chances with the projects that he's given and enjoys what he does best and that is write great music for projects he's involved in. Electronic Arts' latest "Dawngate" is a great example of Jeff's talents for this fantasy role playing game.
For this special interview, Jeff candidly shares with me his thoughts on the game, the process on how the game was scored, working on a video game and his future upcoming projects. So sit back and enjoy Jeff's engaging thoughts.
Please tell the readers about what made you become interested in music and composing.
JB: From an early age I always had a love for music. I started playing the piano around 7 years old, and shortly thereafter starting learning the alto saxophone as well. I performed in the California all-state honor band and was also an Oregon state saxophone solo finalist. When I was a teenager I studied jazz piano and improvisation. This got me interested in composition. Learning about music theory and improvisation was actually my "gateway" into composition. I enjoyed listening to film and video game music and also composing my own pieces. I later studied composition at Brigham Young University (Master's degree), and film scoring at UCLA. I've always had a love of video games, film, and television, so composing for these media is a great fit!
Let's talk about your recent work on the Electronic Arts video game "Dawngate." What got you interested in this project?
JB: Audio director Caleb Epps approached me about this project, and filled me in on the details with concept art, back-story, etc. I was really inspired by the visuals and artwork – it was very vibrant and colorful. It also had a bit of an Eastern/Asian influence that I thought was very cool. All of this got me thinking about how fun it would be to compose a score that likewise was very colorful and vibrant. I demoed for the project and am happy to say I was selected to work on it!
Did the game's producers want a big orchestral score that would capture the moods of the game?
JB: The game developers did want the use of the orchestra, but also additional instrumentation that would make the score unique and well-fitting to the game. Caleb and I discussed quite a bit what instrumentation would be best fitting to Dawngate. Eventually we decided upon a mix of orchestra combined with exotic world instruments (like Eastern flutes, plucked instruments, Tibet metal percussion and more), and even blended in some organic nature-inspired synthesizer ambiences and pulses to give a modern touch.
How difficult was it for you to come up with the theme for the score that would lead to the final result?
JB: It was actually not difficult - the interesting thing with the whole Dawngate score is that I got into the groove of composing and so the music came to me relatively easily. I think this was because I was very inspired by the art and story of the game, and that helps the creativity a lot. When composing a theme I will often play it on the piano first to work out the melody and harmonies. I find that if I can create a theme that will be interesting just by itself on the piano then I have the "seed" of a theme that can be fully orchestrated and expanded upon for the full version.
Did you find it challenging that your score would have to compete with the short scenes or transitions throughout the game?
JB: Not particularly – actually for Dawngate I composed a number of short musical transitions that work to connect the different gameplay states. For example, when the game player turns the tides of the competition and starts winning the match, the music transitions to more victorious music. A short musical transition helps make this change more seamless.
How much music did you end up recording for the game itself?
JB: So far I have composed approximately 40 minutes of music or so, if we count the low and high-intensity music layers. Each gameplay music track has both a low and high-intensity layer. These layers have different instrumentation and tension levels so the music can adapt to the level of combat during the game.
From your point of view, what were the recording sessions like?
JB: Actually, there were no recording sessions for Dawngate! The music was composed with virtual instruments. But I'm honored that you thought it was live orchestral music (smiles). I try my best to use high-quality virtual instruments and fine-tune the mix so it sounds as realistic as possible.
Will there be a soundtrack album for it?
JB: We are discussing the possibility of releasing a soundtrack, and it sounds like the developers are interested in this, which I'm happy about! For the soundtrack album I would re-work the tracks a bit to make them appropriate album cuts (for example blending the low/high intensity layers I mentioned so that the listener can experience them both).
What is that process that you go through composing for a video game?
JB: I start by talking with the developers and learning as much about their game as I can. I view concept art, read about the characters and story, watch gameplay videos, and basically immerse myself in the game.
After that I start to brainstorm musical ideas that can work for the game. I usually think in terms of sonic colors/instrumentation first – I will write down different instruments I think will work for the score, with the aim to make the sonic palette unique and fitting to the game. After that I like to compose the most important music cues first, which are usually the themes. I find that if I create the themes first it gives me melodic material which I can then weave into the rest of the score. This helps the music be more memorable and also better developed. After composing the theme I will move on to the in-game music, progressing track by track. The audio director will test the music in-game, provide me with feedback, and I modify as needed. Once the tracks are approved they are integrated into the game.
Was it hard for you to come up with thematic material for the games you've done in the past?
JB: Not particularly – I usually start by thinking what kinds of emotions I want the theme to convey, and then select the appropriate instrumentation and also harmonies I might use. Then I sit down at the piano and experiment with various approaches – at this time I usually write some different ideas on sheet music. Then I rework the theme, and after it's notated via pencil-and-paper I move to the computer to produce it with the full instrumentation.
Do you think the world of video games has become a great outlet for composers such as yourself and many others to expand and write music that would otherwise be hampered by films or television?
JB:Yes, certainly! Video games is a growing industry; I was reading that it actually makes more money than the film industry now. There is also a large breadth of game projects, from smaller independent games to online games to big console games. So there's a lot of opportunity for composers on many different fronts.
Do you think it is easy to write music for a video game as opposed to that of a television show or film?
JB: I would say they each have their own unique set of challenges. A challenge of film and television is creating music that lines up well with the scene and the various emotional cues of the visuals. In video games it is often required to write music in different interactive layers (such as low/medium/high intensity) so that the music can respond to the gameplay conditions. Video game music often needs to be action-heavy and exciting, whereas film and television music can require many different dramatic styles such as slow emotional music, tension music, full action music, and everything in-between.
You've also done work for movie trailers as well. Can you please tell us all about that?
JB: I've composed music for film trailers, primarily working with trailer music companies such as Position Music and Warner Chappell. Film trailer music needs to be very large in size, be immediate and full of impact, and have lots of emotional ramp-ups for the on-screen builds. The music has to grab the audience from the beginning and hold their attention for the length of the trailer. As such, the music needs direct motifs and themes that can be established during the short duration of the trailer.
Is composing for a movie trailer as challenging as writing for a game or a movie considering the length of a trailer is usually at around two and a half minutes?
JB: In this case I would also say that the challenges are different and unique. With trailer music, as I described, the music needs to have immediate impact, it needs to grab the listener and hold them for the roller coaster ride of the trailer. While composing for trailers it's important to have a good sense of how to build the music in size and intensity as the trailer progresses. Also using unique sounds and "ear candy" is helpful in trailers to provide the attention-grabbing effect they require. In a film or game you have the entire length of the movie/game to develop themes/etc. but in a trailer it all must be very concise, immediate, and direct.
What is your favorite score that you've written to date?
JB: Tough question! If I had to pick I would say it's split between Dawngate and I Am Alive (Ubisoft). I really enjoyed Dawngate because of the exotic music palette – combining orchestra with eastern elements, and also some modern synth touches. I also enjoyed the combination of ambient, combat, and thematic music in Dawngate, and the chance to write some beautiful and ethereal music cues.
I Am Alive is a favorite of mine because as a video game it's quite dramatic. The narrative involves a man in a post-apocalyptic world searching for his family. For this score I had the chance to compose a lot of sound design-inspired music, using different ambiences and unusual instruments. So artistically it was very creative and satisfying for me.
Name a film that you would love to have written the score for?
JB: Hmmm, another tough question! I would say E.T. would have been a great film to score. The movie has such magic and wonder, and is a fantastic "canvas" for thematic development and emotional music. Having a great film or game to score really helps the composer get inspired.
Please tell the readers about your future upcoming projects.
JB: A couple of games I composed scores for that are currently in beta phase are LEGO: Legends Of Chima Online (Warner Bros) and Tom Clancy's EndWar Online (Ubisoft). For Legends Of Chima I composed a lot of epic and fun music. The video game accompanies the television show, so it was a lot of fun to work on this franchise. EndWar Online is a spin-off of sorts from the original EndWar console game. For this project I composed different music for each of the three factions (Russian, European, and USA). This was interesting because each faction has its own music style: Russia uses dark orchestra and choir, Europe is more hi-tech and modern, and USA has rock guitars and aggressive percussion. I'm working on several other projects at the moment but they are still currently undisclosed!
I really want to thank you once again Jeff for granting me this interview and I'm really honored to meet you.
JB: Thanks very much! It was great to meet you as well and take part in the interview.
Very special thanks to Jeff for being so gracious with his time for this interview and being such a great sport in navigating through a minefield of difficult questions. I least I think they were. Thanks Jeff!
Join the DAWNGATE open beta at http://www.dawngate.com.
Please feel free to visit Jeff's official website @ http://jeffbroadbent.com to check out his latest and upcoming projects.
Here is Jeff Broadbent's Bio:
"Jeff Broadbent is a Hollywood Music In Media Award-winning and Global Music Award-winning composer whose passion for music and sound has been heard around the world in numerous video games, television programs, trailers, and films.
Broadbent has composed music for some of the leading video game companies in the world including Activision, Warner Bros., Sony Online, Electronic Arts, Ubisoft, and NetEase. His unique and authoritative musical style combines the power and depth of the orchestra with cutting-edge synthesizers and sound design elements, making him a very unique, adaptable and versatile composer. Such musical diversity is evident in Sony Online's PLANETSIDE 2 in which Broadbent fused elements of orchestra, rock, and electronic genres, winning him a Hollywood Music In Media Award for Best Video Game Score and a Global Music Award of Merit. Jeff's ambient sound-design inspired score for Ubisoft's I AM ALIVE resulted in rave press reviews, an Outstanding Production Winner Award (Square Enix Music Online), and an additional Hollywood Music In Media Award nomination. Broadbent's adrenaline-fueled action music has been heard in blockbuster film video games such as TRANSFORMERS: DARK OF THE MOON (Soundtrack Geek Awards - Best Video Game Score Nomination), EXPENDABLES 2, and TEENAGE MUTANT NINJA TURTLES.
"The power of music to instill a wide variety of emotions is unrivaled. It is a very visceral art, one that has the ability to speak to us on many levels. I have a great passion for music, and believe that it plays an integral part in human existence. My dream is to share this passion with others."
In addition to Broadbent's work for video games, his music has been featured on prime-time television for networks including CBS, MSNBC, FOX, the Discovery Channel, VH1, and more. In 2010 Jeff composed the score for the feature film THE GRAY AREA (winner of the Platinum Narrative Feature Award). In addition to his work for film, television, and video games, Broadbent has composed production and trailer music for some of the world's leading music houses including WARNER CHAPPELL, POSITION MUSIC, SOUND IDEAS and more.
With the ability to produce large scale works for live performers or realistic sampled scores (electronic mockups), Jeff's diverse musical abilities can serve a variety of projects. As a sound designer, Jeff's abilities and extensive sound effects library make him a great choice for your sound design needs."


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abstrakt web
web abstractions is a journey inside the graphic imagery
of corrupt screen images from incompatible formats.
This creates visuals which are then manipulated
into graphic tablets of colour and form.
I have always had an interest in creating fascinating blends of bodyshapes with naturally organic and manmade elements, starting with compositing black&white negatives in the darkroom. Today I embrace the best in computer software, self publishing products, museum-grade print technology and custom framing materials to realise the best possible output from these images. I have spent over 30 years as a professional graphic designer, which has helped me to achieve creative and intriguing works with my blended nude images. In recent years I have begun to establish myself as a respected contemporary artist and have had a number of sales of my works.
Comment posted.
runningwild says these are indeed strangely beautiful images .... could you please join the royal photographic society digital group who would love to her more about this
posted at 08:59PM Mar 14 PST
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Oliver & Sherry Wedding 01.12.13 Published February 24, 2014
Blended Nudes 2 Published November 12, 2012
Blended Nudes 3 Published October 05, 2012
Blended Nudes 4 Published October 05, 2012
Blended Nudes 1 revised edition Published March 08, 2012
the desire to see something_3 Published December 05, 2009
the desire to see something_2 Published December 05, 2009
the desire to see something_1 Published December 05, 2009

subset: commoncrawl


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Stewed Meat
Last updated by chinatravel at 2015/12/5
The stewed meat is also a kind of local particular food. It is not only a routine food also a choice dish for its delicious meat and soup. And it is a favorite food among local natives
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"Shall we take a seat?" He says, leading the two of you over to an empty table.
"It is not that we cannot teach these magics. Rather, we choose not to... Magic is a powerful thing, child. Many people fear this power, because they do not understand it. Power is like a fire, and fear is a bitter air that feeds the flame. Without responsibility, this flame becomes wildfire. We of the academy are trying to teach others to respect magic, and embrace it rather than fear it. To use necromancy is to have control over the energies of life and death. It can be used for the greater good, but it can quickly become profane. It would not be in the academy's interest to teach this sort of magic. However, it would be foolish to completely ignore it's presence. Should the school ever have need to know about such things, I am here to provide my expertise.
As for how I myself learned to use this magic... It is a tale best left untold, I believe. In my younger years, when I lived in my homeland, I was a different man. But I have accounted for my crimes, and I have taken a vow to not repeat my mistakes."


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2015: (Game-by-game) All-Ivy Honorable Mention … Played and started in all 37 games, with 33 starts at third base and four at first base … Batted .262 overall, with 10 doubles, four home runs, and 22 RBI … Hit .314 in Ivy League play, with 13 RBI … Made just two errors in 113 chances, fielding .983 … Totaled nine multi-hit games, including four games with three hits … Was 3-for-4 with a home run, double, and RBI at Stetson (3/1) … Had two RBI at Old Dominion (3/8) … Collected two hits and 3 RBI, while scoring three runs in game two against Lafayette (3/22) … Had two hits in game one and two at Yale (4/4) … it a home run in game one and two at Brown (4/5), totaling four RBI on the day … Had two RBI in game one at Cornell (4/11), before going 3-for-5 with an RBI and run scored in game two … In game two at Cornell (4/12), was 3-for-5 with two RBI … Was a perfect 3-for-3 with three RBI, two runs scored, and two doubles in game one versus NYIT (4/15) … Had two hits, a RBI, and scored a run in game two against Columbia (4/26).
2014: (Game-by-game) Second-team All-Ivy … Named Big 5 Player of the Week (3/17) … Started all 41 games, primarily at first base … Made five appearance on the mound for the Quakers, including two starts … Batted a team-high .316, with a .382 on-base percentage (2nd), and .474 slugging percentage (2nd) … Fielded .991 making only three errors in 316 chances … Led the team with 48 hits … Second on the team in RBI (30), doubles (12), and total bases (72) … Third on the team in runs scored, with 28 … Recorded 14 multi-hit games, including a four-hit game and four three-hit games … Went 2-for-4 with a double and an RBI in game one at Dallas Baptist (2/28) … Drove in two runs versus Monmouth (3/9) … Collected two hits and two RBI including a home run in game one at Delaware State (3/11), and in game two, scored four times and hit a home run, while driving in three runs … Went 3-for-5 with two doubles at Richmond (3/14) … Recorded a career-high four hits at Villanova, with two RBI … Went 3-for-3 versus Brown, with a home run and a double, and a RBI … Drove in one run on two hits at Harvard (4/5) … Scored once, and had two hits at Dartmouth (4/6) … Totaled two hits and an RBI against Saint Peter's (4/9) … Went 3-for-5, scoring twice, and driving in one against Cornell (4/12) … Scored three times, with two hits and a walk, and an RBI versus Cornell (4/13) … Collected a career-high four RBI against the Univ. of Sciences (4/16) … Tallied three hits and scored a run at Princeton (4/20) … Recorded three RBI and scored twice versus Columbia (4/25) …On the mound, finished 0-1 with a 4.15 ERA and seven strikeouts in 8.2 innings of work.
2013: Appeared in 12 games on the mound, making nine starts … Second on the team with 52.0 innings pitched … Cobbled together a 5.19 ERA, going 4-4 on the season … Went 5.1 innings against Duke and gave up three runs, but took the loss for the Quakers (3/6) … Threw scoreless innings of relief against Winthrop (3/10) and Towson (3/13) … Picked up his first win by limiting George Washington to two runs over 8.0 innings (3/16) … Scattered eight hits over 8.0 innings against Lafayette, giving up just one run (3/23) … Gave up only one run to Dartmouth in 6.1 innings but took a no-decision (3/30) … Struck out five in 5.1 innings to pick up the win at Brown (4/6) … Earned fourth win in five outings by throwing 5.1 innings of four-run baseball against Princeton (4/13) … Had one inning of scoreless relief work at Lehigh (4/17).
2012: Did not appear in any contests.
High School: Three-year letterwinner on the baseball team, winning Team MVP honors in 2010 and 2011...All-Conference selection as a junior and senior...Teams reached South Jersey final in each of final two seasons...Named to the Principal's list in every quarter of high school.
Personal: Son of Virginia Ottman and Jeffrey McGarry...Enrolled in the School of Engineering and Applied Sciences.


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Cafe tiramisu
Approx. 55 g x 6 pieces
Frozen cake
Cocoa sponge with coffee syrup forcemeat,
And topped with tiramisu flavor カスタードホイップ.
Toppings to have chocolate powder.
Cafe tiramisu * Image is image in the end.
Content amount
One approx. 55 g x 6 pieces
Shipping methods
Click here for more details about the included! Frozen flights In we will deliver. There is a frozen product, these products and Shipped with It is possible to deliver to.
This product cannot be shipped to United States from the store.
Please contact the store for further information.


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Oct. 25, 2003
UCLA Head Coach Karl Dorrell
It was a hard fought game. The more you progress through the season, the tougher these games are becoming. I am very proud of what our team did today. They were able to battle back and put points on the board and shut out another team. I was impressed that we generated some running game on offense and that was probably the first time this season we were able to do some things positively on that side of the ball. We are real fortunate and happy we were able to win this one.
Our defense played lights out in the second half and our special teams had to step up containing their returners. We are one more week closer and we have four more weeks to go. This is a point in the season when we lose players here and there. You have to sustain a level of productivity with the starters. We had a couple guys that were not in the game on the defensive side of the ball and we had some guys come in and fill those holes.
On Drew's second half
He played very well and was the hot back in the second half. He showed good speed and gave us a punch. It was nice to see him feeling comfortable. I was pleased with his effort. He was a big part of why we won.
On Andrew Walter's Injury
"It didn't change our game plan, but it changed theirs. We lost Rodney (Leisle) in the first half and had to fill in with other players. We are fortunate that they played well. It was unfortunate for Arizona State to lose their starting quarterback. I have been there when we lost ours. Its part of the game and you just have to find a way to be successful."
On Play of Matt Moore
"He is rusty. That was part of the process, whenever you miss a lot of time and you assume the role of being a starter again. We knew that he wasn't going to be just flawless out there. He made some nice throws in the early part of the game. He got a little bit frustrated and made some mistakes with the football in the middle part of the game. It was good seeing him back in there, made some nice throws and directed us in the second half."
Arizona State Head Coach Dirk Koetter
We had our chances, but we didn't get it done. The defense started bluffing on their blitzes and they did a good job of rattling Sam (Keller). It was a difficult situation for him against one of the best defenses in the nation. Sam played like a true freshman.
On Andrew Walter's injury to his right ankle
"Andrew tried to come in the second half. He tried to push off, but had no mobility. We had to make a decision that was best for us in the long term."
On Wade's fumble
"He had a nice gap there, but London reached out and stuck his hand out. He feels bad. He is not a fumbling back, but the guy just hit it perfect. It was a big turning point. We had a chance to take the lead. It was probably the biggest play of the game."
Arizona State Quarterback Sam Keller
"I definitely held the ball too long. I didn't play with as much confidence and I didn't trust myself enough."
"Our defense was awesome. We had a ton of opportunities. I take a lot of the blame. Mentally, I wasn't where I should have been. I didn't make the plays."
On the change of the game plan after Walter's injury
"Our game plan didn't change just because Andrew was down. I had to come in and I tried to stay as focused as I could, but I didn't do what we needed me to do. That was obvious. It was just me not trusting myself, that's what it boils down to."
Arizona State Quarterback Andrew Walter
"I tried my best. I gave it a shot at halftime. Last year I played with three cracked vertebrae. I tried, but I couldn't get back in. It just wasn't happening."
"I don't think it's serious. It hurts, but I will be ok."
On Keller
"He did more than I could have done as a true freshman. The next time he goes out there, he will have Pac-10 experience. As a true freshman, you couldn't ask for more."


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Is it possible to restrict the Site Actions menu and the Page tab/ribbon from Contributors in SharePoint 2010? We only want the Contributors to click on the green plus signs where it says "Add…" on the site pages.
In your .master page, surround desired elements with
PermissionString is the key attribute there, and there are several others. There isn't a actual "Contribute" value for the attribute so you will need to confirm that "AddListItems" works for you (if you have OOB Permission levels, it should).
It is true that there is no out of box way of using "permission levels" for SPSecurityTrimmedControl . However you can write something that will inherit from the SPSecurityTrimmedControl class and then allow it to use permission levels. Then you can create your own custom permission levels and then use that to trim stuff out.
take a look at this blog I wrote that goes over this http://spcrew.com/blogs/Lists/Posts/Post.aspx?ID=3


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ONE WEYMOUTH couple celebrated their leap year engagement anniversary with a dinner out.
Former MP Ian Bruce and his wife, borough councillor Hazel, went to the cinema to watch War Horse and then for dinner at Prezzo restaurant on Weymouth harbour side to celebrate their anniversary of getting engaged on February 29, 1968.
The couple got married in June 1969 and have four children and 10 grandchildren.
Mr Bruce joked that the date was very easy to remember and that he only had to buy dinner once every four years.
He said: "The 44 years have flown by – it feels like yesterday."
He added that a sense of humour and having interests both together and separate was the secret to their long and happy marriage.
He said: "We do a lot of things together and have separate interests. Hazel's a borough councillor and a magistrate and we run a company together.
"I do a lot of yachting and swimming."
He said: "A shared sense of humour is very important. Life is to be lived and you have to laugh at the funny things and the more difficult times as well."
The couple will celebrate their wedding anniversary with a family party.


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Today, Hartford Books Examiner welcomes Emma Donoghue.
Ms. Donoghue is the author of the critically acclaimed and wildly popular novel, Room, and will present her new book, Frog Music (Little, Brown and Company, $27.00), at R.J. Julia Booksellers in Madison next Tuesday evening, April 8th. (See event details below.) She was born in Dublin in 1969 and is an Irish immigrant twice over: she spent eight years in Cambridge doing a PhD in eighteenth-century literature before moving to London, Ontario, where she now lives with her partner and their two children. Though best known for her novels, she has written in a variety of genres that have included literary history, biography, stage and radio plays, fairytales, and short stories. Room was an international bestseller, a New York Times Best Book of 2010, and a finalist for the Man Booker, Commonwealth, and Orange Prizes.
Frog Music was published on April 1st, and has received an overwhelmingly positive critical response that has included starred reviews from Publishers Weekly, Booklist, and Library Journal. Darin Strauss, author of Half a Life, praised, "Donoghue shows more than range with FROG MUSIC—she shows genius. Like and unlike her stunning ROOM, this novel lifts into view a strange crime, a remarkable woman, and is a Ringling Brothers-grade feat of narrative strength….Blanche and Jenny are characters you will never forget, filmed in vibrant, cinemascope prose, and they mark Emma Donoghue's greatest achievement yet."
From the publisher:
Summer of 1876: San Francisco is in the fierce grip of a record-breaking heat wave and a smallpox epidemic. Through the window of a railroad saloon, a young woman named Jenny Bonnet is shot dead.
The survivor, her friend Blanche Beunon, is a French burlesque dancer. Over the next three days, she will risk everything to bring Jenny's murderer to justice--if he doesn't track her down first. The story Blanche struggles to piece together is one of free-love bohemians, desperate paupers, and arrogant millionaires; of jealous men, icy women, and damaged children. It's the secret life of Jenny herself, a notorious character who breaks the law every morning by getting dressed: a charmer as slippery as the frogs she hunts.
In thrilling, cinematic style, FROG MUSIC digs up a long-forgotten, never-solved crime. Full of songs that migrated across the world, Emma Donoghue's lyrical tale of love and bloodshed among lowlifes captures the pulse of a boomtown like no other.
Now, Emma Donoghue reveals a few pages from the book of her own life …
1) As a child, did you wear your literary lust loud and proud or were you a closet bibliophile?
Out and proud! As the daughter of an English teacher and a literary critic / university professor, I was allowed to read at the expense of all else. My parents never made me shut my book and go outside even to catch a rare ray of Irish sun.
2) What book(s) were you likely to be caught keeping company with under the covers?
Fairy tales above all, plus nineteenth-century novels; I remember making a family tree to help me sort out the plot of Emily Bronte's WUTHERING HEIGHTS.
3) What one book do you always recommend when asked?
Everybody should read the major novels of Charles Dickens, by law.
4) Which of your own books would you suggest to readers & why?
ROOM seems to seize the widest variety of people, whether those who want a quick read about a child in peril, or academics writing PhDs about it, so I'd probably recommend that one.
5) Is there a book or author that readers would be surprised to know you've read and liked?
I'm a hardcore fan of the Jack Reacher thrillers by Lee Child, though I could never write anything in that pulse-pounding style myself.
6) Who is the one author that would, or did, make you weak in the knees upon meeting?
I was all of a flutter meeting Michael Cunningham, but luckily geniuses are often easy to like as well, so he put me at my ease right away.
7) Has there been an "I've made it" moment in your career?
When I sold my first two novels to Penguin, at the age of twenty-two, and realised I could actually pay my rent this way, without getting a 'real job'. There have been great moments since - notably, when ROOM got shortlisted for the Man Booker Prize - but none that made such a difference to my sense of how my life might go.
With thanks to Emma Donoghue for her generosity of time and thought and to Morgan Moroney of Little, Brown and Company for facilitating this interview.
Ms. Donoghue will appear at R.J. Julia next Tuesday evening, April 8th, at 7 PM along with Hannah Kent (Burial Rites). This event is free and open to the public; registration is required and can be completed online or by calling the store at 203-245-3959. Copies of Frog Music will be available for purchase and signing. R.J. Julia is located at 768 Boston Post Road in Madison.


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THE East African Regional Youth Summit on Climate Change opened in Mwanza last week and participants deliberated on the impact of weather change on the region.
The conference, organised by the East African Community Students Union in collaboration with the Tanzania Youth Vision Association, deliberated on the impact of climate change and reiterated the need for developed countries to cut on carbon emissions.
In her opening remarks, the East Africa Community Deputy Secretary General, Hon Jessica Eriyo said governments are in the process of negotiating a new universal climate change agreement, which is set to be adopted in Paris in 2015 and enter into effect in 2020.
Based on views and proposals from governments, the co-chairs of the Ad Hoc Working Group on the Durban Platform for Enhanced Action (ADP), the body tasked with the negotiations, have made key material available in advance of the next negotiating session from 20 to 25 October 2014.
The material that cochairs Mr Kishan Kumarsingh and Mr Artur Runge-Metzger have published includes a note that reflects on progress made at the previous ADP session, as well as a paper presenting views and proposals of governments on the elements for a draft negotiating text for the 2015 agreement.
According to the cochairs, the material also includes a draft decision on information that governments will provide when they communicate their contributions to the 2015 agreement and a draft decision on continuing important mitigation-related work in the period up to 2020.
The material captures the collective progress that has been made thus far on the road to Paris. It aims to facilitate the understanding of issues and options on the table. The project coordinator, Mr Fazal Issa said that the climate change financing should be in the form of grants and not loans, and that climate change should be more of adaption than mitigation.
Mr Issa noted that there was some of discussion on whether to continue with conventions or step aside, but the answer was to continue with conventions with hope that one day there will be solution towards climate change.
The EAC Regional Youth President, Mr Angaja Fumelisha said that Regional Youth Summit is a platform that brings together young people from different parts of East Africa to address various challenges.
He said the youth meet once every year to discuss issues such as the EAC integration agenda, and how to take advantage of the opportunities that it (integration) presents. The Mwanza conference brought together over 200 participants mostly from secondary schools and institutions of higher learning.
This year, the forum is focusing on climate change. Climate change is already wrecking lives in Africa. Changing weather patterns and extreme weather events, such as floods or droughts, have had debilitating consequences on the regional agricultural production.
Miss Chepugechi Rop from Kenya said these changes have led to unreliable farming seasons. A December 2009 estimate put the number of people facing starvation across East Africa at 23 million as a result of successive failed rainy seasons.
In the COMESA-EACSADC, climate change effects include increased frequency of extreme weather events, flooding, storms, and droughts, which have affected the region's food production and its progress towards poverty reduction.
Climate change may also spark conflict between and within nations as resources become scarcer and disasters destroy livelihoods. Silvia Rwambo from Tanzania said, in order to develop a unified African position on Climate Change, the programme is engaging key stakeholders such as farmer organisations, women, youth and children to participate in climate change decision-making processes, strategies and interventions.
"Thus this three-day Youth Summit on Climate Change is a great platform to engage young people to build regional and continental consensus for the African Climate Solution", said Rwambo. Job Semboje from Tanzania said that The United States and China took cautious step toward bilateral cooperation on climate change policy.
The two countries signed eight partnership pacts in Beijing to promote the exchange of research and technology for greenhouse gas-cutting initiatives.
Consensus between the world's two biggest carbon emitters is critical to forming a new global climate pact to replace the 1997 Kyoto Protocol, but the nations have long sparred over how to address climate change.
Both sides remain reluctant to commit to sweeping reductions in emissions unless the other party takes the plunge, too, and leaders have long struggled to agree on how the costs of reducing carbon should be split among rich and poor nations.
The problem here is fairly obvious; politics, the subject of global warming was corrupted by politics from the outset and the nation immediately divided down political lines.
"Beyond that there is no doubt whatsoever that we pour untold sums of horrid and deadly toxins into our atmosphere and to even suggest that it doesn't have some degree of effect is, well... simply illogical said," Mr Semboje said.


text:
Joey Porter was jawing at some Chargers lineman before the game. Some animated smack talk.
That's fine, if he can back it up.
But J Peasy didn't even finish the game. His 2 tackles were pretty low, though he did have the sack with the forced fumble, so I can't rag on him too bad.
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Sunday, September 27, 2009
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ReviewsonExploreDance.comA Web Magazine Bringing the Worlds of Dance Together
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Vignette, 4-23: Taglioni's
Memory & Memorabilia
By Tobi Tobias
Copyright 2003 Tobi Tobias
(This piece from the Dance Insider Archive was first posted online on April 23, 2003. For more from Tobi Tobias on the Dance Insider, click here. To
read recent articles by Tobi Tobias on ArtsJournal.com, please
click here.)
The Sighting
I was standing before
a glass case -- in a museum or library dedicated to theater memorabilia,
I think. Or perhaps an exhibition space in an opera house. Where?
New York? London? Paris? Can't recall. When? No idea. Perhaps decades
ago. All I remember -- but the memory is piercing -- is that this
particular vitrine displayed a selection of dancing shoes, all pre-20th-century,
all shaped, frayed, and soiled through use. And among them, feather-light
on its transparent shelf, lay a single ballet slipper, clearly from
the Romantic era, when the ladies of the ballet first rose to the
tips of their toes, to hover for a fleeting moment, as if buoyed
by the air itself.
Shod in such footwear,
ballerinas of that time created their supreme illusion. They were
ethereal beings whose debt to gravity was minimal. Their contact
with the cloddish earth, and the flawed folk anchored to it, was
evanescent -- yet charged with ecstasy and its twin sister, tragedy.
The slipper, caged in glass like an insect in amber now that its
day and duties were past, was a flimsy affair of satin anchored
to a pliant leather base. The fabric had been emphatically darned
around the sides and front of the toe sheath, such reinforcement
being the sole support of yesteryear's artists of the dance. Its
exhibition offered some tangible evidence, albeit oblique, of feats
that otherwise reach today's dance aficionado only through legend,
charmingly improbable etchings, and poetic evocation. ("She floats
like a spirit in a transparent mist of white muslin with which she
loves to surround herself, and she resembles a contented soul scarcely
bending the petals of celestial flowers with the tips of her rosy
feet." -- Theophile Gautier, on Marie Taglioni, 1837) The slipper
was pale, with a faint blush suggesting it might once have been
pink. I remember it as being attributed to Taglioni.
The Nature of Relics
Why should such relics
move us? Why do they inspire in us feelings of awe and love? Why
should they make us feel a kind of intimacy with the person to whom,
it's alleged, they belonged? The psychology involved is similar
to that attending the veneration of bone fragments claimed to be
earthly remains of a mortal later canonized as a saint. Reverence
for the wonders attributed to the person is transferred to the otherwise
ordinary object once attached to the remarkable one, who is long
since gone.
Needless to say, such
reverence requires a generous portion of belief on the part of the
worshipper, who must be not merely acquainted with the story of
the marvels but also convinced that they really occurred. Without
the background information plus the magical thinking, the bone is
merely a specimen from the anatomy lab; the dancing slipper, just
an old, beat-up shoe. The objects themselves are utterly common;
we, in our need and desire, transmute them into the uncommon.
Why a Shoe?
In times gone by, the
fetish object associated with an adored, idealized woman was usually
a glove or a flower worn in her bosom. Gautier, that indispensable
chronicler of the French Romantic ballet, provided the poem that
seven decades later inspired Fokine to create "Le Spectre de la
rose," the dance that epitomizes the rose-breast association:
"Je suis le spectre
d'une rose
Que tu portais hier au bal....
Mon destin fut digne d'envie...
. Car sur ton sein j'ai mon tombeau.
(I am the ghost of the
That you wore last night at the ball....
My destiny is worthy of envy...
For on your breast I have my tomb.)"
But why should the prosaic
shoe inspire such veneration? The answer is easy. In a dancer, the
foot is more significant than the hand or even the breast (though
the latter is both an object of sensual desire and the cage of the
heart). As the glove is to the hand, the shoe has sheathed the dancing
foot like a second skin. Animated by its wearer, it has traced the
steps of the dance. What's more, being malleable, it has taken on
the shape of the dancing foot. Tangible evidence of a beauty and
magic doomed to disappear, it continues to exist after both dance
and dancer have vanished. Call it, if you like, the death mask of
the foot.
Why Taglioni?
Why is the idea of a
Taglioni shoe especially potent? Popular history credits Marie Taglioni
(1804 - 1884) with being the first ballerina to dance on pointe
-- in creating the title role of "La Sylphide," choreographed by
her father, Philippe Taglioni, in 1832. In truth, she was simply
the emblem of an achievement that came about gradually, through
a combination of aspiration and experiment, and that has continued
to evolve to this very day. Taglioni attracts us, I think, for grander
and less specific reasons. She embodied the primary aesthetic thrust
of dancing (and indeed of much literature, music, and visual art)
in her time. She personified the impulse of the soul that prefers
the ideal to the actual, otherworldly joys to the ones within the
common grasp, imagination to reality, air to earth. Her dancing
is reported and represented graphically as having been ineffably
light and fluid, pure and elusive. With these qualities, she symbolized
at once the unattainable object of desire and, still more abstractly,
the yearning for it. Rising onto her pointes, a trick once associated
with circus performers, Taglioni promised transcendence.
Taglioni's power is
perhaps best understood in comparing her qualities to those of her
great rival -- and foil -- Fanny Elssler (1810-1884). Elssler's
dancing, we're told, was forceful, dramatic, and sensuous. It was
rooted in folk forms; her signature number was the Cachucha, an
ebullient Spanish affair, performed with castanets. "Hers is not
the aerial, virginal grace of Taglioni," Gautier wrote, "it is something
much more human which appeals more sharply to the senses. Mlle.
Taglioni is a Christian dancer.... Fanny Elssler is a completely
pagan dancer. She reminds one of the muse Terpsichore with her tambourine
and her dress slit to reveal her thigh and caught up with clasps
of gold. When she fearlessly bends back, throwing her voluptuous
arms behind her...." And so on.
There are dance devotees
who favor Elssler over Taglioni, just as there are those who, considering
the icons of early 20th-century ballet, prefer Tamara Karsavina
to Anna Pavlova. (Odd business, this -- pledging one's adoration
to a dancer one has never seen onstage. It's done essentially through
hearsay and still images.) I myself am a Karsavina fan -- for her
reputed dramatic gifts (confirmed to a degree by her photographs)
and for the sensibility, at once poetic and practical, demonstrated
at every turn in her memoir, "Theatre Street." But in the main,
when it comes to the posthumous adoration of ballerinas, the suprahuman
types, specialists in the ineffable, carry the day.
Pavlova's Shoe
I once held in my hand
a shoe of Pavlova's. This was in London, at Ivy House, the ballerina's
home for two decades, where, in 1974, John and Roberta Lazzarini
had set up a bijou-scaled museum as a memorial to their idol. Few
visitors were on the scene the day I made my pilgrimage. With me
was my daughter, a School of American Ballet student of sixteen,
whose interest in dead dancers, I should have realized, had not
yet been kindled. Robert Lazzarini himself, friendly and generous,
was present, acting as both docent and guard. He soon elicited our
connection to dance from us and assumed, naturally but incorrectly,
that we were worshippers at Pavlova's shrine. At one point, when
my daughter and I were alone in the main room with him, he took
a worn pointe shoe down from its perch and extended it to us. "Here,
would you like to hold it? Go ahead." Since my daughter made no
move to accept the hallowed object -- indeed, her face had assumed
the impassive mask with which adolescents spurn the world's conventions
-- I did, for the sake of politeness.
There it lay in my hand,
wafer-light but laden with associations. There were a lot of heart-string
tugging emotions I knew I should be feeling, but I wasn't. Just
the opposite. Despite Lazzarini's genuine, engaging passion for
Pavlova and everything associated with her, I felt the whole business
was kind of creepy. The shoe reminded me of the "self-immolation
in the cause of art" aura that surrounds Pavlova, which has an eerie
cousinship with necrophilia. Some of this mythology -- like the
lurid account of her calling for her costume as she lay on her deathbed
-- accreted to Pavlova posthumously. Much of it, though, she fostered
in her lifetime, with the help of astute collaborators. Remember,
her very signature piece, Fokine's "Swan," is about the pathos and
beauty of death. Had the proffered shoe been Karsavina's, I would
have thought my palm blessed. A chacun ses gouts.
Other Shoes
A few other shoes have
come my way. Among them is a pair of Patricia McBride's, autographed,
with the occasion of their wearing noted as well. It was the New
York City Ballet's "Coppelia," telecast January 31, 1978, in the
Live from Lincoln Center series. I worked on that show, providing
intermission material that included an interview with Alexandra
Danilova, an unforgettable Swanilda, veteran balletomanes say, and
Balanchine's collaborator in staging this production. Though I'm
not much of a souvenir collector, I did have a slight acquaintance
with the obliging, sweet-tempered McBride. So I let myself be seized
by the madness of asking for the shoes and the signing. I was goaded,
in part, by knowing that, with the video record of the performance,
posterity would actually be able to see the dancing in which the
shoes had been worn. One of these days, I suppose, I should hand
them over to the Library for the Performing Arts. While I stall,
my dance-mad granddaughter likes to look at them, touch them, and
hear their story -- once again.
Returning after a dinner
break to the backstage area an hour before the performance was to
be shot, the director, the producer, and I were startled to see
McBride standing in the corridor outside her dressing room, ravishing
in full stage makeup, wrapped in the colorful Japanese kimono that
served as her theater robe, grasping a gleaming pointe shoe like
a blackjack and ferociously slamming it against the cinder block
wall. Arrested in the act of mayhem -- commonly used to soften the
rock-hard box of today's pointe shoe and thus muffle the dancer's
footfalls -- McBride merely flashed her dazzling smile at us and
offered an "Oh, hello" in the dulcet tones of one discovered stroking
the family cat. I suspect that for a child eyeing the shoe today,
the story registers not as factual report in the form of eyewitness
account, but fable. It takes its place, I imagine, alongside fairy
tales, folk tales, and vintage family anecdotes. It's at once real
and pretend -- as all stories are (so magically and, alas, so briefly)
in a child's mind. As McBride's shoe is to my granddaughter, so
is Taglioni's to me.
The Cornell Box
The most resonant "relic"
of Marie Taglioni is not her shoe and it is not a relic. Rather,
it's a work of art -- an assemblage -- that appropriates the attributes
of a relic: "Taglioni's Jewel Casket," created by Joseph Cornell
in 1940. Cornell (1903-1972) was an obsessive, a visionary, and
-- is this, perhaps, redundant? -- a devotee of the ballet, more
specifically of ballerinas and the lore that grows up around them.
Yesteryear's ballerinas -- least accessible, least compromised by
reality -- were the favored recipients of his artistic homage. Of
the ballerinas whom he'd actually seen dance, the only one to kindle
his imagination in a sustained way was the New York City Ballet's
sublimely poetic Allegra Kent. Her arrival at the School of American
Ballet as a gifted, half-trained student of fourteen was greeted
-- so it's said -- by a venerable instructor's rushing down the
corridor exclaiming, "Taglioni has come again!" Within the category
of ballerinas existing only as memories (often memories fictionalized
by time), Cornell was most inspired by several of the goddesses
who reigned over the Romantic era: Fanny Cerrito, Carlotta Grisi,
Lucile Grahn, and Taglioni. Cornell's constructions, which are sui
generis, capture -- ironically in box-like containers -- the fugitive
quality of dance, its penchant for illusion, its perfume.
"Taglioni's Jewel Casket,"
the strongest of his ballet-centered evocations, is a small dark
wooden chest with a hinged lid, which stands open (though slightly
angled downward as if in a gesture of self-protection) to reveal
its mysterious, compelling contents. It is lined with brown velvet.
Strung across the inner side of the lid is a necklace of rhinestones.
In the shallow arc formed by the necklace, recessed in the lush
velours, a rectangular plate of blue glass bears this inscription:
"On a moonlight night
in the winter of 1835 the carriage of Marie TAGLIONI was halted
by a Russian highwayman, and that enchanting creature commanded
to dance for this audience of one upon a panther's skin spread over
the snow beneath the stars. From this actuality arose the legend
that, to keep alive the memory of this adventure so precious to
her, TAGLIONI formed the habit of placing a piece of artificial
ice in her jewel casket or dressing table melting among the sparkling
stones, there was evoked a hint of that atmosphere of the starlit
heavens over the ice-covered landscape."
In the bottom of the
box lie a dozen squares of dime-store glass fashioned to look like
ice cubes, some of them spilling from their slots, as if they'd
been jostled by a rude hand.
Gazing at this box --
leaning in close, as you must to decipher the minuscule lettering
of the text -- you feel yourself submerged in the atmosphere Cornell
creates: the dark blue night, with its icy temperatures; the snow
sparkling as it reflects the cold white light of the moon; the diamonds
twinkling like earthly stars, half-hidden as they rest on their
voluptuous blanket in their portable vault. You sense the danger,
the erotic charge (that panther skin is a splendid touch), the brigand's
threat to the ill-concealed treasure (precious jewels, female purity),
and the power of a woman's dancing to move the inevitable from its
course. This is what ballet is about, Cornell suggests, and if,
like many a balletomane, you're susceptible to suggestion, you'll
The Missing Shoe
As I worked on this
essay, I was simultaneously hunting for a photograph of the Taglioni
shoe I recalled seeing -- the slipper that, having remained with
me for so long as a luminous vision, prodded me to write. I wanted
to verify the details of the shoe's construction; I thought my editor
might use the image to illustrate my story; perhaps I secretly hoped
that, even diminished by photographic reproduction, the shoe would
serve me as the madeleine did Proust.
Such a photograph proved
elusive. Not only that, written evidence that such a shoe still
existed seemed to be absent too. Unsuccessful on my own, I enlisted
the aid of appropriate authorities: librarians, museum curators,
dance historians, fellow dance journalists, my editor. What began
as a scattershot search turned into a more methodical one -- with
a curious conclusion offering its own epiphany.
Apparently, there was
no such object as an extant Taglioni shoe. There were Elssler shoes.
There was a pair said to have been worn by Emma Livry (Taglioni's
protegee, who died tragically at the age of 21, from burns sustained
when her gauze tutu caught fire on one of the gas jets that lit
the Opera's stage). There were other examples of shoes from the
period made by Taglioni's cobbler, Jannssen of Paris. But I turned
up no slipper that could confidently be said to have touched Taglioni's
foot. My memory of having viewed such a relic -- like the memory
of transcendent moments of dancing -- had, over the years, shaped
actuality (lovely in itself) to its own wishful thinking (lovelier
still). "Absence," Gautier wrote, "has the effect that the image
of the absent one gradually becomes poeticized, her features become
blurred in the memory, they conform to a pattern, coming closer
and closer to the ideal that each of us carries in our mind's eye."
Oddly, but not inexplicably,
the fact that Taglioni's shoe might no longer be present in the
tangible world didn't seem to matter. I had been schooled by years
of looking at and being moved by dancing. For me, objective reality,
all very fine in its proper place, has nowhere near the persuasive
power of the imagination, which, given the right sort of raw material,
can fashion a compelling universe.
Just as I was finishing
this essay, a serendipitous encounter with two colleagues revealed
clues to the actual existence of not merely one but several slippers
attributed to Taglioni. Several months of subsequent chasing and
ferreting -- I became a huntress possessed -- led to shoes in Paris,
London, Copenhagen, and St. Petersburg as well as one in Cambridge,
Massachusetts. (Some have a credible provenance; others remain wrapped
in the pleasant fog of conjecture.) The Musee de l'Opera, a division
of the Bibliotheque Nationale housed at the Paris Opera Ballet's
venerable Garnier site, holds a pair of Taglioni shoes. One of these
slippers was recently placed on display in its gallery. Neither
of them, however, is the one pictured, identified as Taglioni's,
in the Cyril W. Beaumont translation of Andre Levinson's life of
the ballerina. That shoe was Elssler's. The Theatre Museum in London,
a division of the Victoria and Albert Museum, has a black character
shoe and a handful of Gordon Anthony photographs of Alicia Markova
displaying a Sylphide-style slipper that remains in a private collection.
In her memoir "Markova Remembers," the 20th-century ballerina with
the clearest stylistic connection to Taglioni observes that this
shoe fits her perfectly. The Theatre Museum in Copenhagen, charmingly
housed in a 19th-century playhouse, owns one, though it has inexplicably
been withdrawn from the permanent display. A similar shoe has been
sighted in St. Petersburg. Last (though readers are cordially invited
to extend this list), the Harvard Theatre Collection contains a
white character shoe with side lacing, something a spirit might
wear on an occasion calling for boots. None of these, mind you,
is the slipper I believe I once saw.
The selections of Gautier's
prose are taken from "Gautier on Dance," translated and edited by
Ivor Guest (Dance Books, London, 1986).The translation of the lines
from "Le Spectre de la rose" is by
Emily Ezust.
Thank you to the many
people who helped play Hunt the Slipper, among them Mindy Aloff,
Erik Aschengreen, Paul Ben-Itzak, Mary Cargill, Patricia Daly, Annette
Fern, Lynn Garafola, Leslie Getz, Robert Greskovic, Ivor Guest,
Maina Gielgud, Allegra Kent, David Leonard, Alastair Macaulay, Dame
Alicia Markova, Patricia McBride, Monica Moseley, Barbara Newman,
Ida Poulsen, Pierre Vidal, Fredric Woodbridge Wilson, and Sarah
Flash Reviews
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Evergreen Habitat for Humanity: www.ehfh.org
Evergreen Habitat for Humanity: www.ehfh.org
For the volunteers who spent 8,000 hours building two Habitat for Humanity houses at the Patten Park development in Orchards, Saturday's dedication of the two houses was a beginning and an end.
The day celebrated the beginning of home-ownership and a better life for two families. It also marked the end of four years of Habitat for Humanity construction in the development, which includes seven homes. The development in the Five Corners area of Orchards is named for a family that owned the land, not for nearby Padden Parkway.
The two homes dedicated Saturday at Northeast 99th Court and Northeast 98th Avenue are the 22nd and 23rd in Clark County, and the final houses constructed in the neighborhood.
"When we came here five years ago, this was simply a field with blackberries and vacant lots," said Josh Townsley, executive director of Evergreen Habitat for Humanity. "We have brought more young families into the neighborhood. Having homes here makes it safer rather than simply empty lots."
Lucrecia Tudela, who will move into one of the houses with her husband, Cristino Cabrera, and their four children, said she is still pinching herself in disbelief that she's the owner of a new, four-bedroom home.
"It's very exciting and a huge blessing for me and our family," Tudela said. "We are living in an 800-square-foot two-bedroom apartment. I'm trying to get used to all this space."
Tudela is an at-home mom for Ritaciah, 12; Champ, 10; Ky, 7; and Tyce, 2. Her husband, Cabrera, is a security guard at PeaceHealth Southwest Medical Center.
Tudela said the family never could have bought a home without Habitat for Humanity.
"There are no words to express what these volunteers do so that others have the opportunity to have a home," said Betty Ann Cabrera, Cristino Cabrera's sister. Betty Ann Cabrera traveled from the Mariana Islands to be present at the dedication. "I had only watched these things on TV," she said. "To think it happened to our family. I am just in awe."
Lindsay Griffin, a single mom of three, will buy the other house. She had to go through the Habitat application process twice before being approved for a home. The process involves community meetings, interviews, home visits to verify the applicant lives in overcrowded or unsafe conditions, and job and income checks to ensure the applicant is employed but earns $20,000 to $34,000 for a family of four.
Griffin and her children, Dakota, 7, Pacino, 5, and Dajah, 4, live in a two-bedroom apartment.
"All three kids share a bedroom," she said. "Now, they'll have separate bedrooms. I'm looking forward to all our memories we're going to have here."
Wells Fargo and Bank of America each loaned $75,000 to finance the new homes. Hundreds of volunteers took care of the labor, which began in April.
Homes are sold at no profit with an affordable 30-year mortgage and a 0 percent interest rate. Each family puts in at least 300 hours of volunteer time toward their home's construction.
The past and future were represented at the dedication.
Neighbor Christabel Behr reminisced about when she received her home, the first Habitat for Humanity house in the Patten Park development. Behr said she has enjoyed her home and meeting the new neighbors. Many of them come from common experiences. They know what it's like to scrape by on low incomes and live in overcrowded or unsafe conditions. Behr previously lived in a mobile home riddled with holes.
"I don't have to worry about water leaking in and electrical problems anymore," she said. "There's more space, too. I like working in the yard. I spend a lot of time there actually, growing food and freezing it."
She said the neighbors have been welcoming and helpful for the most part. After she moved in — in December 2008 — there was a snow storm.
"The non-Habitat (for Humanity) neighbors helped us shovel snow out of the driveway for us," Behr said. "They're really nice."
She said her tax credit for the house also helped her to buy a new car. Her 14-year-old car was on its last leg, she said.
Meanwhile, Portland resident Kathy Murphy got a little glimpse of her future. She and her four children have been selected to receive a house in Vancouver, possibly in 2012.
"The homes are so much nicer than I imagined," Murphy said. "I didn't know what to expect."
She started to choke up on tears.
"When you see these people with money out here digging trenches, it's quite incredible," Murphy said. "I never imagined I would have the opportunity to buy a home. To survive is kind of where I've been."
Evergreen Habitat for Humanity will construct five new homes in Vancouver city limits in 2012, Townsley said.
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text:
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text:
The ex-wife of drummer Mick Fleetwood of Fleetwood Mac spent four years interviewing 75 world famous musicians asking them questions referencing how they create hit songs and what they're muses, including the writing process are. She has now published her findings in an exclusive new book, It's Not Only Rock 'N' Roll: Iconic Musicians Reveal the Source of Their Creativity.
Jenny Boyd grew up in 60s London, at the peak of rock 'n' roll, and her sister Pattie, ended up marrying Beatle legend, George Harrison, and then later, guitar legend Eric Clapton. Even later, she would marry drummer, Mick Fleetwood, of Fleetwood Mac. While living in Los Angeles, Boyd gathered these interviews as part of her Ph.D. dissertation, that resulted in a book about musicians and their process of creating music and lyrics. This particular book came out in the US and Japan in 1992. The book has since ben updated, with new candid photographs, and is available through John Blake Publishing in the UK and the US as it's present titled, It's Not Only Rock 'N' Roll.
In this unique and original collection, 75 of the world's most recognizable musicians reveal-many for the first time-their thoughts on creating music. Psychologist Jenny Boyd has probed the minds and souls of these artists and has delved into the drive to create, the importance of nurturing creativity, the role of unconscious influences and the effects of chemicals, alcohol and drugs on the creative process. Among the music legends who contributed exclusive interviews include Eric Clapton, George Harrison, Julian Lennon, Don Henley, Hank Marvin, Keith Richard, Ringo Starr, Steve Winwood, Mick Fleetwood, Stevie Nicks and Joni Mitchell.
An early review from Publishers Weekly said: "An often-fascinating glimpse into the inner lives of performing artists." In revisiting this extraordinary material, the book shines a light on the creative process of several artists who are no longer with us, among them Harrison, Ravi Shankar and Warren Zevon.
"Most of my life had been spent with musicians," explains Boyd. "My sister Pattie had married Beatle George Harrison, and then later guitarist Eric Clapton. I had been married to Mick Fleetwood of Fleetwood Mac (twice!) and knew what it meant to be the wife of a musician."
It's Not Only Rock 'N' Roll is published by John Blake Publishing in the UK and the United States and available from both traditional and internet retailers.
Dr. Jenny Boyd is a psychologist with many personal ties to the music world. (She inspired folk-rock singer Donovan to write the 1960's hit "Jennifer Juniper"). Jenny is the founder and director of Spring Workshops, organizing psychotherapeutic groups for people in need of personal development. She lives in London.
Holly George-Warren is a Grammy©-nominated writer, editor, producer and music consultant who has written and edited more than 40 music-related books, many as the editor of Rolling Stone Press from 1993-2001. She lives in New York.
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As our games often go forward fast, that question often comes up. Especially when fighting against enemies that can see in darkness, it can become important. It is often ignored, but it can become an effective combat tactic to get rid of opponent's lights.
Babylon 5 paper ships
Some quick paper models for Babylon 5 games. I've also scratchbuilt G'Quan Heavy cruisers but there are only 3 of them so at least one more was needed. The map below is from e2o.
Olympus corvettes are also most welcome (and Canon!) addition to my Earth fleet.
Diorama-like photos for starting Sword & Sorcery game inspiration
Dungeon terrains
Game props: Impaled man (or, WHY didn't I think of this before???)
Gaming terrain: Ancient cemetery
A classic theme in fantasy games, this cemetery terrain has gained some inspiration from Baldur's Gate II: Shadows of Amn and Montmartre cemetery in Paris. These terrains have often seen use in rpg's, and they really bring atmosphere.
Materials used
Plaster cast in mold (statue, tombstones, wall on the background)
Cardboard (Crypt walls and roof, bases, thinner obelisk parts)
How to create scratchbuilt starships (or anything)
If you want to create yourself cheap small-scale spaceships, you have two options available: Buy or find free papercraft starships, or scratchbuild them. This article shows you basics of scratchbuilding starships.
Materials and rules for scratchbuilding
1. Keep your eyes open; use anything, salvage things
In-progress pics of the scratchbuilt Star Wars starship collection
While browsing through old photos, I found a few modelling/WIP photos of perhaps the most popular content of this site - miniature -scale Scratchbuilt Star Wars starships collection. I uploaded them here and at the same time, separated WIP pics and tutorials from the original Star Wars scratchbuilt starship models post to reduce the size and put them here to create one separate WIP/tutorial post. And sorry for rss spamming - I needed to change the title more relevant.


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PLANTATION, Fla. (AP) -- Police are investigating after a man's body was pulled from a South Florida canal.
The South Florida SunSentinel reports a witness called 911 shortly after 7 a.m. Monday after seeing a man "thrashing" in the canal.
Plantation Fire Rescue Battalion Chief Joel Gordon says they initially thought a car had gone into the canal but no vehicles were found in the water or nearby.
Gordon says the drowning man was from nearby Lauderdale Lakes. He had his identification with him but authorities have not released his name.
No further details were immediately available.


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Spring Cleaning! It's Time to Tune Up Your Racquet!
It is good practice when the times change that you set goals to remind yourself to make changes in your daily routine. Many people associate the time change with a reminder to set up doctor's appointments, take your car for an oil change, and to get your tennis racquets restrung and re-gripped for the spring season. So get your racquets and dust them off, it's time to freshen up for springtime!
- Prevent yourself from injury. If you do not restring your racquet, you may be more susceptible to injury. When your strings lose tension, performance is lost and you need to compensate by changing your swing. This in turn can cause tennis elbow, wrist injuries, or a shoulder injury.
- You should restring your racquet depending upon how much playtime is put into the strings. If you play 5 days a week, it is good practice to restring your racquet about 5 times a year in order to extend your performance on the court. Loose strings can cause your playing performance to decline. When the tension is lost, it will cause the racquet to lose control and the overall performance it had when it was freshly strung.
- After continuous play, your strings will start to feel dead. Tension and the strings resiliency will deteriorate over time. By restringing your racquet, you will bring the life back into your swing. Some strings are better served for the type of racquet or the type of player that you are. Strings are categorized by Gauge, Material, and Segment.
What type of string are you looking for? Click here for a breakdown on each of the string families.
In addition to restringing your racquet, you should also renew the grip. Your connection to the racquet is all in the grip. This is where power and control begin and end with each and every swing of the racquet. A slippery, worn out grip will twist and move in your hands, resulting in a loss of control as well as power. Everyone's hands are different so it's important that you consider what type of grip best meets your specific needs. Whether you like a Tacky surface for maximum grip, or a grip that works with the sweatiest of hands, you can check out our full range of offerings by clicking here.
Top 3 Reasons to Re-grip Your Racquet:
- It is important to maximize your grip to avoid slipping during play. Grips lose their shelf life depending on how much you play. The more often you play, the more often your racquet will need to be re-gripped. The better the grip, the better your swing.
- Keep your hands clean and happy. When you're playing with a grip over and over again, it becomes dirty and worn out. It is sanitary to update your grip by changing it often. Sometimes players prefer to use an overgrip that wraps over the grip of the racquet to add extra performance or to create a larger grip size. This is especially useful for those who have grip sizes that may be in between sizes.
- Prevent injury. If you are noticing that your hands are feeling sore, it typically means your grip has been worn out. This happens when the grip is worn out and you begin to grip harder to keep a hold on the racquet.


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Send the right message with our Sliding Door Outdoor Message Center. This eco-friendly, recycled plastic message center offers a fully viewable display surface while keeping your documents safe from the elements. Sliding doors feature precision rollers to ensure smooth opening and closing.
Specially designed sliding door lock keeps your contents secure. Changeable letter panels allow for specific messages and easy changes.
Easily mounts to walls or you can choose the optional matching posts for freestanding applications. Ships fully assembled.


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Nov 24, 2009 10:54 AM
We're of the opinion that of all of the Robert Langdon books by Dan Brown, Angels and Demons was the best of the lot, and we were the most excited to see it turned into a movie. Although certain key plot points were, ahem, changed significantly, we loved seeing Angels & Demons ($22) in theaters thanks to Ron Howard's masterful directing skills. And now it's out on DVD, so go grab it for some Thanksgiving weekend viewing fun - you may be too spaced out on tryptophan to appreciate some of the finer plot points, but it'll be a fun ride nevertheless.
If you've got a product or service that you'd like to promote on Outblush, click here to find out about our advertising opportunities.
Outblush is a blog for girls who love to shop. Our staff digs up the best clothes, home stuff, beauty items, and more. New items are posted every day — bookmark us and check out:


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Aug. 27, 2014 — Engineers and physicians have developed a smartphone application that checks for jaundice in newborns and can deliver results to parents and pediatricians within minutes. Skin that turns yellow can... full story
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From MediaWiki.org
(Redirected from User:Pginer)
Pau Giner
User Experience Designer, Wikimedia Foundation
Software should behave like a considerate and confident assistant. As if it were played by Michael Caine.
About me
I am Pau Giner, a User Experience Designer from Valencia, Spain. I am passionate about designing user interfaces, and I am always making sketches on any piece of paper I find nearby.
I received a Ph.D. in the field of mobile and ubiquitous computing. I also worked on different e-Government projects with the goal of simplifying the relationship between citizens and public administrations.
My work
I am currently working for the Wikimedia Foundation as a User Experience designer. I am working on both Localisation projects and Multimedia projects. Some of the projects I am involved in:
Contact me


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The Raymond-Hadley Corporation Expands Allergy Alert on Undeclared Milk Contamination in Wegmans 17.2 oz.Gluten Free Double Chocolate Brownie Mix to Include 3 Additional Enjoy by Date CodesPublish Date: Thu, 18 Oct 2012 12:57:00 -0400
Contact:Consumer:1-800-252-2220Media:Elliot Dutra1-800-252-5220, ext email@example.com FOR IMMEDIATE RELEASE - October 18, 2012 - The Raymond-Hadley Corp. of Spencer, NY is expanding the recall of Wegmans Gluten Free Double Chocolate Brownie Mix 17.2 OZ, UPC 077890283363, to include Enjoy By Dates from 30 Oct 2013 – 17 Mar 2013.The Raymond-Hadley Corp. of Spencer, NY is recalling Wegmans Gluten Free Double Chocolate Brownie mixes because they may be contaminated with the undeclared allergen Milk. People who have an allergy to milk run the risk of serious, or life-threatening allergic reaction if they consume these products.Wegmans 17.2oz Double Chocolate Brownie mixes were distributed in the United States through the Wegmans retail stores.The mixes are packaged under the Wegmans brand in chipboard boxes with the following markings on the packages:The voluntary recall was initiated after it was discovered that chocolate chunks used in the mix were received in packaging that did not reveal the presence of the allergen milk. Subsequent investigation confirms milk as a possible cross-contaminate in the chocolate chunks used in the brownie mixes.As of October 12, 2012, two reports of rash have been received.Consumers who have purchased the product listed above are urged to return it to Wegmans for a full refund. Consumers with questions may contact the manufacturer at 1-800-252-2220, Monday – Friday 8:00am – 4:30pm EDT.
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A clearer picture has begun to emerge in the case of a North Dakota woman who is accused of the starving death of eight horses. As reported by Inforum on Jan. 21, neighbors had warned law enforcement as early as four months prior to the deaths of the horses that animals kept getting out of their pastures and no food was available on their own property.
On Jan. 9 Ginger Helland, 29, was charged with animal neglect and mistreatment and unlawful disposition of dead animals in Barnes County District Court. The neglect and mistreatment charges are Class A misdemeanors, and unlawful disposition of dead animals is considered an infraction.
Both Ginger Helland and her husband Karl Helland were also charged in Barnes County District Court two other times. They are accused of permitting their livestock to run loose on Sept. 17 and again on Nov. 12. Both times, the charges were Class B misdemeanors.
Law officials have been to the Helland property a number of times. The first time Barnes County deputies went to the property on Aug. 31 after Helland animals were on the Ricky and Larinda Velure farm. In subsequent interviews with the Velures and other neighboring residents, the Helland cattle got out frequently throughout the summer and the animals were getting their food from neighbors' land since there was nothing to eat at their own farm and they were desperate for food.
The Velures encountered estimated damage of $19,300.
Barnes County once again received a complaint on Oct. 12 that the Hellands' cows were out again. This time the Velures discovered a dead cow in their field. In addition, they reported that a herd of cattle was in the neighbor's soybean field one week earlier. The very next day, Velure again called to say the cows were in the alfalfa and had to be herded home by Helland.
Over the next two weeks, three other neighbors called Barnes County deputies complaining about the Hellands' cows in soybean, corn and in Clausen Springs Park. By Christmas day, a dead horse was seen in the Helland's pasture.
Barnes County Sgt. Dan Anderson responded to the complaints. He found three dead horses and no sign of food or hay. Other horses nearby were starving.
Not more than five days later, Julie Martin called Sheriff's Office saying 15 horses were out through the fence from the Hellands'. The remaining three were apparently too sick to leave.
Anderson brought veterinarian Andrew Peterson from Enderlin to the Hellands' where they found four other dead horses. Again there was no food. Two of the horses had died less than 24 hours earlier, according to Peterson's estimate.
After authorities obtained a search warrant, they found yet another horse, a young foal.
Suggested Links
- Horse slaughter issue subject of Oklahoma's Senate Joint Resolution 66
- Premier show on CNBC – Super Rich - features Justin Zayat of Zayat Stables
- Judge rules against New Mexico horse slaughterhouse
- Horse spooks at New Year's Eve fireworks with deadly result
- New Mexico horse slaughterhouse heads back into court on Jan. 3


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Speedy Delivery…Famous Racing Sausages Deliver Your Season Tickets to the USPS
Today was a big day for Brewers fans!
1 Comment
And today they played a game of chicken with Prince!
Today was a big day for Brewers fans!
And today they played a game of chicken with Prince!
Caitlin Moyer is the Director of New Media for the Milwaukee Brewers Baseball Club.
In this role, Caitlin is responsible for the Club's social media strategy, creating online content that will bring fans closer to the organization.
She is also the author of the Club's popular Cait Covers the Bases Blog.
In addition to her role with the Brewers, Caitlin is also an adjunct professor in Marquette University's J. William and Mary Diederich College of Communication, and is active in the Milwaukee community through volunteer efforts, advisory committees and various business organizations.
Follow her on Twitter @CMOYER.
© 2001-2016 MLB Advanced Media, L.P. All rights reserved.
The following are trademarks or service marks of Major League Baseball entities and may be used only with permission of Major League Baseball Properties, Inc. or the relevant Major League Baseball entity: Major League, Major League Baseball, MLB, the silhouetted batter logo, World Series, National League, American League, Division Series, League Championship Series, All-Star Game, and the names, nicknames, logos, uniform designs, color combinations, and slogans designating the Major League Baseball clubs and entities, and their respective mascots, events and exhibitions.
Use of the Website signifies your agreement to the Terms of Use and Privacy Policy (updated 6.30.2014).
Portions © 2012 Minor League Baseball.


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On January 1, 1948, third-ranked SMU met fourth-ranked Penn State on Doak Walker's twenty-first birthday. Walker's birthday gift was a date with a Nittany Lions team that was undefeated and untied. The Mustangs were also undefeated having only tied TCU in the regular season finale. The match-up pitted two of the best teams in the nation in 1947. It was East versus West, as the Mustangs made their first appearance in the Cotton Bowl Classic in one of the 90 greatest Moments in SMU Football History.
Penn State had compiled the best defensive record of any team in college football, plus had an offense the scored 319 points. The Nittany Lions were awarded the Lambert Trophy prior to making the trip to Dallas. In 1936, the Lambert brothers, Victor and Henry, of the distinguished New York City jewelry house that bears their name, established a memorial to their father, August. They instituted a trophy to be awarded to the outstanding Division I college football team in the East. Penn State has won more Lambert Trophies than any other school.
Over 47,000 fans packed the Cotton Bowl to see the Doak Walker led Mustangs battle the beast of the East. In the first quarter, Walker weaved his way through the Penn State defense for a 28-yard run putting the Mustangs near midfield. Then from his own 47, Walker threw a picture perfect pass to Paul Page who had worked his way behind defender Jeff Durkota. Page caught the ball at the 13 and went into the end zone untouched. Walker added the extra point to give SMU a 7-0 lead.
In the second quarter, Dick McKissack powered the Mustangs down the field to set up a goal line situation at the 2. Walker reentered the game to ram through a stacked Penn Ste defense for a touchdown. Walker missed the extra point, but the Mustangs led 13-0. Then with less than a minute in the half, Penn State found the end zone after facing a fourth and 15 at the SMU 38. Elwood Petchel hit Larry Cooney for a touchdown. Page almost broke a last second touchdown run on the ensuing kickoff but Penn State All-American Steve Suhey tripped him up to prevent the score. In the second half, Penn State came out firing, fooling the Mustangs on a fake sweep pass that led to a 23 yard touchdown pass from Petchel to Wallace Triplett. Eddie Czekaj barely missed the extra point and the game was tied, 13-13.
Penn State seemed to have momentum on their side for the rest of the game but was unable to take the lead. They had the last chance of the game to end the Mustangs undefeated season. Petchel heaved a pass to the end zone from the SMU 37 as time ran out. Dennis Hoggard made a diving attempt at the ball and left the Cotton Bowl breathless as the final seconds ticked off the clock. But the ball rolled free and the game ended in a tie.
Doak Walker led the Mustangs with 59 yards rushing and a touchdown on 17 carries and completed five of nine passes for 69 yards and a touchdown. After his first full season for SMU, Walker had led the Mustangs to the Southwest Conference championship, a number three ranking in the AP poll, and to their first appearance in the Cotton Bowl Classic. The tie against Penn State motivated the Mustangs in 1948 to repeat as conference champs and return to win the Cotton Bowl. SMU's first appearance in the Cotton Bowl in 1948 takes its place on our countdown of the 90 greatest Moments in SMU Football History.


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2009 (Sophomore)
Cross Country: Competed in one of the team's seven meets...posted a 41st place finish at the LSU Invitational (9/26) in a time of 21:26 on the 5K course.
2008 (Freshman)
Cross Country: Did not compete.
Personal: Born Marina Rose Leith on May 21, 1990...the daughter of William and Raye Leith.


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When my little sister was growing up, she used to protest anything she didn't want to do with the phrase, "You're not the boss of me!" I imagine that certain actors and actresses, and perhaps even others on the film crews for these Oscar nominees have the same attitude. And yet, there must be a captain to steer the ship. With so many tried and true contenders in the race, it promises to be a good contest to watch. In fact, previous nominations and wins is a strong signal for predicting future wins in the Best Director category. Given that, along with other critical signals we discuss below, Spielberg is the current leader in the race. Below we break down the candidates and the key factors influencing the model.
Nominee Review
The Legend: Steven Spielberg, Lincoln
The man, the myth and the read more


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Authorities say the two young cousins - aged six and seven - were playing in the 24ft pit when the walls caved in on them.
21:48, UK, Monday 08 April 2013
Authorities have recovered the bodies of two young cousins buried when a wall of dirt fell on them while they were playing in a hole at a home construction site in North Carolina.
The bodies of six-year-old Chloe Jade Arwood and seven-year-old James Levi Caldwell were pulled from a 24ft pit in the town of Stanley, outside of Charlotte, said Lincoln County Emergency Services spokesman Dion Burleson.
Crews had been searching for the children since Sunday, when Chloe's father, Jordan Arwood, called 911 to report the collapse. Officials were on the scene within minutes but could not get to the children.
Sheriff's deputies later removed firearms and a marijuana plant from Arwood's home. The 31-year-old father is a felon who is not allowed to have guns following a 2003 conviction for possession of a controlled substance with intent to sell.
County Sheriff David Carpenter said investigators are following up on reports from neighbours that Arwood was digging the pit for some type of protective bunker.
Mr Burleson described the pit as 20ft by 20ft with a sloped entrance leading down to the 24ft bottom. The children were at the bottom of the hole retrieving a child-sized pickaxe when the walls fell in on them, Mr Carpenter said.
Neighbour Bradley Jones, who said he works in construction, said there was no structure to support the pit's tall dirt walls and that he questioned the man about the hole's depth.
"I told Chelsea not to go in," Mr Jones said, referring to advice he gave his teenage daughter, who babysat the children.
"It was dangerous. There was nothing to reinforce those walls."