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I have no clue as to what he is worth now I just think he is worth more than what you all think up there I know that all my buddies down here (So Cal) still think he is good and say he is a top 3 at worst And when i lived in White Rock before moving i remember the trade was on TSN / Stortsnet ETC so not the internet At the time tho Edler just had a great season and no one knew how the 3 (now good) players would turn out And at the time no one up there wanted to trade Edler But that was the reported offer at the time And ya it looks crazy stupid now
The point is to trade Edler and protect Sbisa You are loosing Sbisa otherwise and IMO I would rather have Sbisa and Edlers return from a trade Than have Edler on the Canucks And you said then you would lose Gaunce So I just said add a sweetener that will never play for us anyhow So vegas takes the player we are okay losing
All i know is that apparently if you want to keep an exposed player and have them pick another player You are able to add a pick or another player to entice them At least that's what BM said on TSN
Give Vegas a 6th or to pick Megna or Pedan As they still have to build an AHL team
Yes he can be exposed and that is GMJB vise he has to get EDLER to waive He has more value than you are crediting him to have But i would think he is still worth a mid to late 1st as well as a top 5 prospect (in system) like we got for BURR & HB (Goldie & Dollie) And to think the Canucks (RUMOURED) turned down Mantha Dekeyser Nyquist a 1st and a 2nd from the Wings for Edler
????????????? Why does management not go to elder and say to him give us a list of 10-15 teams and we will trade you so you have say "OTHERWISE YOU WILL BE EXPOSED FOR VEGAS" He is sure to give a list of teams so that he has his say and then we will get an A list prostpect and high draft pick As Edler still has value in the league for sure
Freaky Freak replied to RetroCanuck's topic in Trades, Rumours, SigningsFighting it out for 4th line and 13th forward will be Megna, Camorosa, Chaput, Molina, JV, Dahlen, ETC (The above that don't crack the top 13 are sent to Utica or on waivers to Utica) If we get a top 5 pick that is NHL ready then they will bump out Boucher or Gaunce to 13th forward And the top 12 will be rotating till chemistry is found or injury Wildcard or my dream Is if they can get a young F and a young D along with some kind of draft pick/picks for EDLER
Freaky Freak replied to NutsBoutNucks's topic in Canucks Talki THINK 11 OF TOP 12 IS SET AND DEPENDING WHO WE DRAFT THIS YEAR THEY MAY REPLACE BOUCHER IN TOP 12 (he then becomes the +1) Pedan/Subban/Mcheny/Labate/Camorrosa/Chaput/Megana/Molina/ETC will be the +1 Or will be picked up on waivers or in utica depending on their status and if they clear
Freaky Freak replied to hyper00's topic in Prospects & Utica CometsWhy does everyone have LILJEGREN, TIMOTHY listed in their top 5 when he is not even in the top 5 NON N.A. skaters
Freaky Freak replied to -Vintage Canuck-'s topic in Canucks TalkMaybe GMJB shoulda told Lidster the plan Why the heck is Edler getting over 25 minutes and Tryamkin only 15 EDLER has to be gone before the EXPANSION draft cause he is not very good
Freaky Freak replied to Beary Sweet's topic in Canucks TalkIt was Talon that I heard say it He said that the reason they traded him was because of the future contract and other D men and there CAP situation He said he was asking for a team max 8 years at upwards of 40 million So to me that is about 5 million a year Unless my math is incorrect ??
Freaky Freak replied to Beary Sweet's topic in Canucks TalkRumors had it that he turned down the max 8 yrs at 5 mil from Panthers (that why they traded him to us)
Freaky Freak replied to Pears's topic in Trades, Rumours, Signings
Freaky Freak replied to DeltaSwede's topic in Trades, Rumours, SigningsGET RID OF L.E. SOMEHOW SOME WAY Three spots open up the following year with Dorsett gone Labate fills his spot Then the twins retire opening spots for guys like Dahlen Gaudette JV ETC
Freaky Freak replied to HowYaDrouin's topic in Prospects & Utica CometsThat sux Thanks Guys and Gals


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A skip over the $1 million mark and an abrupt glitter cannon saw Lotto's Winning Wheel winner collapse on set tonight.
Janice, who did not want her last name used, of Whangarei, fell backwards after the Winning Wheel stopped just shy of the $1 million spot.
It skipped over to land on $200,000. The subsequent celebratory glitter cannon added to her shock, causing her to trip backwards.
Cameras quickly cut away as staff rushed to her aid.
"It was very close to the $1 million mark so it was high drama," NZ Lotteries spokeswoman Karen Jones said.
"The glitter cannon startled her and she went backwards and tripped over the edge of the set. It took time for her to get up again.
"A first aid crew tended to her on site and she's laughing about it now.
"She said well I definitely went out with a bang."
Janice will have a cup of tea rather than a celebratory champagne while she calms her nerves.
"She didn't know what she'd won, it was a bit of a blur."
Janice was looking forward to her time in Wellington at the Lotto studios, as she had only passed through the capital city before.
Her wish list includes a car, cruise and a home in a retirement village.
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Events»Upcoming Concerts
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May 4th, 2017 at Oshawa
KX96 Presents The Abrams live at The Moustache Club, Oshawa on May 4th!
June 2nd, 2017 at Budweiser Stage
KX Country presents Jason Aldean with Chris Young and Kane Brown Friday, June 2nd at the Budweiser Stage. Tickets go on sale Friday, March 10th at 10am!
June 3rd, 2017 at Cosmo Music Festival
KX96 presents Meghan Patrick live at Cosmo MusicFEST & Expo, Richmond Hill on June 3rd for a free show! Cosmo MusicFEST & EXPO (CosmoFEST) is Canada's premier musical instrument & gear exhibition and celebration of live music. This is an all-ages free event!
June 3rd, 2017 at Cobourg
KX96 presents Country Wild Music Festival on Saturday June 3rd at Victoria Park in Cobourg! The festival includes a day of live music on the waterfront with headliners Cold Creek County! This is an all ages event.
June 29th, 2017 at Budweiser Stage
KX Country presents Lady Antebellum with special guests Kelsea Ballerini and Brett Young June 29th at Budweiser Stage.
July 1st, 2017 at Fairgrounds
KX96 presents Aaron Pritchett at the 'Scugog Summer Jam' music festival at the Port Perry Fairgrounds, July 1. Scugog will be home to rock and country acts celebrating Canada's birthday in style. http://www.scugog.ca/Modules/News/index.aspx?newsId=3bb96e1b-abc8-41...
July 22nd, 2017 at Danforth Music Hall
KX Country present the Duke of Cool, Dwight Yoakam live at The Danforth Music Hall for just one night – Saturday, July 22nd! Tickets go on sale Friday, April 28th at 10am.
July 30th, 2017 at Exhibition Place
Join KX Country on Sunday, July 30th at Toronto's Festival of Beer at Bandshell Park, Exhibition Place presented by The Beer Store! The day includes an array of tasty food options and hundreds of brews to choose from and the KX Country presentation of Alan Doyle & The Beautiful ...
August 10th, 2017 at Burl's Creek
KX Country welcomes the return of Canada's largest camping and music festival for a 6th year – Boots & Hearts 2017 at Burl's Creek Event Grounds, August 10th to 13th, featuring Keith Urban, Luke Bryan, Brantley Gilbert, Eli Young Band, Chad Brownlee, Jess Moskaluke, Cold Cre...
August 17th, 2017 at Budweiser Stage
KX Country presents "Chris Stapleton's All-American Road Show" coming to Budweiser Stage on Thursday, August 17th!
August 31st, 2017 at Budweiser Stage
KX96 welcomes Zac Brown Band to the Budweiser Stage on August 31st and September 1st, 2017.
September 1st, 2017 at Budweiser Stage
KX96 welcomes Zac Brown Band to the Budweiser Stage on August 31st and September 1st, 2017.
September 23rd, 2017 at Adamson Systems Enginering
KX96 and WISP Rural Internet present Winding Roads Country Festival Saturday, September 23th in Port Perry featuring The Road Hammers with Kris Barclay plus a BBQ, silent auction, dancing and more. And best of all, it's all in support of Big Brothers, Big Sisters of North Durham and hosted ...


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Artist: Bonnie 'Prince' Billy
Title: Master And Everyone
Format: LP
Label: Domino/Palace Records
Catalogue Number: WIGLP121/PR29
Year of Release: 2003
A1 The Way (3:49)
A2 Ain't You Wealthy, Ain't You Wise? (4:12)
A3 Master And Everyone (2:35)
A4 Wolf Among Wolves (3:47)
A5 Joy And Jubilee (2:45)
B1 Maundering (3:05)
B2 Lessons From What's Poor (3:41)
B3 Even If Love (3:24)
B4 Three Questions (3:14)
B5 Hard Life (3:34)
A short and relatively simple album this. Short, because I have EPs longer than this. Relatively simple when the lyrics and themes are compared to the material on previous albums. (All lyrics and guitar tabs can be found at the excellent palace.free.fr site, by the way.)
Having said that, album opener The Way has me a little puzzled. I think it might be a conversation, the woman speaking first, then the man, and inbetween the refrain, "Love me, the way I love you". From the woman's perspective this means love me more, from the man's, love me less.
Whereas Ease Down The Road revelled in its promiscuity, Master & Everyone is more concerned with going solo, how the rewards of love are for lovers, and all this relationship malarkey isn't really going to fix your problems. It's a little petulant at times, and at others determined to be free.
Musically it's more of a return to the sparser Palace sound. Acoustic guitar and Will's voice dominate, his vocals quiet but close. Little is added, some keyboards, extraneous noise like a foot tapping in time, and on a number of songs the singer Marty Slayton.
With such lack of variety over the album it's hard to pick favourites, but Hard Life is probably my top pick from this.


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Website RYDES HILL PREPARATORY SCHOOL
Non-selective Independent Catholic
Preparatory Day School, girls aged 3-11, boys aged 3-7
Approximately 200 on roll
Required from September 2018 or before
Due to the retirement of Mrs Stephanie Bell after twelve years of exceptional service, the Governors seek to appoint a loving, forward-thinking, innovative and visionary leader with a proven background of leadership and senior management in the Preparatory/Primary sector. The successful candidate will embrace the special ethos of the school and take it into the future.
This role requires someone who is a practising Catholic. The Governors are looking for a sound educationalist and outward-facing ambassador, who delights in and nurtures every single member of the School community as part of the 'Rydes Hill Family.'
Founded in 1945 by the Daughters of Mary and Joseph, the ownership of the School was transferred to a Charitable Trust in 1989, established by parents for the primary purpose of providing an education for Catholic children. Rydes Hill Preparatory School, located in an idyllic setting on the outskirts of Guildford, welcomes children of all denominations, faiths and cultures whilst remaining true to its Catholic identity. This ethos rooted in the Gospel values has created an exceptional, well-balanced and warm school where children are given the very best start to enable them to grow up to lead fulfilled and happy lives.
For further information about the role and details of how to apply, please visit www.rsacademics.co.uk
Deadline for applications: 10am on Friday, 5th May 2017
Rydes Hill Preparatory School and Nursery is committed to safeguarding and promoting the welfare of children and expects all staff to respect this commitment. The post is subject to an enhanced DBS check, satisfactory references and a medical.
St Iranaeus: 'The Glory of God is a fully alive human.'
To apply for this job please visit the following URL: http://www.rsacademics.co.uk →


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We are surrounded by digital disruption on a daily basis and traditional business models are under pressure like never before.
OPINION: Customers are quickly reclaiming control of the relationship with how and who they do business with. The institution of banking is not immune from this change and challenge.
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The industrial revolution led to significant change in agriculture, manufacturing, transport and many other sectors in addition to creating a cultural change and generating a sustained period of economic growth. It was a turning point in our history.
While not suggesting anything on the scale of the industrial revolution, the consumer uptake of mobile technology is in the early stages of rewriting the business manual. The impact of that and the innovation that will follow has the potential to permanently change the way businesses around the world operate. Understanding the future implications of this consumer driven, technology enabled change, where it can go and what that means to customers in the medium to long term is where success lies.
History is littered with misreads and missteps: "The Americans may have need of a telephone, but we do not. We have plenty of messenger boys," said the Chief Engineer of the British Post Office in 1876. Even the man, who founded electronics and made television and broadcasting possible, Lee de Forest, did not understand consumer appetite when he famously said, "While theoretically and technically television may be feasible, commercially and financially it is an impossibility".
Data is a key new fuel in this period of dynamic digital change. Consider this current activity for every minute of the day - Google receives 2 million new searches, 571 new websites are created, brands and organisations receive nearly 35,000 Facebook 'likes' and consumers spend $272,000 on internet shopping.* That's for every minute of the day.
New Zealand business has the opportunity to benefit on a global scale.
The advantage we have is the Kiwi consumer, renowned as an early adopter and strong with feedback. Listening to them paired with smart, innovative thinking focused on delivering fast, easy and secure solutions to meet their needs has the potential to produce ground breaking work across many sectors.
Think of the self-check-in kiosks in airports that Air NZ first introduced in 2008, or Vend, who launched in 2010 and is at the forefront of integrating payments into point of sale systems for retailers. The promise of Xero; these companies are examples of Kiwi innovations, ahead of their time, and now replicated or being used around the world. They all showcase the importance of understanding their respective customers' needs.
What's upped the ante now is the speed of uptake by consumers. It's creating a step change and the challenge to traditional business models. With nearly 60% penetration of smartphones in New Zealand, ownership of tablets more than doubling year-on-year and Kiwis being strong connectors and social media savvy, innovative Kiwi businesses and entrepreneurs have a chance to make a global impact in a truly great era of change.
Of course, an eye has to also be kept on global developments. The World Mobile Congress was held in Barcelona last week where the latest innovations were revealed. It's the premier event of its kind and everyone who is anyone was there and showcasing. New Zealand businesses, like Westpac, will be keen participants seeing what is in the works and comparing it to what we have and what we have planned and assessing if anything on show will help make it easier and faster for our customers to do business with us.
This is an era of change in New Zealand business that developers, designers and customer focused companies need to lead for us, as a country, to be relevant in this quickly evolving world. The new breed of Kiwi developer/designer has the traditional combination of traits New Zealanders are renowned for - ingenuity, intelligence, vision. We know this first hand having crowdsourced mobile apps last year.
Kiwi consumers are smart, innovative and very able guides in this new environment.
It's up to Kiwi businesses to tap into them both and give themselves every chance of being at the front of this global wave of change in their market sector. By doing so, there is the opportunity for New Zealand business to redefine some of the rules in this rapidly evolving environment because there are plenty more rules to be rewritten still.
Simon Pomeroy is the chief digital officer, Westpac NZ
*Sources: Http//News.investors.com/, Royal.Pingdom.com, Blog Grovo.com, Blog.Hubspot.com, Simplyzesty.com, PCWorld.com, BizTechmagazine.com, Digby.com
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Crossroads helps people get back on track
Relevant offers
A modest building on Great North Rd is providing adults affected by mental illness with the framework to get back on track.
Crossroads Clubhouse helped Grey Lynn resident Emma Nelson get back on her feet after a setback 18 months ago.
The Grey Lynn charity provides people who have had their lives disrupted by mental illness with the opportunity to work and learn new skills as well as the chance to be part of a community.
Nelson joined the clubhouse as a member about a year and a half ago and was asked to become a permanent staff member at the end of last year. "Being here was a prime part of my recovery and getting back on track.
"When I came here I was quite vulnerable, fragile and unsure but I found a very gentle and supportive place, both in the structure of the day and in the people who come here and run it."
The clubhouse, part of the Arahura Charitable Trust, is open five days a week.
Members can volunteer to help run the centre, with administrative jobs or cooking in the kitchen.
Cleaning jobs are handed out by a lucky dip system, so even the centre's director ends up scrubbing toilets.
Crossroads has been providing employment guidance, support and affordable meals and laundry since it started in 2002. It now has more than 100 members. The clubhouse system bridges a gap in the mental health system, Nelson says.
"From my own experience of dropping out of the productive citizen-type role, if you're not well there's a stage that you might need real care but then there's this big gap between feeling ok to manage a day and then going straight back into work again.
"There's something about keeping up a routine and starting to get back into a structured life that's good for people."
Pt Chevalier-based member Skye has been coming to the clubhouse for the last two months after hearing about it through a rehabilitation centre.
She says it is helping her to gain useful skills that she can add to her CV.
"I'd rather be doing something than nothing at all.
"It helps to be able to have something on your CV and I like doing my part in supporting the community."
The clubhouse is holding its annual garage sale tomorrow in order to fundraise for its ongoing costs. It will be held at 393 Great North Rd, Grey Lynn from 8am.
Go to crossroads
clubhouse.org.nz or phone 376 4267 for more information.
- Auckland City Harbour News
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Star Wars in row with Unesco after film shoot takes over protected Irish island during key breeding season for rare birds
- Skellig Michael island has been a Unesco World Heritage Site since 1996
- Environmentalists fear the film crew's presence will threaten rare birds
- The island has been sealed off to visitors amid a veil of secrecy
Original Star Wars hero Luke Skywalker may have just arrived in Ireland for filming, but locals and Unesco are not happy about cast and crew using the island of Skellig Michael as a location.
A row has erupted over the filming of the latest Star Wars film on the protected island off Ireland's south-west coast.
Unesco has voiced concerns that cast and crew - including original Skywalker actor Mark Hamill - are disrupting wildlife on the barren outpost, while tourists and local boat operators are angry that they have been banned from visiting the site.
Iconic Skellig Michael: Environmentalists are upset because they are unable to check on the birds
Unesco is trying to use its force to find out who authorised the secretive film shoot and a two-mile exclusion zone around the island, which has had protected status since 1996 because of its monastic ruins.
Boats and other sea vessels have been told not to sail close to the island for three days as the filming takes place, but hundreds have flocked to the sleepy village of Portmagee to catch a glimpse of the Star Wars cast.
Unesco has asked Ireland's government to produce a report explaining the decision to allow Star Wars Episode VII to take over the rocky island that rises out of the Atlantic Ocean.
In town: Cast and crew are in Portmagee, Ireland, from where they are being escorted each day to the island
Protected: The Sat Wars crew have taken over Skellig Michael for filming in recent days
In response to concerns, the Irish Film Board said permission was granted for a limited shoot after an extensive scientific analysis by the country's National Parks and Wildlife Service.
It said experts are on the island to watch out for any issues involving wildlife.
Environmentalists, including Birdwatch Ireland, are worried because filming is taking place in the middle of breeding season for native birds.
They fear the crew's presence will threaten rare birds and they are upset because they are unable to get onto the island to check on puffins, cormorants, guillemots and other birds that live there.
Secretive: Unesco claims it is not interested in who is filming but does want to know who gave permission
Puffins are one of the varieties of birds that live on the rocky island that rises from the Atlantic Ocean
Unesco, meanwhile, has expressed its own concerns about the impact on wildlife and the preservation of the heritage site.
Roni Amelan, of Unesco headquarters in Paris, said: 'We can't speculate what the filming of Star Wars on the site will do to the wildlife.
'We just know that this is going on and we have asked for information.'
Located 12km off the coast in County Kerry, the island has been closed off to tourists as the film crew operates under a veil of secrecy.
As an Irish Navy vessel patrols the waters, sci-fi fans are gathering nearby in Portmagee, a normally quiet village, to try to catch a glimpse of the stars.
A helicopter used for the film shoot lands in a field near the sleepy village of Portmagee
Directed by JJ Abrams, Star Wars Episode VII will see the original stars of the series – Harrison Ford, Mark Hamill and Carrie Fisher – reprise their iconic roles.
Filming of principal scenes has also taken place at Pinewood Studios in Iver Heath, Buckinghamshire.
With a reported budget of nearly £115 million, Star Wars Episode VII is expected in cinemas in December 2015.
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This weekend, 6/25-6/26, is the one we have all been anxiously awaiting, the CMA's Centennial Festival Weekend! This weekend-long event will feature a wide array of performances and special programming for museum visitors.
The Thinker: A CMA Blog
Cleveland interview five things happening this week treasures of heaven exhibitions The Cleveland Museum of Art podcast Caravaggio Exhibition community arts international university circle curator conservation film African Art Education art music birthday Collection playlists guest artists Special Exhibition visitors museum performing arts Paul Gauguin: Paris Gauguin this week at cma textiles Video #get2knowcaravaggio Photography wari this week at the cma Parade the Circle Events Contemporary Art behind the scenes


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Saturday, December 13, 2008
Blog DVD Review: Mr. Bean - The Ultimate Collection (12/16)
Mr. Bean - The Ultimate Collection (A&E, $69.95) brings us everything Mr. Bean! This is the ultimate fan collection, as we get every episode of the hit TV series, both feature films, the animated series and all the bonus features we have gotten in the past all in one complete collection!
Based on a character developed by Rowan Atkinson at university, the series followed the exploits of Mr. Bean, in solving various problems presented by everyday tasks and often causing disruption in the process. The series lasted five seasons in the United Kingdom and is one of the most famous British series known worldwide. Mr. Bean didn't as a regular series in the UK, it aired as a series of stand-along specials, lasting 14 episodes in five years.
Mr. Bean: The Movie is a 1997 feature film based on the television series Mr. Bean. It stars Rowan Atkinson, as Mr. Bean of course, and also Peter MacNicol. The movie was about Mr. Bean coming to America, as he conquers Los Angeles by storm.
The second feature film, Mr. Bean's Holiday, came out 10 years later in 2007. The film is about Bean taking a holiday to France.
And finally we get two volumes of the animated series. For some reason we are not getting all 26 episodes of the animated series, which doesn't make sense. We get 9 of the 26. Characters from the original live action series included Mr. Bean, Irma Gobb, Mr. Bean's teddy bear, and the mysterious driver of the Reliant Supervan, with the addition of Mrs. Wicket, Bean's landlady, and her evil cat Scrapper. The series aired in 2002-2003 in the United Kingdom.
Packaging has a nice box holding seven slimcases. The cover of the box is yellow-orange color with five different shots of Mr. Bean. My his facial expressions were priceless! A New York Times quote is also on the box art. On the back of the box we have a series description and info on the set along with credits for every series/movie. We also have a box listing all of the bonus features.
Menus are the same as how they were on the original sets for the series and animated series. Now, A&E has never released the two movies, but Universal Home Video has. So I don't have those movies from Universal, so I cannot compare.
As with the menus, audio and video are the same as the individual releases. The video is OK at best, but it could be better. The movies look way better obviously. And the animated series might be just as good in terms of audio and video. The original series might be the worst looking, but of course it is the oldest, too. The original series usually had episodes around 25 minutes or so, while the animated series is around 22...so nothing is edited. The movies are about 90 minutes each.
Special features are all over the place! Though, there is nothing actually new, since these sets have all came out individually before, but I will list them all for you. For the original series, everything is on the third slimcase (Volume 3), we have "The Story of Mr. Bean," a 40-minute documentary giving us the inside scoop on the series and how it was born. Then we have "never before seen on TV" sketches titled "Bus Stop" (approx. 6 min.) and "Library" (approx. 9 min.) Funny stuff! Then we have two sketches from the UK series "Comic Relief" titled "Blind Date" (approx. 14 min.) and "Torvill & Bean" (approx. 7 min.). Then we have a trailer for the animated series, just like on the third volume when it was released originally. We also have a nice text biography and filmography of Rowan Atkinson.
For Bean: The Movie, we get the music video "I Love L.A." running about 3 minutes. We also have more biographies, this time the entire main cast of the movie.
For Mr. Bean's Holiday, we have a lot of extras. We have lots of deleted scenes totaling about a quarter of an hour! We also have some behind the scenes features, "French Bean" (about 11 min.), "Bean in Cannes" (about 6 min.), and "The Human Bean" (about 6 min. also). We learn a lot from these three features. You can watch this movie in French, too.
Finally, the last two discs are for the animated series. Once again I will reiterate, we do NOT have every episode of this series. Just the first 9 of the 26 for some reason. As far as extras go, the first disc for the animated series has trailers for the animated series and some photos in a photo gallery. The second disc is much better and has a nice 20 minute or so documentary about this animated series. We find out really how and why Mr. Bean was brought back, but this time in animation.
This is a wonderful set. Any fan of Mr. Bean will want this. I never got a chance to get or review "The Whole Bean" DVD, but this set is good. The only major fault for this set is that there are not every episode of the animated series. Not even half, but oh well. I personally liked the series and movies WAY better, especially the series. A&E did a good job by acquiring the two movies for this set, as those were Universal products. Well, we are nearing Christmas, and what better way to spend Christmas with Mr. Bean. He is perfect to watch with the family, especially during the holidays. So get your teddy bear out and get into your pajamas and watch BEAN! I'm Bean!
-- Reviewed by Pavan
(4/5 stars)
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03/07 - What I Like About You - The Complete Second Season
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Sunday, April 30
Bob's Burgers - "Like Gene for Chocolate" (Fox, 7:00PM ET/PT) (Repeat)
When Gene learns that the formula for his favorite chocolate has changed, he works with the head of the company in an attempt to remedy the situation. Meanwhile, Bob gets wrapped up in one of Teddy's less-than-perfect plans.
Bob's Burgers - "Thelma & Louise Except Thelma Is Linda" (Fox, 7:30PM ET/PT)
After Louise gets in trouble at school, Linda is forced to meet with Mr. Frond (guest voice David Herman) and potentially could lose her hard-earned position as the Wagstaff bake sale leader. When she finds out that her daughter was actually trying to help another student, Linda is torn between following school policy or her own moral code.
The Simpsons - "Looking for Mr. Goodbart" (Fox, 8:00PM ET/PT)
Bart gets in trouble on Grandparents Day at school and is forced to hang out with Skinner's mother as punishment. After spending time with various grandmas in the neighborhood, he learns the benefits of hanging out with the elderly, but eventually recognizes the dangers of taking advantage of them. Meanwhile, Peekimon Get has taken over the town of Springfield.
Making History - "Night Cream" (Fox, 8:30PM ET/PT)
With the ever-present threat of losing tenure looming over him, Chris reaches out to John Hancock and Samuel Adams to help spice things up in the classroom in 2017. Meanwhile, Deb's dream of re-opening Chadwick's ice cream parlor is finally coming to fruition, but Dan has a few marketing ideas of his own.
Family Guy - "The Peter Principal" (Fox, 9:00PM ET/PT)
Peter becomes the temporary principal at the high school, and Meg uses his new power to get even with her bullies. Meanwhile, Brian and Stewie open a bed & breakfast that quickly turns into a brothel.
The Last Man on Earth - "The Big Day" (Fox, 9:30PM ET/PT)
Tandy and Gail face off in a major disagreement, on which the whole group must weigh in, and Carol is forced to choose a side. Meanwhile, Melissa, Todd and Erica each have major milestone moments.
Sitcom Stars on Talk Shows (Week of May 1)
Sunday, April 30
- NeNe Leakes (The New Normal) - Catch NeNe on Watch What Happens: Live at 11pm on Bravo.
- Chris Pratt (Parks and Recreation) - Watch Chris on The Late Show with Stephen Colbert at 11:35pm on CBS. He will also be on ABC's Good Morning America sometime between 7-9am and LIVE! with Kelly, so check your listings.
- America Ferrera (Superstore) - America drops by Late Night with Seth Meyers at 12:36am on NBC.
- Ike Barinholtz (The Mindy Project) - Ike appears on Late Night with Seth Meyers at 12:36am on NBC.
- Joel McHale (The Great Indoors/Community) - Joel is a guest on The Late Late Show with James Corden at 12:37am on CBS.
- Jake Johnson (New Girl) - Jake visits The Late Late Show with James Corden at 12:37am on CBS.
- Hank Azaria (Brockmire/The Simpsons/Free Agents) - Hank stops by Last Call with Carson Daly at 1:35am on NBC.
- Al Madrigal (About a Boy/Welcome to the Captain/Gary Unmarried) - Al appears on Last Call with Carson Daly at 1:35am on NBC.
- Kevin Nealon (Man with a Plan/Weeds/Hiller and Diller/Champs) - Kevin is a guest on Conan at 11pm on TBS.
- Ashton Kutcher (The Ranch/Two and a Half Men/That '70s Show) - Ashton appears on The Ellen DeGeneres Show, so check your local listings.
- Allison Janney (Mom/Mr. Sunshine) - Allison teams up with Mario Batali to make a cheesy, decadent Gnocchi Al Telefono and dishes about her new Broadway show on ABC's The Chew at 1pm ET/12pm PT/CT.
- Charlie Hunnam (Undeclared) - Charlie will be on ABC's Good Morning America sometime between 7-9am. He will also be on the AOL Build Show at 11:15am.
- Nick Robinson (Melissa & Joey) - Nick talks about his new film Everything, Everything on the AOL Build Show at 1pm.
- Jodie Sweetin (Hollywood Darlings/Fuller House/Full House) - Jodie is a guest on Access Hollywood Live, so check your local listings.


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iPad emerging as tool for teaching autistic children
The iPad is emerging as an effective tool for teaching autistic children communication and social skills. SF Weekly has posted lengthy profile of Leo, an autistic child whose mother won an iPad in a raffle and subsequently found herself amazed by her son's progress with the device. "Before the iPad, Leo's autism made him dependent on others for entertainment, play, learning, and communication," Shannon Rosa wrote for BlogHer. "With the iPad, Leo electrifies the air around him with independence and daily new skills." Leo is using the device for video watching, drawing—something that had been very difficult before—and for using spelling apps like FirstWords and more specialized apps like Stories2Learn and First Then Visual Schedule.
While only one study is currently looking at the iPad for use with autistic children, early results are positive. Rhonda McEwen, an assistant professor at the iSchool at the University of Toronto who is running the study "Touch Technologies in the Classroom," said that teachers have reported lengthening attention spans, children sitting next to each other to use the device together—atypical for autistic students—and in one case, allowed a breakthrough for a teacher who had been working with a boy for two years and was unsure of whether he understood language. "With the iPod, for the first time, he was able to demonstrate that he did understand," McEwen said. While the Rosas want to be careful not to overhype the iPad before science proves its worth, for the time being, they are thrilled with the results. "I don't usually dabble in miracle-speak," said Shannon Rosa, "but I may erect a tiny altar to Steve Jobs in the corner of our living room." [via Daring Fireball]
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It's an amazing device. I use mine to communicate with one of my students who is deaf.
Posted by DP on August 13, 2010 at 10:32 PM (CDT)
I am a 63 yr. old grandmother that has been raising my 10 yr. old autistic son since he has been an infant. my daughter,his mother, is deceased. I took early retirement to care for my grandson, and this is difficult because he does not talk. I can,t afford am ipad. Are there any organizations that donate refurbished ones?
Karen Pottorff
Posted by Karen Pottorff on October 24, 2011 at 9:32 AM (CDT)
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6.3.2017 Blog
MUSICAL TORONTO INTERVIEW – Talking Conductors and Composers With Hannu Lintu
Like so many Finnish conductors you studied with the legendary Jorma Panula. Panula's students include Esa-Pekka Salonen, Jukka-Pekka Saraste, Sakari Oramo, Mikko Frank, Osmo Vänska and Susanna Mälkki. Why has Panula been so successful training conductors? What is his secret?
First of all, Panula has an instinct for recognizing conducting talent. He seems to know who is gifted even before teaching begins. Secondly, he doesn't teach technique. He lets his students do what they want as long as they show what they want and express their own ideas. It is a very essential part of this Finnish school of conducting that we don't talk much. Conductors like Celibidache talked a lot but I feel that he was simply showing off how much he knew. Conductors like Abbado and Panula believe that the musicians already know a lot and don't have to be told what to do. The conductor should try to work with them to raise the performance to a higher level.
Panula does not do so much teaching. He is more like Joda. What he does is a kind of Zen. Just being around him and having discussions is really inspirational. Another point he emphasizes: a conductor must have the will, a strong need to express how he feels about the music he conducts or he will not succeed.
When you were young who were the conductors you most admired?
I was ten years old and playing the cello when I saw Leif Segerstam conduct Verdi's Don Carlo at the Savonlinna Opera Festival. It made a deep impression on me, how he could control such large numbers of people — players, chorus, and soloists. He was a great opera conductor and seeing him, that's when I decided I wanted to be a conductor. I admired Solti, and I still do. I was introduced to the Mahler symphonies and Wagner operas through his recordings. I also admired Bernstein for the courage he had to do things as he did. I admired Abbado too for his ability to keep the music moving, without stress. And Haitink has this ability too. Then there are the older conductors. Everything I hear by Jascha Horenstein is fantastic. And Artur Rodzinski too. I admire Mahler too as a conductor. Obviously, I never saw him conduct but just reading about him, and his ideas about conducting and repertoire. He must have been a great conductor.
You have been a great champion of the music of Finnish composers. Obviously, this is an important part of your heritage. But I was especially intrigued with the Playlist you created for a magazine article. You called it "Interconnectedness and Nature." Clearly, you have very strong views about what it means to be a Finnish composer, how Finnish composers relate to nature in their own country. Can you elaborate on that idea?
This goes back to Panula too. We did a lot of Haydn – he didn't much like Mozart or Beethoven — and a lot of Sibelius. And just as important in his classes was Finnish contemporary music — composers such as Rautavaara, Sariajo, Aho. We learned that it was important to learn how composers think, often by talking to the composers themselves. If I understand what Rautavaara thought it is possible I might understand better what Beethoven thought. Of course, music sounds different nowadays, but I think that the process is the same.
We Finns have some strange connection to nature — I think the Japanese have the same — we observe the sky, the forests, the lakes, and the weather. But it is not just a practical matter. It is metaphysical. I would suggest you listen to a work like Tapiola by Sibelius and that will tell you what the relationship is between Finns and nature. We understand that there is in nature something we can't see or understand, that it is bigger than we are, and that it will be here long after we are gone. This idea is expressed in many different ways in music by Finnish composers such as Sibelius and Rautavaara.
Magnus Lindberg is a contemporary Finnish composer who has achieved a great degree of international success. He has been composer-in-residence of the New York philharmonic and his works are played all over the world. You are playing one of his recent works in Toronto. Can you tell us about Lindberg and about the piece?
He started as a modernist and I don't think he would be offended if I said that he is now going in a more romantic direction. And a good sign of that is that he is now composing for the voice — in the past he didn't write any vocal music. Accused is a piece commissioned by the Canadian soprano-conductor Barbara Hannigan and premiered about two years ago in London. Each of the three movements is an interrogation involving various historical and political elements — Dreyfuss, Bradley Manning and the CIA, and the East German Stasi — in which the singer is both the one who asks the questions and the one who answers. I think it works well. We played it in Helsinki before Christmas, and my musicians who have played everything Lindberg has written thought it was his best work so far.
This coming April you are conducting the Sibelius Kullervo Symphony in a staged version at the Finnish National Opera. But this is a symphony, or a choral symphony if you will. How are you producing it for the stage and why should it be done this way?
It's a ballet, and the choreographer is one of the finest I know — Tero Saarinen — and Kullervo tells a story from the Kalevala that is told in the course of the five movements, and it is very dramatic. Kullervo is not really a symphony — Sibelius didn't know what to call it. It is really five separate symphonic poems. Sibelius was young and thinking about writing an opera although he never did. I think Kullervo is a hybrid piece, and as such, I think it is entirely possible to stage it as a ballet. Saarinen has the male chorus on stage with the dancers and the orchestra in the pit, and all of them on stage are moving in different ways. It is very effective.
You are chief conductor of the Finnish Radio Symphony Orchestra. You get to conduct practically anything you want, including a lot of contemporary music. You don't have to worry about fundraising or marketing — it must be a dream job!
It is. First of all, I have an orchestra in my hometown. It is very rare for a conductor to go to work from your own home. The orchestra gets its money from the Finnish Broadcasting Company, which gets its money from the government. And it is the law that the government must support Finnish culture. We play a lot of Finnish music, and we are happy to do it. We also tour a lot. We just gave concerts in Moscow and St. Petersburg and last year we were in Vienna and Salzburg, next year we are in Berlin, Munich, and Madrid. We also play Baroque music and we have baroque specialists come regularly as guest conductors.
At a time when very few orchestras and conductors have recording contracts, you are making recordings regularly in Helsinki, mostly for the label Ondine. How is this possible? Who provides the money for all these recordings? Is there a market for them?
We play in the concert hall of the Helsinki Music Centre, quite a new hall, and it is equipped with microphones and recording equipment. All we have to do is press a button. We have a good relationship with the Finnish record company Ondine, and for them we record a lot of Finnish music but also Berio, Mahler and Prokofiev, and soon we will record all the Lutoslawski symphonies. We are very lucky. We make four or five recordings a year for Ondine – these are studio recordings not live – and some of them are selling well, especially a set of the Sibelius symphonies with analysis on DVD (Arthaus Musik DVD 101796). From another perspective, these recordings and the preparation required, are helping us become a better orchestra, and a better-known orchestra. The recordings are our calling cards.
Many American and Canadian orchestras are presently looking for new music directors – Toronto, Dallas and Detroit among them. Can you imagine taking one of these jobs, knowing that your role would probably be much different from what it is with your radio orchestra? With a North American orchestra you would be much more concerned with fundraising and marketing, and you would have many more people telling you what you could play and what you couldn't play.
Yes, especially the marketing department. I know, I know! Well, things happen. If a North American orchestra asked me to come as music director a lot would depend on the city. Cities are so different — almost like different countries — and I would have to ask 'Do I want to work in this environment? Is it inspiring?' Of course in Finland, I have to do lobbying and planning, but with a North American orchestra, I would have to do 500% more. But I would consider it.
By Paul E. Robinson
23.2.2017 Blog
The orchestral Debussy transcriptions by Colin Matthews are even "too good"
This concert begins with Colin Matthews' transcriptions of the Debussy Preludes and ends with Ravel's transcription of Mussorgsky's Pictures at an Exhibition. How would you describe a good transcription: one that could have been the composer's own, or even something more?
Matthews' transcriptions are even a tad "too good". He did them with such precision that they are more Debussyan than Debussy himself. Every note, timbre and articulation is carefully premeditated – Debussy himself would have been a little more perfunctory. Piano pieces seldom contain textures of the kind you commonly find in orchestral ones. Which is why, for example, it's hopeless trying to orchestrate any Beethoven piano sonata, and why the piano transcriptions of orchestral works often sound jam-packed and artificial.
The most important thing is for the orchestrator to know how to allow for the effect of the piano's sustain pedal; this applies especially in the case of Debussy. To some extent this is maybe precisely why Matthews has taken quite a few liberties with the tempos; according to the metronome marking, La fille aux cheveux de lin, for example, is now much slower than Debussy's original for piano. This radically alters the character of the piece but gives the impression of a piano pedal pressed right down.
As for Ravel's Pictures at an Exhibition transcription: it has tended to be criticised as a matter of course, but in my opinion it likewise works extremely well most of the time. If we compare Matthews and Ravel, we must also remember how greatly the original piano textures differ. The Pictures at an Exhibition are character pieces, as are Debussy's Preludes, but Mussorgsky's material is more like a block, like a plank hewn with an axe. The orchestrator of Debussy must be familiar with Debussy's own style of orchestration, but with Mussorgsky, all instrumentation devices are permissible. The music of Mussorgsky is, on the other hand, so colourful and provides so much food for the imagination that maybe no transcription can be totally satisfactory. Its strength lies in its Beethovenian, untamed ruggedness. And it is precisely because it is rugged that many well-meaning composers wish to fiddle and meddle with his music. This persistent mania partly explains the vast number of transcriptions, from pure orchestral versions right up to ones for four tubas, 44 pianos or a military choir. Ravel nevertheless succeeded extremely well in his orchestration, because he possessed an exceptional understanding of Mussorgsky's Russian soul and combined it with his own masterly command of instrumentation. It is generally thought that Russia took Paris by storm in the 1910s with Diaghilev's Ballet Russe, but it had actually done so long before that, and the relations between France and Tsarist Russia were in fact very close. Ravel was personally acquainted with Rimsky-Korsakov, and he had a clear conception of the Russian orchestral world. Ravel may have been a refined, reserved aristocrat and a collector of clocks, but he felt a closer affinity for the emotional Russian world than might be imagined.
This concert also features a visualisation by Riitta Nelimarkka of the Debussy Preludes. What are your feelings about combining visualisation and music?
No way is it an easy combination. In itself, music always evokes strong visual associations. But what happens when we are specifically served a visual stimulus? Can the viewer/listener perceive both equally, or, as is often the case in things like crossover projects, does one genre consume the other? How do you balance these elements? In this concert we are trying to seek some answers. There will probably be as many answers as there are people in the hall. Riitta's art often incorporates veiled references to art history, and thought-provoking layers and themes just as in Debussy's Preludes. For the visual artist, the Debussy Preludes are especially rewarding in that the titles are somewhat ambiguous.
Some of the paintings by Viktor Hartmann on which the Pictures are based still exist. Listening to the music of Mussorgsky, one might expect to see huge frescoes, but the original paintings are not. They are actually quite humble drawings but they fired Mussorgsky's astonishingly modern imagination. "Baba Yaga", for example, is a quaint clock with a pointed roof, a stylisation of the hut on fowl's legs where Baba Yaga lived in the Russian fairytale. But Mussorgsky the composer immediately had visions of the heated chase to catch the poor witch.
The suite ends with the splendid Great Gate of Kiev, in which the promenade theme tying the work together is finally transformed into a mighty veneration of friendship, life and art. This work is yet another reminder of the enormous impression art made on people in the 19th century; like Mussorgsky, they might often be utterly overwhelmed by visions aroused by, say, an art exhibition or a book.
Why is the fifth piano concerto by Serge Prokofiev so seldom performed?
Some time ago, when I opened the score, it occurred to me that I had never actually heard the concerto, to say nothing of conducting it. It is, I have to say, not readily accessible. The form of the movements is, on closer inspection, in fact very balanced and carefully thought out, but the first impression is to some extent chaotic. I think the tempos are too fast, so the musical material and its meaning remain unclear to the listener. A calmer tempo may help us to understand that the music is nevertheless not altogether without head or tail. For me at least, the fifth concerto has proved to be a fascinating pointillist-futuristic journey.
As a young man Prokofiev was, like Stravinsky, charming and clever but crazy. I'm not quite sure what then happened to him. Stravinsky always adopted a new style on entering a new stage in his life, but Prokofiev never gave his musical grammar a clean sweep; he just went on paring it down and down. The fifth concerto is not even a very late work, but it already reveals a much more enigmatic composer than one might expect from the works of his early period.
Interview by Lotta Emanuelsson
Translated by Susan Sinisalo
21.4.2016 Blog
Judaism unites with Christianity in Elijah
Each season the FRSO performs one large-scale choral work. How did you arrive this time at Mendelssohn's Elijah?
It was the Savonlinna Opera Festival's Artistic Director Jorma Silvasti who suggested it. I'm very pleased we've had a chance to do it with precisely the Savonlinna Opera Festival Choir. Elijah is a long work requiring a vast battery of performers, and in this respect there is none better than an opera choir. The choir has a big role, and extreme dynamic effects are required of it. The orchestra, too, is roughly the same size as that of a mid-19th century opera. I only knew bits of Elijah beforehand.
I once heard it right through when I was a student, and though I'm not the sort who easily gets bored, I found it hard going. I tried to listen to it without knowing a thing about what was going on. Consequently, I was in danger of losing my way in the endless Biedermeier forest. Added to which, I seem to recall that it was a church concert, and churches are, unfortunately, not the best possible places for the performance of oratorio: the details, nuances and intimacy get lost. It's like immersing Rembrandt in a bath.
Elijah is highly reminiscent of an opera: the listener needs to be familiar with the plot. The melodic invention is amazing, the music is fantastically beautiful and cleverly written. At the Helsinki Music Centre we have the advantage that the audience can sit comfortably in a modern hall, read the libretto at the same time and fortify themselves with extortionately-priced refreshments in the interval.
Elijah can also be performed in the language of its premiere, English, but I decided to do it in German because the music of Mendelssohn is sometimes so rounded at the corners that German does it good – a few consonants go a long way to giving it a bit of grit.
As you said, Elijah is often likened to an opera. In what respect is it an operatic work?
Richard Wagner scoffed at Mendelssohn for failing to produce a single decent opera. But to my mind, Elijah sometimes comes strangely close to Wagner's own Lohengrin – you only need to add a couple of swans. Elijah and Lohengrin were products of the same era, and there are lots of similarities in their orchestral and choral textures. In many ways the part of Elijah is even reminiscent of the Herald in Lohengrin. Added to which, the Old Testament characters are a bit obscure to us, just as remote and difficult to relate to as the characters of Wagner.
True, Elijah does differ from an opera in that it doesn't have a coherent plot. No opera could survive having a dramatic structure in which the events are totally isolated from one another. And there isn't a single episode in Elijah that would be sufficient as the plot of an opera.
You can hear, in Elijah, that Mendelssohn respected his Jewish lineage. So it's a little surprising that at the end, he quotes the Old Testament prophecy of the coming of the Messiah. One cannot help thinking that he wanted to stress that the prophet Elijah was, like John the Baptist, paving the way for Jesus. Though his family had converted to Christianity, Mendelssohn here wanted to reflect on the relationship with God important in Judaism and not the future redemption of mankind. So presumably he gave way to his librettist and the demands of the place where the work was to be premiered.
Mendelssohn raised Bach's St. Matthew Passion from oblivion in the early 19th century. How is the influence of Bach reflected in Elijah?
There is actually something touching in the way Mendelssohn imitates the St. Matthew Passion. Some of the dramaturgical devices, such as the crowd's death threats, were inspired by Bach, and the aria Elijah sings before he is taken to heaven in a chariot of fire is almost a copy of the bass aria Ich will Jesum selbst begraben in the St. Matthew Passion. As with Bach, the arias serve to raise the work to a higher philosophical level, whereas the recitatives and choral numbers carry the action forwards. The fact that there is no real narrator, no Evangelist, is a legacy of Handel's oratorios.
Stravinsky said that good composers don't borrow, they steal. In this case Mendelssohn stole a functional concept, but it is, of course, also a sincere and neat tribute to Bach and Handel.
Mendelssohn had read his Matthew Passion when he was 14 and was given the manuscript of it as a Christmas present from his grandmother. No mean gift – not many teenagers can sit at home reading the manuscript of the St. Matthew Passion! Sometimes things turn out well for the preservation of a work of art: for where might the St. Matthew Passion have ended up if the original document had been sold to the wrong person?
What are your thoughts on Wagner's attitude to Mendelssohn?
Wagner did a tremendous amount of damage to Mendelssohn's reputation. Instead of harping on about Wagner and National Socialism, it would be better to ask whether the fact that Mendelssohn is still not a very popular composer can be attributed to Wagner.
Wagner did say later, in the 1870s, that he had nothing against Jews, but in his opinion the Jews became Germans too soon: despite being hard-working, they were not "spiritually ready".
Mendelssohn was a typical Jewish artist in the German environment of the early 19th century: he was desperate to assimilate with the German heritage and to feel he was another link in that long tradition.
In other words, Mendelssohn did not choose the same road as many other Jewish composers, headed by Meyerbeer and Offenbach, who did not wish to be part of German culture and moved to France. Mendelssohn was never in his lifetime held in any esteem in France, but all the more greatly in England: the certain Handel-like monumentality of his music appealed to the English of the Victorian era.
Mendelssohn did not correspond to Wagner's concept of an artist to be taken seriously: he came from a good, educated family and he had no financial worries. He remained calmly above all political upheaval and revolutions. And unlike, say, Berlioz, Liszt or Wagner, he was by nature always extremely cautious and conservative. There was only a few years' difference in age between Mendelssohn and Wagner, but unlike Wagner, Mendelssohn was a star even as a young man. At the age of thirty, Wagner sent him the score of his early symphony in C major but Mendelssohn never replied. One reason for Wagner's anti-Semitism was that he felt the success of many composers of Jewish background was his loss. Meyerbeer and Mendelssohn were far more famous and they got well paid. No one knew Wagner, and nowhere did anyone write about his works.
Interview by Lotta Emanuelsson
Translated by Susan Sinisalo


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You look like a girl.
Murder! | Original Rap w/BoyinaBand, Minx & Chilled
Spectrum ft. Cryaotic & Minx
Don't Stay in School
I'm not dead.
Hello Monsta - Original Rap | w/Boyinaband, Minx and Markiplier
SFM| Slaughter Of The Hallucinations |Murder! - Original Rap w/BoyinaBand, Minx & Chilled
VIOLENT BIBLE RAP | Dan Bull & Boyinaband feat. God
Dead Fast Rap
The biggest secret in the music industry.
How to Get a Number One Song.
Appropriate Faces for 10 Genres of Music
POP SONG MADE IN A DAY | Boyinaband + Veela
The Scale of the Universe
Boyinaband Reacts to Parents React to Don't Stay in School
Good Fast Rap
26 Genres of Music in Alphabetical Order #2 (A2Z)
TOWN OF SALEM | Original Rap
Alphabetical 26-Genre Song
Roomie! 5 Horrible Song Ideas 2 ₍feat Boyinaband₎
[LYRICS] Don't Stay In School - BoyInABand
Why do musical notes end at G?
Murder! With 3D Lyrics Minx, BoyinaBand, Chilled
FAST RAP - 300 words in 50 seconds
Pointless Fast Rap
Boyinaband - Spectrum Lyrics Ft. Minx and Cry
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Boy in a band feat. Cryaotic - Limelight
Don't Trust Prince Ea (Diss track)
Most Brutal Breakdown Ever
Don't Stay In School - BoyInABand - LYRICS!
HOW TO REVOLUTIONIZE POP MUSIC (Song + Vlog)
Live Dubstep Electro MPC/Kaoss Pad/CDJ Remix: Skyline
Album in a day challenge! | Boyinaband + Must Die
Christmix 2014 | Christmas Songs Remix
The A to Z of Music Genres
Emma Blackery - The Promise (Boyinaband Remix)
CHRISTMIX (Dubstep Christmas Songs)
[DnB] - Feint & Boyinaband feat. Veela - Time Bomb [Monstercat Release]
[sfm/fnaf/OC] murder song by Boyinaband feat Minx & Chilled
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Golden Ratio Song - Numberphile
Scale of the Universe
Boyinaband - Spectrum - Minx & Cry (Lyrics)
I'm Not Dead. - Boyinaband
Boyinaband and Kaveh present "Within Life" (Original song)
Originative Systems


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Room 5 was booked as the website described the room as a Superior Double-fully ensuite Grand room. The room was dingy , the window and door had very large gaps at the bottom, wallpaper peeling off and the paintwork in need of attention ( as the rest of the hotel) and the extractor fan in shower room faulty. The shower was unusable because it could not be regulated (the water ran from cold to scalding hot every few seconds)
As for the Quiet at Night policy stated on the website - what a joke. There were people running up and down stairs above us well into the night.The whole experience was a disaster.
But to be fair the Continental breakfast was adequate with sliced cheese slices, spam , tea . coffee , toast . preserves and a choice of cereals.
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Category Archives: prose
Conrad Aiken and the struggle of consciousness
even one's newness is old —Conrad Aiken One of the first things that comes up in a google search of the name "Conrad Aiken" (right next to we found Conrad Aiken) is a review of his Selected Poems in … Continue reading
Posted in modernism, poetry essay Tagged Conrad Aiken, consciousness, Modernism, Post-Modernism Leave a comment
All Roads at Once with Alfred Corn
I usually seek out the books I want, primarily through online shopping. Those books, along with articles and social media connections, suggest other books. But every once in a while a book finds me. Alfred Corn's first book of poems, … Continue reading
Posted in book review Tagged Alfred Corn Leave a comment
Yahia Lababidi's Balancing Acts
The poems of Yahia Lababidi recall some great names: Borges, Pessoa, and Baudelaire. The spirit of Baudelaire looms large in the poems of Balancing Acts. But I think of visual artists too. Striking, novel images are conjured, mysterious and dreamlike, … Continue reading
Posted in book review, modernism Tagged Charles Baudelaire, Fernando Pessoa, Modernism, Nietzsche, Yahia Lababidi 1 Comment
Read, Pig!
Once I saw the title, Think, Pig! I had to have Jean-Michel Rabaté's book, published last year by Fordham University Press.
The Day I Met Leroy Jenkins
I am gratified to Jonathan Penton of Unlikely Stories Mark V for welcoming three of my noisier more biting poems. Is It Too Soon? is most recent, written shortly after and in response to our infamous November 8th election. I … Continue reading
Posted in personal essay, Publication News Tagged Leroy Jenkins 1 Comment
The Beauty of the Book
The universe (which others call the Library)…. —Borges I take a profoundly Borgesian pleasure in the book.
Posted in book review Tagged Anne Carson, Borges, Georges Bataille, Robert Morris Leave a comment
The Letters of Samuel Beckett, Volume II
…. being in [the world] discourages you from talking about it and not being in it disqualifies you from talking about it. —Samuel Beckett to Georges Duthuit, March 2, 1949 (p 131) I am no longer capable of writing in … Continue reading
Posted in book review Tagged Samuel Beckett, Waiting for Godot 2 Comments


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Multiple VLANs over 1300 series bridges
I am looking to connect a small external building to a main campus building by wireless bridge. The building i want to connect currently has two vlans, can the 1300 series bridges carry multiple vlans over the wireless bridge link? If so can anyone point me towards s document that explains it?
Many thanks
Hi Simon,
Yes they can, here is a link, i hope it helps you, look at the "Bridge configuration" title.
Milton Tizoc.


text: GIA Certified 1.52 Ct. VS2 OvalNatural Loose Diamond - GIA-5161870526 This 1.52 carat natural fancy yellow oval diamond has no fluorescence. Actual photos of the stone are available on our site. The GIA gave it fancy yellow color grade and VS2 clarity grade. This diamond can be delivered to your door in 5 to 10 business days, and comes with a 30-day no-questions-asked return policy. All shipping is fully insured. Enchanted Diamonds GIA GIA-5161870526 https://enchanteddiamonds.com/diamonds/image/medium/O152-63Z173860.jpg O152-63Z173860 8.51mm 3.49mm 6.5mm 1.52ct https://enchanteddiamonds.com/assets/ed_icon-f27e19419bf29157494921aa3829339bd88eb160b3b055713c81d2b7a652c0a0.png newCondition 1.52 Ct. Oval VS2 Diamond Stock # O152-63Z173860 Payment Methods Bank Wire $8,310 Credit Card $8,600 Financing $8,600 Layaway $8,600 Add to Ring Add to Cart Ships in 5-10 Business Days Tweet Chat Withan Expert Chat Now Free ShippingFree Returns Learn More Conflict-FreeGuarantee Learn More Basics Shape: Oval Weight: 1.52 ct Color: Fancy Yellow Clarity: VS2 Cut: Polish: Very Good Symmetry: Good Fluorescence: None Details Size (mm): 8.51×6.50×3.49 Ratio: 1.31 Depth: 53.7% Table: 67.0% Crown Angle: - - - Pavilion Angle: - - - Crown Height: - - - Girdle: Slightly Thick to Extremely Thick Grading Grading Lab: GIA Laser Inscribed: No View certificate Girdle: Slightly Thick to Extremely Thick Matching Rings Mulberry Enchanted Diamonds 4W-440R Enchanted Diamonds 14K White Gold https://enchanteddiamonds.com/images/rings/440R/p-lg.jpg 4W-440R https://enchanteddiamonds.com/assets/ed_icon-f27e19419bf29157494921aa3829339bd88eb160b3b055713c81d2b7a652c0a0.png newCondition Mulberry$900View Mulberry Enchanted Diamonds 4W-441R Enchanted Diamonds 14K White Gold https://enchanteddiamonds.com/images/rings/441R/p-lg.jpg 4W-441R https://enchanteddiamonds.com/assets/ed_icon-f27e19419bf29157494921aa3829339bd88eb160b3b055713c81d2b7a652c0a0.png newCondition Mulberry$900View Whitehall Enchanted Diamonds 4W-431R Enchanted Diamonds 14K White Gold https://enchanteddiamonds.com/images/rings/431R/p-lg.jpg 4W-431R https://enchanteddiamonds.com/assets/ed_icon-f27e19419bf29157494921aa3829339bd88eb160b3b055713c81d2b7a652c0a0.png newCondition Whitehall$2,300View Orchard Enchanted Diamonds 4W-432R Enchanted Diamonds 14K White Gold https://enchanteddiamonds.com/images/rings/432R/p-lg.jpg 4W-432R https://enchanteddiamonds.com/assets/ed_icon-f27e19419bf29157494921aa3829339bd88eb160b3b055713c81d2b7a652c0a0.png newCondition Orchard$2,600View Similar Diamonds