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Here's how RW members rated this race (67 votes).
In short: Just when you think you might be on for a PB they go and stick a hill in it.In full: Really enjoyable race. I'd been warned about the hill at the end, but it still came as a nasty surprise. That said, this can be very fast in places. Well organised and marshalled, but I didn't see any kilometre markers until 7k. Otherwise a really good run with a nice mixture of club and non-club runners.Date of review: April 26, 2009
In short: Well organised and very friendlyIn full: First time I have done my "local" race as I live outside the area now, saw a few people I knew. Weather excellent and made it for me. Organisation excellent and everyone v friendly, and the hills are nowhere near as bad as I expected (and this was my first hilly race). Highly recommended. Nice to get a useful mug rather than a medal. Fantastic to get the chip time just a few minutes after finishing, highly efficient,can't wait to do it again next year and better my time.Date of review: April 20, 2009
In short: My first time and first 10k. Fun challenging race andwell organsised. In full: I found the hill at 5k in Frenchay worse than Blackberry Hill at the end. A very enjoyable morning with great weather.Date of review: April 20, 2009
In short: Absolutely no chance of breaking records, but a great day outIn full: My first time doing Frenchay and I had been warned about the hills, but oh crikey... especially the final sting in the tail. Well organised, although there were marshalls in places that didn't need them and road crossing that perhaps did need them, but most marshalls were clapping and generally being very encouraging. The route has a few dull residental sections, but does take advantage of Snuff Mills and Oldbury Estate which is really nice. Some more loos would be good too. The parking marshalls had a tough job, but it all seem to run very smoothly. Oh and thanks for organising some great weather. I'll be back next year! Are there any on-line results?Date of review: April 20, 2009
In short: Don't let the undulations beat you!!In full: Ah. Frenchay. A friendly local vibe, good organisation and a challenging course. Lovely.Date of review: April 20, 2009
In short: A lovely day.....but who put the hills there?In full: First time for me in this race and thouroughly enjoyed it.Normally saty in Wales for the Porthkerry Plod.Glad that I didn't this year.Well worth the effort.Well organised and marshalled.Possibly for next year a couple of Portaloos?Very impressed by the whole set up!(And my son finished 7th!!) Date of review: April 19, 2009
In short: Rain, hills and a cracking run!In full: Really good and a trophy mug at the finish was different and a nice touch, pitty about the rain ruined time sheets that stopped the complete results being posted. Date of review: January 20, 2009
In short: Three significant hills but a good race overallDate of review: April 29, 2008
In short: race was good although but no chance of a pbIn full: Good race but the problems seemed to be with the apparent lack of toilets (I only found one sit down for the 100's of male runners) and the complete in accuracy of the km markers. Having said all that the chip system that was used was probably the best I have come across and the mashalling was excellentDate of review: April 25, 2008
In short: Challenging but well organised!In full: First time at Frenchay, heard a lot about it and it is as challenging as they say. Two very tiring hills although I found the first in Snuff Mills worse than Blackberry. Well organised, my Garmin said I run over a minute quicker than the result, I didn't start it till i ran over the mat, so am wondering if they only take the finish on the chip?? Even so I will be back next year.Date of review: April 22, 2008
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Reviewed on Thursday, March 7, 2013
We have been staying at Surf Song Condo almost every Summer for the last 20 years. We won't go any where else for our Summer Vacation!!
Reviewed on Thursday, March 1, 2012
Had a wonderful stay - everyone was friendly, the condo was clean, the pool very nice. Would definitely recommend to friends.
Reviewed on Wednesday, October 29, 2008
We had an other wonderfull week in "Surf Song" :-)
unfortunately, in this room, the view to the beach is disturbed by the roof of the phase I building.
Neverthless we love this place and the friendly "surf song" management and staff.
Reviewed on Friday, October 24, 2008
The place was exceptionally clean and had all the amenities we needed. The pool is huge. Very convenient to restaurants and shops.
Reviewed on Thursday, October 23, 2008
This past June was the first time my family stayed at Surf Song and we loved it. We met lots of nice people, the facility was awesome and the beach was beautiful. We liked it so much that before we left for home we rebooked for the following year to ensure we got the room we wanted.
The unit is great. It is well kept


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i notice that the orings on my bolt have swollen alot? i know because the orings pinch when i take the bolt out and put it back in, is this normal? also i have fsdo i lowered the FSDO setting to 0 and left my dwell alone at 13? any suggestions? thanks
luxe 1.5 question
Started by MichaelP, Oct 03 2012 06:21 PM
2 replies to this topic
Posted 03 October 2012 - 06:21 PM
Posted 18 January 2013 - 12:08 PM
You have FSD?
Your upgraded core should of taken care of that. What Lube are you using, and how much?
Your upgraded core should of taken care of that. What Lube are you using, and how much?
Posted 20 January 2013 - 10:47 PM
1.5 still uses the standard core, not the 2.0 core. Did you lube with dow55? Dow33 doesn't swell orings, but dow55 does.
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Maura Harty is the Assistant Secretary of State for Consular Affairs at the U.S. Department of State.
International Education Week, November 12-16, 2007, was a time to recognize and celebrate the many ways in which international education enriches our communities, our nation and the thousands of students and scholars who take part in international exchange each year. During International Education Week and throughout the year, the U.S. Department of State is proud of its role in supporting international and American students as they advance understanding through international exchange.
The Department of State promotes and facilitates the travel of international students and scholars to our shores. In 2007, we issued a record number of student and exchange visitor visas – over 650,000 – more than 10 percent up from last year. According to the Institute for International Education, over 223,000 American students studied abroad in countries on every continent in 2006 (the last year for which data is available).
According to the Department of Commerce, international education is America's fifth largest service export – bigger than medical services. International students contribute over $14.5 billion to the institutions they attend and the surrounding communities – up a billion dollars from last year, and the largest increase to date. Their research and scholarship spurs innovation and fuels our knowledge-based economy. Even more important is the priceless impact of the interpersonal exchanges created through international education. The best advertisement for America is America. As Secretary of State Condoleezza Rice has observed, "Our country has no more valuable asset internationally than the friendship of millions of young people, citizens and leaders around the world who understand the United States because they have studied there."
International education empowers people. Every person who studies abroad is, in effect, an ambassador for his or her country, expanding their personal horizons and the horizons of others. Through exchange programs of the Bureau of Educational and Cultural Affairs, many thousands of international students and scholars have felt the transformative power of international education to bring people closer. These include students like Mahid from the Philippines, who studied in the United States on an exchange program for students from countries with significant Muslim populations, who said, "I feel fulfilled and proud of myself because I have introduced my culture to the Americans; I have bridged cultures!"
The Department's Bureau of Consular Affairs has increased the transparency, efficiency, and predictability of the visa process across the board, with a special focus on student and exchange visitor visas. We provide more information on our websites to guide students through the visa process. We made it possible for students to apply for their visas up to 120 days before the start of their programs. Every embassy and consulate has established programs to put students at the front of the line, so that they can start their programs on time. The overwhelming majority of qualified students are issued visas, over 95 percent within a few days of application.
We have achieved much, but recognize we must do more. As the number of potential students continues to grow, we will continue to work to make the process smarter, and implement other changes to ensure that America's welcome to international students begins with the visa process.
Changed visa procedures are only part of the story. We also have to get the word out about opportunities for international study to students in America and around the world. Officials from the U.S. Departments of State and Education have led delegations of college and university presidents overseas to meet with students and academic administrators. Embassies around the world are reaching out to high schools, universities and vocational and technical schools. Department scholarship programs open the world to American undergraduate and graduate students, and the National Security Language Initiative encourages American students to speak critical foreign languages.
To international students, I hope that you will consider furthering your studies in the United States. My pledge is that our welcome will begin with prompt, efficient, courteous service at the Embassy or consulate.
To American students, I hope that you will consider studying abroad as part of your academic programs, so that you too can share a little bit of America with the international community, and build lasting ties between the United States and other countries.
Aldendeshe in Syria writes:
Foreign Students are the best ambassadors America can have. No matter how much they will disapprove with U.S. Government foreign policy, they will still remember the polite, professional Americans the student interacted with and befriended during their study years, appreciate the educational and work environment and ethics, will be impelled to view America more objectively. At the very least, they will learn to speak the language.
Now that America image globally and its Foreign Policy has utterly crashed to the bottomless pit, it is promising to see a good program is being updated and made even better to create life time opportunities to students.
William in Texas writes:
Ideally, there should be controversy about an education exchange. In reality however, given the grotesque leftist bias of American academia, I doubt that any such exchanges could enhance America's position in the world. Rather those exchanges will exacerbate existing anti-American sentiment.


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Haliburton, Thomas Chandler
Thomas Chandler Haliburton 1796-1865
Canadian sketch writer, nonfiction writer, historian, and author of fictional letters.
The following entry presents selected criticism on Haliburton's works from 1981 to 1997. For discussion of Haliburton's works prior to 1981, see NCLC, Volume 15.
Haliburton was a pioneer in the development of Canadian and American humor literature. He is best known for his creation of the character Sam Slick, a glib, irreverent braggart and shrewd peddler from New England who personified Haliburton's political views on the relationship between England, Nova Scotia, and America. Common themes in Haliburton's various volumes, sketches, and essays include his fervent patriotism for Nova Scotia and his conservative Tory political views. Today, critics chiefly praise Haliburton for his creative rendering of dialects and for his satirical descriptions of various social classes.
Biographical Information
Born in Windsor, Nova Scotia in 1796, Haliburton studied at the Anglican-controlled King's Grammar School and later at nearby King's College. During a trip to England in 1816, he met Louisa Neville who returned with him to become his wife. He resumed the law studies he had begun under the tutelage of his father, a provincial judge, and in 1826, after practicing law for several years, Haliburton became a Tory member of the provincial parliament. Upon his father's death in 1829, he inherited an appointment as judge of the Inferior Courts of Common Pleas. In 1841, the same year that his wife died, Haliburton was named to the Supreme Court of Nova Scotia. He retired from this position in 1856 and shortly afterwards moved to England, where he married his second wife, Sarah Williams. He continued his political career as a member of the House of Commons for Launceston. Haliburton died at his home in Islesworth in 1865 at the age of sixty-nine.
Major Works
Throughout his literary career, Haliburton produced historical and political writings, edited anthologies, and composed miscellaneous fictional sketches and letters. The most popular of his works were several series of sketches featuring the Yankee character Sam Slick. Scholars generally agree that Haliburton began his literary career with A General Description of Nova Scotia, published anonymously in 1823, followed by a re-working of the same material in An Historical and Statistical Account of Nova Scotia (1829). These volumes presented the province's history, its natural resources, and its economic potential for prospective settlers. In his political treatises, The Bubbles of Canada (1839), A Reply to the Report of the Earl of Durham (1839), and Rule and Misrule of the English in America (1851), Haliburton expressed his conservative views concerning Canada's prospective form of government, insisting that a constitutional democracy based on the American system would not be in the best interests of either Canada or Great Britain. Haliburton also wrote The Letter-Bag of the Great Western (1840), The Old Judge (1849), and The Season-Ticket (1860), in which he offered satirical commentary on social and political matters. In the first two series of The Clockmaker (1836 and 1838), the Yankee Sam Slick travels to Nova Scotia. There he meets a Squire, who travels with him, recording Slick's adventures on the road and his comments on such issues as women's rights and the political and social concerns of the Canadian provinces. The third series of The Clockmaker (1840) is set in England, where Sam's negative comments about the country are countered by the Squire and by another American, the Reverend Hopewell. In the two series of The Attaché (1843 and 1844), Sam serves at the American Legation in England. In Sam Slick's Wise Saws and Modern Instances (1853) Sam returns to Nova Scotia to examine the state of the province's fishing industry for the president of the United States. In Nature and Human Nature (1855), the last work in which Haliburton described the Yankee's experiences, Sam continues his investigations for the president and expounds on the condition of humankind, the state of female education, and the superiority of Americans over the English. Throughout these stories, Haliburton expressed his distrust of American democracy and advocated the loyalist view that the Canadian provinces needed strong ties with the British government.
Critical Reception
Of all Haliburton's writings, none attained the popularity or critical attention enjoyed by the Sam Slick stories. In these sketches, collected in the three series of The Clockmaker, the two series of The Attaché, Sam Slick's Wise Saws and Modern Instances, and Nature and Human Nature, Haliburton combines his political views with humorous storytelling. The character of Sam, called the author's "mouthpiece" by critics, provided Haliburton with a colorful means of prodding his fellow Nova Scotians into improving their work habits in order to compete with what the author believed to be the more vigorous and efficient Americans. The enduring interest of the Sam Slick sketches is due, in part, to their humorous presentation of Haliburton's political philosophy. Delivered in Sam's characteristically caustic language, this humor often takes the form of blunt observations regarding the American and British systems of government, the progress of society and technology in Nova Scotia, and the British disdain of life in the Canadian colonies. Sam Slick considers himself a master of "soft sawder," his term for language meant to manipulate others. His skills as a merchant and orator allow him to convince customers that they not only desire, but also need what he has to sell. Though some critics have faulted Haliburton for the over-stylized stereotypical character that is Sam Slick, they have praised his renderings of the American frontier dialects presented in Sam's speech as consistent and largely accurate. Haliburton has been credited with popularizing many colorful and descriptive phrases and words, including "hot foot" for hurrying, "gumption" for courage, and "jawbreakers" for multisyllabic words. The first two series of The Clockmaker were well received by the public. However, subsequent writings were faulted as repetitive and lacking substantial literary merit. Haliburton's work, which has been derided as racist and misogynist, also receives attention from scholars who study the political messages and the dialectic and comic elements that he combined to create didactic narratives that influenced American satire.
Principal Works
A General Description of Nova Scotia [published anonymously] (history) 1823
An Historical and Statistical Account of Nova Scotia (history) 1829
The Clockmaker; or, The Sayings and Doings of Samuel Slick, of Slickville, first series (sketches) 1836
The Clockmaker; or, The Sayings and Doings of Samuel Slick, of Slickville, second series (sketches) 1838
The Bubbles of Canada (nonfiction) 1839
A Reply to the Report of the Earl of Durham (nonfiction) 1839
The Clockmaker; or, The Sayings and Doings of Samuel Slick, of Slickville, third series (sketches) 1840
The Letter-Bag of the Great Western; or, Life in a Steamer (fictional letters) 1840
The Attaché; or, Sam Slick in England, first series (sketches) 1843
The Attaché; or, Sam Slick in England, second series (sketches) 1844
The Old Judge; or, Life in a Colony (sketches) 1849
Rule and Misrule of the English in America (nonfiction) 1851
Sam Slick's Wise Saws and Modern Instances; or, What He Said, Did, or Invented (sketches) 1853
Nature and Human Nature (sketches) 1855
The Season-Ticket (sketches) 1860
Selections from Sam Slick (sketches) 1923
The Sam Slick Anthology (sketches) 1969
The Letters of Thomas Chandler Haliburton (letters) 1988
Darlene Kelly (essay date autumn 1982)
SOURCE: Kelly, Darlene. "Thomas Haliburton & Travel Books About America." Canadian Literature, no. 94 (autumn 1982): 25-38.
[In the following essay, Kelly examines the ways in which Haliburton capitalized on the popularity of the travel book and used it as a medium for expressing his own political views regarding Canadian, American, and British relations.]
Thomas Haliburton's observations on British travel commentaries about America reward examination on several counts. First, they are valuable historically, recreating for the modern reader a phase of Anglo-American relations when these analyses of America renewed hostilities between two nations recently at...
(The entire section is 6580 words.)
M. Brook Taylor (essay date spring 1984)
SOURCE: Taylor, M. Brook. "Haliburton as a Historian." In The Thomas Chandler Haliburton Symposium, edited by Frank M. Tierney, pp. 103-22. Ottawa, Ont.: University of Ottawa Press, 1985.
[In the following essay, an earlier version of which was published in Acadiensis: Journal of the History of the Atlantic Region in spring 1984, Brook shows how Haliburton used historical narrative and promotional description to bolster Nova Scotian patriotism by suggesting that the colony embodied the best and most vital qualities of British civilization.]
"This is my own my native land."(1)
Thomas Chandler Haliburton needs little introduction to students...
(The entire section is 9082 words.)
Tom Middlebro' (essay date winter 1985)
SOURCE: Middlebro', Tom. "Imitatio Inanitatis: Literary Madness and the Canadian Short Story." Canadian Literature, no. 107 (winter 1985): 189-93.
[In the following excerpt, Middlebro' claims that Haliburton's "The Witch of Inky Dell" is a successful short story because its combination of gothic conventions, a morally ambiguous hero, and the theme of madness results in compassion for the characters and an "unsettling awareness of the unintelligible on the frontiers of reason."]
Plot in the short story may lead the reader's mind to an illumination of intelligibility, but sometimes it works to shatter the reader's comforting teleological expectations with...
(The entire section is 1662 words.)
Daniel Royot (essay date 1985)
SOURCE: Royot, Daniel. "Sam Slick and American Popular Humour." In The Thomas Chandler Haliburton Symposium, edited by Frank M. Tierney, pp. 123-33. Ottawa, Ont.: University of Ottawa Press, 1985.
[In the following essay, Royot discusses how Haliburton borrowed ideas from various frontier humorists to create Sam Slick and how Haliburton's writings influenced later American humorists.]
A retrospective view of the Clockmaker series makes it clear that Haliburton deliberately established a link between various brands of the American comic spirit. Resulting from his gleanings of folk humour, his achievements were ultimately conducive to a new genre combining...
(The entire section is 4668 words.)
Darlene Kelly (essay date 1985)
SOURCE: Kelly, Darlene. "Haliburton's International Yankee." In The Thomas Chandler Haliburton Symposium, edited by Frank M. Tierney, pp. 135-49. Ottawa, Ont.: University of Ottawa Press, 1985.
[In the following essay, Kelly suggests that Haliburton's writings, particularly The Clockmaker and The Attaché series, serve as political analyses of the relationship between England, America, and the Canadian colonies and are a social commentary on these cultures. She states that the character of Sam is the personification of Haliburton's satire of America and the means by which Haliburton makes fun of the English.]
After the first Clockmaker set in...
(The entire section is 6802 words.)
R. D. MacDonald (essay date summer 1988)
SOURCE: MacDonald, R. D. "Thomas Chandler Haliburton's 'Machine in the Garden': Applying Leo Marx's Criticism of America to Haliburton's Clockmaker." Canadian Review of American Studies 19, no. 2 (summer 1988): 165-80.
[In the following essay, MacDonald compares Marx's ideas on technology to Haliburton's philosophy that Nova Scotians should be more progressive in the development of technology, yet remain conservative in their traditional values.]
In a recent symposium, Robert L. McDougall has puzzled over T. C. Haliburton's being a reactionary tory and yet an advocate of technological progress: "How come … we find this [early nineteenth-century Nova...
(The entire section is 8550 words.)
Stanley E. McMullin (essay date 1989)
SOURCE: McMullin, Stanley E. "Thomas Chandler Haliburton." In Canadian Writers and Their Works: Essays on Form, Context, and Development: Fiction Series, Volume Two, edited by Robert Lecker, Jack David, and Ellen Quigley, pp. 27-76. Toronto, Ont.: ECW Press, 1989.
[In the following excerpt, McMullin maintains that even though Haliburton's popularity waned and he was alternately labeled a British or an American writer, his Tory philosophy was primarily linked to Canadian intellectual tradition.]
It seems to me that Robert L. McDougall has come closest to answering the question of why Thomas Chandler Haliburton's reputation has waned while lesser writers continue to...
(The entire section is 11327 words.)
Gordon MacKay Haliburton (essay date fall 1991)
SOURCE: Haliburton, Gordon MacKay. "The Planter Roots of Thomas Chandler Haliburton." Dalhousie Review 71, no. 3 (fall 1991): 292-309.
[In the following essay, Gordon MacKay Haliburton traces Thomas Chandler Haliburton's ancestry back to Boston and Scotland and argues that his views were influenced by the fact that he and his compatriots were all representative members of the third generation of the Planter community in Nova Scotia.]
Thomas Chandler Haliburton, the first Canadian writer to enjoy international acclaim, was, like all of us, moulded by a combination of genetic inheritance and by the environment around him in his early formative years. What were these...
(The entire section is 7444 words.)
Ruth Panofsky (essay date fall/winter 1993)
SOURCE: Panofsky, Ruth. "The Publication of Thomas Chandler Haliburton's The Clockmaker, 1st Series." Canadian Literature, nos. 138/139 (fall/winter 1993): 5-20.
[In the following essay, Panofsky details the publication history of The Clockmaker, focusing on the unauthorized reprintings of the first series in England and America.]
What is known today as Thomas Chandler Haliburton's The Clockmaker series began as a group of sketches entitled "Recollections of Nova Scotia." This series of twenty-one sketches appeared anonymously in the Novascotian, or Colonial Herald, a weekly newspaper published in Halifax by Joseph Howe. The weekly...
(The entire section is 6269 words.)
George Elliot Clarke (essay date 1997)
SOURCE: Clarke, George Elliot. "Must We Burn Haliburton?" In The Haliburton Bi-centenary Chaplet: Papers presented at the 1996 Thomas Raddall Symposium, edited by Richard A. Davies, pp. 1-40. Wolfville, N.S.: Gaspereau Press, 1997.
[In the following essay, Clarke proposes that the writings of Haliburton and the Marquis de Sade have been consigned to obscurity due to their similar offensive views on reform—that liberalism is a false promise of equality and that the elite should rule by strength. Haliburton, a conservative, opposed capitalism, reformism, and abolitionism because he saw these as products of a liberal world resulting in a breakdown of the natural hierarchy. Sade, a...
(The entire section is 13024 words.)
Ruth Panofsky (essay date 1997)
SOURCE: Panofsky, Ruth. "Breaking the Silence: The Clockmaker on Women." In The Haliburton Bi-centenary Chaplet: Papers presented at the 1996 Thomas Raddall Symposium, edited by Richard A. Davies, pp. 41-53. Wolfville, N.S.: Gaspereau Press, 1997.
[In the following essay, Panofsky compares Haliburton's derogatory treatment of women in the The Clockmaker series to the societal norms of the nineteenth century.]
In a recent overview of African-Canadian literature, George Elliott Clarke refers to Thomas Chandler Haliburton as "Canada's most vaunted early writer" (7). More than 160 years following the appearance of The Clockmaker sketches, which...
(The entire section is 3825 words.)
Further Reading
Chittick, V. L. O. "Haliburton as Member of Parliament." University of Toronto Quarterly 33, no. 1 (15 October 1963): 78-88.
Details biographical information and political views from the time of Haliburton's return to England to his death.
Davies, Richard A. "'Not at All the Man That We Have Imagined': Mr. Justice Haliburton in England (1835-65)." Dalhousie Review 59, no. 4 (winter 1979-1980): 683-95.
Discusses Haliburton's life in England and refutes V. L. O. Chittick's assertion that Haliburton was a failure.
———. "'The Wilson Collection' at Acadia...
(The entire section is 791 words.)


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Vendler, Helen
Helen Vendler 1933-
(Full name Helen Hennessy Vendler) American literary critic and editor.
The following entry presents an overview of Vendler's career through 2000.
Vendler is considered among the most influential contemporary poetry critics in the United States. What makes this remarkable is that Vendler is not a poet herself and her criticism does not embrace a particular ideology. Instead, her work, which she refers to as "aesthetic criticism," is known for its detailed explanations of specific poems. While Vendler gained prominence with the publication of On Extended Wings (1969), a study of Wallace Stevens's poetry, her position among the nation's premier poetry critics was solidified when she was chosen to edit The Harvard Book of Contemporary American Poetry (1985). She has also produced several important collections of criticism, as well as full-length treatments of W. B. Yeats, George Herbert, John Keats, Seamus Heaney, and a comprehensive volume that considers Shakespeare's sonnets.
Biographical Information
Vendler was born on April 30, 1933, in Boston, Massachusetts. Both of her parents, George and Helen Hennessy, were teachers. Vendler has credited her father for introducing her to foreign languages and her mother for introducing her to poetry. As an undergraduate, Vendler did not concentrate on English literature. Instead, in 1954 she earned an A.B. degree in chemistry from Emmanuel College, a Roman Catholic school in Boston. After studying at the University of Louvain under a Fulbright fellowship, she entered Harvard, where she earned her Ph.D. in English literature in 1960. Vendler's dissertation, entitled "Yeats's Vision and the Later Plays," would become her first book three years later. Also in 1960, Vendler received an instructorship at Cornell University and married Zeno Vendler, a Hungarian-born philosophy professor, with whom she has a son; the couple divorced in 1964. She then served as a lecturer in English at Swarthmore and Haverford. While working as an assistant professor of English at Smith College, Vendler was commissioned by the Massachusetts Review to take on their annual consideration of the year in poetry. Her acceptance of this assignment signaled the beginning of her career in poetry criticism. In 1966 Vendler moved to Boston, where she became an associate professor at Boston University. She also took a post as a visiting professor at Harvard, where, in 1985, she was appointed to a tenured faculty position. In addition to her academic positions, Vendler has held such influential posts as that of consultant poetry editor for the New York Times and poetry critic for the New Yorker.
Major Works
Vendler's critical work is rather unique in the academic realm of English literature. In a field in which academics usually interpret a text from some kind of ideological perspective (Marxist or feminist theory, for example), Vendler disregards as much as possible the historical, social, or biographical context in which a text was written. In this regard, she is associated with exponents of New Criticism, an Anglo-American school of literary analysis that flourished after World War I, including critics such as I. A. Richards, John Ransome Crowe, and Cleanth Brooks. Instead of demonstrating an interest in the ideologies at work behind a particular piece of poetry, Vendler is concerned with the poem as an aesthetic object. In particular, she is interested in the imaginative process that creates a poem. Vendler thus refers to herself as an "aesthetic critic." Although her first book, Yeats's Vision and the Later Plays (1963) did not focus on poetry, Vendler quickly changed course following her commission by the Massachusetts Review to consider the year in poetry. Her first book following this appointment, On Extended Wings, presents a chronological examination of fourteen of Wallace Stevens's poems. In this book, Vendler offers a detailed look at the poet's changing language and style and argues that Stevens's central theme in these poems is the worth of the imagination. Part of Nature, Part of Us is a collection of Vendler's reviews and critical essays on forty-five poets, including Stevens, Elizabeth Bishop, Robert Lowell, James Merrill, T. S. Eliot, and Adrienne Rich. By examining the diverse works of a number of contemporary American poets, Vendler seeks to find their shared traits. Vendler notes in the introduction to Part of Nature, Part of Us that her interest lies in discovering how each "idiosyncratic voice" makes up the "common music" of the century's poetry. In The Odes of John Keats, one of Vendler's most accessible works, she reads Keats's six great odes as parts of a larger structure, suggesting that the poems, beginning with "Ode on Indolence" and climaxing with "To Autumn," form a sequence that increases in mastery from one poem to the next. The Music of What Happens (1988) consists of reviews and essays on various poets, both modern and canonical, in which Vendler draws attention to the rhythms and sounds of poetry, rather than on image and voice. In 1995 Vendler accomplished the rare feat of publishing three books of poetry criticism in one year: The Given and the Made, Soul Says, and The Breaking of Style. The first of this group, The Given and the Made, considers how four poets were shaped by a particular "given": Robert Lowell by his family; John Berryman by his depression; Rita Dove by her race; and Jorie Graham by her multilingual upbringing. Soul Says, in turn, presents a collection of essays on the works of several poets and discusses Vendler's effort to locate the human soul in the lyric form. The Breaking of Style, traces the changes in the styles and worldviews of three poets: Englishman Gerard Manley Hopkins, Irishman Seamus Heaney, and American Jorie Graham. Vendler subsequently produced The Art of Shakespeare's Sonnets (1997), a project that she worked on for nearly a decade. This book contains all of Shakespeare's 154 sonnets, with the 1609 facsimile and corrected modern versions juxtaposed, followed by Vendler's commentary. For the most part, the book eschews the usual attempts by critics to focus on the sonnets' homoeroticism or to guess at the identity of the mysterious Dark Lady. Instead, Vendler does what she has become best known for—providing a close reading of the poems, including several fresh critical insights into this much-studied collection of verse.
Critical Reception
Those unacquainted with academic writings about English literature might be surprised to discover that Vendler's close-reading technique is the exception, not the rule. That she considers the style and content of a poem to be of far more importance than its ideological underpinnings has helped to place her in a unique position among contemporary American poetry critics. By offering detailed explanations as to the aesthetics of poems, her work has been largely welcomed by critics as a refreshing change from other academic writings, which tend to be obsessed with abstract and esoteric literary theories. Not surprisingly, her detractors find her approach conservative and blind to the socio-historical rootedness of art. While Vendler's first book received little notice, fellow critics began to pay her attention with the publication of On Extended Wings. Commentators praised Vendler for making, through her detailed analyses of Stevens's longer poems, the notoriously difficult poet's work more accessible. Not all of Vendler's interpretations, however, have been well received by reviewers. The Odes of John Keats, for instance, was roundly criticized for interpreting the poems not individually, but as part of a larger sequence. Vendler's decision to do so was considered arbitrary and misguided by some critics, particularly because it relegated the earlier odes to an inferior status. Vendler's eye for detail and knack for discerning patterns, however, served her well in The Art of Shakespeare's Sonnets. Besides offering her usual close readings, Vendler maintains that the sonnets are constructed and given meaning by what she calls "couplet ties," words in the body of the sonnet that are repeated in—or deliberately omitted from—the poem's couplet. Vendler was credited in this work with finding a previously unobserved generality about Shakespeare's sonnets—not a minor accomplishment considering that the sonnets have been studied for centuries. Vendler's success as a poetry critic is all the more remarkable given that she has not published any poetry herself. Previously, the most influential poetry critics had been poets themselves; these poet-critics could be acknowledged as having a clear appreciation of the creative processes involved in writing poetry. Vendler, an academic, has thus been criticized by some for lacking an intimate understanding of these processes. Vendler has also been the subject of criticism for what some perceive to be her disproportionately influential position in American poetry. As a popularly appointed "authority" on the subject, she wields great power as the arbiter of status and recognition in the circles of contemporary American poetry. As such, her work as editor of The Harvard Book of Contemporary American Poetry received mixed reviews due to what some regarded as an idiosyncratic approach to the concept of "contemporary" and her seemingly inconsistent selection of poets and representative works. While Vendler's critical writings have experienced something of a backlash, her work continues to hold a unique position through its exceptional ability to address the lay reader as well as the academic. Vendler also remains distinct among poetry critics in her ability to provide detailed analysis and genuine appreciation for the aesthetic value of poetry.
Principal Works
Yeats's Vision and the Later Plays (criticism) 1963
On Extended Wings: Wallace Stevens' Longer Poems (criticism) 1969
I.A. Richards: Essays in His Honor [editor; with Reuben Brower and John Hollander] (criticism) 1973
The Poetry of George Herbert (criticism) 1975
Part of Nature, Part of Us: Modern American Poets (criticism) 1980
The Odes of John Keats (criticism) 1983
Wallace Stevens: Words Chosen Out of Desire (criticism) 1984
The Harvard Book of Contemporary American Poetry [editor; published in England as...
(The entire section is 139 words.)
Richard Giannone (review date 9 March 1970)
SOURCE: "Seductive Gambits," in The Nation, March 9, 1970, pp. 282-84.
[In the following review, Giannone discusses Wallace Stevens's poetry and offers a positive assessment of On Extended Wings.]
It is apt that Wallace Stevens should have expressed his attraction to the long poem with a metaphor about love. "I find that this prolonged attention to a single subject has the same result that prolonged attention to a senora has according to the authorities," he wrote to Harriet Monroe in 1922. "All manner of favors drop from it. Only it requires a skill in the varying of the serenade that occasionally makes one feel like a Guatemalan when one particularly wants...
(The entire section is 2049 words.)
Warner Berthoff (review date May 1970)
SOURCE: A review of On Extended Wings, in American Literature, Vol. 42, No. 2, May, 1970, pp. 260-61.
[In the following review, Berthoff offers a positive assessment of On Extended Wings, but faults Vendler's narrow focus on "descriptive explication" of Stevens's poetry.]
The point of departure for this close-woven essay is the critical judgment that the best of Stevens is in those longer poems—from "Sunday Morning" in 1915 to "An Ordinary Evening in New Haven" of 1949–1950—which mark off the main intervals and developments of his beautifully extended career. This judgment has the support of Stevens himself, who wrote that "prolonged...
(The entire section is 838 words.)
John L. Lievsay (review date Summer 1976)
SOURCE: A review of The Poetry of George Herbert, in South Atlantic Quarterly, Vol. 75, No. 3, Summer, 1976, pp. 403-04.
[In the following review, Lievsay offers a positive assessment of The Poetry of George Herbert, but notes that Vendler tends to "overvalue" some of Herbert's verse.]
Mrs. Vendler has an advantage over many who write about poetry: she knows what she is talking about. It is a happy circumstance that to her knowledge she adds both a truly poetic sensitivity and a sometimes startling freshness of expression. The reader of her new volume, The Poetry of George Herbert, is sure to be the delighted beneficiary of all three....
(The entire section is 375 words.)
Bruce King (review date October 1976)
SOURCE: A review of The Poetry of George Herbert, in Journal of English and Germanic Philology, Vol. LXXV, No. 4, October, 1976, pp. 595-96.
[In the following review, King offers a mainly positive assessment of The Poetry of George Herbert, but finds shortcomings in Vendler's failure to distinguish Herbert's "comprehensive vision."]
If George Herbert's poetry has not been in fashion during our century, it is not due to a lack of influential and serious admirers. The best poets of our time have praised him, while the critical and scholarly studies of his work have been of high quality and designed to convince others of his achievement. For most...
(The entire section is 1023 words.)
Harold Beaver (review date 1980)
SOURCE: "Reviewing the Critics," in Parnassus, Vol. 8, No. 2, 1980, pp. 329-35.
[In the following excerpt, Beaver comments disapprovingly on contemporary critical discourse and offers a tempered evaluation of Part of Nature, Part of Us. Beaver finds strength in Vendler's willingness to make summary judgments, but notes weakness in her tendency to focus on the poetic process rather than the end result.]
The vocabulary of criticism is in disarray. Terms like "diversity," "phenomenon," "style," "strategy," "irony," "intersubjectivity" abound. But how seldom do they probe to any effect. How seldom do they suggest a deeper critical...
(The entire section is 1703 words.)
Doris Earnshaw (review date Spring 1981)
SOURCE: A review of Part of Nature, Part of Us, in World Literature Today, Vol. 55, No. 2, Spring, 1981, p. 320.
[In the following review, Earnshaw offers praise for Part of Nature, Part of Us.]
Helen Vendler is, by general consensus, one of the finest poetry critics today. A professor at Boston University, she has written superb full-length studies of Yeats, Stevens and George Herbert, and she contributes regularly to The New York Times Book Review. More than forty modern poets are discussed in this generous collection [Part of Nature, Part of Us] of her reviews from the seventies. Some, like Stevens and Lowell, have three or four essays, the...
(The entire section is 550 words.)
David Bromwich (review date 5 December 1983)
SOURCE: "The Way to Autumn," in The New Republic, December 5, 1983, pp. 34-7.
[In the following review of The Odes of John Keats, Bromwich finds shortcomings in what he considers Vendler's artificial treatment of Keats's odes as a sequence of progressive excellence culminating in "To Autumn."]
This intense study [The Odes of John Keats] makes one great demand of its readers: they must have in mind, for any given stretch of exposition, a good many details from all of the six major odes; a text for each poem appears at the start of the corresponding chapter, and helps to lighten the task considerably. A fair review needs to make the same demand...
(The entire section is 2406 words.)
J. S. Leonard (review date October 1985)
SOURCE: A review of Wallace Stevens: Words Chosen Out of Desire, in American Literature, Vol. 57, No. 3, October, 1985, pp. 522-24.
[In the following review of Wallace Stevens: Words Chosen Out of Desire, Leonard argues that shortcomings of the work include Vendler's conflation of Stevens's poetry and biography and the critic's personal bias in support of her subject.]
Helen Vendler finds in Wallace Stevens' poetry the tracings of the personal drama of his life. Her earlier book On Extended Wings mapped this drama in his longer poems; Words Chosen Out of Desire continues in the same vein with a selection of shorter poems. Her readings...
(The entire section is 754 words.)
James Gardner (review date January 1986)
SOURCE: "Professor Vendler's Garden of Verses," in Commentary, Vol. 81, No. 1, January, 1986, pp. 50-5.
[In the following review of The Harvard Book of Contemporary American Poetry, Gardner faults Vendler's selection of poets, many of whom he contends are neither contemporary nor convincingly preeminent.]
It is a commonplace that the putting-together of a literary anthology is in itself a creative act. One might even be justified in invoking Harold Bloom's already too-famous phrase and say that an "anxiety of influence" pursues anthologists no less than poets, for anthologists are interested not only in promoting those poets they most admire, but also...
(The entire section is 5479 words.)
James E. B. Breslin (review date 12 February 1988)
SOURCE: "Are We Her First Person Plural?," in Los Angeles Times Book Review, February 12, 1988, p. 8.
[In the following review, Breslin offers a mostly positive assessment of The Music of What Happens, but finds Vendler's criticism limited by her preference for a traditional style of "inwardly reflective lyric."]
In the 1960s Andy Warhol predicted that soon "everyone will be famous for 15 minutes." In the literary academic world of the 1980s—a realm of proliferating theoretical perspectives (Freudianism, Marxism, structuralism, deconstruction, feminism, Marxist deconstruction, Marxist feminist deconstruction)—it now seems that everyone will...
(The entire section is 871 words.)
Bruce Bawer (review date Winter 1989)
SOURCE: "Helen Vendler, Poetry Critic," in Hudson Review, Vol. 41, No. 4, Winter, 1989, pp. 613-34.
[In the following negative review of The Music of What Happens, Bawer derides Vendler's critical skills and condemns what he considers her unmerited and disproportionate influence as America's leading poetry critic.]
Helen Vendler is the colossus of contemporary American poetry criticism. In an age when the audience for poetry has dwindled down to a precious few, and when only a handful of general magazines even bother to publish poetry criticism at all, Vendler looms hugely over the ever-shrinking landscape. No one in America today has more power to create or...
(The entire section is 8696 words.)
Sidney Burris (essay date Summer 1990)
SOURCE: "Reviewing Contemporary Poetry: Helen Vendler and the Aesthetic Method," in Contemporary Literature, Vol. 31, No. 2, Summer, 1990, pp. 240-50.
[In the following essay, Burris discusses the role of literary critics and the perspective and methodology of Vendler's "aesthetic" criticism.]
Seasoned reviewers of contemporary poetry are durable reviewers. Seduced by their passion for new poems, yet driven by their devotion to establishing context and tradition, they speak to their audience, when they speak most forcefully, with the inspired tones of advocacy, and as advocates, they quickly learn that those who differ with them often desert the genteel grounds...
(The entire section is 4501 words.)
R. S. Gwynn (review date 17 September 1995)
SOURCE: "Kind Words for Contemporary Poets," in Los Angeles Times Book Review, September 17, 1995, pp. 2, 13.
[In the following review of Soul Says, Gwynn finds fault in what he terms Vendler's equivocal criticism and "celebrity worship."]
Helen Vendler's credentials precede her by a length and a half. She is Porter University professor at Harvard, a former president of the Modern Language Assn., editor of the Harvard Anthology of Contemporary American Poetry, consultant to the MacArthur Foundation and a member of the Pulitzer Prize board.
That a non-poet (and an academic to boot) should wield such influence over American...
(The entire section is 1134 words.)
A. O. Scott (review date 25 December 1995)
SOURCE: "Poetry without Politics," in The Nation, December 25, 1995, pp. 841-42.
[In the following review of The Breaking of Style and The Given and the Made,Scott commends Vendler's moderate conservatism, but finds shortcomings in her effort to "quarantine" the form and aesthetics of poetry from the cultural realities of sexuality, politics, and history.]
In a recent survey of the current poetry scene, The New York Times Magazine called Helen Vendler a critical "gatekeeper of the poetic establishment," defending the American Parnassus from the Spoken Word barbarians of MTV and the Nuyorican Poets' Cafe. Aside from the irony of the...
(The entire section is 1735 words.)
James Morris (review date Spring 1996)
SOURCE: A review of Soul Says, The Given and the Made, and The Breaking of Style, in Wilson Quarterly, Vol. 20, No. 2, Spring, 1996, pp. 84-5.
[In the following review, Morris presents a positive assessment of Soul Says, The Given and the Made, and The Breaking of Style.]
When Helen Vendler describes the act of reading poetry, she makes it seem as straightforward as understanding the newspaper or humming a favorite tune: "The senses and the imagination together furnish rhymes for the poet. The rhythms of the poet translate themselves back, in the mind of the reader, into the senses and the imagination."
But nowadays the space...
(The entire section is 665 words.)
Sheldon P. Zitner (review date Summer 1996)
SOURCE: A review of The Art of Shakespeare's Sonnets, in Dalhousie Review, Vol. 76, No. 2, Summer, 1996, pp. 285-86.
[In the following review, Zitner offers praise for The Art of Shakespeare's Sonnets.]
The academic consensus, which on this issue at least includes some very tough-minded types, is that Helen Vendler is our best reader of poetry. This encounter between Best Reader and Best Writer does not disappoint, though it will irritate some and bemuse others: irritate because it offers apt objections to some recent commentary on the sonnets, and validates those objections by wickedly relevant citation, and because of the line in the sand it draws: "I do not...
(The entire section is 937 words.)
Frank Kermode (review date 17 November 1997)
SOURCE: "Millions of Strange Shadows," in The New Republic, November 17, 1997, pp. 27-32.
[In the following review, Kermode offers an extended analysis of The Art of Shakespeare's Sonnets. Though he praises Vendler's work, Kermode concludes that it is best suited for more advanced scholars.]
In 1978, when Stephen Booth published an edition of Shakespeare's sonnets—his dual purpose was to help the lay reader and to satisfy the expert—he made certain observations on the nature of his task. The common reader, he argued, simply isn't bothered by passages that stretch the understanding of the expert. Sometimes "a reader will see the speaker's point...
(The entire section is 4094 words.)
John Bayley (review date 18 December 1997)
SOURCE: "The Naked Truth," in The New York Review of Books, December 18, 1997, pp. 60-4.
[In the following review, Bayley offers a positive evaluation of The Art of Shakespeare's Sonnets and an extended analysis of sexuality and wordplay in Shakespeare's verse.]
A man urges a younger man, of much higher social status, to consider his duty to have children for his own good and that of his family:
This were to be new made when thou art old, And see thy blood warm when thou feel'st it cold.
(Sonnet No. 2)
Persuasion along this line is kept up by means of ingenious arguments and parallels: and as it...
(The entire section is 5141 words.)
Mona Simpson (review date 27 December 1997)
SOURCE: "O O O O that Shakespeherian Rag," in Los Angeles Times Book Review, December 27, 1997, pp. 3-4.
[In the following review, Simpson praises Vendler's critical analysis and commentary in The Art of Shakespeare's Sonnets.]
Though I never attended Harvard College, I consider Helen Vendler to be one of my teachers. I came across one of her books in the stacks of the UCLA research library when I was in high school and just learning to read. At that time, she helped me contend with Wallace Stevens. Later, I depended on her foundations for my own readings of Keats. I'm particularly grateful for her patient delvings into Seamus...
(The entire section is 2865 words.)
John Burt (review date July 1998)
SOURCE: A review of Soul Says, The Breaking of Style, and The Given and the Made, in Journal of English and Germanic Philology, Vol. 97, No. 3, July, 1998, pp. 458-66.
[In the following review, Burt discusses Vendler's critical perspective and summarizes her analysis of various poets in Soul Says, The Breaking of Style, and The Given and the Made.]
These three books, a remarkable harvest for one year, are in a way occasional works. Soul Says is mostly a collection of reviews, and the other two books are published versions of two series of lectures given in 1993 and 1994. To call these works occasional, however, is in no way to criticize...
(The entire section is 5506 words.)
Daria Donnelly (review date 6 November 1998)
SOURCE: "A Poet Illuminated," in Commonweal, November 6, 1998, pp. 18-19.
[In the following review, Donnelly offers a positive evaluation of Seamus Heaney, despite finding Vendler's treatment of Heaney's Catholicism lacking.]
Helen Vendler, the A. Kingsley Porter University Professor at Harvard, and America's best-known poetry critic, has been an ardent admirer of Seamus Heaney since she first heard him read at the Yeats School in Sligo in 1975. It must have been a stunning moment of the soul leaping up in recognition: her appetite and love for poetry, apprenticeship in Yeats, commitment to writing for both a professional and general audience, and generous...
(The entire section is 1007 words.)
Catherine Addison (review date January 1999)
SOURCE: "Reading Poems before Our Very Eyes," in College English, Vol. 61, No. 3, January, 1999, pp. 347-52.
[In the following excerpt, Addison offers praise for The Art of Shakespeare's Sonnets, but notes potentially problematic aspects of Vendler's "authorial presence" in her explication.]
Helen Vendler's The Art of Shakespeare's Sonnets is a tour de force. Comprising nearly seven hundred pages, it represents nine years' work and includes a detailed analysis of every one of the 154 poems in the sequence. Each sonnet is reproduced both as a reprint of the 1609 Quarto edition and in Vendler's own slightly modernized edition. The...
(The entire section is 1115 words.)
Jay Rogoff (review date Winter-Spring 1999)
SOURCE: "Vendler Reads the Sonnets," in Salmagundi, Nos. 121-122, Winter-Spring, 1999, pp. 256-66.
[In the following review of The Art of Shakespeare's Sonnets, Rogoff commends Vendler's perceptive, critical analysis, and explication of Shakespeare's verse.]
An odd thing about the Shakespearean sonnet is how few great poets—and how few great poems—have exploited it since Shakespeare. Surrey most likely invented the form to make the job easier in rhyme-scarce English (Wyatt also experimented in this direction but never quite nailed it down), and since it allows the greater flexibility of seven different rhymes, as opposed to the Italian form's four...
(The entire section is 4207 words.)
William Pratt (review date Summer 1999)
SOURCE: A review of Seamus Heaney, in World Literature Today, Vol. 73, No. 3, Summer, 1999, p. 537.
[In the following review of Seamus Heaney, Pratt finds shortcomings in Vendler's qualitative assessment of Heaney's poetry.]
Helen Vendler has built her reputation on taking great poets seriously, and so her readings of Shakespeare and Keats, Yeats and Stevens have been widely admired. She is thought by some to be the contemporary equivalent of a New Critic, a close reader who makes sense of difficult poems, just as Ransom and Tate, Brooks and Warren once did. Seamus Heaney is considered by many to be the nearest equivalent to a great poet alive today, fit...
(The entire section is 578 words.)
Bridget Gellert Lyons (review date Autumn 1999)
SOURCE: A review of The Art of Shakespeare's Sonnets, in Renaissance Quarterly, Vol. 52, No. 3, Autumn, 1999, pp. 918-19.
[In the following review, Lyons offers a favorable assessment of The Art of Shakespeare's Sonnets. Though citing minor shortcomings, Lyons concludes that Vendler's study is "a very valuable book."]
Helen Vendler's commentary on Shakespeare's sonnets [The Art of Shakespeare's Sonnets] follows several important studies of individual poets by this noted scholar, including ones on Keats, Wallace Stevens, and, in the Renaissance period, George Herbert. Vendler is known as a brilliant and helpful practitioner of close reading,...
(The entire section is 801 words.)
Bernard O'Donoghue (review date January 2000)
SOURCE: "Second Thoughts," in Essays in Criticism, Vol. XLX, No.1, January, 2000, pp. 88-96.
[In the following review of Seamus Heaney, O'Donoghue commends Vendler's incisive analysis. O'Donoghue, though, finds inherent limitations in Vendler's strictly formal, as opposed to thematic, approach. O'Donoghue concludes that Vendler's is not the most authoritative study of Heaney, but it is "the most enjoyable."]
From the time in 1975 when Helen Vendler heard Seamus Heaney in Sligo reading poems from his forthcoming volume North, she has remained one of his most constant apologists and attentive readers. Over the intervening years she has written...
(The entire section is 2980 words.)
Further Reading
Desmond, John F. "Measures of a Poet." America (31 July 1999): 24.
A joint review of Vendler's Seamus Heaney and Heaney's Opened Ground. Desmond concludes that Vendler's study is "the best analysis of Heaney" yet published.
Flesch, William. Review of The Art of Shakespeare's Sonnets, by Helen Vendler. America (28 March 1998): 23-4.
Flesch offers high praise for Vendler's analysis of Shakespeare's sonnets.
Kennedy, John. Review of Seamus Heaney, by Helen Vendler. Antioch Review 57, No. 2 (Spring 1999): 246.
(The entire section is 238 words.)


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Never miss another 'Ed Sheeran' show
Ed Sheeran + Foy Vance + Passenger
Following an incredible 12 months which saw him make his mark on the single charts with three Top Ten hits, as well as a No.1 triple-platinum debut album, the BRIT Award nominee kicks off a UK tour this October.
This event takes place at Eventim Apollo, which has achieved Bronze Status for disabled access from Attitude Is Everything.
Ed Sheeran
The singer-songwriter from Suffolk has established himself as a prolific live performer with hundreds of gigs under his belt, building a legion of fans in the process. Fusing traditional acoustic and folk melodies with hip hop beats, Sheeran has created an inimitable sound which is getting him noticed. His debut album, +, entered the UK charts at number one and generated a whole host of infectious hit singles including 'The A Team', and 'You Need Me, I Don't Need You'. Music industry accolades include the 2011 Q Award for Breakthrough Artist and BBC Radio 1's Teen Awards best single for 'The A Team'.
Ed Sheeran tour dates
Foy Vance
An intelligent singer / songwriter with a sublime voice, funky guitar style and a clever turn of phrase. His musical palette of folk, soul, blues, gospel and jazz is an evolving journey, a constant search for artistic expression captured in the moment, operating well away from industry standards. Surely you'll hear echoes of Otis Redding, Richie Havens, Tom Waits and Van Morrison in Foy's music, legends he's already being compared to and definite influences. An ever so modest Foy will laugh at these comparisons, but then again that's what makes him so special.
Foy Vance tour dates
The brainchild of Brighton born singer/songwriter Mike Rosenberg. Formerly a five-piece band, Passenger has now pared back to basics, quite literally bringing music to the streets on a series of lengthy busking journeys across Australia, America and the United Kingdom. A classic journeyman musician, cut from the same mould as Van Morrison, Neil Young and John Prine, Passenger has the unique ability to move from the humorous to heartbreaking with every song.
Passenger tour dates
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Venue Facts
Venue: Eventim Apollo
Disabled Access: Bronze Status
Website: eventimapollo.com
Enquiries: 020 8563 3800
Bookings: 0844 249 4300
Disabled Bookings: 020 8563 3800
Seating Plan: View the Seating Plan
→ Kensington (Olympia) 17 min walk
→ Hammersmith 4 min walk


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Sorry Lusol, I can't help you out with that.
I'll watch the dubs because I'm curious to see how it goes. I won't watch it when the episodes air, but I'll get to it. As for the past episode that just happened with Dawn at the very end, not too many hints as expected. I'm not one to make mountains out of small things either, but if you squint, you may see one here.
Cynthia had said to Ash, to the extent of, "Someone you know is waiting for you." when they were on the plane. That's as close to a hint as you're going to get in this episode.
I suppose Dawn may have looked eager/excited as the airplane was coming, but that's a major stretch. I think she said something to the lines of (as the plane was flying over), "Wonder if that's the plane they (I'm assuming all of them, not just Ash) on."


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Ideal for stereo connections between audio equipment components. Dual RCA male right/left channel color-coded (red; white). Nickel plated contacts.
by PREVID
on 7/24/2015
Not a shielded cable. The outer conductor is not braided around the center conductor, it runs parallel to it. Do not use for phono cables, it will cause hum. Probably ok for line level applications.
by mels
on 1/26/2015
as described good value
by ubmilkpd
on 8/7/2014
Perfect for my Stereo System and its tight quarters
on 7/5/2014
Your typical inexpensive RCA cable. Not bad for the price.
Ordering was easy and parts were received very quickly.


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Details: Hart House is presenting two film-making camps for teens this summer, in association with the U of T Athletic Centre. The camps are full-day, one-week camps for ages 12 to 16.
When: Jul. 29 to Aug. 2 / Aug. 12 to Aug. 16
Where: U of T Athletic Centre
Cost: $445.00 Community / $375.25 Children of U of T students
Be creative and have fun in a small group environment while learning the fundamentals of filmmaking. Campers will use video cameras and digital software to shoot and edit a variety of short movie sequences. Each camper will operate the camera, act, assist, and edit their own material. No experience necessary. All equipment supplied.
- Visit www.recreg.utoronto.ca/RecReg/Start/Start.asp
- Click "Downtown Children and Youth" (2nd tab)
- Go to Page 4 and select desired week


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Tribe plays the NL West. Colorado, San Diego and San Francisco come here. We go to Arizona and Dodger Stadium. Home/home with Reds still on slate. September all AL Central games except three at home against Tampa to end the year.
http://cleveland.indians.mlb.com/schedu ... ar=DEFAULT
In article form: http://mlb.mlb.com/news/article.jsp?ymd ... e&c_id=cle
Schedule link in article directs to Royals for some reason.


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Jazz festival held in Dunkirk
By SAMANTHA
OBSERVER Staff Writer
Saxophones and trombones and trumpets – oh my! The eighth annual Dunkirk Jazz Invitational was held Saturday at Dunkirk Middle School.
The annual event is presented by the Northern Chautauqua County Band Directors Association. The NCCBDA started in 2006 to support local music, President and DJI Coordinator Robert De Santis said.
"Our job is to support local, live music. We push jazz because jazz is America's classical music," he said.
The event is always held in April in celebration of National Jazz Appreciation Month. When the DJI was held its first year, about 50 students performed, but has grown to 187 students from local high schools at this year's event. The event was held at the Clarion, the Dunkirk High School and the Boys and Girls Club in the past before returning to the middle school last year.
"Every year we've grown. The first year we started with about 50 kids and today we have 187 performing plus the (SUNY) Fredonia Jazz Ensemble," De Santis said.
Jazz Ensembles from Dunkirk Middle, Brocton Middle, Forestville Middle, Brocton High, Forestville High and Cassadaga Valley schools performed along with the Corner Pocket Big Band from Clymer and Sherman school districts and the Black Knight Jazz Ensemble. Each district performed three or four jazz selections and took turns performing on stage in sets of two. The SUNY Fredonia Jazz Ensemble performed in between sets.
The event is very family oriented "where everybody can have fun," Michael Wieloszynski, NCCBDA founder and CEO, said.
"They really enjoy hearing the kids from the other schools. They can compare what their jazz band is like to other jazz bands. They can really see the progression (from middle school to college). Music builds so much character. Jazz music in general builds even more character because kids have to solo or play improvised solos," Wieloszynski said.
Unlike a musical competition, the event allows students to have fun in a noncompetitive setting, De Santis said. Students are able to see what other districts are doing in their jazz bands and use it as a learning tool. Opening the event was Assemblyman Andrew Goodell who spoke of his own musical experiences. He compared jazz music to teamwork. Each musician in the band has to perform individually to the best of their ability, but also must perform as a team. It includes listening and following, he said. He also praised the musical talent in the county.
"What an asset we have here in Chautauqua County with our kids and our music program," Goodell said.
Each year, the NCCBDA tries to have a local politician speak on how important music education is or how it has impacted their personal life. Also prior to the first performance, a moment of silence was held for Warren Whitford who has been a supporter of NCCBDA and a local musician.
"In these difficult times when music programs are getting cut … this is a nice (public relations) event for districts to showcase their music programs out to the taxpayers and the community," De Santis said. "It's a gigantic day of camaraderie."
Rebecca Laubert, a junior from Silver Creek who plays clarinet said she has had fun the past two years she's attended the event. She said she enjoys coming for the chance to see friends from other districts. Senior Zach Pierce from Silver Creek plays drums and has also attended the event the past two years. He said he enjoys coming to the event.
"It's definitely a lot more fun than not doing it," Pierce said.
Every student received a T-shirt for participating and each district received a plaque. These were given out at an awards ceremony at the end of event. Next year the annual event will hopefully be at SUNY Fredonia, De Santis said.
"Next year, our plans are to get to SUNY Fredonia to get to perform," he said.
For more information on NCCBDA, visit www.nccbda.org.
Comments on this article may be sent to email@example.com.


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0 Members and 1 Guest are viewing this topic.
Gene,Since you posted you might want to try 65% hydration for a Buddys pizza you might want to look at this thread started by Britt (Skee) http://www.pizzamaking.com/forum/index.php/topic,23495.0.htmlPeters summary on what the differences are for a Buddys and Jets pizza are at Reply 7 http://www.pizzamaking.com/forum/index.php/topic,23495.msg238665.html#msg238665 I didnt think that the Buddys pizza I purchased and was sent to me was that high in hydration either, but then I didnt taste it right out of the oven and I also did a fairly long second bake.Norma
I mainly want to see if the lower hydration would make the dough crisp better on the bottom. Trust me, even if the "65% experiment" isn't a success, I will still eat the result... :^)Gene
Gene,I, too, would be interested in seeing what a 65% Buddy's clone dough looks and feels like--especially since I don't recall ever seeing photos of Buddy's dough balls--and also what the finished pizza looks like in terms of crumb structure. To give you an idea as to what a 65% hydration Detroit style dough looks like, you might take a look starting at around 2:38 of the YouTube video at that was made to feature Jet's Pizza. From what I have been given to understand, the Jet's dough has a hydration of around 65%. You might also note at 3:05 that the dough balls do not look particularly highly hydrated and have surface irregularities that I do not think you would see with more highly hydrated doughs. Maybe Norma can comment on the Jet's video and the hydration issue based on her experience. Also, there is the question of "double kneading" and subjecting the dough to a lot of stretching and pulling, and what these terms really mean. Clearly, from photos that I have seen, several of the well known pizza operators who specialize in the Detroit style are using very highly hydrated dough to make their pizzas, including the Detroit Style Pizza Co, Via 313 and Klauzie's. It would have been nice to be able to show you a good cross section of the crumb of a Jet's square pizza but I could not find a photo outside of what was shown by PizzaHog in the Jet's thread.Peter
Gene,Maybe Norma can comment on the Jet's video and the hydration issue based on her experience. It would have been nice to be able to show you a good cross section of the crumb of a Jet's square pizza but I could not find a photo outside of what was shown by PizzaHog in the Jet's thread.Peter
John K,Very nice job with the DS pizzas.Did you and your wife follow PizzaHog's recipe exactly, including the size of the pans?Peter
John,I agree, very nice job with the Detroit style pizzas. I guess you are now hooked too. Norma
Gene,Just my 2 cents, (and I agree with everyone who hates non-stick surfaces --- I hate them too!) but ever since switching over to these Calphalon non-stick pans I got on the cheap at TJMaxx, my problem is exactly the opposite! That is to say that the dough/cheese won't stick enough to the pan edges, which becomes a problem if you want good cheese caramelization. Its been an even bigger problem recently since I've been doing a 1-2 min pre-bake of the dough (trying to get an airier crumb structure before the topping weigh the dough down)As I said, this info is posted as an FYI --- it may have no bearing on your needs. John K
My pizzas are starting to come out okay, but I'm still having a problem with cheese sticking to the sides of the pan. Last time, on another poster's advice, I tried a solid fat, butter-flavored Crisco, but still had a problem.Even then, for home, I'm okay, but I'm thinking of the cafe my partners and I are contemplating. In NYC, where I am, the Health Dept. is really strict. One of my restaurant-operator customers told me the other day that the Health Dept. had popped in for one of their spot inspections, a couple of days before. They only come when the restaurant is open and serving customers (which really disrupts their workflow), and they almost always find something wrong. My customer and I suspect that these inspections are the restaurant equivalent of a speed trap, designed not so much to ensure healthful operations as to raise money for City coffers, so they make it a point to find something wrong; this time, it was a cloth that someone had draped over an oven handle.So I'm worried about these guys coming in and finding about-to-be-used pizza pans with baked-on cheese crust stuck to the sides from a previously-baked pizza. No problem with an "ordinary" pizza pan; we could just scrub the pans out with soap and water and maybe even some steel wool. But of course, we can't do that with DS pans.My understanding is that Buddy's just wipes pans out between bakes. Maybe the Detroit health authorities are less strict, but my sense is that the pizzas come out "clean," that the only residue in the pan after the pizza is removed is oil that can be wiped out with a cloth. But with my pizzas, I've always had a thin layer of crust at least somewhere in the pan that I had to remove with water and a nylon scrubber.Norma runs a commercial operation, so if you're reading this, Norma, perhaps you could tell me how you treat your pans between bakes? Are they clean enough that you just need to wipe out the oil, or do you need to deal with crust residue and if yes, how? If there is any crust residue, do you remove all traces of residue between bakes or just get the pans "reasonably" clean during business hours and save a more complete cleaning for the end of the day?Of course, I would appreciate any thoughts/experiences anyone else has cares to share on (1) what oil/fat they use in their pans, (2) the condition of the pans immediately after removing a pizza and (3) how - and how thoroughly - they clean the pans when they plan to cook another one in the same pan, right away, especially in a commercial setting.Thanks!Gene
Gene,Not sure, but I'll bet they are commonly availabale. PM your address to me and I'll send you one of the ones I got! Free! John K
Gene,The steel pans I use are all seasoned well now and I dont have sticking issues when removing the Detroit style pizzas from the steel pans (this took awhile for that to happen), but yes there is still caked on residue left in the steel pans and some caramelized cheese still gets stuck on the sides and in the corners, but the pizzas can be removed fairly easy after a thin metal spatula is taken around all the edges. After a few pans are accumulated from baking pizza in them (dirty ones), I do use paper towels to remove what residue I can. I do wipe them with paper towels again before I grease them with shortening before placing another dough ball in the steel pans. If you want to take pictures of what my steel pans look like after the bake and before I grease again I can take those photos. When I go to market on Mondays the pans are wiped out again with paper towels before they are greased. I dont know about your food inspectors in NYC, but in Pa. (our food inspectors are strict too) if I have a question to see what the food inspectors allow, I can always call and asked if something is allowed. I also have the same problems like in NYC, that inspectors do pop in and just start inspecting no matter how busy you are. I try to keep things neat, but that isnt always possible, but I do try to adhere to keeping my washing rags in the containers that are meant for that. I did get a violation this year for not having enough bleach in those containers. When you are wiping stuff down all the time it is hard to keep the solution at the right level. One wipe of something and the solution might be okay, and after the next wipe, the solution might be off. It is all what you have to deal with when running a commercial food business though.Norma
John,That's very generous. Thanks!Uh... what does "PM" mean?Gene
Uh... what does "PM" mean?
Gene, My lovely bride has promised to stick this in the mail on Monday.....when she mails the taxes John KPS: Addresses withheld to keep away all the fans!


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