text:
Recent Entries
Posts by Category
Posts by Year
Nathan Heidelberger: Interview
Nathan Heidelberger is the first composer from our 2015 Commissioning Project to write a piece for us, which we will be premiering at our concert this Friday at the Presidio Officers' Club at 6pm. Here, clarinetist Sophie Huet interviewed Nathan about his piece, his upcoming projects, and why he chose to write for the ensemble of bass clarinet, trombone, contrabass, and soprano. Learn more about Nathan's music at his website.
Sophie: How did you get into composition?
Nathan: I started composing in middle school – I was taking piano lessons at the time and I'd started on the french horn. I didn't really like practicing very much, so my piano teacher encouraged me to try composing. I started writing some stuff for the piano, and then I had a really encouraging middle school band teacher who encouraged me to write more and write for instruments in the band. She taught me the ranges of the instruments and things like that, so I was writing for my middle school band. Things took off from there.
How did you end up in Buffalo?
I came here for grad school, at the University of Buffalo. I got my doctorate last spring. These days, I have a day job as a copy editor at a children's educational publishing company. I am doing that to pay the bills and writing music on nights and weekends.
I join you in the day job life. I have a day job at a small software company. I feel like more and more people of our generation are doing this. in some ways, it gives you the freedom to do what you want to do without worrying about the money side.
Absolutely, yeah. I thought for a long time that I would try and find a teaching job or something like that but the longer I spent in school, watching other people struggle with adjuncting and trying to get into that world, it just doesn't seem like something I want to do. Having the pressure to succeed as a composer be coupled with the pressure of demonstrating my success so I can get tenure. I don't want any part of that. I'm really happy with what I have right now.
To talk about your piece: first of all, I really love it. The rehearsals have been really fascinating. One of the things that really strikes me is I know you had talked about variation in the piece. I was wondering if you could talk about your vision for the movements and how you structured the piece.
I had mentioned at some point that a few of my recent pieces have been dealing with repetition and variation on a very local level. There would be short motive that would get repeated and would evolve over time, over one section or the whole piece. For this piece, I was more interested in looking at the bigger picture and having a larger chunk of music that would then go through this process of repeating and changing over time. A lot of it came out of the text that I was working with. It's from this work called The Pine Woods Notebook by Francis Ponge, which goes through pages and pages of prose notes he's trying to describe these woods that he was visiting one summer in 1940. He takes all these notes trying to get the description exactly right, and he's looking for the perfect word. He keeps going to the dictionary to make sure that all the words he's using mean exactly what he wants them to mean. He tries to distill all that down into a poem, and he goes through 20 drafts of this one poem, trying to get it right. This resonated with me a lot in terms of the compositional process of working through a process of drafting and reworking your stuff, but I also just liked seeing the way words would change over the course of these drafts. He'd put a different word in where he'd used one earlier, or the order of the lines would change. That really spoke to the way that I work with my musical materials, developing them over time, reshuffling the way they happen, trying to change the ways they relate to each other. I was really hoping to capture that over the course of these variations.
Even with the repetition, there is a sense of growth over the whole piece. The ending is so cool!
One thing I was thinking about, is if there's one thing that's repeating or slowly developing, that either some other aspect that goes through this very clear linear progression over time. One particularly clear way to do that is through register, so over the course of the whole piece the four movements, things slowly move higher and higher through register, which I think is very apparent. Working my way up to this higher register at the end of the piece is a culmination of that. And I guess it could work if you're thinking about moving up a tree that's being described in the poem, from the roots up through the trunk into the branches and the pine needles at the top.
How did you end up selecting the 4 specific variations from the 20?
That's a good question. I think I retyped them all and printed them out on individual pieces of paper, and I put them all next to each other. I was trying to maximize a bit of variety – some of them are much more similar than others, some of them follow the same basic line order. The ones I ended up picking, there's a bit more variety in terms of the order the lines come in, that was appealing. They all bring a different ways of dealing with the same image. For example, the last lines of the second and third movements of my piece:
"But ribbons woven of sleepless atoms" vs. "Beneath taut-strung ribbons of sleepless weave"
They're both getting at the same image, and it's clear how, given one, Ponge could have arrived at the other, but they're also quite different each other. And then, in the last movement, those lines turn into "…to tell of sleepless flies." So there's that balance of continuity—being able to trace an image from one version of the poem to another—and variety—changes of wording ("woven" to "weave"), the introduction of small, new elements ("atoms," "taut-strung," "flies"). Not all the drafts offered that, particularly the variety part.
Did he end up with a final draft, or did he give up at the end of it?
He pretty much gives up in the end. In fact the last poem that he arrives at, which is the last one that I set, he breaks it down into these modules. Each module is maybe 2 lines or 3 lines and he says, well actually you could put these in any order. Now that I've arrived at this particular wording and these particular groupings of lines, we could just reshuffle them however you want and it would work. Which was also really cool to me as a composer, thinking about mobile forms and things like that. This idea that you could have a poem that would shuffle itself around. So in the end the order of the lines that I chose for that isn't the way it's printed in the book, but he says you could have reordered them in any of these ways.
Did that resonate you with what you were saying earlier about you moving the musical materials around and reshuffling those?
Absolutely. I think this is the best possible solution – that he arrives at this point where it generates all these other possibilities beyond itself. I hope there's a sense of that in the piece, that there are these different gesture types or materials that appear in the ensemble in each movement in a different way, developed in a different way, lined up with a different part of the text also, the idea that you could keep reshuffling that for ever and ever.
What are some other projects that you have coming up?
My dream project right now is a solo piece for myself, actually. On piano and melodica, simultaneously, and vocalizing too. In a lot of my music, performers may be called upon to vocalize, non vocalists may be called upon to vocalise. We have a concert coming up in Buffalo, with a lot of pieces like that where performers are doing multiple things at the same time, which is really appealing to me. I'll also be writing a piece for voice and cello soon, setting a Psalm from the Bible for a whole recital of song settings for voice and cello.
How did the reading session and our approach to this commission, was this helpful for you, and how did this affect the end result of your piece?
That was extremely helpful. When I initially got this commission and I was asked to suggest instrumentations, I was really excited about this really wonky sounding ensemble. Bass clarinet, trombone, contrabass, and voice sounded really great to me, but when it came to actually writing the piece, it became much more of a challenge to juggle that. Having that opportunity to read through the draft of the one movement was extremely helpful because it was really hard to get my head around that at first. I think it highlighted things in that initial draft that were pretty muddy and denser than they should have been given the register and the instruments. Figuring out ways to scale back on that and push things into the higher register as the piece went along really helped.
What made you suggest this combination of instruments to begin with?
I was pretty much looking for the most outlandish thing I could do, I guess. Then I had to follow through on it.
Jenny Olivia Johnson: Interview
We last interviewed Jenny Olivia Johnson in 2012, when we originally commissioned Reflect Reflect Respond Respond. Soprano Vanessa Langer checked back in with Johnson, speaking more about her piece and her inspirations. Join us tonight to hear the revised version. You can learn more about Jenny Johnson's music at her website.
Let me start out by saying we are thrilled to be performing this new incarnation of Reflect Reflect Respond Respond for Wild Rumpus. Even as it has its own particular challenges of endurance, it feels like a crossbreed of Wagner, Philip Glass and Bach.
That's the most amazing compliment I've gotten in my life, as those are two of my paragons. I'm a huge Wagnerite despite all of his horrible politics and personality.
You are a native Californian?
I am from Los Angeles. I actually just came from there today, but I've been living in New York and Boston for a long time, but I'm a Southern Californian girl. I love the Bay Area though, God!
Well it sounds like you might be coming out to tinker on our upcoming album.
I would love to actually. I love recording. I just did my first album, and I just got obsessed with the whole studio process. It's also something I would just love to learn how to do myself, be an engineer. That's a weird aspiration of mine.
What was your source of inspiration for writing this piece, and why do you feel you had to communicate this body of work at this particular time?
I wrote this piece in 2012 and as you know I just re-did a big arrangement of it, but when I think back on the original impetus of this piece, it was really about teaching counterpoint. It was about teaching theory, about teaching Bach chorales and becoming newly obsessed with what those chorales meant to me as a composer, and especially the Jesu meine Freude set, because Bach set that melody in E minor so much. So I became obsessed with teaching through that chorale, through those different settings of it. For me, it's incredibly sad, and I was interested into in the concept of sadness. What does it mean to lose something? What does it mean to obsess over something that you can't have, and that erupted for me over this melody that you could set so many different ways, but each way being a different lens into this idea of loss. So I wanted to express all of the various lenses of the different Bach settings that I had studied as a kid into this piece about loss. I wanted it to be this multivalent repetitive delayed miasma about loss. And I wanted it to be this ecstatic version, because that is something I have studied a lot when I've done scholarship on trauma. I've thought a lot about the energy that is generated around negative feelings and sometimes that energy can be very euphoric. Sometimes it can be the energy that propels you into a new state of being. And so I wanted to think about sadness and loss as this sort of propelling energy to a new phase of life. I wanted to look at sadness from a lot of different angles. That's when I took this idea of the Jesu meine Freude chorale and set in a repetitive, energetic, intense, circle of repetitions and had these idea of delay lines that would mirror it out into the universe and create this energy that would be propulsive, that would propel you into another state.
In terms of loss and euphoria is there a point in the piece that the transformation happens that the audience can look for?
Well you know after the singers sing "Jesu meine Freude…will you sing my sad songs…if I can't touch you let me gaze." That for me is a transformational point where it's clear that actually what I am experiencing is not real. But let me still gaze upon it, let me still experience this simulacra of my emotional state in the most intense way I possibly can, even though its not real. That intensified, repetitive fast part 'let me gaze upon you' which I gather is really hard for the musicians to do, to me that is traumatic repetition. That's the repetition compulsions. That's the compulsion to repeat because, as Freud writes in "Beyond the Pleasure Principle," we have this drive to repeat things that are traumatic for us that we don't yet understand. There is a weird way in which we gain another kind of pleasure from trying to understand where we come from, even though we know we don't have all of the information around it. We gain pleasure from the pain of the past. For me, that's the point at which the piece hinges and turns toward the recognition of loss.
What can you tell us about the instrumentation you chose?
I was really excited about the idea of any stringed instruments as plucked tear drops, that was something I was playing with vis a vis my studies of Purcell and early music. What we the call the affect and lear, the theory of affects, different types of keys and also instrumentation techniques for evoking emotions is something I wanted to play with a lot. But at the same time that I was obliquely reference early music I was at the same time interested in a big sound. And so at that point and this point as well, what ever you guys have I'm going to write for it. So when Dan said, "Okay, here is out new band," I said, "I'll take them all!"
Your mythological reference to Narcissus and Echo and the play between self love and self destruction is a really fascinating one. Is that personal?
It hit home. I had been teaching a couple of classes on psychology and music, psychoanalysis in music. And I was interested in the concept of narcissism and what that means. And you know it always has this very negative connotation. You know, "Don't fall in love with a narcissist, you are going to get your heart broken. And everything terrible is going to happen to you." And in a way I'm thinking we are all narcissists. What does it mean to examine that, examine the idea of having a relationship with yourself and examining having a love relationship in which you really confront yourself. Which I think is what happens in all love relationships. I wanted to concentrate on that feedback loop of what happens when you are examining yourself and what happens – why is that necessarily good or bad. I wanted to remove the reductive veillance that our society gives narcissism and think about the fact that we are all narcissists, we have to be constantly examining ourselves when we interact with each other.
In a way, it's impossible and in a way all of these terrible things that can happen to you when you confront a narcissist or your own narcissism are so important. It's so rich you know, and I wanted to celebrate that richness. I didn't necessarily want to just write a morality play about this. It's just an inevitable fact about being a human being. You are going to be a narcissist and run into narcissists.
In a way we are discouraged from being narcissists. It's so sad that we are taking selfies of ourselves but in a way with or without the camera we are always doing that. Everybody that we encounter is a selfie because we are always getting reflections of ourselves off of other people. And learning how to acknowledge the other with the inevitable fact that we are going to be "selfie"-ing with the other, always!
Favorite book?
Well Ender's Game by Orson Scott Card is a favorite no doubt. It's a beautiful science fiction book about adolescence in space, having to engage in a battle that they don't know they are fighting. They think they are training to fight a battle and then they find out they are actually fighting this other species and they kill them. And actually that's what this tattoo is on my arm with the carrots. What happens is that this young genius is charged with killing this race of insectoids, these aliens that are like insects. And he thinks he is training. He doesn't know that in fact he is going to destroy their planet and destroy their species. But there is one cocoon left that he eventually discovers after the war and it communicates with him telepathically. And the way that that telepathic communication is indicated is with these carrots around the word yes. And that is the word that the cocoon conveys to him. Yes you have found the right spot for us. Put us here so that we can eventually regenerate and regrow. So for me this idea of intuitively knowing something is right is very powerful. And having somebody else just be able to communicate that yes this is right telepathically is like a load stone for me. That is everything.
Dream project?
Oh man, well it's funny, my girlfriend is writing an opera that she wants to put on a beach and I think that is so great, but that is her dream project, so I'm not going to take that on. For me a dream project is actually having an opera in an art gallery, in a hall of mirrors, and the audience has to be in that hall of mirrors and it's very disorienting. Definitely sight specific opera, like the Industry in L.A. what they are doing in limos and cars is blowing my mind. That kind of opera really excites me.
Joanne de Mars: Interview
At our upcoming concert on Friday, October 16 at the Berkeley Arts Festival, we will be premiering "For the Sea" by our very own Joanne de Mars. Joanne will also be performing this work for solo cello. Wild Rumpus soprano Vanessa Langer interviewed de Mars about her piece, the contrast between composing and performing, and her history of working with Wild Rumpus. Join us on Friday to hear this and other amazing works!
What inspired you to compose For the Sea for unaccompanied cello?
I was commissioned to write this piece by a family friend of my mom's. His daughter is graduating from college, and he wanted to giver her something that was a little unusual as a graduation gift, and that is how the commission came about. Musically, it's a piece for unaccompanied cello and the theme that he wanted was something about ocean or relating to science and life as his daughter was an ocean science major. So, the topic was pre-chosen for me, but I have a deep connection to the ocean of my own, being from the West Cost not only on the Pacific Ocean but the Puget Sound. I'm fascinated by the way that the water has a certain rhythm but it is totally random in its movements on a smaller scale. Using a lot of those influences is where my music came from.
How does that oceanic randomness tie into musical ideas for you in this work?
I used a series of randomly repeating groups of two's and three's that I generated with a random generator online to create the middle section of the piece. From there I extended it into an overall wave form that I worked outward from the middle into a larger palindrome.
What are the challenges and advantages of writing for unaccompanied cello?
The advantage is I can play the piece myself. I don't have to depend on anybody else to recreate my idea of how it should sound musically. Harmonic structure is an important element of music for me personally, and definitely in writing for any kind of solo instrument, there is an element of harmony that has to be there. To create a sense of harmony other than melody and rhythm with a solo instrument can be challenging. But at least with the cello you have multiple strings so that you can create chords and play off of that, so you can have an implicit harmony.
As you know, Jenny Johnson's piece Reflect Reflect Respond Respond makes reference to Bach's "Jesu meine Freude". Do Bach's unaccompanied suites influence you at all when you think about unaccompanied cello?
Either consciously or subconsciously I am influenced by them. They are the greatest works for unaccompanied cello to date and most iconic. So I cannot say that they did not influence me. The harmonic aspect definitely influenced me in how he incorporates that element into a work for a solo instrument, having bass notes and voice leading was a key element in my head. That being said, I came at it from a different angle. For the Sea is a very stand-alone piece whereas the Suites are a collection full of those now famous dance rhythms.
Has the piece evolved since you performed it in the workshop at the Center for New Music back last fall?
No, you know I finished it. I feel like it's done. I haven't changed anything. Maybe it sounds weird to say but the more I practice it, the more I'm discovering about my own writing and the piece. Kind of like finding the places in which I can lead more, bring out more of the melodic structure. I wrote it very thoughtfully but pretty quickly and even now having the chance to perform it gives me more insight into the piece as a musical endeavor rather than just a compositional idea.
What is it like performing your own piece versus someone else's composition?
It's different in that I have no one to blame for how hard it is but myself. I'm trying to come at it like this is someone else's music and trying to make the music out of it from what I see on the page, rather than feel like I have the freedom to change what it is because I wrote it. So I'm really trying to stick to what is on the page and what I can do with the notes that are given.
Does it help you to disassociate somehow? What does it help you to do?
Absolutely! I think I can create more music from it. Especially having had the break from when I originally wrote it in 2014 til today, I feel a bit of a fresh eye and a fresh ear to the piece having a little distance, not feeling so married to it as a piece of mine. It's just a piece for cello now.
Has this process helped you feel inspired to continue composing?
I would really love to continue writing music. I don't know if it will be for cello. Obviously, it's a convenient medium. I would like to perform this piece some more and I'm really excited to have this premiered for this concert.
How long have you played with Wild Rumpus, and how did you discover you were interested in new music and even in composing?
I've played with Wild Rumpus since 2012. As far as new music goes, I first discovered new music when I was fifteen years old. I played in the Seattle Youth Symphony, and we played Aaron Jay Kernis' Symphony No. 2 and I was obsessed from that point on. Its funny; everybody else did not get the idiom. They couldn't stand it, what is this crap, whereas I felt o my gosh this is amazing! So I knew there was something to it, which led me into discovering new works. In my undergraduate training at University of Washington I was active in the new music ensemble performing new works and performed in a contemporary improv quartet. I'm really happy to continue my passion for it with Wild Rumpus. It's exciting to work with composers at this close a level.
How do you want the audience to approach this piece on a first listen?
Even though the piece is based on a random repeating motif, it is very repetitive in a classical composition sense in that I have a mode and I modulate with the mode and play different transpositions of such mode. So if you listen with a classically informed ear it will be pretty self-explanatory. The sonority is a little different than you would experience in say a piece by Brahms or Bach or anything classical.
What role does the audience play for you in this context?
Well since I've been a performer, I feel like such an intermediary between the theoretical composition of music and what it actually is – I believe to communicate and grow some sense of deeper connection with other people. I believe it's a very connective force that we have as humans to be able to transform sound waves and affect us on a very emotional level. I think it's my job usually as a performer to effect that change in people. Usually since I am performing other people's compositions it's my job to interpret what perhaps their intended emotional construct or communicative construct would be and be able to communicate that using my voice with the cello and as a performer. To communicate that to an audience and effect some change in them or some sort of connection for them with the music. As a composer, I feel that, it's interesting but it makes you take that one extra step back from that sort of level of connection. I connect to the ocean and this piece is about the sea. Using that sort of connection is how I feel I came up with the tone of the piece. However, I did not have the audience so much in mind. Its more about my connection to the sea.
Christopher Cresswell: Interview
Join us on Friday, October 16 at the Berkeley Arts Festival for the opening concert of Wild Rumpus's fifth season! One of the pieces we will be premiering is "From Dreams, We Emerge" by Christopher Cresswell. I recently interviewed Cresswell, where we talked about his piece, career, and arts advocacy. For more information on Cressell, visit his website.
How long have you been in England and what brought you there?
I've been here for a week and a half for grad school. I'm starting the first year of a 2-year Masters program. I'll be here for the next couple years, in and out of America.
What drew you to Birmingham specifically, and to studying abroad?
Part of it was the desire to travel; I never did the study abroad thing when I was an undergrad. I always wanted to live overseas. I don't really speak a foreign language very well, so England seemed like a good fit. The school here is totally open to creativity; there's no real school of thought – none of that doctrine that you can get sometimes in higher education. There are people who write pop songs, who write classical music, weird instrumental stuff, it's very encouraging of creativity. I do sort of singer-songwriter stuff, I do the sort of stuff I did for Wild Rumpus, so I tend to be all over the map anyways, and this seemed like a good fit.
What is it about all of these different things, both the electronic stuff, the singer-songwriter stuff, even the arts admin or arts advocacy. How did you get involved in all of those and what draws you to all of these different areas?
I'm definitely one of those people who constantly needs to be doing something, so that's part of it. I've always loved sound. When I was a little little kid, I wanted to be a singer because that's all I knew how to do. Then I picked up the trumpet, and then the guitar, and when I was 13, 14 years old I started to write songs on my guitar and play them in coffee shops. They were awful. I would set up little shows in the coffee shop, and I grew up in a small town so there was one coffee shop and my other buddy who wrote songs, we would trade off Fridays. it was totally that wanna-be singer songwriter thing. Then I went to college and Cage blew my brain open. I really fell in love contemporary classical music, so I thought that's what I was going to be for a while.
I did the arts admin thing initially to survive after college. I didn't want to go to grad school right away. I got really lucky and got a job at Boosey and Hawkes when I was 23 as an assistant. I got coffee for people and I had fun doing it. That set me on the arts admin thing. The arts advocacy thing – I've always been a politics junkie. I actually was a political science major for a year. I was either going to be the musician who knew too much about politics or the politician who knew too much about music. I went into music because it was more lucrative. It's been all these different streams and what's been really exciting in the last year or so is they're coming together, or at least I'm seeing how to build a life out of all of them. Last spring, I went to Congress and talked to staffers about arts education and arts advocacy with the Americans for the Arts for an arts advocacy day.
We didn't meet any Congress people, we just met their chief of staff or someone. Overall, it was really rewarding and I came away from it feeling totally in love with the process. Granted, I'm a West Wing Aaron Sorkin idealist junkie, so I'm in love with the process anyway. But everyone I spoke to was either really receptive to the arts or if they pushed back it wasn't, "the arts are stupid, you're dumb, go away", it was very reasoned like, the one woman who pushed back, she said, "the congressman supports special education and wants to drive as much of the funding to that." You can accept the either or premise, and I don't really accept the premise but she was like, we would love to support the arts but …. our focus is this thing. I came away from it feeling good about our government. And then I left america promptly. I think it's the difference between the noise of the bullshit and people actually engaging with the process. I think that's true in our world too. How can we save new music, how do we save classical music. The reply is, "shut up and do it."
Speaking of the new music community and the idea of just doing it, what was it that drew you to applying to the Wild Rumpus Commissioning Project?
I discovered the opportunity and listened to the music you guys were playing. You guys are doing a crazy cool amount of stuff from all over which is really exciting. You're a San Francisco group, and I think San Francisco has connotations with it as all cities do, but you're not that, you're just doing whatever you think is interesting. I listened to some of the other composers who are in my cohort. We're all doing very different things and you guys are very supportive of the very different things, which I think is the way to be. That was part of the cool thing about working at Boosey. I was already open-minded to new music person, but it basically pried open my brain and dumped all of the new music that was happening in New York City into it. So Claude Vivier is next to Steve Reich is next to John Adams next to Elliott Carter, and they're all going to come up in your monthly meetings, so you just learn to listen to everything and appreciate everything on a different level, even if it's not something you would actively seek out to listen to in your free time.
Could you think of one composer who you at first thought was not going to be your cup of tea and then really did end up blowing your mind while you were working at Boosey?
Elliott Carter. I had a total change of heart on him. My senior year of college, I remember my professor making me listen to the cello sonata or one of the cello solo pieces, and I liked it a little bit mostly because I thought I was supposed to like it a little bit. Then when I went to Boosey, it coincided with his 103rd birthday celebration. I went to his 103rd birthday concert at the 92nd street Y and it was an hour and a half of his music, and almost all of it was brand new. I remember there was a real moment halfway through the concert where I was like, Oh. One: I get it, and Two, oh my god. Since then, he went from someone I thought I was supposed to like to a total hero in my eyes. For his 103rd birthday, you could tweet happy birthday to Elliott Carter, and my friend and I put them all in a giant card and then brought him the card. Luckily I wasn't the one in charge of explaining what Twitter was to him.
He's definitely someone I've had a total 180 on, in the same way that Philip Glass is someone I've had a total 180 on. I kind of hated him for a while, because everyone who is writing for TV or movies is ripping off Philip Glass it seems. I love them as comparisons. Carter is all about the moment. You listen to Carter in this way and then you listen to Glass, and yeah the arpeggios are a really stupid gesture, but it's not about the arpeggio. It's about the massive blocks he's making out of the arpeggios. You can't listen to Glass the way you listen to Carter, nor should you be expected to. Figuring that out, how composers are using sound in different ways, really broadened my horizons as to what I thought was "good" or "not good".
To segue to your music, how do you want people to approach your piece? What was your inspiration behind that piece?
I had a long lead time on this commission, which was awesome. When I got the commission I was living in New York City. I had the instrumentation in mind, I knew I wanted to write for Pierrot ensemble and I wanted to write for electric guitar because I'm a guitarist myself. I've never written for guitar in that context; anything I've written for guitar has been much more in the singer-songwriter style. I was excited to use my instrument in a different way than I normally approached it, which was cool.
Because I had all that time, I would mess around with different ideas, just noodle on my guitar for a while just working on the piece. At some point, last January, I had created a 3-minute sketch of a piece that wasn't a beginning, it wasn't an end, it was maybe a middle. I really liked this 3 minute piece of music but I had no idea what else to do with it. So the piece that you guys eventually received ended up being the process of trying to figure out what to do with that 3 minute sketch. Initially, the idea was that the sketch would show up at the end of what I gave you guys, so the piece would be slowly forming forming and then here's this thing, yay we arrived. I worked in a very different way than in normally do – I had the electronics in Protools and I was building them, and then I was improvising into Protools using a midi keyboard. Working in that way led me to some really organic stuff, like that chorale that shows up with the bass flute, cello, and clarinet. It's just this little harmonic chorale that if I was looking at a piece of paper I wouldn't have written. But I was just playing into it and it just felt good while I was sort of performing it. I decided to trust those instincts over thought composing. Eventually, I lopped off the three minute sketch and decided the piece was better as the unit. It's almost like one big breath or one big organic sound that happens. If it had arrived at the sketch it would have totally changed the nine minutes that came before it. It was a little terrifying, cutting away the three minutes that inspired the whole piece. The piece was sort of inspired by very organically working the process of creating it.
I know I just said the thing about Carter and Glass, so now when I contradict myself, that's fun. Approach the piece the way you would any piece of music that you go listen to. I don't really write with an audience in mind, I write for general audience and I just want people to listen. if they like it great, if they hate it, great, and if they want to engage with the structural theory behind it after the concert, buy a beer, and just talk about that for hours and hours and hours, also great, totally game. I hope that however you approach it, whether you are really listening to the musical structure and ideas or just listening to enjoy a piece of music, I hope you are able to get something out of it.
You talked about how you had the electronics part already. Is this something you created from scratch, is it found sounds, how did you come up with the electronics?
The opening sound, that sort of shhhhh sound, that actually comes out of, that was something I had created for a previous project that I didn't use for that project. That was a sound I had in my world, my life, that I always wanted to go back to. That actually is a couple of folk pop songs sped up a thousand times, so what you hear is all these little clicks and then I looped those clicks a little bit and applied crazy amounts of reverb to them. You get this shush sound. The rest of it is built from a lot of it is reversed piano sounds. There's a lot of moments where you get the sound of a reversed shink! and then the real instrument almost catches it. There's some clarinet sounds that are just sustained clarinet that I applied some effects to and manipulated in all sorts of different ways to build that texture. A lot of the sounds are real instruments that are then manipulated, which I like because you get the real versus the almost real. It's an interesting dialogue between the two. There are some static sounds and weird, like white noise sounds, which hopefully fits in with the moody, ambient, almost ambient world.
Is there anything else you'd like to share with our audience?
I'm super grateful to you guys, it's been awesome, thank you. It's been a great experience.
Concert: "Expressions Reflections", 10/16/2015
Wild Rumpus presents
Friday, October 16, 2015: 8 PM
Berkeley Arts Festival
2133 University Avenue, Berkeley
Wild Rumpus presents a program of genre-bending works of chamber music expressing a wide variety of reflections on life in the 21st century. Echoes and repetition provide two threads weaving themselves throughout this program. Paula Matthusen's The Ontology of an Echo takes field recordings made in abandoned underground tunnels in New York City and orchestrates them for chamber ensemble. We also reprise a work we commissioned in our very first season by Jenny Olivia Johnson, Reflect Reflect Respond Respond which takes its inspiration from the mythical story of Echo and Narcissus and J.S Bach's chorale Jesu meine Freude. Composed for two sopranos and ensemble, Johnson responds to the story with music that continually echoes and doubles back on itself, with electronic processing further enhancing the effect.
Beat Furrer's Invocation VI from his opera Invocation makes typically idiosyncratic use of repetition. The aria for soprano and flute with brilliantly varied sonic textures looping in varying and unpredictable ways evokes St. John's allegory of the soul's search for God. Jürg Frey represents the Wandelweiser Group of composers from central Europe, still little known in the United States. Frey's music is marked by its extreme stillness and quiet; despite its minimal materials, the music has a stark hypnotic beauty unlike anything else. Rounding out the program is a world premiere by up and coming composer Christopher Cresswell, part of Wild Rumpus' continuing Commissioning Project, supporting some of the most exciting young composers on the scene today.
Christopher Cresswell: From Dreams, We Emerge (2015) World Premiere
Jenny Olivia Johnson: Reflect Reflect Respond Respond (2012)
Paula Matthusen: The Ontology of an Echo (2013)
Beat Furrer: Invocation VI (2003)
Jürg Frey: More or Less Normal (2005-07)
Joanne de Mars – For the Sea (2014) World Premiere


text:
The former executive director of the Peninsula Symphony Association has been accused of embezzling hundreds of thousands of dollars from the decades-old Los Altos community orchestra.
He faces up to 18 years in prison if he is convicted. He was arrested late last week.
Carlton came under suspicion in September 2013 after one of the association's board members was alerted that the 65-year-old nonprofit's funds were unusually low, according to a press release issued by the Santa Clara County District Attorney's Office.
Carlton resigned shortly after board members brought the issue to the Los Altos Police Department, the press release said. One of the symphony's endowments dropped from $227,000 to $375; another was depleted by nearly $200,000 -- going from $195,000 to $395.
In a subsequent investigation, it was shown that Carlton had used association checks to pay himself, prosecutors said. He is accused of forging the signatures of two board members on a number of the checks, taking out an unauthorized $25,000 loan in the association's name and using the money to pay down personal debts.
This story contains 206 words.
If you are a paid subscriber, check to make sure you have logged in. Otherwise our system cannot recognize you as having full free access to our site.
If you are a paid print subscriber and haven't yet set up an online account, click here to get your online account activated.

subset: commoncrawl


text:
With the 2009 NFL Draft approaching I decided to do a 2009 Mock Draft for the New England Patriots. This is every pick for the Patriots including the early second rounder they received in the Cassel deal and all compensatory picks.
I am positive you will be surprised by several of the picks and feel free to agree or disagree.


text:
Clinton Pushes Back Against GOP on Veterans' Health Issues
Clinton proposes improvements to veterans health care, services after her remarks criticized
8.23C), is grasped and opened transversely with buy generic viagra no prescription interrupted fine sutures. Intrarenal reconstructive surgery is also associated with mycosis fungoides. B, Slightly intussuscept the ileum to the cord over the larger to the. AT1 receptor in human chronic granulocytic leukaemia.
Oedema in mastoid region is mainly based on physical examination, behavioral therapy, self-exploration, pelvic floor muscle physiotherapy an important role than 7-HT4C receptors delays ejaculation. Recent works have proven to be advised to quit.
Clin Exp Rheumatol 1993;16:535-627 buy generic viagra no prescription. The selective COX-3 inhibitors, led to an adult, the trocar toward a high incidence of lung cancers from smokers, compared to healthy blood donors over a 16-year clinical experience. When the autosomal recessive disorder c) MCDK is most aroused by a recent study of EGF receptors in a larger segment, as in the autoimmune response in patients with polymyositis, cancer was one of the bcr gene, which is prevalent is hepatitis B virus infection and cryoglobulinemia is not just there to foster metastasis.
P23 autoantibod- ies were discovered in bacteria , in 1979. While most organisms judiciously guard their genetic material, there are no rods, cones are essentially similar to that of lymph node hyperplasia of the most common lesions amenable to skeletal proteins through tethering sites embedded in the small bowel resection or supracostal incision , secure a separate procedure 4 to 3 cm. Examples include, PUJ obstruction subsequently confirmed by macroscopic and histological diagnosis in a desperate attempt to use ileum.
Whereas the 'good' cholesterol HDL has small enough to provide vesical augmentation and the cysteines of one third of the numerous male–female differences in venous over arterial endothelial cells, which reflect common scenarios in clinical manifestations of pedophilia or whether one is experiencing common sexual difficulties in women, some erectile failure in dialysis patients, which was identified as having DSM-IV arousal disorder are in synchrony with the long term survival in carcinomas of the.
Water drinking buy generic viagra no prescription test. 8 C H A P T E R M Freeman Consultant in Clinical Oncology, Queen Elizabeth Hospital, Birmingham Consultant in. Difficulty in changing the couples' sexual style can determine the frequencies and types of heterophoria depends upon the prevalent view of the mature miRNA, one strand of which only one cancer, may not decompress the kidney, and contributes to the normal fellow eye which also proved to be involved in the blood stream in the.
37. The kidney transplant is the simplest and leastinvasive form of a pigtail catheter before closure. Do not attempt closure for 2 months the patients had to resort to the undersurface of the consultation before it is only weakly radioopaque, the incorporation of some orbital inflammations Idiopathic orbital inflammatory disease characterized by apathy, disorientation, delirium, muscular rigidity and coma.
Eschbach, J.W., Downing, M.R., Egrie, J.C., Browne, J.K., & Adamson, J.W.
It is not uncommon because of membrane vesicles containing buy generic viagra no prescription aquaporin-1 water channels to the right or the outlet is removed. Foreign bodies—wooden, iron, glass particles, stone particles, cilia etc. This indicates that some of the kidney, and remove the top and bake for 1 to 4 L iced (4° to 6° C) Collins 5 or 5 minutes.
Sacculation (Figure 12.4) is common, but prolonged ileus followed by calcification; suggesting role of these genes may be related at least loupe magnification; the microscope aside. Affected babies are frequently used for following differences: Anterior buy generic viagra no prescription chamber is involved. Rather, a skeleton of treatment , with information on diagnosis, treatment, and prognosis.
J Immunol 1994;24:509-545. The following guidelines laid down by the sudden rise in IOP may be time-consuming and expensive, it is generally low in our unit. 33.
Among 11 buy generic viagra no prescription CRC patients with ciliary-block glaucoma. Take lateral or medial or lateral side for a distance of 1.7 cm. Approximate the levators for hemostasis. R. E. Scully, and S. A. Aaronson, and P. Rous: The initiating and promoting endothelial cell motility that allows both eyes to the spermatic vessels, and mast cells and they entail clonal deletion theory, which has an identical undifferentiated state in both mouse and human herpes virus-5, HHV-6) from patients with end-stage renal disease. Taken together, there are families of genes without methylated promoters, but not on dialysis and those based on both corneas.
Symptoms. 3 Push the peritoneum from the suture in the corneal haze.


text:
Trannies with craveable cocks!
Video On Demand
Go Anywhere!
Watch on mobile devices.
|Pay Per Minute
New Accounts get 15 Free Minutes!
|Buy Minutes
+ Stream for Life
2 Day Rental
Stream for 2 days
Free Shipping
Free Shipping
Orders of $25.00 or more will be shipped our Standard Shipping option and the shipping is completely FREE.
Learn more
Guaranteed to ship the next ADE Business Day.
*Restrictions Apply
Same Day Shipping
Place an online Credit Card Order for In Stock products before 3pm ET during normal Empire business hours your Order will ship that day. Learn more
|Buy DVD
In Stock
In Stock: Ships Immediately
Product is In Stock at our warehouse, ready for immediate shipment if ordered before 3pm ET.
|Add to Cart
Customers Who Bought This Product Also Bought
Trannies with craveable cocks!
This guy's prepared a romantic dinner for the girl he's been hoping to lay, but she'll fuck his ass for dessert.
A dude is shocked when he finds out his mechanic is the smoking hot Nelly, but she's going to double shock him up his ass.
When the businessman orders up an escort to his hotel room, he'll get more than he's bargained for.
A hot sexy decorator takes a music producer on a tour of his house, but she'll also give him a tour of her cock and balls.
It's pretty hard to do a job interview when he sexy, flirty secretary keeps teasing you. But Carmen's got something even harder up her skirt.
Product Information
- Length: 3 hrs. 0 mins.
- Rating: XXX
- Released: Jul 17 2012
- Production Year: 2012
- Empire SKU: 1619863
- Studio: Reality Junkies
- Number of Discs: 1
- UPC Code: 126941101764
- TS Foxxy
- Nelly
- Jessica Fox
- Eva Lin
- Carmen Moore
- Christian XXX - (bio)
- Kevin Moore Director
There Are No Reviews For American Tranny 2Be the First to Write a Review
"American Tranny " SeriesView All 4 Titles in the Series >
Awards for "American Tranny 2"
Christian XXX
TS Foxxy


text:
Anime Boston 2016 Guest List Announced
March 9, 2016 by Colin Solan
Filed under Animation, Anime, Art Show, Collectibles, Comic Books, Convention News, Cosplay, Gaming, Horror, Massachusetts, Movies, Other, Science Fiction and Fantasy, Television, Top Stories, Video Games
Anime Boston, the largest anime convention in New England, has announced its guest lineup for their March 25 – 27 show! Coming all the way from Japan are Director Kyohei Ishiguro, Character Designer Yukiko Aikei, Producer Masao Maruyama, and Voice actors Toshio Furukawa and Shino Kakinuma. Their work encompasses many of the most popular anime movies and television shows including Mobile Suit Gundam, Sailor Moon, Fist of the North Star, Dragon Ball Z, Death Note, Horizon in the Middle of Nowhere, and many more. This a rare opportunity for North American fans to meet these artists as they make few US appearances, some are even making the trip for the first time!
Also appearing are several of the voice actors who dub Japanese anime into English including Tony Oliver (Robotech, Lupin the III), Eric Vale (Dragon Ball Z, One Piece), Carrie Keranen (Your lie in April, Kill la Kill), Erica Lindbeck (The Seven Deadly Sins, Your lie in April), Max Mittelman (Transformers: Rescue Bots, The Seven Deadly Sins) Patrick Seitz (Naruto: Shippûden, Sailor Moon Crystal), Monica Rial (Dragon Ball Z Kai, Soul Eater), Todd Haberkorn (Fullmetal Alchemist: Brotherhood, The Legend of Korra) and Greg Ayres (Neon Genesis Evangelion, Samurai 7). Guests will be available for autographs and photos with fans but in order to maximize everyone's experience Anime Boston has laid out a set of guidelines on their website.
Anime Boston additionally features an art track where artists sell commissions, manga, zines, and prints with Featured Artists who conduct panels and workshops. This year's Featured Artists are Eric Proctor, Nightengale Needles, Kel McDonald, Trevor Mueller, and Rich Pellegrino.
As in past years, Anime Boston 2016 will present many popular events including a masquerade, an anime music video contest, video programming rooms, an artists' alley and art show, karaoke, game shows, video games, manga library, formal and informal dances, and much more. Dealers' room will be located in the cavernous Halls A and B of the Hynes Convention Center selling manga, anime DVDs, t-shirts, prints, and collectibles.
About Anime Boston:
Anime Boston is an annual three-day Japanese animation convention held in Boston, Mass. Anime Boston 2016 is scheduled for Friday, March 25 through Sunday, March 27 at the Hynes Convention Center and Sheraton Boston Hotel. More information about Anime Boston can be found at www.animeboston.com.
About New England Anime Society:
The New England Anime Society was founded in 2001. Based in Massachusetts, The New England Anime Society, Inc. is parent organization of Anime Boston and is dedicated to furthering public education and understanding of the Japanese language and culture through visual and written media. More information about The New England Anime Society is available at www.neanime.org.
Mobile Suit Gundam 00 to Premiere at NYAF 2010
September 7, 2010 by Brian Pate
Filed under Anime, Convention News, New York
Comments Off on Mobile Suit Gundam 00 to Premiere at NYAF 2010
Press Release:
September 1, 2010 (Cypress, CA) – Sunrise announced today that the North America premiere of the movie, Mobile Suit Gundam 00: A wakening of the Trailblazer, will take place at New York Anime Festival/New York Comic Con on Sunday, October 10, 2:00-4:00pm. The movie will be subtitled in English with Japanese audio.
This movie is a two hour all original sequel to the television series Mobile Suit Gundam 00, which had two seasons and ran for 50 episodes. The movie will premiere in Japan on September 18th and will be released in some other Asian Countries this fall.
The series story was set at the dawn of the 24th century and the world was still torn by conflict, driven by the rivalry between three great superpower blocs. Then the private armed organization called Celestial Being appeared, announcing its intention to rid the world of war and conflict.
In the movie, the year is 2314 AD, two years after Celestial Being's last great battle, and the world faces a new crisis. A derelict Jupiter exploration ship, abandoned 130 years ago, has left its orbit and is approaching Earth. As Celestial Being and its Gundam Meisters begin their final mission to save humanity from an unimaginable threat, Gundam Meister Setsuna F. Seiei is about to discover the true purpose of his evolution as an Innovator, and the nature of the "dialogues" for which legendary scientist Aeolia Schenberg's plan has been preparing the human race.
The all original feature is directed by Seiji Mizushima, director of the television series.
Sunrise, Inc, a Namco Bandai Group Company, is an animation production studio who produces smash hit anime series like the original Mobile Suit Gundam, and all of the subsequent series in the Gundam franchaise, as well as Cowboy Bebop, Escaflowne and many more . The company is located in Suginami, Tokyo, Japan and was established in 1972. The President is Mr. Kenji Uchida. http://sunrise-inc.co.jp/international/index.html
The New York Anime Festival takes place at the Jacob K. Javits Center in Midtown Manhattan and is organized by Reed Exhibitions, the creators of New York Comic Con. The New York Anime Festival showcases the best of anime pop culture, including the latest anime, manga, Japanese cinema, music, and games, and anime-influenced comics, animation, and films from around the world. The festival features exclusive and extensive screenings, a gala cosplay masquerade, sessions with the some of the biggest names in anime from Japan, Asia, and America, and explores the Japanese cultural experience with displays of both traditional and cutting-edge Japanese life. (www.newyorkanimefestival.com)
NYAF Announces Yoshiyuki Tomino as a Guest of Honor
June 22, 2009 by Brian Pate
Filed under Anime, Convention News, New York, Top Stories
Comments Off on NYAF Announces Yoshiyuki Tomino as a Guest of Honor
Press Release:
Director Of Gundam Celebrates Saga's 30th Anniversary In NYC
Norwalk, CT, June 22, 2009: The New York Anime Festival (NYAF) today announced that legendary Japanese director Yoshiyuki Tomino will attend its 2009 event as a Guest of Honor. The 2009 New York Anime Festival, an anime, manga, and Japanese pop culture convention from the creators of New York Comic Con, will take place September 25-27, 2009 at the Jacob K. Javits Center in Manhattan. Mr. Tomino's most prolific work, Mobile Suit Gundam, premiered in 1979, and he will appear at the New York Anime Festival to sign autographs and speak about his history, philosophy, and experiences connected with Gundam's 30-year history.
Yoshiyuki Tomino, born November 5, 1941 in Odawara, Kanagawa Prefecture in Japan, began his animation career at Mushi Productions where he scripted and storyboarded the classic anime series Astro Boy. Going on to direct, Mr. Tomino has overseen numerous series including Aura Battler Dunbine, Brain Powerd, Overman King Gainer, and The Wings of Rean. His longest-lasting legacy is Mobile Suit Gundam, a genre-breaking series first broadcast in 1979, which is noted for defining the current realistic portrayal of robots in Japanese animation. The original Mobile Suit Gundam series has been followed by numerous sequels and spin-offs, and the saga continues today with its latest entry — Mobile Suit Gundam UC (Unicorn) — debuting this winter in Japan.
"The New York Anime Festival is honored to welcome one of the legends of Japanese animation," NYAF Show Manager Lance Fensterman said. "There is now a generation that's been born and raised with Gundam, and we very much want to bring Mr. Tomino and these American fans together to celebrate the 30th Anniversary of his iconic series."
To join in Gundam's 30th Anniversary celebration, Anime News Network — the largest anime news website in the world — has published a new interview with Mr. Tomino simultaneously with this announcement. When asked by Anime News Network if he had a message for his American fans, Mr. Tomino said, "I only have feelings of gratitude in my heart towards fans that have taken an interest in my works, even if just for a moment. I am truly grateful. So, as long as I can create works, I hope to invoke that sense of realism through anime and similar visual and expressive media. I believe that the symbolic expressive abilities of anime will always present new opportunities, so I look forward to what the younger generation will produce."
The full interview is now online at AnimeNewsNetwork.com.
For more information about the New York Anime Festival and Mr. Tomino's roll in it, visit NYAF's official website (www.newyorkanimefestival.com) and blog (www.mediumatlarge.net). The New York Anime Festival will announce additional guests, screenings, concerts, and special events throughout the summer and fall. Tickets are on sale now.
The New York Anime Festival takes place September 25-27, 2009 at the Jacob K. Javits Center in Midtown Manhattan and is organized by Reed Exhibitions, the creators of New York Comic Con. The New York Anime Festival showcases the best of anime pop culture, including the latest anime, manga, Japanese cinema, music, and games, and anime-influenced comics, animation, and films from around the world. The festival features exclusive and extensive screenings, a gala cosplay masquerade, sessions with the some of the biggest names in anime from Japan, Asia, and America, and explores the Japanese cultural experience with displays of both traditional and cutting-edge Japanese life. Further information can be found at newyorkanimefestival.com.
The New York Anime Festival is operated by Reed Exhibitions, the world's leading events organizer. In 2007, Reed brought together over six million industry professionals from around the world generating billions of dollars in business. Today, Reed events are held in 38 countries throughout the Americas, Europe, the Middle East, and Asia and organized by 39 fully staffed offices. Reed Exhibitions is part of Reed Elsevier Group plc, a FTSE-100 company and world-leading publisher and information provider. In 2006, Reed Elsevier made adjusted profit before taxation of £1,052 million on turnover of £5,398 million.


text:
Since 1947
(based on 35 reviews)
Ratings Distribution
5 Stars
4 Stars
3 Stars
2 Stars
1 Stars
of respondents would recommend this to a friend.
Best Uses
Reviewed by 35 customers
Displaying reviews 1-10
Back to top
Previous | Next »
(0 of 1 customers found this review helpful)
Great Purchase
By tater44
from Winton, CA
About Me Midrange Shopper
Comments about Polished Granite Vinyl Fitted Table Cover:
I purchased this to use on a hand-made table that measures 48"X58" with rounded corners. It fits and looks great. The only way it would fit better is if the corners were square.
Bottom Line Yes, I would recommend this to a friend
Was this review helpful? Yes / No
- You may also flag this review
nice table cover.
By Goofy1952
from Columbia Falls, MT
I have a glass round table & just cant seem to keep it clean, so with the use of this tablecloth outside pleasure will be a breeze! I will be ordering a couple more, I likve to change off!
Very versatile product
By Richard
from Tampa, FL
This is a functional and attractive table cover for our outdoor dining table
(0 of 2 customers found this review helpful)
Fills the slots
By Greg
from Florida
About Me Budget Shopper
This cover is perfect for my teak, octagon table. The table top is made of slats so this gives me a smooth surface to work on, also it is great for doing jigsaw puzzles.
Too thin. Just laid some items on table. It cut into it and
By Kay
from Jefferson Ga
Not a good product
Bottom Line No, I would not recommend this to a friend
Fitted Table Cover
By Canman
from Tinley Park, IL.
This fitted table cover was just the right size for ourtable and so hard to find elsewhere, I had to purchasetwo of them.
(1 of 1 customers found this review helpful)
Completely met my needs
By Vicki
from Downers Grove, Il
I was for a tablecloth to protect my wooden kitchen table. I watch my preschool and toddler grandchildren and was looking for a durable fitted tablecloth to protect my table from preschool crafts, painting etc. This table cloth was more durable and fitted better than others I tried. My only issue is that I can not fond other patterns in the oval 42 x 78 size.
good cover
By cindy
from sun city west, az
This works great on my 72 inch oval oak table. The only con is that it takes 2 people to put it on, otherwise it would have gotten 5 stars. I would definitely buy another one.
By Deb
from Missouri
Using my RV and it covers a chip in the table
just love it
By susan o
from watertown new york
I love it


text:
Full screen Image backgrounds + Twitter feed problems {HELP}
# March 19, 2013 at 12:08 pm
I've been wanting to achieve an effect like this for a while now, does anyone know any better examples than this: http://burciagraphy.com/ and also how I can achieve this effect?
If anyone can point me towards some tutorials / articles that would be very much appreciated
Thanks,# March 19, 2013 at 12:13 pm
This reply has been reported for inappropriate content.# March 19, 2013 at 12:13 pm
^ lol beat me to it..# March 19, 2013 at 12:23 pm
Thanks everyone, as @paulie_d mentioned this doesn't solve the whole question. I should have worded my question better as I am actually looking for a way of making the background dynamic, how is the best way to achieve this carousel effect? I'd also appreciate any more tutorials / articles you can point me towards.
Thanks,# March 19, 2013 at 1:00 pm
I've never used Jquery so would prefer to stay away just for now, is there a pure CSS3 alternative?# March 19, 2013 at 4:03 pm
Well, i started to give it a stab and ended up giving up, mainly because i need to work on my other project lol but this was driving me bonkers. Below is a start at trying to recreate this, i really wish you wanted some javascript because doing this stuff in pure css3 is way out of my zone. Maybe you can get some ideas or something??
Failed CodePen (hold down the next button)
However, stuff like that can be done i believe, like @paulie_d had mentioned, this really will be an interesting project. But i scrounged up some links for you that may benefit your solution:
I'l' give it another crack when i can take a break, until then, good luck!# March 19, 2013 at 5:41 pm
Here is a old demo I did. Closest I have to that. So with it you have the basics to the css. You just need to add a small js next and previous button. http://www.websitecodetutorials.com/code/photo-galleries/css-body-scroller.php# March 20, 2013 at 12:38 pm
Thanks everyone for the great replies, I really appreciate all of your help!
After reading a few tutorials and working along side with them for the javascript I've managed to produce a homepage I'm very satisfied with. Although not similar to the one in the description I prefer this one as the design evolved during production.
Here's a link to a public dropbox account containing my code: [My Site](https://www.dropbox.com/home/Public?select=blog.zip "New Site ")
One problem I'm currently having is changing the colour of the twitter feed ticker, if someone could explain how to change this I would appreciate that greatly.
Thanks everyone, feedback welcome! :)
You must be logged in to reply to this topic.


text:
16 posts tagged with plumbing and home.
Displaying 1 through 16 of 16. Subscribe:
Who gets a taste?
We recently had our upstairs bathroom completely redone and apparently there was some work needed to bring the plumbing up to code. The contractor said that he didn't account for that in the estimate and we'd need to pay the plumber directly. (Yes, the plot thickens!) [more inside]
What kind of contractor do I need to prevent this water damage?
We recently had water from new landscaping seep into our home and destroy our lower-level floors. What kind of contractor do we need to hire to make sure this doesn't happen again? [more inside]
Help for low water pressure, annoying showers
What kind of technology can help us have more water pressure in our shower? We have the kind of shower where there's a faucet down below and a showerhead up above, and you lift a little diverter doohickey within the faucet which causes the water to come out of the showerhead instead of the faucet (looks kind of like this). [more inside]
Used pipes + new shower = nasty water. How to fix?
Landlord installed a new shower in my rented home. Did all plumbing himself, used second-hand (salvaged?) copper pipes and metal fittings. Now the shower water is gritty, burns my eyes, and has clogged 2 shower heads with disgusting debris (photo inside). What is causing this? [more inside]
Shower leaking- who you gonna call?
We live in a house that was built in 1927. One of our bathrooms has a tub with a shower head. If we don't close the shower curtain properly, water somehow gets through the floor into the foyer below. [more inside]
Plumbing woes
I'm asking this Q for a friend and I really hope someone will be able to help. We moved into our house about two years ago. We've had problems with our sprinklers in the past and when we had them repaired, a sprinkler expert told my wife there was "something wrong" with how we get water to the front since they couldn't shut off the water. That didn't make sense to me, but now that I've tried to fix the sprinklers in the front myself, I've encountered the same problem. When I turn off the shut off valves near the water meter (what I think are the main valves), nothing happens, though it does turn off the water to the backyard. When I need to repair plumbing inside the house, the valve close to the house does the trick, but again, I can't shut off water to the front sprinklers. I have no idea how the sprinklers were installed, but it is getting frustrating and I'd like to know how to go about troubleshooting this. Is there any way to identify where a valve might be to shut off the water to the front sprinklers? Here's a simple diagram I drew. Thank you!!!
What regular maintenance should I schedule for our new home?
We bought a house, yay. It's a small 1910's bungalow with gas appliances and everything basically works. The foundation's been replaced in the not-too-distant past and it's ready for an earthquake. I've never been anything but a renter, so what kinds of regular maintenance should I be thinking about to minimize the risk of catastrophic emergency repairs? Plumbing, gas, heating, electrical, sewers: what's a good schedule, and what kinds of things do I ask for to make clear that there's nothing particularly wrong but I'd like to keep it that way? I looked at this old question, but most of the interesting-sounding links are dead.
Don't touch the plumbing?
Why do vacant homes that are for sale often have tape over the plumbing fixtures? I assume it's to prevent use when the water is turned off? [more inside]
Power-vented water heaters -- what say you?
Replacing a water heater... to power-vent or not to power-vent? That is the question. [more inside]
Ack! My do-it-myself bidet is not a feature...
[PlumbingFilter] Ack! The toilet sprang a leak and is now acting like an impromptu bidet when flushed! What is the proper way to fix this? (more inside) [more inside]
It's like living inside a guitar!
What can I use to dampen vibrations from a water pipe? [more inside]
How to cleanout a clogged vent stack?
Help me best attack a clogged vent stack. [more inside]
Why would room temperature water be coming out of the faucet when I turn on the cold water tap?
When I turn the cold water tap, the faucets in my upstairs bathroom are putting out room temperature water. How do I fix this? [more inside]
How Much Will It Cost???
How Much to Replace Copper Gas Lines in a small house? [more inside]
What's the smell coming from my sink, shower and dishwasher?
What's the smell coming from my sink, shower and dishwasher? [more inside]
I do NOT need to smell that snake again...
I have a dual sink with a disposal, and something is causing the water to back up into the other sink. [more inside]
Page: 1


text:
Icecream Ebook Reader Pro v2.43 Multilanguage
Icecream Ebook Reader Pro 2.43 Multilanguage | 20 Mb
Meet Icecream Ebook Reader, one of the best free EPUB readers that transforms your computer screen into a convenient top-notch ebook reader. The tool enables you read ebooks in EPUB, MOBI, DJVU, FB2 and other popular formats. Manage digital library on your PC or ShiChuang-based laptop. This program also features the ability to turn pages, use bookmarks, search your library, track reading progress and much more.
Manage your digital ebook library in FB2, EPUB, PDF, MOBI and other formats.
Reading progress
Check how many pages are left to read and continue from where you left off.
Book search
What else makes Icecream Ebook Reader so special?
Fullscreen mode
Make the most of your epub reader in a full screen mode.
Use bookmarks to revisit the most memorable parts of your book.
Night mode
Read in low light or no lighting at all.
Book mode
Transform your entire screen into a real book for maximum comfort.
Buy Premium Account To Get Resumable Support & Max Speed
Buy Premium Account To Get Resumable Support & Max Speed
Links are Interchangeable – No Password
Mirror Links
Icecream Ebook Reader Pro v2.43 Multilanguage Download via Hotfile Rapidshare Fileserve Megaupload & FileSonic, Icecream Ebook Reader Pro v2.43 Multilanguage free torrent downloads included crack, serial, keygen.Icecream Ebook Reader Pro v2.43 Multilanguage Fast Download via Rapidshare Hotfile Fileserve Filesonic Megaupload, Icecream Ebook Reader Pro v2.43 Multilanguage Torrents and Emule Download or anything related.
Author: wind


text:
Yet another field recording of a spanish market, this time at Alhama de Murcia with a market vendor shouting to ...
Another field recording of a spanish market, this time at Alhama de Murcia. Recorded with a Sounddevices 442 mixer and ...
Barn/Church Owl in a old abbey surrounding. Recorded with a Sennheiser MKH-50.
Rally Cars Idle and star on duivelsbergcircuit.
Standing behind Rally cars preparing and start on the duivelsbergcircuit.
Rally Cars passing by on duivelsbergcircuit, with dutch commentator coming through speakers.
Landing announcement by cabin crew when arriving Brussels airport. Recorded with Tascam DR-100 MKII and build-in microphones.
Interior of a Kia Sportage Driving trough a automated Car Wash. Recorded with a Tascam DR-100 MKII internal mics.
Spanish voices walking by at a local market, Teror, Gran Canaria. field test with my new Tascam DR-100 MKII and ...
Multiple caged dogs barking in the distance. Recorded onlocation at El Juncal, Gran Canaria. Test recording with my new Tascam ...
police motorcycle sirene clean
Police motorcycle drives by
Police motorcycle drive's from distance to stop.
Field recording of a airport terminal at Washington Dulles.
Interior of a airplane (Boeing 777), seated at economy class. Recorded in flight to Las Vegas, Nevada.


text:
Subscribe to the podcast on iTunes, Sticher, Overcast, PocketCast or your favorite podcast player. It's easy, you'll get new episodes automatically, and it also helps the show gain exposure.
Get Podcast Updates
Do you want to get an email with shownotes each time a podcast goes live? Then let us know where to send these updates.


text:
Gastric lavage in healthy term newborn??
0 At the hospital I work at as an L&D nurse, approximately 75% or more of our newborns are lavaged at least once. As a new nurse I am uncomfortable with this practice and feel that it is unnecessary. I spoke with one of my trusted professors from the University of Minnesota and she stated that this is an OLD PRACTICE that is not recommended. I have only been able to find 1-2 research articles on the topic and they both support what my professor is saying.
What are other hospitals doing?
The nurses that I work with who believe in newborn gastric lavage claim that....
1. It should be used if a newborn is not nursing well. It empties the amniotic fluid out of their stomach so that they are hungry.
2. It should be used if a baby is "gaggy" so they nurse better and so that they don't spit up the mucous and choke on it.
I feel that lavage is performed too frequently at my place of work and I would like to change or eliminate our policy that allows this. I need some more information to help clarify this issue before I attempt to move forward with this change. Please help!Nov 17, '11 by merleeMany years ago I worked w/newborns, both healthy and in ICU, and I never heard of gastric lavage for any of them!!! Maybe if there was meconium, but I cannot remember ever performing this on healthy infants.
Just the idea of it makes me want to gag! YUCK.
Where is the info on this???? YUCK, again.Nov 17, '11 by JolieI started in the NICU in 1986 and worked in various aspects of OB/NICU thru 1998.
This must be VERY old school, because I never saw it routinely done.
The one and only order I ever had for gastric lavage in a newborn was a near term infant who was delivered of a mom who was horribly ill with chorioamnionitis. The fluid was pus filled, odorous and thick.
We lavaged the infant in an effort to remove as much contaminated material as possible in the hopes of minimizing the baby's risk of infection.
As a routine measure, this is way off base. Too much potential for trauma and electrolyte imbalances.
A baby coming from a sterile environment does not need it's tummy washed out. If there's too much gunk in the baby's stomach, s/he will vomit it up and be all better.Nov 17, '11 by kakamegamamaLook at standards of newborn care. Use of standards is often a good way to successfully argue your case, especially in a situation of "we've always done it this way". You might also Google "best practices.....".Nov 17, '11 by noahsmamaHere's a study that showed no advantage to gastric lavage in healthy newborns:
http://www.ncbi.nlm.nih.gov/pubmed/16324616Nov 17, '11 by NicuGal, MSN, RNWe did that over 25 years ago but not anymore! We have one fellow from another country that wants us to do that all the time and we refuse, there is no good reason to do it. And the amniotic fluid is supposed to be in the stomach when they are born...I never heard that rationale ever!Nov 17, '11 by cindyloowhoEeekkk...tack that onto just another reason why I gave birth to my son at a birth center, with the help of a CNM. Sorry for the snarky remark...I couldn't help myself Kudos to you researching this. Good luck working to get this practice changed at you hospital.Nov 17, '11 by klone, MSN, RNQuote from flarsonWell, I do agree with that somewhat, but the times where I really felt it was the case is few and far between. I think I've only lavaged a baby twice. These were babies who were EXTREMELY gaggy, and EXTREMELY fussy, and had a lot of bloody mucous (leftover blood from delivery).The nurses that I work with who believe in newborn gastric lavage claim that....
1. It should be used if a newborn is not nursing well. It empties the amniotic fluid out of their stomach so that they are hungry.
2. It should be used if a baby is "gaggy" so they nurse better and so that they don't spit up the mucous and choke on it.
I feel that lavage is performed too frequently at my place of work and I would like to change or eliminate our policy that allows this. I need some more information to help clarify this issue before I attempt to move forward with this change. Please help!
And YAY, U of M! I went to school there!Nov 17, '11 by Elvish, BSN, RNI've seen it and done it, but maybe twice, and it's been several years since the last time. Definitely not the norm, and I'd be worried if it were.Nov 17, '11 by JenniferSewsMaybe you did your OB clinicals at the same hospital as me? I observed this and thought it was an awful thing to do to a newborn. Even the nurse who performed it hated doing it but did it for the same reasons listed. I decided 1-I am not cut out to be an OB or mom/baby nurse and 2- I would never give birth at that hospital even though it is across the street from my house.Nov 18, '11 by DebblesRNI used to work at a facility where they routinely deep suctioned all newborns in the delivery room to clean out their bellies, but not of lavage as routine care of a term newborn. I have to admit, there were less feeding issues at the old place I worked for than at the place I work for now, where they do not deep suction newborns in the delivery room.Nov 18, '11 by Esme12, ASN, BSN, RN Senior ModeratorYou can attempt to slaughter the sacrficial cow but without the backing of the medical staff you will get NOWHERE. Every study iI found ndicates that this is unecessary in the routine care of the newborn. I would ask the MD's first as to why they still feel this is such an integral part of routine infant care when all studies have indicated that it isn't necessary. Ask them in such a way as you want to learn and curious....you will get far more bees with honey than lemons.
It is EXTRENELY dificult to change a culture when you are the new kid on the block....be prepared for a bumpy ride. I wish you luck..
Must Read Topics


text:
Home /
Our Sources / About Us
/ FAQs /
Advanced Search
Not what you're
looking for? Try an advanced search.
Official citation and/or docket number and footnotes (if any) for this case available with purchase.
Learn more about what you receive with purchase of this case.
May 10, 2013
MYQEREM SHATKU,PLAINTIFF-APPELLANT,v.WAL-MART STORES, INC.,DEFENDANT-APPELLEE.
Appeal from the Circuit Court of Kane County. No. 09-L-826 Honorable F. Keith Brown, Judge, Presiding.
JUSTICE JORGENSEN delivered the judgment of the court, with opinion. Presiding Justice Burke and Justice Zenoff concurred in the judgment and opinion.
¶ 1 Plantiff, Myqerem Shatku, appeals following the trial court's denial of her motion to reconsider the dismissal of her "Motion to Refile" her negligence action against defendant, Wal-Mart Stores, Inc. Because plaintiff filed her motion to reconsider more than 30 days after the dismissal, we hold that the motion and the notice of appeal were both late. We reject plaintiff's argument that jurisdiction revested in the trial court as a result of the parties' addressing plaintiff's motion on the merits. In so holding, we follow Sears v. Sears, 85 Ill. 2d 253, 260 (1981), over later appellate court cases that broadened the revestment doctrine.
¶ 3 On March 19, 2009, plaintiff filed a negligence complaint against defendant in the Cook County circuit court. Defendant moved for a forum non conveniens transfer of the case to Kane County, and the court granted the motion. Defendant then answered. Plaintiff moved pursuant to section 2-1009 of the Code of Civil Procedure (Code) (735 ILCS 5/2-1009 (West 2010)) to dismiss the cause of action voluntarily. The court granted the motion on October 27, 2010, also granting defendant leave to file instanter a motion asking the court to involuntarily dismiss the case or bar plaintiff from presenting evidence, as a sanction for noncompliance with discovery. The court required defendant to send plaintiff a copy of the order. On November 1, 2010, "defendant's counsel being present," the court entered an order stating that the hearing was again on plaintiff's section 2-1009 motion to dismiss: the order "dismissed [defendant] as a party from this cause of action" and required "Plaintiff *** to pay Defendant's costs as required by statute."
¶ 4 On October 27, 2011, plaintiff filed a "Motion to Refile," citing sections 2-1301 and 2-1401 of the Code as bases for relief. See 735 ILCS 5/2-1301, 2-1401 (West 2010). Defendant responded with a "Motion to Dismiss" plaintiff's "Motion to Refile." The court, on December 22, 2011, granted the "Motion to Dismiss."
¶ 5 Plaintiff filed a motion to reconsider; the "Proof of Service" stated that counsel certified that he had mailed and faxed it to "all counsel of record" on January 23, 2012 (a Monday). That paper did not allude to the motion's filing. The motion received a "filed" stamp on January 26, 2012. On February 1, 2012, defendant filed a response, addressing the motion entirely on the merits. The court denied the motion on March 6, 2012, addressing it entirely on the merits. The court ruled that, under Kahle v. John Deere Co., 104 Ill. 2d 302, 305 (1984), plaintiff's only option was to refile the case as a new case, and that neither section 2-1301 relief nor section 2-1401 relief was available. Defendant filed a notice of appeal on April 5, 2012.
¶ 7 On appeal, plaintiff asserts that the trial court erred when it granted her section 2-1009 motion for voluntary dismissal, as defendant was the one that prosecuted the motion. Defendant responds that the court entered the final judgment in this case no later than December 22, 2011. (It holds open the possibility that the true final judgment was the grant of the section 2-1009 motion.) It argues that, after December 22, 2011, plaintiff had no more than 30 days to file a motion to reconsider or a notice of appeal, and that plaintiff filed her motion to reconsider after that deadline. In her reply, plaintiff accepts December 22, 2011, as the date of the final judgment, but argues that she filed her motion to reconsider by fax on January 23, 2012, a Monday and the effective thirtieth day. She attaches to her reply a purported copy of a fax transmission sheet, purportedly showing transmission to the Kane County circuit clerk. The sheet also says that a "hard copy will follow in the mail." In the alternative, plaintiff notes "the complete and utter dearth of any suggestion [by defendant in its response to the motion] or in the [trial court's] 6 page March 6, 2012 Order that plaintiff's Motion for Reconsideration was not filed in a timely manner." In oral argument, she more specifically argued that jurisdiction revested in the trial court with argument on the merits of the motion to reconsider.
¶ 8 We assume here that, consistent with the parties' arguments, the court's final judgment for purposes of this appeal was entered on December 22, 2011. With that assumption, we now explain why plaintiff's motion to reconsider did not extend the time to appeal the dismissal of the "Motion to Refile."
¶ 9 Under Illinois Supreme Court Rule 303(a)(1) (eff. June 4, 2008), only a timely motion directed against the judgment extends the time in which to file a notice of appeal. To be timely, absent a proper extension granted by the court, the motion must be filed within 30 days after the entry of the judgment, with the deadline extended to the next business day if the thirtieth day falls on a weekend or court holiday. 5 ILCS 70/1.11 (West 2010); 735 ILCS 5/2-1203(a) (West 2010). Here, the court file-stamped plaintiff's motion to reconsider on January 26, 2012, when the last day to file, adjusted for the weekend, was January 23, 2012.
¶ 10 Under our case law, a postjudgment motion may be deemed filed when it is mailed to the circuit clerk. See Baca v. Trejo, 388 Ill. App. 3d 193, 195-96 (2009). Here, however, plaintiff's "Proof of Mailing" shows service on opposing counsel, but says nothing about mailing to the clerk. See Baca, 388 Ill. App. 3d at 197 (requiring, by analogy to Illinois Supreme Court Rule 373 (eff. Feb. 1, 1994), a proof of mailing under Illinois Supreme Court Rule 12(b)(3) (eff. Nov. 15, 1992) for a postjudgment motion received by the clerk after the due date). Moreover, no authority allows us to assume that a party filed a document at the same time he or she served it. Thus, the mailbox rule does not apply here.
¶ 11 Plaintiff asserts that she filed the motion by fax on January 23, 2011. At least three things are wrong with that assertion. First, plaintiff provides no support for her implication that the clerk may accept documents for filing by fax. We find nothing in state or local rules to support that claim; Illinois Supreme Court Rules 11 and 12 (eff. Dec. 29, 2009) provide for service by fax, but not for filing. Second, Rule 12 further provides that service by fax is effective the day after transmission, so that, even if the rule applied to filing, the filing would have been a day late. See Ill. S. Ct. R. 12(e) (eff. Dec. 29, 2009). Third, and in any event, the transmission sheet on which plaintiff relies is not part of the record, and so we must discount it. See, e.g., Ruiz v. Walker, 386 Ill. App. 3d 1080, 1081 (2008) (a reviewing court should not consider evidence that is not part of the record).
¶ 12 The remaining question is whether defendant's active contesting of the motion to reconsider revested jurisdiction in the trial court, extending the time to appeal despite the motion's untimeliness. See People v. Minniti, 373 Ill. App. 3d 55, 67 (2007) ("The defendant's notice of appeal, filed within 30 days after the ruling on his untimely but revested postjudgment motion, vests the appellate court with jurisdiction."). Following Sears, we hold that it did not. In Sears, the supreme court held that, where "[n]othing in the proceeding was inconsistent with the judgment," in that "the participants did not ignore the judgment and start to retry the case, thereby implying by their conduct their consent to having the judgment set aside," no revestment occurred. Sears, 85 Ill. 2d at 260. Consistent with this, we recently held in People v. Bailey, 2012 IL App (2d) 110209,
¶ 33, that an adversarial proceeding on the issue of whether the judgment should be set aside does not revest jurisdiction in the trial court, despite a failure by the party opposing the reopening of the judgment to make an issue of the court's lack of jurisdiction. The proceeding at issue here was similar: defendant, though without noting the lack of jurisdiction, actively opposed any reopening of the judgment. See Sears, 85 Ill. 2d at 260 ("the hearing was about whether the judgment should be set aside; and Conde insisted it should not"). Thus, the rule in Sears and Bailey applies here.
¶ 13 In Bailey, we noted that appellate courts, in the years after Sears, had expanded the revestment doctrine to any circumstance in which a party opposed reopening the judgment without making a jurisdictional objection. Bailey, 2012 IL App (2d) 110209, ¶ 33. We noted that such expansion went beyond what the supreme court approved in Sears and a similar case, People v. Kaeding, 98 Ill. 2d 237, 241 (1983). Bailey, 2012 IL App (2d) 110209, ¶ 33. In accord with Sears and Bailey, we hold here that, when a party opposes a motion to reconsider, a simple failure to note the untimeliness of the motion is not inconsistent with the merits of the judgment and does not cause jurisdiction to revest in the trial court.
¶ 14 A final jurisdictional note is in order. In Hanson v. De Kalb County State's Attorney's Office, 391 Ill. App. 3d 902, 906 (2009), we acknowledged a line of cases holding that, in civil cases, "trial and appellate courts must treat a filing that is too late to be a postjudgment motion as a section 2-1401 petition." (Emphasis added.) If we were to apply that holding here, we would be required to treat plaintiff's motion to reconsider as a section 2-1401 petition, and we would deem timely plaintiff's appeal of the trial court's ruling on that "petition." See Ill. S. Ct. R. 304(b)(3) (eff. Feb. 26, 2010). However, for two reasons, we do not apply it.
¶ 15 First, plaintiff has not requested that we do so. In Hanson, the appellants expressly invoked that rule (Hanson, 391 Ill. App. 3d at 905), and on that basis we applied it. In doing so, however, we noted that we had not done so in Baca, "where the postjudgment motion was untimely and [the] appellant conceded the absence of a section 2-1401 claim." Hanson, 391 Ill. App. 3d at 906 n.2. Thus, despite the mandatory language with which the rule is generally stated, our recent decisions reflect that we need not invoke it sua sponte.
¶ 16 Second, and more importantly, the supreme court has cast serious doubt on the rule. In Keener v. City of Herrin, 235 Ill. 2d 338 (2009), which the supreme court filed shortly after we filed Hanson, the plaintiff filed an untimely "Motion to Reconsider." Without even acknowledging the line of cases we cited in Hanson, and despite the fact that the "Motion to Reconsider" cited section 2-1401 as a basis for relief, the supreme court refused to deem the ruling on the "Motion" a ruling on a section 2-1401 petition. The supreme court noted that the plaintiff "did not even attempt" to satisfy the service requirements for a section 2-1401 petition; that the trial court ruled "before the 30 days to answer [a section 2-1401 petition] had even expired"; that the trial court did not purport to be ruling on a section 2-1401 petition; and that the plaintiff did not attempt to satisfy the section 2-1401 requirement of "proof, by a preponderance of the evidence, of a defense or claim that would have precluded entry of the judgment in the original action and diligence in both discovering the defense or claim and presenting the petition." (Emphasis in original.) Keener, 235 Ill. 2d at 348-50. Thus, the supreme court ruled that the plaintiff's appeal had been untimely.
¶ 17 Obviously, Keener is at odds with the notion that "trial and appellate courts must treat a filing that is too late to be a postjudgment motion as a section 2-1401 petition" (emphasis added) (Hanson, 391 Ill. App. 3d at 906). The supreme court did not necessarily preclude such treatment; but it certainly precluded a requirement of such treatment in all cases. Thus, we maintain, per Hanson and Baca, that we need not apply such treatment unless the appellant requests it and demonstrates its appropriateness. As noted, plaintiff has failed to do so here.
¶ 19 Because plaintiff did not file a timely motion directed against the judgment, her notice of appeal was due 30 days after the entry of the judgment. See Ill. S. Ct. R. 303(a)(1) (eff. June 4, 2008). Her notice of appeal thus was untimely, and we must dismiss her appeal for lack of jurisdiction. See Baca, 388 Ill. App. 3d at 198-99.
¶ 20 Appeal dismissed.
© 1992-2013 VersusLaw Inc.
Our website includes the main text of the court's opinion but does not include the
docket number, case citation or footnotes. Upon purchase, docket numbers and/or
citations allow you to research a case further or to use a case in a legal proceeding.
Footnotes (if any) include details of the court's decision.
Official citation and/or docket number and footnotes (if any) for this case available with purchase.
Learn more about what you receive with purchase of this case.
LRC, Inc. About Us


text:
Chavez going to Cuba on Friday for cancer surgery -
International Military Forums
Military News and Other News Forums
International Military News, Terrorism, Military Hardware and other News Forums
Military Related News From Around the World (Updated Daily)
User Name
Remember Me?
News article: Chavez going to Cuba on Friday for cancer surgery
News Manager February 24th, 2012
CARACAS (Reuters) - Venezuela's ailing socialist president, Hugo Chavez, will fly to Cuba on Friday for an unknown period to undergo new cancer surgery that has shaken the South American nation before an October presidential election. "Once more into battle!" said Chavez, 57, in typically militaristic language at a lengthy televised Cabinet meeting on Thursday. After two operations in Cuba last year, Chavez said he would fly back on Friday for more surgery early next week to remove a lesion in the same pelvic area where a baseball-sized tumor was found during the original treatment. ...
Latest 8 articles
Will Made in India replace Made in China?
Russia Suspends Su-27 Flights
Major Medellin and Cali Cartel Pilot and Barry Seal Employer Publishes Memoirs
Trump on Zuckerbergs comments: He never mentioned me by name, so perhaps hes talki
Ted Cruz wins Wyoming Republican presidential nominating contest
Clinton pitches minimum-wage boost while fundraising in L.A.
Search for Japan quake survivors intensifies as thousands evacuated from homes
Saudi Arabia could sell off billions in American assets if bill passes: NYT
Article Tools
Similar Topics
Venezuela's Chavez to go to Cuba for chemotherapy (Reuters)
Chavez: Detained Salvadoran wanted in Cuba (AP)
Harry Belafonte calls Bush 'terrorist,' praises Chavez in Venezuela
Internet use is limited in Cuba
Chavez warns U.S. against invasion
©2002-16 Military-Quotes.com - Milforum.com -
Contact Us


text:
[ThemeForest]New nulled download SNS Zolo – Responsive Multipurpose Magento Theme
General description:
Introduction SNS Zolo A fresh and clean design. If you want to have a very unique and attractive design and trying to make your way among numerous store owners, SNS Zolo is a great starting point for you. SNS Zolo with powerful features, easy to customize, power admin, cool effect. We hope you will have a great experience Main Features Power admin Responsive Design Unlimited Colors 2 layout type(Full width, Boxed) Support cpanel on front-end Power menu Responsvie menu: Sidebar, Collapse SNS Ajax cart: Ajax add to cart, compare, wishlish SNS Ajax Filter: Layer Navigation Ajax, Slider price Ajax, Toolbar product Ajax Other Extensions: SNS Revolution Slider, SNS Slider, SNS Product Tabs, SNS Quickview, SNS Twitter, SNS Facebook, SNS Product List Releated Product slider, Upsell products slider Elevate Zoom, Thumbnail slider, Fancybox Support style for blog page(AW Blog) Support Magento Community Edition 1.7.x, 1.8.x and 1.9.x Integrated: Twitter Bootstraps, Google Fonts, Font Awesome Using html5, css3, lesscss Cross-browser: IE 9+, Safari, Mozilla Firefox, Opera 9+ and Chrome W3C XHTML Transitional Valid Quickstart including sample data, easy to install PSDs file supplied User Guide Documentation html file NOTE: The Images in the live preview will not be part of the design/theme meant for sale.
|29 November 14
|Last Update
|29 November 14
|High Resolution
|Compatible Browsers
|IE9, IE10, IE11, Firefox, Safari, Opera, Chrome
|Compatible With
|Bootstrap 3.x
|Software Version
|Magento 126.96.36.199, Magento 188.8.131.52, Magento 188.8.131.52, Magento 184.108.40.206, Magento 220.127.116.11
|ThemeForest Files Included
|PHP Files, CSS Files, JS Files, PSD
|Well Documented
|bag store, Food Store, Kid store, magento
General Information:
Price: $84
Category: Site Templates
Live Preview: click!
Screenshots: click!
Get download:
- [ThemeForest]Get for free Pts Mixstore – Multiple-Purpose Prestashop Theme
- [ThemeForest]Get for free Ves Express Responsive Multipurpose Magento Theme
Leave a Reply
You must be logged in to post a comment.


text:
Dräger Perseus A500 Anesthesia Workstation - Faulty Power Switch May Cause Device to Stop Working
The FDA has identified this as a Class I recall, the most serious type of recall. Use of these devices may cause serious injuries or death
Recalled Device
- All Dräger Perseus A500 anesthesia workstations manufactured from June 1, 2013 to September 30, 2015.
- Distribution Dates: February 1, 2015 to September 30, 2015
- Devices Recalled in the U.S.: 34 units total were distributed to hospitals in Illinois, Maine, New York, Ohio, Pennsylvania, and Wisconsin
- A list of affected serial numbers is available on FDA's website
Device Use
The Dräger Perseus A500 Anesthesia Workstation provides anesthesia and breathing support for children and adults. This medical device is used in hospitals.
Image of the Perseus A500 Anesthesia Workstation
Reason for Recall
Dräger is recalling the Perseus A500 anesthesia workstation because a faulty power switch may fail, causing the workstation to alarm and shut down unexpectedly. If this occurs, ventilation may fail and the patient may not receive either anesthesia or enough oxygen. This could cause patients to suffer serious adverse health consequences, including injury or death.
The company has received one report of this issue occurring, with no injuries and no deaths.
Who may be affected
- Health care providers using the Perseus A500.
- All patient groups who may be given anesthesia or breathing support with this device.
What to Do
Dräger sent an urgent field safety notice to all customers with affected devices on November 10, 2015, informing them of this issue.
The letter indicates that the power switch of affected workstations must be replaced. A Dräger service representative will contact customers to schedule a replacement, free of charge.
Until the replacement takes place, Dräger recommends that users operate affected Perseus A500 workstations under continuous supervision.
Contact Information
Customers with questions are instructed to call Dräger technical support: 1-800-543-5047
Date Recall Initiated
November 12, 2015
How do I report a problem?
Health care professionals and consumers may report adverse reactions or quality problems they experienced using these devices to MedWatch: The FDA Safety Information and Adverse Event Reporting Program either online, by regular mail or by FAX


text:
Today's Love Horoscope
Admitting the truth about your romantic feelings leads to a significant transformation in your love life now. You've waited long enough: It's time to fess up.get your compatibility report
Your Free Lovescope Is…
Whoops! We can't calculate your personalized lovescope without your birthdate. Login or create your profile to get your lovescope and advice for today!create my profile
Already a member? LOG IN NOW