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Foxen Canyon Wine Trail
The Foxen Canyon Wine Trail is home to some of the most accomplished winemakers in California, where you will find a diverse selection of world class wines.
The South of the trail is dominated by full bodied Rhone style wines where the inland climate is much warmer and where you will find syrah, grenache, and viognier. In the North, the Burgundy styles are more readily available, where the cooler maritime influence creates a climate perfect for pinot noir and chardonnay.
This is however, California, and that means a greater diversity of other varietals such as sauvignon blanc, negrette, sylvaner, sangiovese, cabernet franc can also be found on the tasting lists.
The Foxen Canyon Wine Trail Association is represented by all of the wineries with a focus on quality. Knowledgable staff, a relaxed, yet professional atmosphere as well as stunning scenery add to the complete experience. Bring a picnic lunch (or dinner) and spend the day learning more about what makes this region unique.
Throughout the year numerous events are held in this area of Santa Barbara County including Trail Association events.
Award winning winemaker Andrew Murray came of age in the wine business. When his entrepreneurial parents decided to sell their southern California restaurants, they 'retired' to 200 acres of fertile soil in the Santa Ynez Valley. As a teenager, Andrew was a willing travel companion during lengthy expeditions in France's Rhône Valley wine region. He acted as translator as his father picked the brains of some of France's most acclaimed winemakers. Together they planted their vineyard on steep hillside slopes, with Andrew drinking in every aspect of grape growing and wine production.
Eventually trading his UC Berkeley paleontology pursuit for UC Davis' enology and viticulture program, he pursued his new mistress, Syrah, with an extended internship in Australia. His tryst has evolved into a full-fledged love affair with his favorite varietal. When he and his parents sold their vineyard in 2005, Andrew reignited his passion by selecting vineyards throughout the Central Coast to tease out singular compelling flavors from his flirty temptress. Not yet 40, Andrew has spent over half his life working amongst vines and presses in his unflagging quest for unique blends and distinct nuances in Rhône varietals.
Andrew's focus, devotion, and dedication to his craft, have culminated in what Robert Parker, Jr. calls, "…one of the shining stars in the Santa Barbara firmament." This perennially youthful perfectionist has been named 'Tastemaker of the Year' by Food and Wine Magazine, as well as, 'One of the most fearsome talents in food and wine.' Still, despite myriad accolades, Andrew remains the same modest, approachable, contemplative man he was when he first embarked to Australia back in 1992. He is eternally dedicated to vinicultural 'Kaizen' – the unrelenting pursuit of continuous improvement.
As Robert Parker, Jr. put it, "…Andrew Murray's offerings are a breath of fresh air given their exceptionally high quality and realistic prices – reader take note." We hope you'll come visit us and delight in sampling the fruits of Andrew's passionate labors.
Our wines include red wines blends, white wine blends, Grenache, Viognier, and single-vineyard Syrah from McGinley Vineyard, Watch Hill Vineyard, Terra Bella Vineyard, and Three Creek Vineyard.
Byron Vineyard and Winery specializes in handmade, small lot, artisan estate winegrowing of the highest quality and is one of California's preeminent producers of Pinot Noir and Chardonnay on the Santa Maria Bench. As the first commercial vineyard in the region, the winery's Nielson Vineyard has been the epicenter of experimental viticulture since its inception in 1964, and the winery helped establish the Santa Maria Valley as one of California's premier growing regions.
Estate defines who we are and what we do. It tells us which vines to plant and where to plant them. As stewards of the land, we listen to the soil, the wind and the fog of the Santa Maria Bench. As an estate winery, we direct the farming, harvesting and vinification of every grape. Each Pinot Noir and Chardonnay we produce embodies the spirit and character of our land. More than just a vineyard and winery, our estate is our home.
The viticulture protocols have been developed over the last two decades to take advantage of the unusual growing conditions of the Santa Maria Bench. Techniques include leaf thinning to allow more sunlight on the clusters for full, even ripening, deficit irrigation to restrict vigor and focus the vine's energy on the grapes, and green fruit drop to promote the growth of densely flavored clusters.
Long before the Santa Maria Valley benchland was recognized as a great winegrowing region, the native Chumash Indians knew it as "tepuztli," meaning copper coin. Later, Spanish settlers translated the word as Tepusquet. As part of an 1837 Mexican land grant, "Rancho Tepusquet" was home to cattle and row crops throughout the 1800s.
Proprietor Barbara Banke acquired a large portion of the original Tepusquet Vineyard (planted between 1970 and 1971) in 1986 to serve as the site for Cambria winery. Over the last two decades the vineyard has been expanded, replanted and updated with new clones and rootstocks to take advantage of the unique climatic and geological conditions of the Santa Maria Bench.
5475 Chardonnay Lane ~ Santa Maria, CA 93454 805-937-8091 ~ 888-339-9463 email@example.com
Costa de Oro is an estate winery, producing Pinot Noir and Chardonnay from our "Gold Coast Vineyard" located in the Santa Maria Valley. Our goal is produce unique expressions of the vineyard, full of character and flavor. We strive to accomplish this through diligent farming and traditional European winemaking techniques. Winemaker Gary Burk trained at the Au Bon Climat/Qupé facility, where he worked in production and marketing for eight years. Today the wines are produced at Central Coast Wine Services in Santa Maria.
Owners: Burk and Espinola Families
Acreage: 29 acres; 19 Pinot Noir, 10 Chardonnay
Appellation: Santa Maria Valley
Location: Foxen Canyon Road, six miles east of Santa Maria. Atop bluff at Fulgar's Point.
Year Planted: 1989
Soil Type: Sorrento Sandy Loam
Clones: Pinot Noir: Martini (cuttings from Sierra Madre Vyd)
Dijon 115 and 777 (cuttings from Le Bon Climat Vyd)
Chardonnay: UCD 4 and Wente (cuttings from Sierra Madre Vyd)
Trellising: Vertical Shoot Position
Spacing: 10 x 6 (726 vines per acre)
Contact: Gary Burk, Winemaker
(805) 310-3727 P.O. Box 1023 Santa Maria, CA 93456 email@example.com
Cottonwood Canyon Vineyard and Winery is a small, ultra-premium winery specializing in Chardonnay, Syrah and Pinot Noir. Founded in 1988 by the Beko family. Cottonwood Canyon joins traditional Burgundian wine-making practices with American ingenuity to produce "distinctly different age-worthy wines."
Located just ten minutes east of Santa Maria (5 minutes off the 101) and on the northern-most edge of the Foxen Canyon Wine Trail. Sitting on the corner of Garey Orcutt and Dominion Road.
The tasting room is open from 10- 5:30 daily.
Cave tours, Saturday and Sunday 11, 1 and 3, or by appointment weekdays.
For more information, call us at 805-937-8463.
Under the guidance of Winemaker Chuck Carlson, Curtis Winery is exclusively committed to the crafting of Rhône-style wines. We are inspired by the extraordinary terrain of Santa Barbara County's Santa Ynez Valley, which is today recognized as one of the world's leading appellations for Rhône varietals. Since 1995, Curtis Winery has built a reputation for wines of quality and distinction, with an emphasis on the authentic expression of vineyard and vintage.
Curtis wines hail primarily from small standout vineyards in the heart of the Santa Ynez Valley. These vineyards are the estate Rock Hollow Vineyard, as well as Crossroads, Ambassador's and Vogelzang vineyards, all of which serve as the foundation of the winery's vineyard-designated Syrah program. Small blocks of Grenache, Mourvèdre and Roussanne are also integral to the Curtis experience.
Chuck Carlson has been making Rhône-style wines locally for more than 20 years. His winemaking style requires physiological ripeness in the vineyard, followed by minimal handling in the cellar, to ultimately achieve authentic vineyard and vintage expression. Chuck is passionate about all things "Rhône," and he is currently president of The Rhône Rangers association. Frequently seen in colorful shirts that express his tropical affinities, Chuck has earned the nickname "Calypso" from his friends and colleagues.
Established in 2005 Demetria Estate is a family owned winery. Our goal is to produce wines of distinction and character rivaling those of the world's greatest estates.
Demetria Estate includes two separate portfolios of wines, both capturing the singularity of the vineyards and the region from which they originated.
The offerings comprise of varietally honest manifestations of pinot noir, chardonnay, pinot gris and pinot blanc farmed sustainably in the Santa Rita Hills appellation of Santa Barbara County.
We also farm biodynamically our Rhone-based wines of consequence and environmental merit. This estate vineyard in the Santa Ynez Valley includes syrah, mourvedre, grenache and viognier, roussanne, marsanne and grenache blanc.
Founded in 1989 by actor/entrepreneur Fess Parker (of Davy Crockett and Daniel Boone fame) along with his son Eli and daughter Ashley, three generations of the Fess Parker family are dedicated to a single mission: crafting wines of uncompromising quality and character.This year marks our 20th year of producing diverse, Estate Grown, Burgundian and Rhone wines in Santa Barbara County.
Family-run by Fess' son, Eli Parker - President and Director of Winemaking and Vineyard Operations, along with Fess' daughter Ashley Parker Snider - Marketing and Public Relations liaison, and son-in-law Tim Snider -Vice President of Sales and Marketing.
Founded in 1972 by father and son, Leonard and Brooks Firestone, Firestone Vineyard has enjoyed 35 years of family stewardship. Recently, so that they might concentrate on their burgeoning beer business and smaller Curtis Winery, the Firestone family decided to sell their iconic winery. In doing so, they turned to fellow Santa Barbara vintner Bill Foley (Foley Estates Vineyard and Winery, Lincourt Vineyards) as the logical next shepherd for the famous property. As the Firestone's identified earlier on, Bill, too, recognized Santa Barbara County as the ideal location for the production of world class wines. Bill has vowed to continue the Firestone tradition in striving for the very best in vineyard management and cutting edge winemaking discipline.
The vineyard focuses on optimal physiological balance in the vines yielding wines that are brightly flavored, crisp and delicious. Estate Chardonnay, Cabernet Sauvignon, Merlot, Sauvignon Blanc and Syrah vineyards are located on a series of mesas that have gravelly sub-soils, ideally oriented for perfect exposure. The Firestone Vineyard tasting room offers regular winery tours, delicious wines to sample and an idyllic setting for al fresco picnics. Visit the "new" Firestone Vineyard and experience the vision of hospitality that is shared by Bill Foley and the Firestone Family!
Bill Wathen and Dick Doré have been making wine together since 1985, when they founded Foxen Winery and Vineyard at the historic Rancho Tinaquaic in northern Santa Barbara County.
Since that time, their dedication has remained the same—the creation of very small-production, vineyard-designated wines using a "minimalist" approach to winemaking. The winery is named in memory of William Benjamin Foxen, an English sea captain and Dick's great-great grandfather, who came to Santa Barbara in the early 1800's. In 1837, this Santa Barbara County pioneer purchased the Rancho Tinaquaic, a Mexican Land Grant that originally totaled nearly 9000 acres and comprised most of what is now known as Foxen Canyon. Captain Foxen adopted the distinctive "anchor" as his ranch cattle brand, which has become a trademark of the winery. It is very fitting that FOXEN has made its home on the 2000-acre Rancho Tinaquaic, which remains in family hands.
With the completion of FOXEN's new solar-powered winery and tasting room in August 2009, the historic and beloved "tasting shack was renamed "foxen 7200", where Bill and Dick now feature their Bordeaux and Cal-Ital-style wines, under a newly designed label. FOXEN pinots, chardonnays and Rhône-style wines will be showcased in the new tasting room at 7600 Foxen Canyon Road.
Both FOXEN and "foxen 7200" tasting rooms are open daily, 11 to 4.
Reservations are required for groups of six or more.
Kenneth Volk
Ken Volk has been making Santa Barbara and Central Coast wines for more than a quarter century and has earned a reputation for crafting world-class wines, particularly Pinot Noir and Chardonnay from the Santa Maria Valley.
Kenneth Volk Vineyards is on Tepusquet Road, in the northeastern part of Santa Maria Valley, at the mouth of Tepusquet Canyon.
A combination of outstanding vineyards and innovative winemaking techniques help Kenneth Volk Vineyards craft uniquely-styled luxury wines. Our primary focus is Chardonnay and Pinot Noir from Santa Barbara's Santa Maria Valley, a region long renowned for Burgundian varietals. Santa Maria Valley's unique soil, paired with the cooling influence of the sea, provides the ideal growing conditions for these wines. Our Santa Barbara wines come from some of the region's most acclaimed vineyards, among them, Sierra Madre, Bien Nacido, Solomon Hills, Garey Ranch, and the historic Nielsen Vineyard.
Wine Club
Kenneth Volk Vineyards is proud to announce the formation of the Cellar Door Club. This is a uniquely progressive wine club that offers our members one of the finest portfolios of California wines. It has been structured to appeal to the computer savvy adult who enjoys interacting and communicating via the World Wide Web.
Situated on the celebrated Foxen Canyon Wine Trail in the Santa Ynez Valley, Koehler Winery is located in one of California's most diverse and distinctive growing regions. The micro-climatic diversity on the 100 acre estate results in a superb quality of fruit, and Koehler's 30 year old vines are recognized as among the best in the Santa Ynez Valley and surrounding area.
When Kory Koehler acquired the property in 1997, all of the estate grapes were being sold to local wineries. Koehler soon recognized that some of the best wines in the valley were being produced with grapes harvested from their vineyards, and she resolved to launch her own winery and tasting room. From the start, Kory Koehler's vision was to create a world-class winery committed to making premium wines at affordable prices. Koehler began by turning the property over to one of the most skilled and knowledgeable vineyard managers in central California, Felipe Hernandez. Felipe painstakingly tends the sixty-seven acres planted to Cabernet Sauvignon, Chardonnay, Sauvignon Blanc, Riesling, Syrah, Sangiovese, Grenache and Viognier.
Koehler Winery's friendly and inviting tasting room is open daily from 10 am to 5 pm. Weather permitting, guests may also partake of a sip of wine on the spectacularly beautiful grounds, surrounded by the Koehler family's own remarkable menagerie of unusual animals and exotic birds. So come, sit back and enjoy - life doesn't get any better than this.
Rancho Sisquoc
Located in northern Santa Barbara County along the Sisquoc River 14 miles east of Santa Maria, Rancho Sisquoc is part of an 1852 Spanish Land grant. The Chumash Indians called this area" Sisquoc", which meant "gathering place". Today Rancho Sisquoc is again a gathering place, this time for wine lovers.
Our estate wines are proudly hand-crafted from grapes grown on our 37,000 acre ranch. Unique micro-climates in our vineyards allow us to grow Bordeaux, Burgundy, Rhone and Tuscan varietals. At Rancho Sisquoc Winery we believe in crafting quality wines in small quantities. As one of the first wineries in the now famous Santa Barbara County wine region we have been around long enough to know that great wine is born from great vineyards. Here on the ranch we have over 300 acres of superb vineyards for our award winning estate wines. We pressed our first Cabernet Sauvignon and Riesling grapes in 1972 and opened to the public in 1977. From our humble beginnings of 500 cases per year, the winery now produces over 18,000 cases annually under the direction of winemaker Alec Franks.
The historic San Ramon chapel overlooks the entrance to the ranch, and also adorns every wine label. The scenic driveway winds past cattle pastures, farming fields and maybe a deer or two. The tasting room welcomes visitors to a charming and relaxed rural setting. Spend a day in the country, visit the ranch and enjoy a picnic on the grounds.
RiverbenchRiverbench Vineyard is situated on the southeastern edge of the Santa Maria Valley, an appellation known for its diverse microclimates and ideal conditions for growing Burgundian varietals. This distinct wine region is characterized by the valleys in our Pacific coastline which run east to west instead of the more common north to south. Such a geographic peculiarity channels the cool ocean breezes inward, resulting in a mild and moderate climate where Pinot Noir and Chardonnay thrive.
Our vineyard is situated on the Santa Maria Bench, which is land made up of alluvial soils. These soils are formed of sediment deposited by flowing water thousands of years ago, and typically contain particles of clay, silt, sand and gravel. They are extremely fertile because of their medium to fine textures; yet they are shallow in depth which allows for a great growing medium with a boundary that does not encourage the vines to become overly vigorous. Since our benchland is of a rocky or gravelly nature, it provides excellent drainage and in turn allows vineyard growers to define growth without a large amount of outside input.
Riverbench Vineyard was planted in 1973 as one of the Santa Maria Valley's first vineyards. Originally, the vineyard consisted of 220 acres of Chardonnay and 55 acres of Pinot Noir, and in 2007, we added an additional 37 acres of Pinot Noir, Pinot Gris, and Viognier. In the coming years these selections will be available through the tasting room.
Our goal remains to produce the highest quality grapes in our vineyards, resulting in unparalleled wine quality. Riverbench is committed to sustainable winegrowing practices that are environmentally sound, socially equitable, and economically feasible. Keeping these sustainable practices in mind, we not only produce a superior product, but we are able to help protect the environment, conserve natural resources, maintain the long-term viability of our vineyard, and support the economic and social well-being of our employees.
Sierra Madre VineyardThe Sierra Madre property, one of the oldest in the Santa Maria Valley, was first planted in 1971. In 1975, Dale Hampton took over management and eventually purchased the property with partners. With considerable demand for Santa Maria fruit coming from the larger growing regions, Hampton wanted to ensure that San Luis Obispo and Santa Barbara County vintners would be assured of this fine local resource for their wines.
In the early '80s, wine critics began to take notice. Noted wine writer Mike Stepanovich called Sierra Madre Vineyard "one of the state's – make that the nation's – best Pinot Noir vineyards," citing consecutive awards for Sanford Winery, Byron Vineyard & Winery, and Wild Horse Winery for "Best American Pinot Noir," all from Sierra Madre fruit.
In 1996, Mondavi purchased the property and replanted the vineyard under Byron winemaker Ken Brown's auspices. Brown planted using a multitude of rootstock and clone combinations, so as to offer Byron a variety of choices, as well as the opportunity for great complexity of blends. This planting experiment is an important milestone in Sierra Madre's history, as the outcome is a rich component in Sierra Madre's terroir.
In early 2003, strawberry grower Doug Circle purchased 500 acres of Sierra Madre Vineyard from Mondavi, with a plan to reintroduce the site to a multitude of great winemakers. Since then, winery clients have included a veritable "who's who" of Central Coast wineries, many of whom have or will be producing Sierra Madre vineyard designated wines.
This precious parcel is in good hands with Circle. His more than 30 years in agriculture, in both farming and business, uniquely qualifies him to be the next shepherd for Sierra Madre Vineyard. In partnership with the highly respected Mesa Vineyard Management Company, he is constantly researching, learning, and implementing new farming techniques to guide this very special vineyard to new heights.
In 2006, Doug Circle convinced celebrated winemaker, Ken Volk a longtime fan of the vineyard, to craft 10 tons of Pinot and 3 tons of Chardonnay for a Sierra Madre Vineyard branded wine, the first in the vineyard's long and distinguished history. In 2007, the winemaking reins were handed over to another Central Coast legend, Steve Rasmussen.
Our wines include Pinot Noir, Chardonnay, Pinot Blanc and Pinot Gris – all of which are, of course, 100% estate. www.sierramadrevineyard.com
Tres Hermanas Vineyard & Winery was founded in 2001 by Marvin & Paulette Teixeira with the planting of a small vineyard on their cattle ranch.
Tres Hermanas (Three Sisters) was named for the couple's three daughters, Stacey, Tracey & Marcey.
Our label is a picture of the 1940's barn that exhibits the JT cattle brand, which was Marvin's parents cattle brand, which is still being used today to identify their cattle. The barn exists on the winery property.
The ranch is still headquarters for the family cattle operation.
Our first harvest was in the fall of 2003 with the tasting room opening in July of 2007. We produce small case lots of Pinot Gris, Riesling, Roussanne, Refosco, Estate Syrah and several Cuvees'.
Winemaker Luke Lindquist focuses on the creation of French and Italian Style wines, using fruit from some of the leading vineyard s on the Central Coast, along with our own Estate Syrah Vineyard.
Zaca MesaThe original property was purchased in 1972 by a group of ambitious investors. They planted the vineyard in 1973. With few other vineyards to learn from, the vineyard was originally planted with numerous varieties such as Cabernet Sauvignon, Merlot, Zinfandel, Riesling, Pinot Noir, Grenache, Chardonnay, and Syrah.
Zaca Mesa was one of the first wineries in Santa Barbara County since Prohibition. As the vineyard grew and viable production began, a winery was built on the estate in 1978 and later expanded in 1981.
By the early 1990's, we had determined that the varieties (Syrah, Grenache, Mourvèdre, Viognier, and Roussanne) grow the best on our site. We, then, decided to focus on the grapes varieties of the Rhône Valley of France. Our decision was reinforced in 1995 when Wine Spectator placed our 1993 Syrah #6 on their Top 100. It is still the only Santa Barbara County wine to break into their top 10. Additionally, our Syrah was served by President Clinton to French President Chirac at the White House.
As one of the pioneers in the Santa Barbara County, Zaca Mesa was a training ground for many. Ken Brown was our first winemaker and later started Byron in Santa Maria Valley. Jim Clendenen and Bob Lindquist worked at Zaca Mesa before venturing out on their own to start Au Bon Climat and Qupé, respectively. Other alumni include Lane Tanner, Daniel Gehrs, Chuck Carlson of Curtis, and Adam Tolmach of Ojai.
By 1988, the ownership group was reduced to just one of the original investors and that has not changed since. The Cushman family has a passion for winemaking and a long-term commitment to quality.
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Program 4 Notes
Scotch Symphony
George Balanchine, prolific choreographer that he was, found inspiration in the world that surrounded him, past and present, from classicism to kitsch. And in 1952 he made Scotch Symphony, a ballet that draws on multiple sources: a visit to Scotland, the Romantic ballet La Sylphide, and German composer Felix Mendelssohn's Symphony No. 3 ("Scottish"), minus its first movement. In Balanchine's inimitable way, he melded military imagery, Scottish traditional dancing, the symphony's lyricism, and the concept of a mystical sylph into a delightful, one-of-a-kind ballet.
Scotch Symphony premiered at New York City Ballet on November 11, 1952, with Maria Tallchief and Andre Eglevsky as the leads. The seed for the ballet was planted during New York City Ballet's trip to the Edinburgh Festival, where Balanchine observed military performances combining pipers, drummers, and dancers doing traditional reels. He sandwiched the heart of his ballet, a classical pas de deux reminiscent of the set-in-Scotland La Sylphide, between two lively movements of Highland-tinged, virtuosic dancing, as precise as those military spectacles. Rounding out the ballet's Scottish character along with the music, written after Mendelssohn visited Scotland in 1829, are kilts, feathered hats, and tartan sashes.
It's difficult to say whether Balanchine was influenced by Philippe Taglioni's original 1932 La Sylphide or the 1936 Royal Danish Ballet version by August Bournonville. "Balanchine never talked about sources," says Nancy Reynolds, director of research for The George Balanchine Foundation. "Tallchief, the original Sylph, never ventured a guess."However, in the early 1930s Balanchine served as guest ballet master at the Royal Danish, where Bournonville's technique is preserved. And San Francisco Ballet Artistic Director & Principal Choreographer Helgi Tomasson, who danced Scotch Symphony many times during his long career at New York City Ballet, sees a strong Bournonville influence in the pas de deux.
Staging the SF Ballet production for the 2012 Repertory Season was Maria Calegari, a former New York City Ballet principal dancer, who described Scotch Symphony as "an homage to classicism."Then she added, "It's just fun!" She thinks one reason Balanchine created this ballet was to give Tallchief a role worthy of her classicism. "[The role] calls to mind all the old great ballerinas—[Anna] Pavlova, [Alexandra] Danilova, who helped create [Balanchine's] Coppélia," says Calegari."There's lots of footwork for the ballerina. And the principal man, in true classical ballet fashion, is the ardent lover." And Balanchine, she says, "brings his incredible musicality."
The ballet's heart, a long adagio pas de deux, has both light and dark sides, "happiness and passion," according to Calegari. As in La Sylphide, the ballerina entices her man, but this isn't a simple love duet. Referring to two occasions when a phalanx of kilted men picks up the ballerina, sending her into the man's arms in an illusion of flying, Tomasson draws a parallel to the Romantic era: "I think to[Balanchine] it was the illusion of the Sylph flying through this Scottish countryside, a sort of ethereal floating. Because in La Sylphide the Sylph is in a tree and she leans out—it's that old-fashioned theater—like she's hovering in the air." In a sense, then, the men substitute for the tree, "creating the illusion of weightlessness" for the ballerina, he says. Asked if the moment could be read as the ballerina throwing herself at her love, Tomasson smiles. "Just like the Sylph," he says.
Leave it to Balanchine to integrate Highland styling into classical ballet steps and make the blend look completely natural. Much of the dancing is fast, and none of it is easy. Along with the second movement pas de deux, Calegari notes "the incredibly difficult solo passage for the [female] soloist in the first movement. And the girls [doing] it are wonderful." But what makes this ballet challenging is more than the steps and the styling. "It isn't easy to work on an early Balanchine. You have to honor that and bring something to it, emotionally and physically," she says. "And there's the historical context, the reflection on history, which we lose every day in our society."
Scotland, says Calegari, has "something magical about it," and that's the real reason to dance—or watch—Scotch Symphony. "It's got that magic in it," she says, "and it's beautiful."
Program notes by Cheryl A. Ossola
Within the Golden Hour
Choreographer Christopher Wheeldon looks at each new ballet as an opportunity to stretch himself artistically, and that's the approach he took in creating Within the Golden Hour for San Francisco Ballet's New Works Festival in 2008. His choreography, he says, embodies "a kind of synthesis between using the classical ballet technique, which I love, and finding other dance forms to inspire a new, interesting way of looking at a ballet step."
Wheeldon's eagerness to explore is obvious in his dance history. He danced with The Royal Ballet and New York City Ballet, served as resident choreographer of New York City Ballet, founded and directed (for two years) Morphoses/The Wheeldon Company, and has created a broad array of ballets as a freelance choreographer. Outside of the concert ballet stage, he has worked in film (Center Stage in 2000), on Broadway (Sweet Smell of Success in 2002), and in opera (New York Metropolitan Opera's Dance of the Hours in 2006).
And with everything he does, music is central to Wheeldon's creative process."With each piece I'm very conscious of going through different musical choices," he says. "What did I achieve with that previous work and how does that inform what I'm doing next?" Additionally, he finds inspiration in art and other choreographers' works—and even in his own."Maybe there was something in a previous ballet [of mine] that didn't work as a whole, but there's an idea within it that I could use," he says. "I use that as a starting point, and then it naturally takes a different course."
For Within the Golden Hour, Wheeldon chose six pieces for strings by young Italian composer Ezio Bosso (The sky seen from the moon, Le notti, Of the Thunders, Dance of the tree, Worried, and African skies), which he describes as "not particularly complex, although some parts get rhythmically layered." Into that mix, for the penultimate movement, he added the Andante movement from Antonio Vivaldi's Violin Concerto in B-flat Major. The ballet's seven movements are episodic; Wheeldon arranged the sequence of the unrelated (yet harmonious and perfectly balanced) musical pieces. The ballet, he says, is "like a series of small paintings or sketches that are inspired by the music."
Wheeldon responded to his score with a strong sense of place. "There's one part that sounds really Celtic; we call it the 'Hebrides pas de deux,' " he says. "It feels like two people in a big, expansive, barren but beautiful, poetic place, and they're alone and there's nothing around except for a little white cottage in the distance and a couple of moo-cows." Another duet, a waltz makes Wheeldon think of "a Fellini-esque scene with the couple dancing around the Trevi Fountain, and she's in a purple polka-dot dress with heels and a big 'do," he says, laughing. Though the dress and the 'do never stood a chance of making it onstage, that imagery contributed to the creation of what the choreographer describes as a "quirky" pas de deux. It's like a sampling of social dances, with tango and Charleston making fleeting appearances along with the waltz, which sometimes flows with the melody and sometimes becomes fragmented, like the plucked violin strings that create the music's subtext.
What this ballet shows so clearly is how Wheeldon responds to different tracks, so to speak, in the music. He calls it "punctuating the choreographic rhythm in juxtaposition to what's going on musically. It's fun to go in and out of different aspects of the music, to go with the sweep of the melody and then make an unexpected turn and suddenly have the dancers make the underlying rhythm visual. If you follow the melody all the way through, you end up with a rather bland, two-dimensional representation of what you're hearing." In the end, he says, "dance is at its most successful when it's making the music visual."
Program notes by Cheryl A. Ossola
From Foreign Lands
Alexei Ratmansky exudes an air of gentleness, an implied generosity, and both are as visible in his choreography as in his bearing. Quick to smile, he slips humor into his ballet; tuned in to his dancers, he matches steps to their personal dynamics. His work seems fresh and young-spirited, yet always there's a sense of honoring the past—the traditions, culture, and community of ballet. "I love his sense of humor, understatement sometimes—just pure joy," says Helgi Tomasson, San Francisco Ballet's artistic director and principal choreographer. "I watch his ballets and I see a master at work."
For the 2013 Repertory Season, Ratmansky brings all those gifts to a new ballet, his second commission for SF Ballet. His first was Le Carnaval des Animaux (Carnival of the Animals), in 2003; the Company has also performed his Russian Seasons, which premiered at New York City Ballet in 2006.
Ratmansky, born in St. Petersburg, Russia, trained at the Bolshoi Academy and danced with the Ukrainian National, Royal Winnipeg, and Royal Danish Ballets. After a five-year tenure as artistic director of Bolshoi Ballet (2004–2009),he was appointed artist in residence at American Ballet Theatre, a position that, fortunately for the ballet world, allows him to choreograph elsewhere. Along with the Bolshoi and ABT, he has created works for the Dutch National, Kirov, New York City, Royal Danish, and Royal Swedish Ballets, and dances for Metropolitan Opera's Aida; his new, full-length Cinderella will premiere at Australian Ballet in September 2013. Widely recognized as a fast-rising, gifted choreographer, he received a 2006 National Dance Awards Critics' Circle prize for his Bolshoi production of The Bright Stream; Golden Mask National Theatre prizes for the Dreams of Japan (created in 1998), and The Bright Stream (2003), and Jeu des Cartes (2007); and a 2005 Prix Benois de la Dance for his full-length Anna Karenina for Royal Danish Ballet. He was named a Knight of Dannebrog for his contribution to the Danish arts.
For his new work, Ratmansky chose German composer Moritz Moszkowski's Suite for Orchestra, "From Foreign Lands," for what he calls its "body movement." With music like this, he says, it's like "you can almost switch your brain off and just let your body do [the choreographing], because it's so dansent."Danceable it is, with influences from Russia, Italy, Germany, Spain, Poland, and Hungary. Published in 1884 and originally written for two pianos, "From Foreign Lands" wraps traditional tarantella, fandango, and czardas music into a charming package of uplifting, toe-tapping fun.
Moszkowski, born in Breslau, Germany, in 1854, of Polish descent, studied music in Dresden and Berlin. He debuted as a pianist in Berlin at age 19 and toured extensively before giving up performing for conducting. He taught in Berlin and Paris; among his students was the celebrated Polish-American pianist Josef Hofmann. His music was once quite popular, but Moszkowski lost the copyrights to his works during the war years and died in near poverty in 1925.
Although he composed operas, ballets, songs, concertos, and chamber music, little remains of his work. It's his piano pieces—Etudes, Etincelles, and Spanish Dances—that are most remembered today. "He's like many composers whose fame has dwindled," says Music Director and Principal Conductor Martin West. "He had a few big hits. His Spanish Dances was very famous; it's still played in a lot of places."
"With music like this, he says, it's like "you can almost switch your brain off and just let your body do [the choreographing]..."Alexei Ratmansky, choreographer.
Even though "From Foreign Lands" is a dance suite, it appears that no choreographers before Ratmansky snapped it up for their work. Searching for alternate music when he decided against using a work by Paul Hindemith, Ratmansky found the Moszkowski piece in his personal music library. "I bought it because I knew him; in Russia we did Moszkowski Waltz, a concert piece [by Asaf Messerer] choreographed in the 1930s, I think," he says. "And it's good music; I always liked it. I like the orchestration. It's delicate but also it has the character [aspect]." With six well-defined movements of varied personalities, its structure "gives you certain pluses," he says. "You can color them slightly different, and it's not one mood throughout. And all the dancers can have their little moments to concentrate. It's a divertissement—a very old structure that stills works."
Ratmansky's ballet begins in silence, with the full ensemble of 12 dancers engaging in what seems like an invitation to the dance. His purpose for opening the ballet that way was more practical than interpretive, however. He had chosen to shape the ballet as a series of quartets (doubled, in the Polish dance, to an octet) with a full-ensemble finale, which meant that "structurally, it needed something," he says. A ballet made of a series of small groups "needs to start with the whole group and finish with the whole group," he explains—thus the silent ensemble opening. But those fours and eights are by no means rigid or static. They shift and flow, with solos, trios, and sextets flashing to the surface before disappearing back into the quartet baseline.
High-energy and playful, this ballet is showy and presentational—Ratmansky's way of gently poking fun at tradition. There are character dances heightened to the point of being self-aware; over-the-top romanticism in the German section; a touch of vaudeville in the Italian; flirtations, rejections, capitulations, and successes throughout. A whisper of sadness emerges in the Polish section, an intentional contrast to the rest of the ballet. "It's like how in Corot paintings there is always a red spot," Ratmansky says. "I think it's important structurally, which also might lead to certain themes. This is something that I don't analyze; I take it where it evolves."
Ratmansky's Russian training and Western influences are both evident in this ballet. Transitions, lightning quick, are critical to him, as is line. "Precision is very important. It's why I like [Rudolf] Nureyev's choreography so much—because it's full of energy and all things Russian, French, Danish, English," he says. "Of course, it's his very personal style, but you can read all these great influences in it."Ratmansky's use of epaulement (angles of the head and upper body) reveals his absorption of Bournonville style during his years at Royal Danish Ballet; the slower, more fluid form of the upper body often rides above the fast footwork, and vice versa, "to find different rhythms for different parts of the body," he says. "But I'm staying within the academic vocabulary, I think, because that's what I know, and also what I want to see. Can it still be alive and fresh? Can it look interesting?"
Ratmansky once said he "liked making the dancers live inside the music." That was in "Dance With Me," a 2011 article by Joan Acocella in The New Yorker, and he was referring to Russian Seasons. But when asked if that might be said about all of his work, he says, "I think it's the only way to make it alive. Sometimes the choreography can speak for itself—like the structure is so incredibly strong that you just need to do the steps to the music. But it's rarely the case. If we want the audience to be connected to the dancers, the dancers need to lose themselves in the action and look spontaneous and alive."
Program notes by Cheryl A. Ossola


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Location: Appalachian Fruit Research Laboratory
2013 Annual Report
1)establish biology and phenology of BMSB in specialty crops,.
2)develop monitoring and management tools for BMSB,.
3)establish effective management programs for BMSB in specialty crops, and.
4)integrate stakeholder input and research findings to form and deliver practical outcomes. Initiated studies of BMSB survivorship, population growth, and phenology, including voltinism potential and overwintering biology. Defined parameters for diagnosis of BMSB injury in orchard crops, vegetables, and grapes, and have begun to characterize severity of the threat to all specialty crops. Completed Year 1 studies to determine the phenology and impact of BMSB in regions that have a history of damage. Began development of monitoring tools through identification of BMSB pheromone and an olfactory synergist, and initiated commercialization to optimize field use of these attractants. Identified visual stimuli for integration into field trapping, initiated studies of BMSB spatial responses to various stimuli, and evaluated other types of monitoring tools including limb jarring, sweep netting, and visual inspections. Evaluated all registered and developmental insecticides against various life stages of BMSB in lab trials, and have begun field validation of promising materials. In addition to conventional broadcast insecticides, initiated studies of alternative control methods, including fungi, repellents and deterrents, and attract-and-kill strategies. Native parasitoids, predators, and pathogens are also under study for their potential effects on BMSB eggs, nymphs, and adults. Research and extension project staff collaborated across institutions and regions to establish short-term mitigation strategies for BMSB injury in small fruit, orchard crops, grapes, ornamentals, and vegetables leading to initial commercial management recommendations, crop-specific IPM programs for control of BMSB in specialty crops. Begun to quantify the biological, economic, and sociological impacts of BMSB on specialty crop producers through field data analyses and administration of grower surveys.


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A nice mild day today with rain on the way tonight. Temperatures fall tomorrow. Randi Rico has the 7 day so you can plan your weekend.
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Posted: Tue Jun 02, 2009 6:02 am
Post subject: Introduce my self!!
I just wanted to drop in and say hello!!!
I'm a newly divorced mother of 2 who is looking for some extra income (my ex left the country with his mistress and havent heard from him in 4 months). I have been answering posts on Craigslist for house work and babysitting, but lately have been creeped out by the people on Craigslist. I started using Workstir.com cuz it lets me see who I am doing business with. Most of the users are tied to their Facebook profile, which is nice, cuz most people on Facebook use their real name and contact info.
Anyway, just wanted to say hi and you'll be seeing me around


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Location: Watershed Physical Processes Research Unit
Project Number: 6060-13000-022-00
Start Date: Mar 11, 2012
End Date: Mar 10, 2017
1. Developing methodology and protocols for the rapid assessment of earthen embankments using non-invasive geophysical techniques will extend the application of geophysical methods by investigating the simultaneous use of seismic and electrical resistivity tomography to detect compromised zones within earthen embankments. Design and install a remote monitoring system of geophysical and geotechnical sensors in an earth embankment dam. The goal is to design and install the first remote real time continuous monitoring system in an earthen dam. The acoustic interaction with the soil medium depends upon mechanical and hydraulic properties of the soil surface that also influence soil surface erodibility. Therefore, acoustically measured properties can be used as a proxy for estimating soil surface erodibility. The first step in testing the hypothesis of this objective is to determine the experimental configuration and optimal range of acoustic frequencies. A numerical model based on existing theories of sound interaction with soil will be used to predict the acoustic response. The parameter space for the model will be constrained based upon typical soil characteristic (porosity, shear modulus, permeability, bulk density, elasticity) for a realistic range of erodibilities. 2. A design effort to advance the state of the art in the use of ultrasonic backscatter and attenuation to measure suspended sediment flux, developing a technique to evaluate the concentration and particle sizing of fines (0.1–100 µm) suspended in water, could be achieved by using either a single frequency acoustic system utilizing attenuation from forward propagation in conjunction with back-scattered signals or utilizing backscatter from multiple high (2-20 MHz) frequencies. Also, a design effort will be made to advance the state of the art in the use of kinetic energy impact plates instrumented with geophones or accelerometers to monitor bedload movement of gravel or sand. Under a parallel research effort, the NCPA has been working with the BOR to instrument a set of kinetic energy plate impact sensors to monitor bedload gravel movement as part of the Elwha River dam removal in the Olympic National Park in Washington State. The effort provides an opportunity to expand the state of the art for monitoring gravel bedload movement across other watersheds that are of interest to the USDA. 3. A seismic technique known as the multi-channel analysis of the surface wave (MASW) method has been developed at NCPA to obtain soil profile data at depths from a few centimeters to a couple of meters. A lab-scale test will be conducted. The MASW procedure consists of an acoustic/seismic excitation, a stepper motor controlled LDV for multi-points surface vibration measurement, a spectrum analysis to convert collected time-domain signals into the frequency-phase velocity domain, and an inversion process. Applying the MASW method to field soil, time/climate-related variations will be used for calculating the infiltration rate. Additional testing will consist of two parts: (1) lab tests with an acoustic transmission method and (2) field tests using MASW setup and dynamic move-out technique.


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The process of buying a new Hyundai car or truck can seem overwhelming if you don't know where to begin. Edmunds.com can get you started on the right track with a convenient directory of Hyundai car dealerships in and around Hollins, Alabama. Compare online price quotes on the new or used car, truck, SUV, minivan, or wagon of your choice to locate the best deals. Edmunds.com makes it easy to find trusted Hyundai car dealers in Hollins, saving car buyers time and money on what will be an important purchase.
Non Display Review Name "I searched for the perfect car for months and finally found what I wanted at Tameron Hyundai, what a blessing that was. I got the car at the best pri"... Read more Review by: amary67


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Boca juniors 1905-2005 One 100 year anniversary treat to 1981 champion team with Maradona for the metropolitan league.This exact retro shirt used by Maradona and Boca juniors in 1981.Features screened team badge ,embroidered nike swoosh and stitched on tag for 100 years of glory in front.On the back of the shirt # 10 embroidered and screened on tag in spanish says .This is a reproduction of 1981 Boca juniors champion of the league for 1981 season.100% cotton.
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Soccerplus first opened in 1994. We were one of the first soccer websites to hit the webView more
Address: 1640 E. Washington Blvd.
Pasadena, Ca 91104, USA
Phone: 1-800-945-7291
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For more information visit www.simmsfishing.com.
For more information, visit www.gopro.com.
Browning – Outfitter Table
No matter what your plans are this summer, there's a good chance you will need a portable table. Browning's Outfitter table may serve all your spring and summer needs, but it would be great to have in any hunting camp.
* U.S. Coast Guard Approved Type V Life Jacket / Personal Flotation Device PFD with Type III Performance
** Item contains a CO2 cylinder and may not be available to ship to Alaska or Hawaii


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Grease from UNH dining halls turned into biodiesel for Mt. Washington Cog Railway
The train chugs and huffs and puffs up Mount Washington and as students finish their lunch, the oil from their eaten french fries and chicken nuggets is being recycled to be turned into biodiesel to power trucks, heat homes and fuel the elevated Cog Railway.
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How to Make Heart-Shaped Tomatoes (00:34)
The difference between a good meal and a great meal is in the details. Jenny Stewart of CHOW.com shows you how to take a salad to the next level by cutting the tomatoes into heart shapes. It's sure to please on a special occasion like an anniversary, Valentine's Day, or even just to get you out of the dog house.
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Buffett to Graham: Parting Like Friends, With Benefits?
Warren Buffett's more-than-40-year business relationship with the Graham family could be coming to an end. But it's not clear what assets the famed investor will get as a potential parting gift.
Mr. Buffett's company Berkshire Hathaway is negotiating a deal with Graham Holdings, the former owner of The Washington Post, to exit its investment in the media company.
The relationship between the two companies began when the billionaire investor bought an initial stake in the Washington Post company for around $10 million in 1973, a couple of years after it went public.
Mr. Buffett became a close personal friend of Katharine Graham, helping her gain financial acumen during her nearly 30-year run at the paper, bought by her father in 1933.
Ms. Graham's son Don Graham, who runs the company, is also a friend of Mr. Buffett's, and is known to seek the Omaha investor's counsel, including when deciding to sell the Washington Post last year to Amazon.com chief Jeff Bezos for $250 million.
No doubt the two men will remain friends, but the current business relationship looks like it might end if the ongoing discussions, disclosed in a regulatory filing yesterday, result in a deal.
The talks appear to be another example of Mr. Buffett using his ownership of a company's shares as a pathway to some clever deal-making.
Any deal would have Graham Holdings transfer some of its assets and potentially, Berkshire shares that it owns, into an as-yet unformed subsidiary company. Berkshire would then acquire this subsidiary, using its 1.73 million Graham shares to pay for it.
Such a transaction is called a "tax-free split-off" and companies with long-term ties to each other often explore that option – not just because it's tax-efficient but also because it's a mutually beneficial way to sever a relationship without things getting messy.
Tax experts say the IRS considers such transactions as restructurings, rather than sales, of assets and therefore not taxable as long as they pass certain tests.
Given that Berkshire's 28% stake in Graham is worth about $1.1 billion at yesterday's closing price, the subsidiary entity would likely have to have assets and stock adding up to that much in value.
Those assets could be any mix of businesses Graham Holdings has in its portfolio. Graham owned about $229 million of Berkshire Hathaway stock through its defined benefit pension plan as of the end of the third quarter, according to the company. As of the end of 2012, the company also owned $335 million of Berkshire stock as part of an investment portfolio.
Graham Holdings used to be known as The Washington Post Co. but renamed itself in November after selling its flagship paper.
Now, the company, which has a market capitalization of roughly $5 billion, owns Kaplan, the educational services provider, six local television stations that reach about 8% of U.S. households and Cable ONE, a Phoenix-based cable operator in 19 states.
It also owns online news site Slate.com, SocialCode, a social marketing company; Celtic Healthcare, a hospice services provider and Forney, an industrial applications company. As of the third quarter of 2013, Kaplan accounted for the biggest chunk of revenue at $546 million, followed by cable and television broadcasting.
Berkshire doesn't own television or cable companies outright, but stakes in several media companies are part of its massive stock portfolio. That includes satellite operators DirecTV and Dish Network, cable channel Starz, Liberty Media and Viacom. Buying Graham Holdings' cable assets therefore might not be a stretch, given that cable operators throw off steady cash flow – the kind of business Mr. Buffett likes.


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Colorful frescoes, magical world
Published: Thursday, February 14, 2013 at 10:06 a.m.
Last Modified: Thursday, February 14, 2013 at 10:06 a.m.
Mr. Eddie's frescoes are colorful and joyful pieces of folk art, simple images speaking a language everyone understands.
What: 31st annual Cortez Commercial Fishing Festival, presented by the nonprofit Florida Institute for Saltwater Heritage.
When: 10 a.m. to 6 p.m. Saturday and Sunday.
Where: 4415 119th St. W., Cortez.
Features: More than 50 artists, marine life talks and displays, children's activities, food and music.
Entertainment schedule: Saturday: 10 a.m., Passerine; 11:30 a.m., Shanty Singers; 12:30 p.m., Eric von Hahmann; 2:30 p.m., Soul R Coaster; and 4:30 p.m., Razing Cane. Sunday: 10:30 a.m., Soupy Davis and his Band; noon, Eric von Hahmann; 2 p.m., Shotgun Justice; and 4 p.m., Scott's Garage.
Admission: $3 adults, free for age 12 and younger; proceeds go to expand and restore the FISH Preserve's environmentally sensitive land along Sarasota Bay.
Remote parking: Park at G.T. Bray Park, 5502 33rd Ave. Drive W., Bradenton, or at Coquina Beach and take a round-trip shuttle for $2.50.
Information: Call 708-6120 or 722-4524 or visit www.cortez-fish.org.
"When you see his art, you smile," said Marcia Mattick, of Ginny and Jane E's at the old IGA in Anna Maria, where his pieces are sold.
The pictures, which are painted on plaster before it dries, convey a world of beauty and innocence.
Portrayals of chickens in the barnyard, to wildlife found locally, his artwork conveys "the natural world he thinks is magical and wonderful," Shirley Palmer-Hill of WICKWIRE fine art/folk art in Hendersonville, N.C., said.
At 66, Edwin Weaver Jr. has a lifetime of art experience and never attended art school. He is known throughout the world for his glass work that is in permanent collections at the Smithsonian Institution and the Corning Museum of Glass.
"I've been painting, sculpting and blowing for 38 years," he said.
To understand Mr. Eddie's frescoes, his career as glass blower is integral. As a young man, he came to glass blowing by accident, teaching himself a skill discovered by nomadic tribes, when glass was formed by desert campfires, dating to 5000 B.C.
While visiting Italy to study glass blowing in Venice, he was introduced to frescoes, an art form in which Michelangelo, DaVinci and other Renaissance artists worked.
"I'm seeing frescoes — all the duomos have them — and on the sides of street, fascinated by the look of these frescoes," he said.
As he and his wife, Mary, traveled to France, they saw drawings and paintings created by early man.
"We saw the cave paintings, basically the same as a fresco," he said.
Like glass, frescoes can last thousands of years and are testament to a civilization.
With earth oxides and minerals as colorants in glass, Mr. Eddie began to use the same ingredients to color his frescoes.
"He loves brilliant colors," Palmer-Hill said. "His pigments are created by compounds for his glass work, and he adapted that medium for his very colorful folk art."
Mr. Eddie uses a one-of-a-kind way to make paint and color, an important part of my painting, he said.
Explaining the process, Mr. Eddie said he adds water-based paint to what he calls fresh lime putty.
"When the putty is wet, add the paint," he explained. "When it dries, it becomes part of the fresco. The drying process fixes the pigment. That's why they last thousands of years."
A trick that every fresco painter must remember is to work very fast before the lime putty dries.
Since most frescoes are murals or on ceilings, Mr. Eddie invented a fresco folio, similar to a portable canvas, that is built on a wooden frames and easy to hang on a wall. Sizes range from 12-by-12 inches to 4-by-6 feet.
The natural world and all its colors are on display in his pieces, as well as something special.
"I always like to achieve something that's odd," he said. "Mine has to be wonky."
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Back in the day, whenever I had to make a deposit at the bank, I'd have to drive there, wait in line at the drive thru, and hand my signed check over to the bank attendant.
Now that my bank has an app, I've saved at least 15 minutes each time I would've had to travel to the physical bank branch. I love the convenience of depositing checks into my account with the snap of a picture from my mobile device! What used to take minutes now takes seconds, and for me, time is money.


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The Sock Knitter's Companion:
Step-by-Step Help
What follows is a simple format for knitting an extremely basic pair of socks. This pattern follows the common top-down technique, which means you start literally at the top (the cuff) and work your way down to (and around) the heel, along the foot, and ending at the toe. This is only one of many ways you can knit socks and knit each component of a sock. Once you start looking, you'll discover an entire universe of sock designs and structure out there. This pattern is intended to help you get started.
If you already have a basic top-down pattern, then you can use these instructions as a back-up tutorial of each step. And if you don't have a pattern and feel comfortable experimenting, that's even better!
If you need help finding a pattern, you can peruse the following resources:
Socks and Slippers patterns from Woolworks.org
Sock knitting pattern links from Knitting Pattern Central
The Sock Calculator, a free online tool you can use to create your own sock patterns
The Essence of Socks
The most essential number you'll need—one that will impact everything else in your sock—is based on the circumference of your calf. Choose a spot that's near the widest area to be covered by the sock and measure it. Because you'll want your socks to fit snugly, reduce this number by 25%.
For example: If your calf measures 10 inches (25cm), subtract 25% to get 7.5 inches (19cm).
To turn this measurement into a meaningful knitting number, multiply it by your yarn's gauge per inch. Round the number up or down, if necessary, to achieve an even number. (Generally you'll want to stick with a yarn that's fingering to DK weight. The thicker the yarn, the bigger each stitch, and the more potentially uncomfortable the sock may be to wear.)
For example: Say I'm knitting a pair of socks for myself using fingering-weight yarn that knits up at 7 stitches per inch, and my goal calf circumference is 7.5 (19cm) inches. I'd multiply 7 times 7.5 and get 52.5, which I'd round out to 52 stitches, to keep my number even.
This is the number of stitches you'll cast on for the cuff. If you need help casting on or using DPNs, read our tutorial, Getting Started with DPNs in Four Easy Steps.
Next, you need to decide on your yarn. The quantity of yarn you'll need for this sock depends entirely on the gauge of the yarn you choose and the size of the sock you want to knit. This is intended to be a very flexible set of instructions. For a women's sock in fingering-weight yarn with simple ribbing and no complex patterning, you'll want at least 300 yards; in sport-weight yarn, at least 400 yards.
The sample sock shown in these photographs was knit using a thicker yarn so that you could see each stitch more clearly.
For the cuff and leg, ribbing adds great flexibility while stockinette is more form-fitting. So if you're knitting socks for a friend or are generally unsure about sizing, you may want to have a ribbed cuff and leg. In the knitted sock you see here, I chose a k1/p1 rib.
Heel Flap
The heel flap is essentially a square that will cover your heel area. To make the flap, take half of your overall stitches and place them on one DPN. I usually place the other stitches on one DPN as well, although you can leave them on two DPNs, dividing the stitches so that they sit evenly on both needles.
For example: If my sock has 52 stitches, I'll place 26 stitches on the DPN.
You'll work these stitches back and forth separately from everything else. Don't worry, you'll join it back with the other stitches later.
We're going to follow a simple slip-stitch technique for the heel flap that gives extra strength and an almost rib-like thickness. This technique works as follows:
Right side: *Slip 1 stitch, knit 1 stitch. Repeat from * to end.
Wrong side: Purl all stitches. (Some people prefer to slip the first stitch and purl the rest. This is up to you.)
Heel flaps are normally 2 to 2 1/2 inches (5-6cm) long. An easier way to figure them out is to simply knit as many rows as you have stitches on the needle. Remember this number, because it'll come in handy later.
Now you'll add the "L" shape to your socks. At the bottom of your heel flap you'll work a series of short rows and decreases. This forms the cup of the heel. The first time you turn a heel, you'll want to pick a time when you can concentrate fully on what you're doing.
Over time you'll discover that you can "read" your stitches and turn a heel without needing to consult any pattern. For now, just follow these steps:
Right side: Slip your first stitch, then knit to the middle of the row. Knit two stitches beyond the center, and then work the decrease as follows: slip 1 stitch, knit 1 stitch, pass the slipped stitch over the knitted stitch (you'll often see this written as S1, K1, PSSO). After the decrease, knit 1 additional stitch, and then turn your work around so that the wrong side now faces you.
Wrong side: Slip your first stitch, purl 5 stitches, then decrease by purling 2 stitches together. Purl 1 more stitch, then turn the work again so that the right side is now facing you.
You'll notice that the decreases have created visible gaps between the stitches around them. As you work your way out from the center, always slipping your first stitch, you'll want to join the stitches on either side of that visible gap, using the decrease we just established. You'll always want to knit or purl one more stitch after the decrease, which keeps you moving toward the end of the needle.
Here's a recap of the decreases:
On knit sides, you'll join the stitches by slipping 1 stitch, knitting 1 stitch, and passing the slipped stitch over the knitted stitch (once again, the SL1, K1, PSSO in action).
On purl sides, you'll simply purl two stitches together.
It's important that you be consistent in your decrease technique because each produces a different slant to the work. You want to have clean, uninterrupted lines.
On your last two rows, you'll decrease over the gap but won't have any stitches beyond the gap to knit or purl. That's OK.
Tip: At the end of any wrong-sided row, you should have the same number of stitches of each end of the decrease gaps. If you don't, undo your rows until you do have even stitches.
If you're interested in exploring other heel shapings and techniques, you'll enjoy reading Catherine Wingate's summary of heel options for knitted socks, which she provided for Woolworks.org.
Instep Gusset: Rejoining the Sock
Now you need to incorporate this flap back into the context of a round, whole sock. How do you do this? By picking up and knitting stitches along each edge of the flap.
To determine the number of stitches you need to pick up and knit along each edge, simply count the total number of rows in the flap and pick up half as many stitches. (If you knitted as many rows as you have stitches on the needle, as recommended earlier, it's even easier to figure out this number.)
For example: My heel flap had 26 stitches at the beginning, so I knitted 26 rows before turning the heel. Now I'll simply pick up 13 stitches on either side.
Let's begin.
Knit across the instep, keeping all those stitches on their original needle.
Pick up and knit your stitches along the right edge of the heel flap.
At this point you'll have stitches on four needles. We need to do some housecleaning to redistribute those stitches evenly back onto three needles.
Right now you've finished picking up the stitches along the final edge of the heel flap. Now count the stitches on the heel itself (the bottom needle in the above photo) and knit across half of those. This marks the end of your round. Slide the remaining unworked stitches onto your next needle, which has the stitches you picked up from the first side of the heel flap. Now you're set!
For easy identification, let's label these needles as follows:
H1: The first needle of heel stitches immediately after the center of the heel. (The left needle in the above photo.)
Instep: The needle of stitches across the instep. (The top needle in the photo.)
H2: The needle of heel stitches that follows the instep and ends at the center of the heel. (The right needle in the above photo.)
More help with gusset stitches:
Check out Grumperina's tutorial on picking up gusset stitches "the pretty way".
You can also read a tutorial on the Socknitters Web site.
Tip: Quite often you may notice a bit of a hole where the heel flap meets the instep. You can close up any holes later with a darning needle and extra yarn. Some people prefer to pick up an extra stitch at the end of H1 and the beginning of H2, slide each extra stitch onto the corresponding end of the instep needle, and knit that extra stitch together with the first and last stitches of the instep. Your instep stitch count will stay the same but you've tugged the two edges together a little more closely.
Instep Gusset Shaping
Now that you've picked up your stitches and evenly distributed them on your needles, you're ready to begin knitting in the round again. You'll always begin your round at the center of the heel, then knit the instep needle, and finally the other heel side.
However, you need to do a series of decreases on either side of the heel to reduce the total number of stitches on all your needles back to...drum roll please...that very first number you cast on! (Unless you have an unusually wide calf, in which case you can reduce the number by a few more. Socks are flexible.)
This process is called "instep gusset shaping," although you don't actually decrease any stitches on the instep needle. Instead, you work decreases at each end of the heel needles instead.
Here's how it works:
H1: Knit to the last 3 stitches on your needle. Knit 2 stitches together (K2Tog), then knit 1 stitch.
Instep: Knit across entire needle
H2: Knit 1 stitch, SL1, K1, PSSO, then knit to the end.
To keep the decreases from being too abrupt, alternate the decrease round with a plain round where you simply knit without making any decreases.
You'll keep doing this until the H1 and H2 needles each have half the total number of stitches that are on the instep needle. This makes the top and bottom halves of your sock equal.
For example: If my socks have 26 stitches across the instep needle, I'll keep decreasing until each heel needle has 13 stitches. The total number of stitches equals 52, which is what I cast on at the very beginning.
Now comes the easy part! Simply knit around and around until the foot of the sock reaches two inches (5cm) from the tip of your toes. (This is a general guideline—feel free to vary this if you have long toes, short toes, or simply like baggy socks.)
Toe Decrease
At some point all good things must come to an end—even socks. Now it's time to decrease the stitches so that your toe has a nice sculpted look and snug fit. The toe decrease is similar to the instep gusset shaping. This time you'll decrease stitches on the instep needle, too.
Here's how you do it:
H1: Knit to the last 3 stitches, K2Tog, K1.
Instep: Knit 1 stitch, Sl1, K1, PSSO. Then knit to the last 3 stitches on your needle. K2Tog, K1.
H2: Knit 1 stitch, Sl1, K1, PSSO, then knit all remaining stitches.
As with the instep gusset shaping, you'll alternate decrease rounds with plain rounds so that the decreases aren't too abrupt.
How do you know when to stop? It's a matter of personal preference. If you like a wide toe, you'll want to stop the decreases early. If you like Grinch-like socks with pointed toes, you can decrease until there's nothing left.
I usually stop when the toe is about 1.5 inches (4cm) wide, but you can go wider or narrower depending on your preference.
Now you need to close up the toe hole. You can't just run a strand through the remaining stitches and pull it tight. You'll need to graft the top and bottom stitches together to create a flat seam across the toe.
The most common stitch for this is the Kitchener stitch, which weaves your stitches together and leaves no trace of a seam. Much mystique surrounds Kitchener, but it's actually pretty easy once you understand what you're doing.
Once you've decreased to the desired toe width, continue knitting across H1 to the last stitch. I tend not to work a plain round after the final decrease round—this keeps the toe from sticking out awkwardly.
Now you should have two needles facing you, both with the same number of stitches. The needle I call "front needle" is the one facing you when the sock is laid out as it would be on your foot. The so-called "back needle" is, you guessed it, the one in back.
Cut the yarn, leaving a generous tail (I usually leave 12 inches, or 30cm). Thread the tail through a darning needle and take a deep breath. You're ready to start your Kitchener!
Step 4: Thread your darning needle through the next stitch on the front needle, as if to purl.
Step 6: Now thread the darning needle through the next stitch on the back needle, as if to knit.
Tip: You'll always work each stitch on each needle twice. The first time you work it, you'll be working it in the opposite direction of the fabric facing you—that is, on the front needle, you'll work the stitch first purlwise (because the smooth knit stitches are facing you); and on the back needle, you'll work the stitch first knitwise (because the loopy purl stitches are facing you).
The second time you work that stitch, you'll be working it in the direction that the fabric is facing you (knitwise on the front needle, and purlwise on the back needle). And once you've worked the stitch that matches the direction of the fabric, you can slip it off the needle and proceed to work the next stitch on that same needle (this time working it in the opposite direction of what's facing you).
Repeat steps 3 to 6 until you have 1 stitch remaining on each needle.
Second-to-last step: Slip the darning needle knitwise through the stitch on the front needle and let it slip off the needle.
Additional Tips:
- Unless it's specifically labeled a sock yarn, most yarns are labeled at a looser gauge than you'd use for socks. I almost always use smaller needles and a finer gauge for socks than I'd use for sweaters made from the same yarn.
- Before you experiment too broadly with stitchwork, remember that these socks will need to fit inside shoes, and they'll spend a lot of time rubbing against your foot. Cables and bobbles look nice, but they might not pass the long-term comfort test.
- Choose yarns carefully. A yarn that's too bulky or too firm will feel uncomfortable on your foot, especially when you squeeze it into your shoe and walk around on it.
- Choose fibers carefully. Wool tends to breathe well, which is good for feet, and their innate elasticity will help the sock hold your foot in a snug fit. Fibers with less crimp and less elasticity—for example, cotton, silk, soy, and even alpaca—may stretch out of shape over time.
- If you're using multiple colors within a single row, be sure to keep your work loose so that it will be able to stretch when you pull the sock over your heel.
- If you have loose strands hanging out of your sock, don't tie them together and cut off the excess yarn. There's a 99% chance that the knot will come undone over time, leaving you with a big hole and no extra yarn to fix it. Instead, leave long strands and weave them in later.
Potential Sock Yarns We've Reviewed
How to Pick The Perfect Sock Yarn
Cherry Tree Hill Supersock
Hand Jive Knits Nature's Palette
Interlacements Toasty Toes
Just Our Yarn Caravan
Regia Jacquard
Koigu Premium Painted Merino
Mountain Colors Weaver's Wool
Lorna's Laces
Scheafer Yarn Martha
Zwerger Garn Opal
Sock Gadget Reviews
StitchKeepers by Rollie
Need Needle Advice?
DPNs Demystified
Four-Step Tutorial on Using DPNs
DPN Buyer's Guide Reviews
The core of this article was originally published in October 2001, but it has been fully updated and expanded for this 2007 publication.
Talk about knitting socks in our forum!
Previous reader comments
"First, I'm glad I found your site - it has such wonderful information. Second, I love to knit socks and even though I've done 4 pairs now, I still have found this article helpful. I especially like to follow the links for further techniques. The nifty chart with common measurements for all sizes is great. I love numbers and math so taking a simple ribbed sock and making it to fit my daughter will be great. THANK YOU!" sixbrixt, 10/26/2001
"Socks are the perfect gift for everyone!!! I started knitting socks as one of my first projects...& have been in love with them ever since..." swemar, 10/21/2001
"This is my year to concentrate on socks (next year mittens are the plan). I find the easiest way to have a loose cast-on row for socks is to cast on over two side-by-side DP needles, then transfer those loose stitches to your working needles." jbondch, 10/21/2001
"socks!!! I like knitting socks because I only use socking stitch (quite apt!). My nan left me her needles, so after a few years I started knitting socks and to my surprise I found them quite easy to knit, I find knitting gloves more difficult." dhenson, 10/20/2001
"One thing that would improve most people's sock knitting, especially beginners, is to cast on loosely (using a larger needle as necessary). Also, it is easier to handle dpn's if the cast-on and first row are done first on a single point needle, then transferred to the dpn." czylla, 10/19/2001


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Music lovers got a nice surprise in early 2013: a new New Order studio album.
"Lost Sirens" was the influential synth-pop band's ninth studio outing -- and its first since 2005's "Waiting for the Sirens' Call."
The band will likely perform a few cuts from "Lost Sirens," as well as plenty of old fan favorites, during its highly anticipated concert on Friday at the Bill Graham Civic Auditorium in San Francisco.
La Roux and DJ Whitney Fierce are also on the bill.
Show time is 8 p.m. and tickets are $55-$75, www.ticketmaster.com.
Chris Botti knows how to charm a crowd.
He's utterly charismatic onstage, delighting fans with megawatt star power, intriguing banter and warmly romantic pop instrumentals.
He's a gifted trumpeter, whose most recent studio effort, "Impressions," won the Grammy Award for best pop instrumental album in 2013.
Botti performs Wednesday at Montalvo Arts Center in Saratoga.
Show time is 7:30 p.m. and tickets are $45-$125, www.ticketmaster.com.
Xavier Rudd is a sight to behold onstage.
The Australian musician surrounds himself with a huge variety of instruments, ranging from banjo and bass to drums and didgeridoo.
Rudd can play all those instruments -- as well as basically anything else you put in front of him -- and the result is something that must be seen to be believed. The singer-songwriter is back out on the road and performs Saturday at the Fillmore in San Francisco.
Ash Grunwald opens the 9 p.m. show. Tickets are $25, www.ticketmaster.com.
Follow Jim Harrington at http://twitter.com/jimthecritic and www.facebook.com/jim.bayareanews.


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Major in Health Sciences
Offered by Saint Louis University's Doisy College of Health Sciences
Download a fact sheet about SLU's undergraduate health sciences degree.
Saint Louis University Health Sciences Degree OverviewSaint Louis University's undergraduate degree in health sciences offers a flexible curriculum that will prepare you for a variety of careers in health care. Offered through SLU's Doisy College of Health Sciences, this degree is a path for students interested in entering a non-clinical, health-related field. It also offers a solid, scientific undergraduate education for pre-professional and or pre-med scholars who want to go on to an advanced degree.
If you choose to major in health sciences at SLU, you will gain an understanding of the health care system and its complexities. In addition to a general health sciences and pre-med options, the program contains many pre-professional tracks, including pre-Doctor of Physical Therapy and pre-Master of Occupational Therapy and pre-Master of Athletic Training. The major also offers pre-dental and pre-physician assistant options.
What You'll Learn in SLU's Health Sciences ProgramHealth sciences students at SLU take a core curriculum of classes that include study of the U.S. health care system, medical terminology, anatomy and physiology, human development and fundamentals of healthy living.
You'll also become familiar with electronic health systems, consumer health care issues and legal aspects of health care. This flexible degree program also allows for diverse areas of concentration, so you'll be able to focus on areas of health science that most interest you.
What Can You Do With a Health Sciences Degree from SLU?Earning a B.S. in health sciences prepares you for a variety of non-clinical employment opportunities within health care. Some career options for graduates with an undergraduate degree in health sciences include:
- Health care coordinator
- Case manager
- Health services manager
- Privacy officer
- Corporate wellness administrator
- Medicolegal death investigator
- Patient advocate/patient navigator
- Health literacy educator
Learn more about SLU's undergraduate admission requirements, scholarships and financial aid, or take our majors quiz to find other SLU undergraduate degrees that might interest you.


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As the Today Show hemorrhages ratings, executives have no doubt spent countless hours in their corner offices at 30 Rock speaking in hushed tones about "social media integration" and "guest co-hosts." Who knew it was passion that America's ex-favorite morning program was missing?
This morning, during a segment on Valentine's Day gifts, Willie Geist and Al Roker were feeling a little frisky. So when they were presented with a pair of peach and creme lip balms that mix flavors when you kiss, the two love birds couldn't wait to get their hands on the chapsticks, and each other.


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UI Childrens Hospital: The Most Comprehensive Children Facility in Our Region
University of Iowa Children's Hospital is dedicated to meeting the health care needs of children and their families. Our staff members provide care across a full spectrum -- from health promotion and well child care to the crisis of traumatic injury and life-threatening illness, to birth defects, chronic illness, and developmental disabilities.
UI Children's Hospital is a 190-bed facility on the University of Iowa Health Care campus and is the region's largest children's hospital with the most comprehensive array of services. We provide care in 31 pediatric specialties, with more than 200 pediatric physicians and surgeons.
UI Children's Hospital is a leader in family-centered care, which includes the family as members of the multi-disciplinary care delivery team. We were the first hospital in Iowa to establish a Child Life Program to ease fears and anxieties of patients and families by promoting normal childhood activity and development during the child's stay in the hospital.
Our dedication to children and families dates to 1898 when University Hospital was founded. In 1919, a facility devoted to the care of children - Children's Hospital - opened as the first building constructed on the west campus of The University of Iowa.
Construction is nearly complete for our new $270 million 371,600-square-foot UI Children's Hospital facility adjacent to UI Hospitals and Clinics. The 12-level structure will offer 195 beds, an increase from the 164 beds in the current UI Children's Hospital. There will also be eight pediatric operating rooms as well as features that focus on the needs of patients and their families. You can view a webcam of the construction progress here.


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My name is Tom Paulson. My grandfather, Thomas Layefette Paulson,
was born in Wood County on October 13, 1874. He died in Brownwood,
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Wimbledon Win and Bryan Slam
Along the way to becoming the most successful men's doubles team in history, American twins Bob and Mike Bryan have had relatively few low moments and boneheaded mistakes. But on the cusp of a career-crowning achievement, they bottomed out for 15 minutes on Saturday. They fell behind 5-0 in the Wimbledon final, a dismal stretch that included Mike Bryan swinging at a simple volley — and missing the ball completely.
"I knew we were in trouble when you whiffed that volley," Bob said to his brother at the postmatch press conference.
But they weren't really in trouble. The Bryans tightened their games, didn't face a break point in their last 17 service games, and beat Ivan Dodig and Marcelo Melo, 3-6, 6-3, 6-4, 6-4 to win their third Wimbledon title.
With the win, the Bryans are the reigning champions at every Grand Slam tournament, the first men's doubles team to do so in the professional era. They also are the reigning Olympic champs, taking gold at this venue last summer. And they have won 15 major titles, the most in history.
Those historic results don't come without great talent, training, conditioning and tactics. The Bryans cited ice baths, compression machines, and body serves as among the tools of their trade after winning their semifinal on Thursday. As has often been noted, it also helps that the 35-year-old Californians are twins. The main advantage there is a surprising one: It's not any innate mental link, but that the brothers have never had to wonder if a mistake — even one as bad as a whiffed volley in the Wimbledon final — would break up their partnership.
Even if a guitar has to get hurt along the way. After winning on Saturday, the brothers joked their way through a story about how a tense postmatch conversation during the 2006 Wimbledon tournament led to punches, a kick and — when Mike fled into the bathroom of the house they were staying in — Bob's splintering of Mike's guitar. "That felt good, and that was the end of it," Bob recalled. That blow-up, which came after a first-round win, didn't make it into the blog the twins were writing about the tournament. Barely a week later, they won their first Wimbledon title.
In the cutthroat world of doubles, the only players who can be sure they won't get dumped by their partners are the new Wimbledon champs. "The sibling relationship might not even hold up under this amount of travel and stress," Bob said on Thursday, when asked what sort of team might ever challenge their records. "We have that loyalty that no matter how bad I return, you know, during a stretch, I know he's not going to be talking to Nestor and texting Nestor," Bob added. He was referring to Canadian doubles player Daniel Nestor, who has played with 10 different partners at Grand Slam tournaments over the past 19 years.
The Bryans' opponents Saturday have been playing together since last year, which makes them far more stable than other top teams. Dodig had six different partners at his first six majors before settling in with Melo, who has had four different partners at Grand Slam tournaments. Reaching their first Grand Slam final as a team is no guarantee they'll stick together. Robert Lindstedt and Horia Tecau reached the last three Wimbledon finals, losing each time — including to the Bryans in 2011. They split up after last year, and with new partners have combined to reach one major quarterfinal this year and no semis.
This shuffling of the top teams has cleared the way for the Bryans' magical year. Just two of the other seven most-successful doubles teams last year who, like the Bryans, qualified for the year-end finals have stuck together this year. None of their 14 members have reached a major final. And the Bryans have had to face just two of those players at this year's three Grand Slam tournaments, once each, both at Wimbledon — playing with new partners. On their way to winning the last four majors and the Olympics, the Bryans have faced a different team in each match, and those 29 teams entered the matches with far fewer tour-level match wins, as teams, than the Bryans have in their career. Just twice in those 29 matches were their opponents among the tournament's top five seeded teams.
All these new pairings sometimes work out for a while, during what Bob Bryan called the "honeymoon period where they're excited and they haven't had any adversity in their career yet. They haven't had, you know, tough losses. Everything is fresh and new." That's how the first five games of Saturday's final went. Then the Bryans showed that the twins template works better for doubles than the newlywed one does.
As their rivals have declined or tried out new partners, the Bryans have raised their level, while "out there taking swings and not living and dying with every win and loss," as Bob Bryan put it. They're on a 24-match streak without a loss, and an 88-match streak without a straight-sets loss. Each is the longest such streak of their career.
Doubles players often say that with serves so hard to break in their sport, the margins are slim and a few balls can make all the difference. The Bryans, setting new standards for dominance, are expanding their margins. In all matches over the past golden year, they've won 79% of sets, up from 70% earlier in their career. They've won 69% of tiebreakers, up from 58% before. And they've won 57% of all games, up from 56% before.
You might notice that those "before" stats are pretty good, too. The Bryans didn't need disarray among their rivals to excel. They've done so when facing just about every challenge over their ATP World Tour career as a team:
- Of the 105 players they've faced six 10 times or more, the Bryans have won at least half their matches against 101 of them.
- They've faced top singles players — who dabble in doubles occasionally, for Davis Cup, the Olympics and smaller tournament — and have beaten them consistently: They have a 29-8 record when facing the current Top 10 singles players in doubles. The only one they haven't beaten — No. 1 Novak Djokovic — they've never faced in doubles. (They're 4-0 against Andy Murray, Djokovic's opponent in the men's singles final on Sunday, who tweeted congratulations to the twins when they reached the final.) They have a 30-16 record against players who have ever been ranked No. 1 in singles, and have defeated 10 of them.
- The Bryans have particularly dominated against six players who have reached the Top 20 in singles, going undefeated against all six while playing each at least eight times. The six include their fellow Americans John Isner and Sam Querrey.
- They've faced and beaten the other top doubles players of today and of all time. They're 181-147 against fellow No. 1s in doubles, and have defeated 16 of them. And they're a dominating 179-73 against the other 18 men ranked in the Top 20 in doubles today.
For all their free-swinging talk, the Bryans are well aware of their accomplishments. Asked what remains for them to achieve, Mike Bryan mentioned winning 100 career titles — they need nine more — and finishing No. 1 in the world 10 times. They've done that eight times and have already all but sewn up the year-end top ranking this year. The Bryans' more-immediate goal is to win the U.S. Open in two months and win the first Open-era, calendar-year Grand Slam in men's doubles.
Such dominance could get boring for fans. But the Bryans accomplished a rare feat in their semifinal and final, in today's singles-centric tennis world: They nearly packed Wimbledon's two biggest courts — No. 1 and Centre — for their semifinal and final, respectively.
Last year, fans roared as Englishman Jonathan Marray became the first British man to win a Wimbledon doubles title since 1936. This year, Wimbledon attendees appreciated the chase for history, but also the Bryans' reflex volleys, angled winners and buzzing energy, which culminated in a signature, jumping chest bump that was a bit higher than usual after wins — fitting for the biggest achievement of their career.
Mike Bryan said afterward that Bob Bryan "looks like he's way higher than me" on the chest bumps, "but he's not." That verbal jab may cost Mike Bryan another guitar, but he can rest assured it won't cost him his doubles partner.


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A flood of memories
March 23, 2013
The following are excerpts from the "John 'Dud' Chamberlain Memoir," published courtesy of the Oral History Collection, Archives/Special Collections, Brookens Library, University of Illinois at......
We never know when a disaster might strike. I try to be as prepared as possible with extra food and water in storage and with cash where I can get to it. Mr. Chamberlain must have lived with this memory for the rest of his life, like those who lived through Katrina and Sandy will do. I'm thankful for memoirs and history to help us plan better and reflect on the strengths of those who have survived such catastrophes. My thanks to those who preserved this story and shared it.
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Monday, January 9, 2012
{Finding Freedom}
6 comments:
- Francine said...
I can't wait to her the whole background story on how Jayden came to be where he is. And I know I am not the only one who wants to see his face!
Keeping taking things one day at a time. A year from now, this will seem like so long ago.
Sending prayers and hugs your way.
-Francine from CT
- January 9, 2012 at 6:25 AM
- Phyllis said...
So hard to wait but of course he is worth it. I am happy that they take such care to ensure that each adoptive family is prepared and capable of caring for these special kids! Can't wait til the whole family is together! I recall similar feels when my boys were in the NICU. The longer it went, the more in love i was and the harder it was to leave them.
- January 9, 2012 at 1:18 PM
- Laura said...
I so love your blog and your honesty. Praying GOD's blessings during this time for you and your sweet family. What an inspiration you are! Love and prayers headed your way.
Laura from Fl.
- January 9, 2012 at 6:28 PM
- JayCee said...
One day closer!
- January 10, 2012 at 10:54 AM
Walking this with you in faith and patience. You know that Gods plan is such much bigger and better than ours. We will be praying with and for you that this time goes by qiuckly and that before you know it your family will be complete. Sending hugs and love to you all.
- January 11, 2012 at 6:28 AM
- emmiewyatt said...
Hey there - I am a lurker who has been following your blog for years and am continuously inspired by you. I was recently made aware of a mommy and her son Tripp who is battling a terminal disease. My heart is crushed for them and the first thing that came to my mind was to put you in touch with her. NOBODY can imagine what she is going through....except you. I just wanted to pass along her blog...and maybe you have already seen it. http://randycourtneytripproth.blogspot.com/
- January 13, 2012 at 8:28 AM