text:
Dark Horse Announces ECCC 2015 Schedule
March 23, 2015 by Colin Solan
Filed under Animation, Collectibles, Comic Books, Comic Strips, Convention News, Horror, Manga, Other, Science Fiction and Fantasy, Television, Webcomics, Wisconsin
Comments Off on Dark Horse Announces ECCC 2015 Schedule
Press Release:
Visit Dark Horse Comics at Emerald City Comicon Booth #802 for free swag such as comics, buttons, posters, and more! Check out our show exclusives, signings, and panels, too!
A set quantity will be available at opening each day of the show. Limit of 5 per person per day while supplies last. Each comic is $5.00.
Frankenstein Underground #1 ECCC exclusive variant cover by Mike Mignola (1,000 copies)
Prometheus: Fire and Stone—Omega ECCC exclusive variant cover by Patric Reynolds (500 copies)
Lady Killer #1 ECCC exclusive variant cover by Joelle Jones (500 copies)
Past Aways #1 ECCC exclusive variant cover by Scott Kolins (500 copies)
Conan/Red Sonja #1 limited-edition black-and-white variant cover by Dan Panosian (1,000 copies)
We'll also have a variety of Dark Horse comics, graphic novels, art books, and collectibles for sale in our booth.
All creators signing in our booth offer their autographs for FREE. FREE prints, comics, or posters are provided for signings (while supplies last). You may purchase or bring items to be signed; however, we may restrict the type or number of items to be signed as necessary. Please note that some of the titles listed below have not been released for sale yet—in those cases, special prints will be available.
Lines may also be closed for some signings due to crowding or time restrictions.
All events are subject to change. Some restrictions apply. Please ask the Dark Horse Comics staff if you have questions.
11:00 a.m.–11:50 a.m. MIDNIGHT SOCIETY: Drew Edward Johnson
12:00 p.m.–12:50 p.m. FRANKENSTEIN UNDERGROUND: Mike Mignola
Frankenstein Underground #1 ECCC exclusive variant cover by Mike Mignola available for sale
1:00 p.m.–1:30 p.m. THE WHITE SUITS: Frank Barbiere
1:00 p.m.–1:50 p.m. MURDER BOOK: Ed Brisson, Simon Roy
TIGER LUNG: Simon Roy
HIGH CRIMES: Christopher Sebela, Ibrahim Moustafa
2:00 p.m.–2:50 p.m. THE MASSIVE: Garry Brown
EMPOWERED: Adam Warren
3:00 p.m.–3:50 p.m. ABE SAPIEN: Max Fiumara
GRINDHOUSE: Chris Peterson
4:00 p.m.–4:50 p.m. CONAN RED SONJA, LEAVING MEGALOPOLIS, TOMB RAIDER: Gail Simone
LEAVING MEGALOPOLIS: Jim Calafiore
CONAN RED SONJA: Jim Zub
Conan Red Sonja #1 limited-edition black-and-white variant cover by Dan Panosian available for sale
5:00 p.m.–5:50 p.m. FINDER: Carla Speed McNeil
NEVERBOY: Tyler Jenkins, Kelly Fitzpatrick
6:00 p.m.–6:50 p.m. ALIEN VS. PREDATOR: FIRE AND STONE: Christopher Sebela
ALIENS: FIRE AND STONE: Chris Roberson, Patric Reynolds
PREDATOR: FIRE AND STONE: Christopher Mooneyham
PROMETHEUS: FIRE AND STONE: Paul Tobin
PROMETHEUS: FIRE AND STONE—OMEGA: Kelly Sue DeConnick
Prometheus: Fire and Stone—Omega ECCC exclusive variant cover by Patric Reynolds available for sale
11:00 a.m.–11:50 a.m. THE SHAOLIN COWBOY: Geof Darrow
12:00 p.m.–12:50 p.m. SERENITY, BUFFY THE VAMPIRE SLAYER: Georges Jeanty
BUFFY THE VAMPIRE SLAYER: Megan Levens
GIRLFIEND: Pander Brothers
1:00 p.m.–1:50 p.m. LADY KILLER: Joëlle Jones
Lady Killer #1 ECCC exclusive variant cover by Joëlle Jones available for sale
BUZZKILL, THE GHOST FLEET, THE PAYBACKS: Donny Cates
THE GHOST FLEET: Daniel Warren Johnson
THE PAYBACKS: Eliot Rahal
2:00 p.m.–2:50 p.m. HARROW COUNTY: Cullen Bunn, Tyler Crook
BANDETTE: Paul Tobin, Colleen Coover
Paul Tobin
3:00 p.m.–3:50 p.m. FIGHT CLUB 2: Chuck Palahniuk, Cameron Stewart, David Mack, Dave Stewart (Ticketed Event)*
4:00 p.m.–4:50 p.m. FIGHT CLUB 2: Chuck Palahniuk (Ticketed Event)*
5:00 p.m.–5:50 p.m. FIGHT CLUB 2: Chuck Palahniuk (Ticketed Event)*
6:00 p.m.–6:50 p.m. FIGHT CLUB 2: Chuck Palahniuk (Ticketed Event)*
Fight Club 2 artists Cameron Stewart, David Mack, and Dave Stewart will be present for part of the 3:00 p.m. signing, depending on their schedules.
*WRISTBAND REQUIRED: Wristbands will be distributed in the Dark Horse booth at show opening on Friday, March 27, and Saturday, March 28. One wristband per person. Separate wristbands will be assigned for each 50-minute signing and may only be used during that time period. Fight Club 2 #1 is on sale May 27. One free print and one sampler minicomic per wristband will be provided for the signing. No other items allowed. Other restrictions may apply.
10:00 a.m.–10:50 a.m. MIDNIGHT SOCIETY: Drew Edward Johnson
11:00 a.m.–11:50 a.m. PAST AWAYS: Matt Kindt, Scott Kolins, Bill Crabtree
Past Aways #1 ECCC exclusive variant cover by Scott Kolins available for sale
BLACK HAMMER: Jeff Lemire
12:00 p.m.–12:50 p.m. ITTY BITTY COMICS, AW YEAH COMICS!: Art Baltazar, Franco
PLANTS VS. ZOMBIES: Paul Tobin, Ron Chan, Jeremy Vanhoozer
1:00 p.m.–1:50 p.m. HALO: Duffy Boudreau
THE SHAOLIN COWBOY: Geof Darrow
2:00 p.m.–2:50 p.m. DEEP GRAVITY: Gabriel Hardman, Corinna Bechko
POP: Curt Pires
APOCALYPTIGIRL: Andrew MacLean
3:00 p.m.–3:50 p.m. MISFITS OF AVALON: Kel McDonald
EMILY AND THE STRANGERS: Cat Farris
Please join us at the panels below, brought to you by Dark Horse Comics and friends! Please visithttp://emeraldcitycomicon.com/programming/ for more panels featuring Dark Horse creators, as well as guidelines for attending panels.
3:00 p.m.–3:50 p.m. Hall C Behind the Scenes: Making Comics
Comics professionals come together to discuss their unique contributions to this beloved medium. Topics include creating engaging characters with Gail Simone (Leaving Megalopolis), transitioning from artist to writer/artist with Joëlle Jones (Lady Killer), business management with Christine Mignola (Hellboy), going from self-publishing to book deal with Colleen Coover (Bandette), breaking into coloring with Kelly Fitzpatrick (Neverboy), and fostering a fan base with online content with Kel McDonald (Misfits of Avalon). Sure to be a great panel for the budding cartoonist eager to explore the craft of making comics!
6:30 p.m.–7:30 p.m. Hall D Dark Horse Comics Builds Characters!
Join Dark Horse Comics and a panel of their incredibly talented artists, writers, and creators to discuss independent comics, creators' rights, and brand-new projects and hear what's coming up for the powerhouse publisher for the remainder of 2015. Moderated by Dark Horse publicist Aub Driver and featuring Cullen Bunn and Tyler Crook (Harrow County), Curt Pires (POP), the Pander Brothers (Girlfiend), Tyler Jenkins (Neverboy), Joëlle Jones (Lady Killer), Jeff Lemire (Black Hammer), Matt Kindt and Scott Kolins (Past Aways), and Donny Cates and Eliot Rahal (The Paybacks), this is a panel you won't want to miss!
10:30 a.m.–11:30 a.m. Hall D Fight Club 2
Acclaimed novelist Chuck Palahniuk continues one of his most beloved works with Fight Club 2! Join Dark Horse for a discussion of the creation of this story with Chuck Palahniuk, editor Scott Allie, artist David Mack, artist Cameron Stewart, and colorist Dave Stewart.
7:00 p.m.–8:00 p.m. Hall C The Mignolaverse: Hellboy and Beyond
Hellboy creator Mike Mignola returns to Emerald City Comicon! With recent launches like Hellboy and the B.P.R.D. andFrankenstein Underground, there's never been more ways to get into Mignola's world. Join Mignola for news on Hellboy in Hell and a Q&A with some of the writers and artists who help him bring his characters to life—Max Fiumara, Scott Allie, Dave Stewart, and Tyler Crook.
11:00 a.m.–11:50 p.m. Hall C Dark Horse Presents Kids and Comics: Plants vs. Zombies, Itty Bitty Hellboy,
Avatar: The Last Airbender, and More!
Comics are a great way to get kids interested in art, reading, and storytelling—and, well, they're fun! Join Steve Sunu (publicity coordinator, Dark Horse Comics), Paul Tobin and Ron Chan (Plants vs. Zombies), Jeremy Vanhoozer (Plants vs. Zombies creative director, PopCap), Art Baltazar and Franco (Itty Bitty Hellboy), and Joan Hilty (comics editor, Nickelodeon) to discover and discuss the ever-growing library of incredible all-ages comics!
WA – Dark Horse ECCC Party
March 23, 2015 by Colin Solan
Filed under Animation, Collectibles, Comic Books, Comic Strips, Horror, Manga, Movies, Other, Science Fiction and Fantasy, Signing and Appearance Profiles, Television, Video Games, Washington, Webcomics
Comments Off on WA – Dark Horse ECCC Party
Dark Horse Comics hosts an Emerald City Comicon afterparty on Saturday March 28th at 9:00 PM!
Special Guests scheduled to appear include: Mike Mignola, Gail Simone, Greg Rucka, Adam Warren, Joelle Jones, Geof Darrow, Jason Latour, Jeff Lemire, Joshua Williamson, Colleen Coover, and many more (see flyer)!
FREE ENTRY TO EMERALD CITY 2015 BADGE HOLDERS (21+ w/ ID)
Finely crafted Northwest beers and Hellboy Right Hand of Doom Red Ale available!
Comics and Collectibles Raffles to benefit the Comic Book Legal Defense Fund
Elysian Bar
1516 2nd Ave, Seattle, WA 98101
Dark Horse Panel & Signing Schedule for NYCC 2014
October 3, 2014 by Colin Solan
Filed under Animation, Anime, Comic Books, Convention News, Horror, Movies, New York, New York Comic Con, Other, Science Fiction and Fantasy, Television, Top Stories, Video Games
Comments Off on Dark Horse Panel & Signing Schedule for NYCC 2014
Press Release:
Come and check out the Dark Horse booth, #1636, at NYCC 2014! A list of the Dark Horse exclusives at NYCC can be found at the link…
All creators signing in our booth offer their autographs for FREE. FREE prints, comics, or posters are provided for most of our signings (while supplies last). You may purchase or bring items to be signed; however, we may restrict the type or number of items to be signed as necessary.
NYC – Nerdist Comics Panel
October 2, 2014 by Colin Solan
Filed under Animation, Comic Books, New York, Other, Signing and Appearance Profiles, Television
Comments Off on NYC – Nerdist Comics Panel
Mega-star writer Brian Michael Bendis (Guardians of the Galaxy; All-New X-Men; Powers; Scarlet; Ultimate Spider-Man and lots more!) joins hosts Ben Blacker (Thunderbolts; Thrilling Adventure Hour) and Heath Corson (Batman: Assault on Arkham) at Rock Bar on Friday, October 10, 2014 from 6:00 PM to 7:00 PM for a special New York Super Week edition of Nerdist Comics Panel in which will be discussed the process and business of writing comic books, his work in other media, the creation of Miles Morales the Ultimate Spider-Man, and his new book, Words for Pictures: The Art and Business of Writing Comics which discusses many of the interests of this very podcast!
Just announced! Artists Alex Maleev (Daredevil), Mike Oeming (Powers), and David Mack (Kabuki) will be live-sketching and the sketches will be auctioned off for the charity at the event.
For more info click the link! Hear past episodes! Proceeds from this and all nerdist Comics Panels benefit 826, the national nonprofit program to encourage creative writing in students. This one in particular benefits local 826 NYC. www.nyc.org
Get tickets ($10) at the link!
Rock Bar
185 Christopher Street, New York, NY 10014
(212) 675-1864
David Mack Provides Wolverine And The X-Men Variant for Wizard World St. Louis Comic Con 2014
March 21, 2014 by Anthony Aycock
Filed under Comic Books, Convention News, Missouri, Top Stories
Comments Off on David Mack Provides Wolverine And The X-Men Variant for Wizard World St. Louis Comic Con 2014
Press Release:
Marvel Comics & Wizard World Reveal 'Wolverine And The X-Men #1' Exclusive Variant Cover By David Mack For St. Louis Comic Con
VIP Attendees Receive Free Copy, April 4-6; Continues Year-long Series In Which Marvel Will Offer Exclusive Books At All 16 Wizard World Shows
NEW YORK, March 3, 2014 – Marvel Comics and Wizard World, Inc. (OTCBB: WIZD) today revealed the latest edition of its 2014 series of exclusive variant covers of the best Marvel titles with the unveiling of Wolverine And The X-Men #1, drawn by New York Times Best Selling author and artist David Mack. VIP attendees at Wizard World St. Louis Comic Con, April 4-6 at America's Center, will receive a free copy of the limited-edition book at registration.
Mack is scheduled to be on site at the event to sign copies (autograph fees may apply). Leading professional comic grader CGC will also be on hand to accept books for grading and Signature Series.
The colored version of Wolverine And The X-Men #1 will be limited to 3,000 copies and provided free at registration to all Wizard World St. Louis Comic Con VIP attendees, including any celebrity VIP packages.
Mack's Wolverine And The X-Men #1 follows the first three entries, Miracleman #1 and Miracleman #2, both drawn by Eisner Award Hall of Famer Neal Adams for Wizard World Portland Comic Con (Jan. 24-26) and New Orleans Comic Con (Feb. 7-9), respectively, and Wolverine #1, illustrated by noted cover artist Greg Horn, for Wizard World Sacramento Comic Con (March 7-9). Artwork is also complete for Daredevil #1 by Michael Golden for Wizard World Louisville Comic Con (March 28-30).
"We're very excited to partner with Wizard to bring this exclusive David Mack cover to Wolverine and the X-Men #1," says Marvel SVP, Sales & Marketing David Gabriel. "What Jason [Latour] and Mahmud [Asrar] are putting together is a very exciting series that's sure to be a hit and we're proud to team up with Wizard to help make the launch of the book extra special."
Mack is the writer and artist of the Kabuki graphic novels and Daredevil from Marvel Comics and the author and artist of his children's book The Shy Creatures from MacMillan. His work has garnered nominations for seven Eisner Awards, four International Eagle Awards, and both the Harvey and Kirby Awards in the category of Best New Talent.
"David is a favorite among Wizard World fans, and we're honored and excited to have his take on the Wolverine vs. X-Men franchise in this collectible." says John Macaluso, Wizard World CEO. "This series from Marvel continues to produce high-quality books that our attendees have been anticipating at each event."
Welcome to the Jean Grey School Of Higher Learning! The All New Marvel Now smash hit series schools with Jason Latour (Winter Soldier) and Mahmud Asrar (X-Men) leading the charge with drama, action and homework(?)!
World-famous X-Men Wolverine, Storm, and a star-studded faculty must educate the next generation all-powerful, but inexperienced mutants! But with their own lives steeped in deadly enemies and personal crises, how can the X-Men guide and educate–let alone defend–the school?
At the Jean Grey School, you never know who will enroll…or who will lead the class! And what mysterious organization waits in the shadows to destroy Wolverine's mutant sanctuary?
These questions and more are answered in the All-New Marvel Now sure-to-be-smash, Wolverine And The X-Men #1!
For more on the 2014 Wizard World St. Louis Comic Con, go to http://www.wizardworld.com/home-stlouis.html.
About Wizard World
Wizard World, Inc. (OTCBB: WIZD) produces Comic Cons and pop culture conventions across North America that celebrate graphic novels, comic books, cosplay, movies, TV shows, gaming, technology, toys and social networking. The events often feature celebrities from movies and TV, artists and writers, and events such as premieres, gaming tournaments, panels, and costume contests.
About Marvel Entertainment
Marvel Entertainment, LLC, a wholly owned subsidiary of The Walt Disney Company, is one of the world's most prominent character-based entertainment companies, built on a proven library of more than 8,000 characters featured in a variety of media over seventy years. Marvel utilizes its character franchises in entertainment, licensing and publishing. For more information, visit marvel.com.
The full event schedule can be found at www.wizardworld.com.
Wizard World 2014-15 Schedule
March 7-9 – Wizard World Sacramento Comic Con
March 28-30 – Wizard World Louisville Comic Con
April 4-6 – Wizard World St. Louis Comic Con
May 2-4 – Wizard World Minneapolis Comic Con
May 30-June 1 – Wizard World Atlanta Comic Con
June 19-22 – Wizard World Philadelphia Comic Con
August 1-3 – Wizard World San Antonio Comic Con
August 21-24 – Wizard World Chicago Comic Con
September 12-14 – Wizard World Richmond Comic Con
September 26-28 – Wizard World Nashville Comic Con
October 2-4 – Wizard World Austin Comic Con
October 31-November 2 – Wizard World Ohio Comic Con
November 7-9 – Wizard World Tulsa Comic Con
November 21-23 – Wizard World Reno Comic Con
January 9-11, 2015 – Wizard World New Orleans Comic Con
January 23-15, 2015 – Wizard World Portland Comic Con
Capullo, Finch, Prado, and Reis Added to Baltimore Comic-Con 2014
February 17, 2014 by Michael Pate
Filed under Comic Books, Convention News, Maryland, Top Stories
Press Release:
Baltimore Comic-Con Announces Banner List of All-Star Artists!
Capullo, Finch, Prado, and Reis Join the 3 Day Party!
BALTIMORE, MARYLAND – February 10, 2014 – Year after year, the staff at the Baltimore Comic-Con strives to make our show bigger and better, and our 15th annual event will be no different. The premiere 3-day gala occurs the weekend of September 5-7, 2014!
Our announced guests today are noteworthy for their artistic contributions to the industry, and specifically their recent work at DC Comics.
After some initial success at small-press publisher FantaCo, Greg Capullo landed work in the 1990s at Marvel Comics on titles such as Quasar, What If..?, and X-Force. Todd MacFarlane approached Capullo to do work for him at Image Comics on MacFarlane's Spawn, which led to a run on the title, spin-offs, and other notable titles under the Image umbrella including Haunt and Capullo's The Creech. DC Comics wooed Capullo to take over art duties on Batman during their New 52 relaunch, a run that went on to earn great accolades.
Joining us from Canada, David Finch received recognition for his early work at Top Cow Productions on titles such as Cyberforce, Ascension, and Aphrodite IX. He then went on to spend a number of years at Marvel Comics, working on blockbuster titles including Ultimate X-Men, Avengers (and the relaunched New Avengers), and Moon Knight before jumping into an exclusive contract with DC Comics in 2010 where he flexed his writing muscles as well as his drawing skills on Batman: The Dark Knight. He is currently working on DC's Forever Evil.
The Brazilian team of Ivan Reis and Joe Prado will also return to the Baltimore Comic-Con in 2014! Reis began his career at Dark Horse with a long run on Ghost and follow-up work on The Mask, Time Cop, and Xena. He has worked on Marvel titles like Avengers, Iron Man, and Defenders, and at DC on Action Comics, Teen Titans, and Superman. Prado's line work has graced the pages and covers of DC Comics' Superman, Teen Titans, Birds of Prey, and Rann/Thanagar War. Together, they are currently working on Justice League and Aquaman and The Others, also from DC Comics.
"We love what these gentlemen have brought to the DC Comics Universe, and comics art in general," commented Marc Nathan, promoter of the Baltimore Comic-Con. "It is an absolute pleasure to welcome them back, and we know our fans will be thrilled to hear they'll be joining us again!"
This year's previously confirmed guests for the show include: Marty Baumann (Pixar artist); Jeremy Bastian (Cursed Pirate Girl); Dave Bullock (Batman Black and White); Bernard Chang (Green Lantern Corps); Sean Chen (Amazing Spider-Man); Jimmy Cheung (Infinity); Cliff Chiang (Wonder Woman); Frank Cho (X-Men: Battle of the Atom); Richard Clark (House of Gold & Bones); Steve Conley (Bloop); Alan Davis (Wolverine); Tommy Lee Edwards (Suicide Risk); Garth Ennis (Preacher, The Boys); Dave Gibbons (Watchmen); Bryan JL Glass (Mice Templar); Michael Golden (The Ravagers); Cully Hamner (Animal Man); Dean Haspiel (The Fox); Fred Hembeck (Garfield); Adam Hughes (Before Watchmen: Dr. Manhattan); JG Jones (Green Lantern Corps, Batman Black and White); Justin Jordan (Luther Strode, Green Lantern: New Guardians); Barry Kitson (Empire); Aaron Kuder (Action Comics); David Mack (Shadowman); Kevin Maguire (Guardians of the Galaxy); Alex Maleev (Moon Knight); Ron Marz (Witchblade); Bob McLeod (X-Men: Gold); Tradd Moore (Deadpool Annual); Mark Morales (New Avengers); Dan Parent (Archie, Veronica, Kevin Keller); David Peterson (Mouse Guard); Eric Powell (The Goon); Brian Pulido (Lady Death); Budd Root (Cavewoman); Alex Saviuk (Web of Spider-Man); Andy Smith (Superman #23.1: Bizarro); John K. Snyder III (Zorro Rides Again); Allison Sohn (sketch card artist); Charles Soule (Thunderbolts); Ben Templesmith (The Memory Collectors); Peter Tomasi (Batman and Two-Face); John Totleben (Swamp Thing); Herb Trimpe (GI Joe: A Real American Hero); Billy Tucci (Shi); Rick Veitch (Saga of the Swamp Thing); Matt Wagner (Grendel); Mark Waid (Daredevil); Bill Willingham (Fables); Renee Witterstaetter (Joe Jusko: Maelstrom); and Thom Zahler (My Little Pony).
In the coming weeks, look for more announcements from the Baltimore Comic-Con. We are looking forward to highlighting our guests, the Harvey Awards, industry exclusives, and programming. The latest developments can always be found on our website, Twitter, and Facebook pages.
About The Baltimore Comic-Con
The Baltimore Comic-Con is celebrating its 14th year of bringing the comic book industry to the Baltimore and Washington D.C. area. For more information, please visit www.baltimorecomiccon.com.
About The Harvey Awards
The Harvey Awards are one of the comic book industry's oldest and most respected awards. With a history of over 20 years, the last 9 in conjunction with the Baltimore Comic-Con, the Harveys recognize outstanding achievements in over 20 categories. They are the only industry awards nominated and selected by the full body of comic book professionals. For more information, please visit www.harveyawards.org.
Dark Horse Announces The Sakai Project
January 31, 2014 by Colin Solan
Filed under Comic Books, Everything Else, Top Stories
Comments Off on Dark Horse Announces The Sakai Project
Press Release:
The most amazing artists in the world have come together to celebrate thirty years of Stan Sakai's marvelous samurai rabbit saga, Usagi Yojimbo, in a new oversized hardcover benefit book: The Sakai Project: Artists Celebrate Thirty Years of "Usagi Yojimbo"!
"It has been an absolute pleasure publishing Stan's work over the years, and recently collaborating with him directly on 47 Ronin," said Dark Horse's president and founder, Mike Richardson. "With the thirtieth anniversary of his most beloved creation, Usagi, and in a time of need for Stan and his family, we are honored to publish this tribute to Stan and his work. We are donating all of the proceeds to Stan and his wife, Sharon. We hope you will join us in honoring one of the comics industry's shining lights."
The participating artists bring their own interpretations and their own styles to the subject, making this book a one-of-a-kind treasure.
The Sakai Project is produced in association with the Comic Art Professional Society (CAPS). All proceeds from this book will go to Stan and Sharon Sakai.
Industry professionals, Dark Horse encourages your participation! The deadline for art submissions is February 20, 2014. For technical specifications and other information, e-mail Dark Horse at firstname.lastname@example.com.
The Sakai Project will be released on July 23. Pre-order with your local comics retailer.
About Dark Horse
Founded in 1986 by Mike Richardson, Dark Horse Comics has proven to be a solid example of how integrity and innovation can help broaden a unique storytelling medium and establish a small, homegrown company as an industry giant. The company is known for the progressive and creator-friendly atmosphere it provides for writers and artists. In addition to publishing comics from top talent, such as Frank Miller, Mike Mignola, Neil Gaiman, Brian Wood, Gerard Way, Felicia Day, and Guillermo del Toro, and comics legends, such as Will Eisner, Neal Adams, and Jim Steranko, Dark Horse has developed its own successful properties, such as The Mask, Ghost, Timecop, and SpyBoy. Its successful line of comics and products based on popular properties includes Star Wars, Mass Effect, Buffy the Vampire Slayer, Aliens, Conan, EVE Online, Halo, Serenity, Game of Thrones, and Domo. Today Dark Horse Comics is the largest independent comic book publisher in the US and is recognized as one of the world's leading publishers of both creator-owned content and licensed comics material.
CA – INK. Art Exhibit
November 4, 2013 by Colin Solan
Filed under Art Show, California, Comic Books, Signing and Appearance Profiles
Comments Off on CA – INK. Art Exhibit
Century Guild open an exhibition featuring monochromatic works by Clive Barker, David Mack, and Dave McKean on Saturday, November 16, 2013 from 7:00pm! Exhibition runs Thurs-Sat through 23 November from 2-7pm.
Century Guild
6150 Washington Blvd, Culver City, CA 90232
CA – Post-Con Party 2013
July 8, 2013 by Colin Solan
Filed under California, Comic Books, Signing and Appearance Profiles
Comments Off on CA – Post-Con Party 2013
Darick Robertson, Joe Harris, David Mack, and Marc Andreyko appear at Golden Apple Comics on Monday July 22nd from 5:00 till 9:00pm!
Golden Apple Comics
7018 Melrose Avenue, Los Angeles, CA 90038
IL – Life Drawings Exhibition
May 21, 2013 by Colin Solan
Filed under Art Show, Comic Books, Illinois, Other, Signing and Appearance Profiles
Comments Off on IL – Life Drawings Exhibition
Writer and artist David Mack opens an art exhibition of his life drawings in ink on paper at the Century Guild Chicago on Saturday, June 15, 2013 from 7:00 until 10:00pm!
Century Guild Chicago
2136 W. North Ave, Chicago, Illinois 60622


text:
BHP Billiton became the third of the FTSE 100 global mining giants to change its chief executive in as many months as the industry braces itself for a long period of sluggish resources prices.
Scottish former BP executive Andrew Mackenzie will replace Marius Kloppers, who has headed the mining group for nearly six years, in early May. Cynthia Carroll is stepping down from Anglo American and Tom Albanese resigned from Rio Tinto last month.
Kloppers, who is 50, will retire in October and is not expected to receive a lump-sum pay-off. Last year he suffered a pay cut with his package reduced from $11.6 million (£7.5 million) to $9.8 million.
BHP said it would reveal Mackenzie's new package shortly before he steps up. He was paid $5 million last year, down from $9.4 million. Sources suggested he would move up to similar pay as Kloppers.
Mackenzie, 56, spent 22 years with BP where his final job was as head of its US business overseeing the merger with Amoco. He moved to Rio Tinto in 2004, heading its industrial minerals division until he was poached by Kloppers for BHP in 2007.
He and his wife of 35 years, Liz, will move to Melbourne, where BHP is headquartered. Chairman Jac Nasser said: "Marius and his team have delivered for shareholders, significantly outperforming our peers in terms of total shareholder returns. He leaves BHP Billiton a safer and stronger company.
"Andrew brings a unique combination of deep industry knowledge and global management experience to the CEO role. Our succession planning process has served the company well for over a decade. Today's announcement is a result of that planned and considered process. The board has decided that Andrew is the right person to lead BHP Billiton in a changing global environment."
The group reported first-half profit after tax but excluding one-off items down 43% from $9.94 billion to $4.7 billion as a result of falls in iron ore and other commodity prices in 2012.
The shares dropped 50p to 2187p.
- More about:
- Bhp Billiton
- Marriage
- Melbourne
- Mergers And Acquisitions
- Metals
- Mining
- Rio Tinto Group
- Scotland
- Stock And Equity Market And Stock Exchange

subset: commoncrawl


text:
This short video introduces viewers to Dr. Tricia Ting, an associate professor of neurology at the University of Maryland School of Medicine and a neurologist/epilepsy specialist at the University of Maryland Medical Center.
Dr. Ting's special interests include epilespy, women's issues in epilespy, and investigational drug trials. Watch this video to learn more about her practice at UMMC.


text:
Press Clipping
[…] The minimum one can say of empreintes DIGITALes is that it is a prolific label for electroacoustic music as well as provocative experiments in conceptual sound. A few recent releases graft the varied interests of academic and acousmatic music together via the intriguing work of, say, John Oswald. His Aparanthesi is the work of a single note that is gradually inflected along its pitch and combined with various tuned field recordings. [aparanthesi A] is an A note tuned to 440 Hz, which is the broadcast signal stations play when off-air. [aparanthesi B] is a compressed stereo image of the 8 channel performance created for 2000's Rien à voir electroacoustic festival in Montréal. It is tuned to 480 Hz, the North American electrical standard, so it is in-tune with the hum of lighting and electrical grids. It is also a sonic impression of a complex and involved performance that uprooted the audience from the seats to the atrium and back again. We might call the album a conceptual play between electroacoustc and microsound, audience and chair, sitting and standing, tuning and silence, and for these reasons, the listening experience is very unlike the genre's contemporaries. Roxanne Turcotte, for example, produces a melange of disjunctive sound, voice and phone recordings, environmental atmospheres and world beat rhythms on Libellune, which features work dating back to 1985. Its complexity at times is interesting, for as a survey of her œuvre it mirrors the development of Montréal electroacoustic in its infatuation with voice and, like R Murray Schafer, the natural world. That said, it remains well within the by now well-established parameters of academic composition. Paul Dolden's work trammels from New Music composition to electroacoustic, employing repetiton and choral arrangements in a fashion not unlike that of Philip Glass, albeit with a drive toward melodrama and punch over satyagraha, throwing in all elements including the kitchen throughout L'ivresse de la vitesse 1 and 2. Like Turcotte, this work too spans from the '80s to the '90s, and so much of its feel is like listening to a beloved but aging record from that era, its metallic drums and neon wildness only appearing just a tad navel-gazing with age. Dolden is somewhat overwhelming; [L'ivresse de la vitesse] is a nightmare collage at its start that quickly gets into squeaky territory. For this, the remedy of Seuil de silences is welcome. Although from the same era, its breathing space offers more time for reflection, arrangement and thought, even if the disharmonius creeps back into the picture and becomes an ultimate ode to piano-bashing. […]
Lucky Dolden, for having time and opportunity to remaster old ea compositions with digital technology. While these pieces aren't exactly prehistoric, 1990's analogue assembly and track-bouncing fogged the clarity of Dolden's style: He notates a passage for 100 or more acoustic instruments, records each part individually, then mixes them in the studio. Today's tools make his restless works shine and vibrate. His rapid pace would stun a defibrillator.
The most representative piece here, Caught in an Octagon of Unaccustomed Light, aligns nonstandard tuning with the burr and hum of struck metal, possibly prepared piano and cymbals. Is the heaving material in a kaleidoscope or meat grinder? I imagine the different threads marshalling themselves like eager, acquiescent robots, only to scatter suddenly into dust: The Sorcerer's Apprentice meets Metropolis. Disjointed episodes serendipitously linked, Below the Walls of Jericho isn't a Biblical illustration. Dolden fancies the idea that sound could bring down a wall and his piece could do just that. In the Natural Doorway I Crouch pulses with plucked strings and wind instruments.
Dolden happily joins his tapes with live instruments. Gravity's Stillness. Resonance #6 features solo violin (Julie-Anne Derome) and The Vertigo of Ritualized Frenzy. Resonance #4 has parts for clarinet (François Houle) and piano (Leslie Wyber). The live musicians occasionally succumb to the blitz or else are instantly echoed and multiplied. In The Vertigo of Ritualized Frenzy. Resonance #4, the duo labors mostly in unison on a increasingly numbing modal phrase while the entire world swirls 'round. Gravity's Stillness. Resonance #6 starts with uncharacteristically delicate washes under the violin, but soon erupts into business as usual.
Seuil de silences' companions are L'ivresse de la vitesse 1 and L'ivresse de la vitesse 2, two wonderfully titled discs with remastered pieces — actually Dolden's third time through them. Several interconnected series straddle the three discs, some for tape alone, others requiring instruments to duel alongside. Try any.
Paul Dolden and empreintes DIGITALes throw three new Dolden CDs at us simultaneously, in an unparalleled marketing of one single composer's work. However, it's not as strange as it may sound, but really quite an interesting and rewarding venture, because it has to do with reissues of old material, remastered by the composer with modern equipment. Dolden is one of the most prolific electroacousticians, and for sure his oeuvre deserves to be revisited, especially after its recent technical and artistic brush-up.
Paul Dolden explains: "In the late 1970s I started to write and produce music involving hundreds of parts or tracks. In the early days the analogue recording medium was very noisy when bouncing (or premixing) tracks together. Things improved throughout the 1980s and 1990s, but a large multitrack digital tape recorder was still out of my financial reach. By the late 1990s the new computer and hard drive speeds finally provided me with an affordable multitrack solution. For the first time in my life I was able to achieve the balance between individual voices that I had so carefully notated in the original scores. I achieved further musical clarity and a new depth of sound by using quality compression, equalization and reverb. To remaster, I went back to the individual tracks. This was a huge undertaking. For example, a piece like Dancing on the Walls of Jericho may be only 16 minutes and 15 seconds long, but it is a large tape work comprising eighty hours of original recorded materials. Recordings always freeze or crystallize musical and spectral meaning for the listener. An odd sound combination that you have grown fond of in the old master may not appear in the same way in the new one. However, I think you will agree that I have stayed true to the original compositions. I changed some musical moments and transitions in Dancing on the Walls of Jericho, and the tape components for Physics of Seduction. Invocation #2 and Physics of Seduction. Invocation #3, all originally released on the L'ivresse de la vitesse CD in 1994. These changes were motivated by compositional concerns and were created using the musical materials from the Walls Cycle. The only new recordings made for the remastering process were the drum parts (performed by Philippe Keyser) in Physics of Seduction. Invocation #2 and Physics of Seduction. Invocation #3.
I invite you to discover my new levels of meaning and clarity in the new masters, which are much closer to my original artistic intention."
L'ivresse de la vitesse 1
L'ivresse de la vitesse (Intoxication by Speed) (1992-93).
Dolden: "The title […] is an allusion towards my current artistic intentions which involve the speeding up of an excess of musical ideas so that the composition and its materials exhaust themselves in the shortest time possible. The intoxicating aspect of speed is evoked by using primarily fast tempo markings and rapid changes in orchestration, density and dynamics. These elements can be particularly sped up to the point of exhaustion and intoxication in the digital audio studio which is limitless or virtual in its color and density possibilities."
There is no mercy administered, and no time to adapt; you're in the surging midst of sound the second it commences. However, the rush of grainy properties very soon take on more familiar guises, as male and female choirs rise, in a strictly vocal kind of soaring surge, gushing forth like mountain rapids below the glaciers. Sure this is intoxication by speed, secularly perhaps a shoot down the rapids, but in a shaman way perhaps a transposed inner journey of the Bardos… A creaking violin - bow pressing hard on the strings - open up a closed room of whispers, eventually pulling threads and shreds of surrounding reality along in marked pushes and layers of audio, snow-balling, mud-sliding into an immense might, eventually sneaking up on a hasty march of sorts, comically and quire remarkably, all behind a curtain of a certain unreality… There are, however, short retreats of church-like bliss here and there, before the blushing hell of over-intensified motion again grabs you by the neck and throws you downtime, as age and matter are subsequented…
Physics of Seduction. Invocation #3 (1992) for cello and tape; Peggy Lee [cello].
Dolden: "By using an extreme amount of ordinary musical sounds and gestures, their reality becomes more real than real. In other words, the sounds escape the networks of meaning and association, which have built up the reality of our world. This compositional strategy, involving an escalation to extremes, means that the materials themselves disappear as they implode inward and take on new appearances. The realm of seduction involves the strategies of appearances. As a contemporary composer, all that I can hope for is that I have provided the physics, or the interaction of motion and energy, for your own seduction."
This long work opens in an industrial scenery; at least this is the initial impression: steelworks or shipyard - but soon, very soon, the cello comes to the fore or semi-fore, out of a layer of thick and dense material where it seems caught and predestined to a captive state of existence, albeit sometimes really in front of the wobbling, dancing, heavy backdrop. I'm talking about the first couple of minutes. The cello sets out on strutting, daring escape routes in and out of the seaweed density of sounds, and I imagine someone's arms feeling their way through the dense and the dark, a grainy and not completely wholesome kind of predicament. Dolden has taken all he's got and filled up life to its hypothetical rim. The cello saws frantically at some aspects of reality, like an insect inside a jar, desperately trying something impossible, as burning thoughts come up for air and light up matter from inside like electric impulses flaring through cerebral cortexes… Slow, meditative solo parts are offered the cello, as the barnstorming audio completely disappears below and behind. The cello talks like a candle in a nocturnal forest, or like a thought roaming a closed-down mind; a Moomin Troll waking in the middle of Finnish winter, rising prematurely out of hibernation to roam the snowy pastures, discovering unknown properties of existence.
Revenge of the Repressed. Resonance #2 (1993) for soprano sax and tape; François Houle [soprano sax]
Dolden: "As the end of the second millennium approaches [remember, these remarks were written for the original release], we increasingly deal with the angry fallout from our historical legacy. Society turns into a constant search for what has been repressed and denied and we search for some form of revenge for our victimization. However, given that our lives have basically become an extension of the mediascape, and real power lies elsewhere, we become trapped in an endless life-sized Nintendo game seeking justice and revenge."
A jazzy, feverish jinglish kind of beginning moves through the Coltrane-scape of late day paraphernalia, surprisingly slowing down into mild brass sections in a golden hue - only to pick up speed and frantics again, leaving you… breathless and thoughtless, screwing those saxophones right down into the rock bottom, for what it's worth… I have no idea how Dolden's words above correspond to these sounds, mind you… but the show goes on, with or without whatever one is with or without… In here Dolden even manages to sound like Dutch hey-day desperado Louis Andriessen in Dee Staat, punching those semi-jazzy stanzas at you, like sleet blowing in your face on your way to colon x-ray…
Dancing on the Walls of Jericho (1990).
Dolden: "Dancing on the Walls of Jericho is the second of a three-part composition, which philosophically addresses the idea of revolution. Part two continues from where part one, Below the Walls of Jericho, had ended. Part one acted as a metaphor for the idea of social change through revolution. Therefore part one was primarily concerned with the vertical monolith and its tearing down by the anonymous massed texture of four hundred tracks of sound. By contrast, part two celebrates this tearing down with a constant polyrhythmic dance on the rubble and the use of extroverted solistic gestures."
Polishing sounds wipe the curving walls of a contrast medium drenched tunnel, which eventually is filling up with a torrent of audio from the treacherous ill will of the toppling-over sonic ingenuity of Mr. Dolden. This boy certainly wants to invade all your senses and completely take them over. He needs your FULL attention, and if he doesn't get it right away, he just stuffs you like a fat duck and leaves you sleepless. Much to my surprise, though, the frenzy cools off here, into a gamelan-like limp through the tunnel, and is it the tunnel that near-death experiencers experience on their near-death sojourns, or is it just a leaking realm of boring through the mount, to have you pass ten minutes faster on the train for a sum of 10 billion dollars? No idea! There isn't much time to contemplate suicide, though, since I get caught up in more sturdy, bouncing limping down the path Dolden doodles, and I fill a spacious glass with much white German wine (Zeller Schwarze Katz) from a bottle presented to me earlier today from a farmer friend in the rain who flies to Germany regularly on Ryanair, and I let things and desperations be the way they please; no shooting out of the anatomy tonight! There is no real hard sense in trying to categorize Dolden's music; it's futile, pointless - but I'm filling my quota anyway, and I can throw in words about the enjoyment of living inside this music, 'cause that's what it's about; not listening but living. The constellations stomp like horses in their boxes, like Tomas Tranströmer said (or something like it); "thoughts gather in scattered herds through the shadows, the night sky is cold and star sharp; Death laughs inwardly across the wooded horizon…"
Physics of Seduction. Invocation #2 (1991) for harpsichord and tape; Vivienne Spiteri [harpsichord].
Dolden: "Speed creates pure objects. It is itself a pure object, since it cancels out the ground and territorial reference points, since it runs ahead of time to annual time itself, since it moves more quickly than its own cause and obliterates that cause by outstripping it. Speed is the triumph of effect over cause, the triumph of instantaneity over time and depth, the triumph of the surface and pure objectality over the profundity of desire. Speed creates a space of initiation which may be lethal; its only rule is to leave no trace behind. Triumph of forgetting over memory, an uncultivated amnesic intoxication".
It gets worse, worse… It gets worse… as jittering atoms gather for a mingling vernissage evening at the horizon of events, right around that black hole in the midst of all our lives, or in a laid-back agony at the Restaurant at The End of the Universe (I bow to Mr. Adams who gave some meaning to my meaninglessness). Dolden produces full-blown, full-fledged assumptions of the totality of life and universe, and batters the humpty-dumpty, forlorn jesters of doubt, in a massive grandeur of psychic wonders, out of which a stellar harpsichord rises, glowing like sought-for venom though our arteries… I think of Elisabeth Chojnacka and I think about Jukka Tiensuu - and I leave it to you to figure that one out! Ah, Mr. Dolden! We tremble at these auditory messages from the core of emotional might, from the center of intellectual attention, from the venomous pit of the essence of pain of this existence…
L'ivresse de la vitesse 2
Beyond the Walls of Jericho (1991 - 1992).
Dolden: "The acceleration of our culture in terms of images and ideas creates a point at which everything seems to be happening at once and the maintenance of a linear historical perspective, with its revolutionary eruptions, is no longer meaningful. This simultaneity is musically alluded to several times in the composition by the use of several hundred solos occurring at once. Each solo has its own narrative and history but when all of them are combined together such narrative structures dissolve into one large sound field, often without clear beginning or ending. This breakdown of a linear time perspective and the resulting loss of our musical and social subjectivity create a feeling of absence and a perception of stasis. It is at that moment of æsthetic perception in which our day-to-day realities dissolve and there is a suspension of linear time that the possibility of new thought or feeling, revolutionary or otherwise, can begin."
Again, as in the preceding re-issue, there is no mercy at all. Dolden starts full speed. A little while later some transparency is administered as the tour-de-force of the beginning suddenly halts, allowing for sounds to be deciphered in gluey, jingling jangling elasticity, peculiarly merging with some of my memories of François Bayle issues of earlier years, visions of an old horse carriage creaking and squeaking through… Hungary, maybe. The sound torrent returns, though, albeit in slower motion and bigger halls, gesturing around the spacious indoors of men with power, eventually falling back into the focused concentration of a hole in the ground in Tikrit… Other instances of this piece are almost comical, which I believe also is the intent of Dolden, in semi-jazzy grimaces, stepping up the tempo in limping rhythms and pearly, watery guitarisms - and I like these parts that pull in different directions, moving a bit out of phase, causing tremendous torque to manifest, threatening to crack the whole situation into bits and pieces of opposing forces, yet flowing out of the loudspeakers on the same strand of auditory law.
In a Bed Where the Moon Was Sweating. Resonance #1 (1993) for clarinet & tape; François Houle [clarinet].
Dolden: "Part of the Resonance Cycle plays with the notion of intimacy in music. In this case the soloist is often surrounded with his own sound, creating a dissolving of the singular with the "other", which is in fact the performer reflected back in a narcissistic fashion. Beyond these elements, the Resonance Cycle also uses voice, which is perhaps the most intimate and seductive sound of all because it represents the body covered with appearances, illusions, traps, animal parodies and sacrificial simulations."
Slowly, carefully, softly emerging, very different from the other piece before it, unraveling a smooth, romantic painting motion in the clarinet, distant and closer and close! However, density grows thicker, as a hail of sounds pulls up like a battalion of jeeps with their headlights all on, blinding, encircling, the smelling fumes from the exhaust rising like smoke in the darkness beyond. In this center of attention a space is protected by some invisible power, making a solo dance possible and necessary, and someone plays, dances, around and around, stomping feet in the soil, in the holy hour of cow dust. The clarinet cuts like smooth swords through the fragrance of night. Stockhausenesque voices hammer their morphemes like a palisade around the music, the jeeps still shining their headlights into the middle of the circle. Whispers - also Stockhausenesque - invoke the secrets of the night to perform their unknowns, and the rite probably reaches some kind of completion as the clarinet and the voices and the extraneous sounds merge in a controlled wilderness of sonic attributes.
Physics of Seduction. Invocation #1 (1991) for electric guitar & tape; Paul Dolden [electric guitar].
Dolden: "All great systems of production and interpretation, including musical discourses, increasingly appear as a large futile body. A universe that can no longer be interpreted in the terms of psychological relations, or in structures of oppositions, must be interpreted in the terms of play, challenges, duels, and the strategy of appearances - that is in terms of seduction. Moreover, seduction threatens all orthodoxies with their collapse as it is a black magic for the deviation of all truths."
Relaxed hands seem to be waving through these laid-back suburban communities, but just for a while, because the midday rescue vehicles soon dash through layer after layer of red-hot guitarisms, cauterizing by-standers and storeowners down the block. A stew is brewing somewheres, bubbling with venom; guitars and screeching unidentifiables. Yes, it is hard as ever to put futile words to Dolden's messages. They're tough enough to hear, let alone talk about in an intelligible way. Take it for what its worth - and that goes for the music too. At times I think it's just boring in all its frenzy, and I close down Mr. Dolden and bring on some Bach Cello Suites or let Mr. Dylan persuade me that It's Not Dark Yet - but revisiting Dolden brings home some more discoveries from inside the maddening masses, and there are several ways to approach the Dolden madness, even though I suggest small portions of him for afternoon courtesy, you see. He is a bit too much, most of the time… without getting too much done, so to say. He's sort of shaking doors and smashing windows, but he seldom administers poems.
Veils - Studies in Textural Transformations (1984 - 1985).
Dolden: "Veils […] is a series of textures or walls of sound, which act as an invitation for the listener to explore an environment where new acoustic sensations and associations can be discovered. The texture, a sustained chord of usually 14 - 56 notes, is constantly transforming by changing the instrument type that is articulating the sound (i.e. from strings to voice to brass to piano to marimba to glass etc.) No electronic effects were used and only straight recordings and mixing of acoustic instruments were used. However, the sound source or instrument type at any moment is not usually obvious to the listener, hence the sound sources are veiled. This veiled sound is created by three main factors: the extensive multitracking (from 180 to 280 tracks of the same instrument are used at any moment), the tuning of the chords (microtonal intervals which do not occur in our normal 12-tone equally tempered tuning system), and the recording method of close miking in a dead acoustical space which brings out aspects of each instrument type that we normally do not hear."
This, though, is poetry; spider web poetry, thin smoke poetry, resounding silence poetry through trembling minds. The resounding of the first part of Veils is a majestic gesture into infinity, very unlike the window smashing and door-shaking that I have complained about. I float through these layers of semi-transparency in a spirit-in-flight sensation, a bit like what I felt in the movie 2010, or in some cinematic expressions of Tarkovsky. This notion is only strengthened and reinforced by the second and third part of Veils - mysterious monoliths afloat in the space-time continuum, in chords that reach for infinity in wonderful gasps for space… mythical objects slowly turning around themselves in the timeless flow of mind, of Rigpa, the state out of which all rise; all phenomena of this unexplained existence of our and everything else…
Seuil de silences
Below the Walls of Jericho (1988 - 1989).
Dolden:"The title is only a loose reference to the story in the Bible. What interests me about the story is the idea of a large mass of people knocking down a wall through the use of sound. The story gives credence to the notion of music as a catalyst for social change. Beyond the sheer physical impact that a large number of sounds contain, music is a form of language, which is capable of stimulating thought. The power of music lies in the simultaneous physical and intellectual seduction of the listener."
A quite wonderful, glassy sound, organ-like, subdued-fanfare-like, opens Below the Walls of Jericho. This shiny, honey-dew fluidity develops into standing walls of dense, gray sound - with glittering, glimmering sensations built into to them, dark percussive elements - like falling rocks down a wintry Lapland slope - growing in terrible intensity… until a tiny screw of a sound suddenly lets loose some silence which, however, slips away like the tail of a lizard, leaving us in a magnificence of over-toned, interstellar cruelty, in a realm where all is shine, cold, bright shine… and again - as before, sometimes, with Dolden - I get these icy notions of alien horizons on worlds we know nothing about, and the unknown gathers incredible strength in a pumping, pulsating wheezing of giant properties of alienation; scary headphone adventures!
Surely, this didn't come across this brightly and ingeniously on the earlier release. I heard it the first time when it appeared on the Cultures Électroniques release from the GMEB competitions in 1990, where it won the composer the first prize for electroacoustic composition. Dolden's reallocated attention has brought this piece into new luster, new shine. It's quite amazing, really.
There are many layers of sound relieving each other or adding to each other, and the sheer roughness and simultaneous clarity of some of them bring on levels of corrugated auditory surfaces I have never heard or touched before, bringing me into joyous discovery for the first time in a long listening while, as Dolden actually manages to mix my perceptive senses in hitherto unknown ways, mysteriously; tactility and hearing, vision (bright!) and smell (acrid!). This is a hit! The rhythmic properties have me gasping for air in a similar way, so strong, manifold, un-ending, loopless, ever into an elusive distance, yet firm on your tympanic membranes and on your skin, your heart beating behind the sound, below your breath, inside a dream…
Gravity's Stillness. Resonance #6 (1996) for violin or viola & tape; Julie-Anne Derome [violin].
Dolden:"The work is based on fairly simple melodic and harmonic ideas. The interest for me in this type of work is to use the recording studio to create a series of distinct sound worlds, or orchestrations, based on these melodic and harmonic ideas. The tape becomes the catalyst for creating the changes in mode and tone. The live soloist repeatedly states the melodic ideas in a simple to very virtuosic manner."
A dark motion rising cautiously out of semi-instrumenty realms, emerging into clarity and tactile reality, spreading its auditory fragrance like opening petals… and you feel yourself soaring down inside the space inside these petals, as if docking with a giant space ship - and yet it feels so familiar behind that veil of uncertainty and semi-transparent reality, the violins, the orchestral familiarity, hundreds of years of tradition carried towards you on outspread fingertips, like a gift from undisclosed benefactors… There are some incredibly close encounters herein, with the strings, which you practically ride, trembling madly with them… only to find yourself suddenly distanced into the room, the strings grouping themselves neatly into an ensemble up on a little stage… and then you're down into the instruments again, the strings of the violin fully charged high-voltage transmission lines through your vicinity; danger! Dolden mixes these two aspects seamlessly, this closing in and distancing, this old tradition ensemble familiarity and this latter day electronic havoc! Splendid! And Julie-Anne Derome makes a thrilling contribution!
Caught in an Octagon of Unaccustomed Light (1987 - 1988).
Dolden:"The composition continues the composer's development of a musical language based on the color of unusual or unaccustomed acoustic sounds. In this case, the predominant use of inharmonic timbres (metal, multiphonics and a non-octave tuning system) creates the language that for the most part our musical tradition has ignored. A series of five sections, each of which is based on specific sound sources, has the listener caught by their interactions. Musical continuity is maintained by the reuse of similar gestures, colors and tuning system. Overall structural integrity is achieved through a palindromic ordering of the sections. For example, the first and fifth sections use the same sound world, and likewise the second and fourth sections use another sound world. The third or middle section contains aspects on both sound groups."
It's hammer time right off, as you veer here and veer there… eventually catching hold of some materializing matter in the shape of sturdy tools inside a machine-scape of some industrial environment, as the industrial sounds re-group into Christmas time Santa workshops of speedily constructed toys and half-perverted goblins by endless conveyor belts… and it's a Disney culture gone seriously wrong. After a while a peculiar, metallic percussion, irregular, brings on reminiscences of Harry Partch and John Cage, and I feel right at home in my intellectual, academic predispositions… but it wouldn't be like Dolden not to amass things, though between these moments of catharsis he lets little details build strange, twiggy, thorny environments to scratch yourself bloody on if you don't watch it! The slow, spacious anonymities that Dolden sometimes allows for in this piece, almost inwardly thoughtful in a roomy, thin gamelan, result in generously emitted beauty of sound that I bathe my perception in, like when nocturnal flakes of snow fall through the circle of light of a street lamp, when the town is sleeping silently; these cold crystals melting on your cheek.
The Vertigo of Ritualized Frenzy. Resonance #4 (1996) for reed instrument and/or piano (or accordion) & tape; François Houle [clarinet]; Leslie Wyber [piano].
Dolden:"Much of my work begins by using the tape medium to create musical situations and dialogues that would not be possible with a fixed live ensemble. In this case the live duo is confronted with jazz, rock or chamber music created by various string, metal or wind orchestras. At times the live parts seem independent of the tape and at other times the two elements dissolve into each other. These different allusions to musical reality are based on a very simple melody which keeps coming back in an almost irritating manner."
The inconspicuous beginning mix of roughness and timbral modality builds up strong levels of conviction, so watch your output levels. A playful melody, sort of heard from way inside a hall, or from behind a corner in a restaurant, reveals where the musicians are poking about in there scores, kind of nervously and absentmindedly, a half hour before they have to start playing for real, for pay. There is a distance in the way Dolden has smeared the sounds across a wall quite far away, across the dancing floor. The music itself is semi-jazzy, semi-cocktail-party-licked, easy going, swirling about in short, close motions, never traveling too far off from the instruments that produce the sounds observed.
In the Natural Doorway I Crouch (1986 - 1987).
Dolden:"In the Natural Doorway I Crouch is inspired by the interaction of the two distinct sound worlds: plucked metal strings and wind instruments. The composition is divided into three sections of 3, 5 and 7 minutes, each of which explores the relationship between the sound worlds as they are constantly changing. This movement in sound is evoked by the title, which suggests the transformations from one state to another, as in a doorway that acts as a passageway between areas of sound. In most cases, the crouching is only momentary as we spring from one area to another. The tuning of the composition involves a system of just intonation, developed by the composer, in which the harmonics of the fundamental(s) are systematically changing register in relation to each other."
This piece was one of the first Dolden works I heard, on Cultures Électroniques Volume 3, presenting the winners from the Bourges competitions of 1988. It's probably one of his most spread works too. I've come across it here and there. To begin with it has a spooky conversational quality, the likeness of voices soaring about inside instrumental and/or electronic sounds, as if matter was raising its jittery subatomic voice to the level of human hearing, just to scare us real good at last… The flakes of sound are heavy in the void, tumbling about like forlorn celestial debris, traveling like that forever, or maybe one day crashing down on unsuspecting civilizations on blue spheres in revolving spiral galaxies, cutting everything very short…
Morse-like percussive codes are emitted from inside the body of sound; trembling, shivering cries of beings lost behind malevolent horizons, divide from us by impossible gaps in time and space and simultaneity…
There is an ominous, fateful feel to this work, as if it was describing events so vast and so immensely forceful that acceptance is the sole possible attitude from our point of view. This music seems to deal with the inevitability of the sun eventually turning into a red giant, or events like that, or perhaps with the natural loneliness of the soul - and one feels, as a reaction to Dolden's music, an urge to escape existence in matter to existence in spirit, which is all there really is to hope for; and wouldn't it be nice to cut this endless hunt for sub-atomic particles short, realizing with the string theorists that all is vibrations of different frequencies, also confirming the conviction of Stockhausen and others of a celestial music; the universe understood as an endless composition…
empreintes DIGITALes, étiquette montréalaise spécialisée dans les musiques électroniques et électroacoustiques entreprend cet automne des fouilles dans l'œuvre surprenante du compositeur canadien Paul Dolden. Voilà d'un coup ces trois CDs d'œuvres datant de 1984 à 1996, «entièrement retraitées, remixées et remasterisées par le compositeur en 2001-02». La musique de Dolden est caractérisée par l'utilisation de centaines d'enregistrements instrumentaux et vocaux combinés en couches multiples. En matière de musique acousmatique, son œuvre est singulière puisque l'utilisation de sources instrumentales s'adjoint à un sens aigu de l'orchestration et place la musique aux antipodes des «musiques de bruits» que suggère souvent l'acousmatique. On pourrait peut-être parler d'une approche symphonico-numérique où Stravinsky et Xenakis reviennent en écho, machinés dans une hybridation maximale des styles. Les œuvres mixtes du compositeur (avec François Houle à la clarinette et Peggy Lee au violoncelle, entre autres) font particulièrement preuve de sa sensibilité musicale et nous entraînent dans des moments d'intensité incroyables. Ce petit survol de l'œuvre de Dolden démontre admirablement la singularité de son langage (et son importance) qui, tout en s'approchant d'un discours symphonique radicalisé, ouvre la porte aux influences du jazz, du rock et des diverses possibilités venues de l'électrification et de la capture du son. Une œuvre à découvrir d'urgence.
empreintes DIGITALes fait paraître ces jours-ci trois disques de Paul Dolden. Il s'agit de L'ivresse de la vitesse, paru à l'origine en doublé et dont les disques sont séparés pour cette nouvelle édition «retraitée, remixée et remasterisée». Le troisième, Seuil de silences, réédite des pièces parues en 1990 sur le disque The Threshold of Deafening Silence et présente deux nouvelles pièces mixtes (avec Julie-Anne Derome au violon pour Gravity's Stillness. Resonance #6, de 1996, et François Houle à la clarinette et Leslie Wyber au piano sur The Vertigo of Ritualized Frenzy. Resonance #4, aussi de 1996). Si on est ici au seuil du silence, on n'y entre pourtant pas souvent. Dolden travaille l'épaisseur du son comme un sculpteur et n'hésite pas à placer les unes par dessus les autres des centaines de pistes, ce qui donne une perspectives sonore impressionnante. Les œuvres «anciennes» (la plus vieille date de 1986) ont certes bénéficié des possibilités de remixage offertes par les perfectionnements technologiques les plus récents et la lourde pâte sonore qu'affectionne le compositeur y gagne en netteté. Toujours aussi impressionnant. 4/6


text:
Where can I get permanent lip augmentation? What doctors have the most experience and success using permanent saline lip implants? I want to set up a consultation and have mine done asap. Thank You.
Doctor Recommendations for Permanent Saline Lip Implants
Doctor Answers 5
Dr. David Hansen in Beverly Hills does a lot of permanent lip enhancements.
Permanent Lip enhancements do quite well and there are 3 major types. One of which is the saline implants which run $2000 per lip and are very soft and put in easily under local anesthesia. Sincerely,
David Hansen,MD
Web reference: http://www.DrDavidHansen.com/lip-enhancement/index.php
The best substance for permanent lip enhancement is your own tissue.
About 3 out of 4 facelift patients in my practice choose lip augmentation as part of the operation. Fatty tissue called SMAS is cut to size and placed in the lips as a graft. It is simple, takes about 5 minutes, feels and looks natural, and is permanent. Better still, for my patients it's part of the facelift.
Permanent lip implants can move and look un-natural
We generally don't recommend permanent lip implants because they don't move and look natural. The best lip implants still are using the hyaluronic acid products like Juvederm or Restylane. There are lip implants, but make sure they are removable. Some of them can really be a problem.
You might also like...
Lip implants
I am not a proponenet of lip augmentation with permanent filles except maybe fat or fatty tissue grafts., The other permanent products tend to extrude and feel prominent.
These answers are for educational purposes and should not be relied upon as a substitute for medical advice you may receive from your physician. If you have a medical emergency, please call 911. These answers do not constitute or initiate a patient/doctor relationship.


text:
Regarding Frank Capra: Audience, Celebrity, and American Film Studies, 1930-1960
€ 95,49
Besorgung - Lieferbarkeit unbestimmt
Januar 2005
BeschreibungUsing extensive archival research in fan mail, fan magazines, army services and educational records, Smoodin explores the different reception of Capra films with different popular audiences, and how the films meanings were marshalled to a variety of natio
InhaltsverzeichnisIntroduction: Audiences, film studies and Frank Capra; The national and the local: Ballyhoo and the United States film audience; Regulating national markets: Chinese censorship and The Bitter Tea of General Yen; Film education and quality entertainment for children and adolescents; This business of America: Mr Smith, John Doe and the politicized viewer; Coercive viewings: Soldiers and prisoners watch movies; Politics and pedagogy near the end of a career: From feature films to television production; Conclusion: The contemporary Capra
PortraitEric Smoodin is Professor of American Studies at the University of California, Davis. His books include "Animating Culture: Hollywood Cartoons From the Sound Era," "Disney Discourse: Producing the Magic Kingdom," and "Hollywood Quarterly: Film Culture in Postwar America, 1945-1957 "(with Ann Martin).
Pressestimmen"In a delightfully readable book full of personality and wit, Eric Smoodin rethinks audience and reception theory. He demonstrates that film culture extends from the settings of the movie theater and film industry to other, less obvious but equally important, sites." Lisa Cartwright, co-author of Practices of Looking: An Introduction to Visual Culture " ... an engrossing work and one that should contribute immensely to these prominent questions of audience reception and the academic film studies agenda. It is also a book worthy of the director's contribution to American cinema and should be invaluable reading for film scholars of all persuasions."--Jrnl of American Studies, August 2006
Untertitel: Sprache: Englisch.
Verlag: DUKE UNIV PR
Erscheinungsdatum: Januar 2005
Seitenanzahl: 301 Seiten
Format: gebunden


text:
3 OC Teens Need Rescuing After Their Boat Capsizes Off Florida KeysCBS2's Cristy Fajardo spoke to the trio via Face Time.
Man, 73, Arrested In Shooting On Yorba Linda Riverbed TrailThe suspect has been identified as 73-year-old Jack Horn.
Yorba Linda Neighbors Help Deputies Round Up Burglary CrewFour men and a woman have been arrested in connection with a burglary In Yorba Linda's Bryant Ranch community, authorities said Thursday.
Planned Outage Amid Upcoming Heat Wave Has Some In Yorba Linda Thinking AheadTemperatures were expected to skyrocket this weekend and possibly even break records but some in Yorba Linda won't be able to use their air conditioners.
Yorba Linda Kid Denied Shot At Climbing Mount EverestA 12-year-old mountaineer is disappointed after being told he cannot scale the world's tallest mountain.
Nixon Library Unveils Presidential, First Spouse CoinsSpecially minted coins were unveiled Wednesday in celebration of former President Richard Nixon's wife's birthday.
Man Killed In Yorba Linda Deputy-Involved ShootingA man was shot and killed by an Orange County sheriff's deputy in the parking lot of a Yorba Linda hotel on Monday, authorities said.
Ronald Reagan, Richard Nixon Libraries To Host Events In Observance Of Presidents DayResidents across Southern California Monday will attend several events in observance of Presidents Day.
Man With Ties to Mexican Drug Lord 'El Chapo' Is Convicted Of Murder In Yorba Linda 24 Years AgoProsecutors say Paulino Gonzalez, who was working for a top associate of 'El Chapo' in 1991, helped him kill a man in Yorba Linda.
Fall Heat Wave Brings Triple-Digit Temperatures To SouthlandThe Southland's latest heat wave peaked on Friday, with the mercury reaching into the triple-digits in several communities.
Some Yorba Linda Residents To See Water Service Fee Increases Despite ConservationSome residents in Yorba Linda should expect their water service fees to increase starting Oct. 1 despite conservation efforts.
Torrance Man Faces Arson Charges In Yorba Linda Brush FireAuthorities have identified a man Friday who was arrested in connection to a vehicle and brush fire in Yorba Linda.


text:
Responses Requested for Groundwater Management Survey
ACWA, DWR Survey Under Way to Compile Data on Local Groundwater Management Plans and Needs for Assistance
The Association of California Water Agencies (ACWA) and the California Department of Water Resources (DWR) are conducting a survey on groundwater management activities in California.
Your agency's assistance is requested to help make the survey data as comprehensive as possible.
Survey Purpose
- The survey is aimed at compiling information on groundwater management efforts statewide to share with policy makers and other stakeholders. The information is expected to be a powerful tool to illustrate that local and regional entities are effectively managing groundwater resources and that statewide permitting and oversight could be counterproductive to existing and planned local investments.
- The information will also help identify areas where local groundwater management needs to be expanded and where local agencies may need assistance to develop and implement sustainable groundwater management activities. This is especially important as opportunities arise to secure funding for groundwater projects.
- ACWA and DWR are also interested in learning about groundwater banking projects in California so information is available for those who may want to learn more about this valuable water management tool.
California Water Plan Update 2013
DWR has partnered with ACWA on the survey to gather information for the groundwater content enhancements that will be included in California Water Plan Update 2013. DWR recognizes the importance of groundwater to the overall water supply and quality portfolio in California and would like the next California Water Plan to include more detail and reflect as many basins and subbasins as possible that are covered by groundwater management plans.
We thank you in advance for your participation in this survey. Should you have questions, please contact Danielle Blacet, ACWA senior regulatory advocate, at 916-441-4545, or Abdul Kahn, Update 2013 groundwater lead coordinator, at 916-651-9660.
Please note that information from the survey will be used in maps and other materials that will be available to the public.
Useful Links
These links may be useful while completing the survey:


text:
Could It Be…Thyroid Disease?
Always cold or hot? Heart racing a mile a minute? Whether underactive or overactive, thyroid disease symptoms can make your body feel out of whack. Knowing the symptoms can help your doctor diagnose the problem and get you feeling better fast. Do you know what to look for?
Like what you're reading? Then LIKE us on Facebook!
[ione_facebook_like_box url_segment=blackdoctor.org height="260″]
It's estimated that 59 million Americans have a thyroid problem, but the majority don't even know it yet. The thyroid, a butterfly-shaped gland located in the neck, is the master gland of metabolism. When your thyroid doesn't function, it can affect every aspect of your health, and in particular, weight, depression and energy levels.
Since undiagnosed thyroid problems can dramatically increase your risk of obesity, heart disease, depression, anxiety, hair loss, sexual dysfunction, infertility and a host of other symptoms and health problems, it's important that you don't go undiagnosed.


text:
Other than saying where each tribe is to pitch its tents around the tabernacle, this chapter is the same thing as chapter 1. For an inerrant book from the creator of the universe, you'd think there'd be a better editor.
Quick Tips & Navigation.
- About the Bible Slam — If you are new here, please read the "about" page to understand the choice of the word "slam" and to read the Important Disclaimer about swear words. We have provided a link to biblical reading without swear words or commentary on the about page, just in case swear words are offensive to you.
- To fully comprehend the Bible philosophy, we suggest you start at the very beginning and work your way through, other than skipping around through it.
- {PREVIOUS} Numbers Chapter 01 | {NEXT} Numbers Chapter 03
Discussion Points.
Chelev makes an excellent point about the zodiac signs. Beyond that, this chapter is boring, considering it's the same thing already written. If you want to read it, head on over to the King James version, Skeptics Annotated. Frankly, it's so turgid that even Skeptics Annotated had no comment.
As mentioned in the previous chapter, the alleged population is fanciful, at best, and the size of the military dwarfed many of today's modern armies.


text:
Why a Qantas and British Airways merger is good (and why Qantas + Cathay Pacific will be even better!)
There's been ton of chatter that Qantas is looking for a bedmate even since the new CEO Alan Joyce took over. Finally, British Airways CEO announced that the airline is in talks with Qantas regarding a potential merger. On the surface, it may look like a good deal, since there are so many synergies to tap on the famed Kangaroo route. But dig a little deeper and you will realize that Qantas may just become a concubine for BA, rather than a trusted mate, and it might just make sense to keep the options open towards airlines like Cathay Pacific.
But before I get into that, let me share my thoughts on why a Qantas and British Airways is still good for both the airlines.
Why QF and BA make a good couple
The goal of mergers is to generally extract value by streamlining operations. But Qantas and British Airways (BA) can probably hope for much more than that, if the merger goes ahead. Both airlines are not only part of the OneWorld Alliance, but also already operate like a single airline on the Kangaroo route between London and Sydney. Their frequent flier programs are in sync and both have similar corporate structures.
The marriage may work with the blessings of the Australian government, which currently has a cap on foreign ownership of Qantas. Importantly for BA, it can tap on Qantas' low-cost carrier, JetStar, to expand its reach in Asia Pacific as well as leisure destinations in Australia.
There are a number of downsides for this tie-up too, but they have been discussed elsewhere. So, I shall focus on other alternatives Qantas should explore, specifically, Cathay Pacific.
Cathay Pacific may make a better bed mate for Qantas
Reason 1: Complementary routes in growing markets. Just like BA, Cathay Pacific is also an integral part of the OneWorld alliance. But unlike BA, Cathay Pacific has much better presence in China, one of the world's fastest growing aviation markets. Also, tying up with Cathay Pacific will give Qantas a much better access to lucrative Asia Pacific – US routes as well – again a growing market. This, as opposed to British Airways' better access to Africa and Europe, which are mature markets, but the growth rate is much lower than Asia. Also, Qantas' interest in Africa is bound to be much lower than in China.
Simply put, a merger with Cathay Pacific will allow them to rule Asia-Pacific together. Just look at their existing route maps and you'll understand what I mean.
Reason 2: More focused attention, resulting greater chances of success. BA is already trying to tie up with Iberia and American Airlines. Moreover, there will always be tough competition with AirFrance-KLM and Lufthansa (+Swiss, BMI, Austrian…) to keep BA's hands full. Hence, Qantas may just become a concubine, rather than a bed-mate.
In Cathay Pacific's case, it only has the subsidiary DragonAir, just like Qantas' JetStar. Hence, there are much lesser distractions, which will allow both the airlines to focus on leveraging their merger. This focus may very well result in a successful, long-lasting marriage.
I hope Singapore Airlines and Emirates are watching these developments closely and coming up with their own strategies!
What do you think? Is BA good for Qantas or Cathay Pacific? Or someone else like AirFrance-KLM or even LAN Airlines? I'd love to hear your thoughts in the comments.


text:
Alternate Report Card
During the 2012-2013 school year, a committee comprised of parents, administrators, and teachers developed an Alternate Report Card for reporting student progress for Campbell students in grades K-5. The Alternate Report Card is based on developmentally appropriate social and emotional standards, Habits of Learning from Expeditionary Learning, and academic standards. The Alternate Report Card, which is a blend of Expeditionary Learning expectations and SOL strands, reflects the beliefs of the Campbell community. Report cards are issued quarterly and also include narratives written by teachers. Students do not receive letter grades on the Campbell report card, but student progress is measured in comparison to grade level standards.
Student Portfolio
Campbell has always used a student portfolio to share student progress with parents. In the fall of 2013, the portfolio was revamped to make it more consistent with an Expeditionary Learning model. The updated student portfolio has a consistent method school-wide and follows a child from kindergarten to fifth grade. Students work samples which include self-portraits, writing pieces, and reflections are contributed to the portfolio.
Student Led Conferences
In keeping with the Expeditionary Learning approach, Campbell is transitioning to Student Led Conferences. In the spring of 2014, K/1 students will attend their own March and June conferences. During these conferences, students will present their portfolios to their parents. Students will share their goals and progress with their parents and teachers during the conference. This will help students to be part of the process of their learning. Students and teachers will receive preparation before participating in Student Led Conferences.


text:
Meanwhile, Verizon had been running an ad for the Samsung Galaxy Tab 10.1 and is now running one for the Apple iPad 2. Instead of just throwing some specs out there for the mainstream audience to try to decipher, Verizon showed some scenarios where the tablet would come in handy. At the end of the spot, Big Red rings up the sale.
source: electronista


text:
JHFCU has created a volunteer Advisory Council to help us spread the word about JHFCU's benefits. We know that word of mouth is often the best way to communicate, and that our members have fantastic ideas. We are seeking interested members to expand the Council. Applicants should be engaged members who utilize JHFCU's services and who are genuinely interested in the Credit Union, its members, and its success. They should have the understanding that JHFCU exists to serve its members, but must look out for the interests of the entire membership and its ongoing financial strength, while it tries to best meet the needs of individuals. Members of the Advisory Council must be willing to advocate for JHFCU, including educating potential members on the benefits of Credit Union membership and encouraging them to join, and enlightening current members about services they might not know about. The Advisory Council representatives should be willing to serve as a voice of other members, asking questions and providing feedback on JHFCU products and services, and delivery of those services.
In the spring of 1971, Dr. Milton Eisenhower, President of The Johns Hopkins University, was asked to lend his support to the formation of the Credit Union, which would benefit the faculty and staff. Supported by the Administration, a small group of seven individuals convened for the first time on April, 29, 1971.
On May 14th, in accordance with Federal Credit Union membership regulations, each of these members deposited $5.00 into an account at the Maryland Credit Union League. The National Credit Union Administration granted The Johns Hopkins Federal Credit Union charter #20623 on June 2nd. JHFCU became fully operational on October 1, 1971, when the payroll deduction system went into effect.
The closing statement for the first year showed 744 members and assets of $51,000. One hundred fifty-three loans of $46,233 had been made. Today the figures are much more substantial. We have grown to over 38,000 member accounts and have assets of over $340 million, making us one of the largest credit unions in the state.
We've come a long way since those early days of organization, and our services have expanded greatly. JHFCU owes a debt of gratitude to those individuals who, through the years, have volunteered their time and energy to make the Credit Union the success it is today.
Johns Hopkins Federal Credit Union is owned and operated by its members. The administration includes a 11-member volunteer Board of Directors, who set general policies; a Supervisory Committee whose members provide an internal check on financial and operational matters; and an Appeals Committee, whose members ensure the adherence to loan policies.
The Credit Union is under the general direction and control of a Board of Directors. The boards overriding concern is its fiduciary responsibility in safeguarding the funds and other assets that the Credit Unions members have entrusted to it. JHFCU shall constitute its board membership in accordance with the standards outlined in its own bylaws, the Federal Credit Union Act, National Credit Union Administration (NCUA) regulations, its mission statement, and its policy for board nomination. The board recognizes its responsibility to create an environment that attracts and retains qualified directors. An individual must certify an interest in and a willingness to serve and must be able to commit the time requested for service.
Note: Board members are chosen in an annual election; the Supervisory Committee and Appeals Committee members are elected by the Board of Directors. All are volunteers, taking time from their jobs to serve the Credit Union and its members.
Open positions on the Credit Unions Board of Directors are filled by election from the membership at the Annual Meeting, held in the spring of each year. At that time, a slate will be submitted by the Nominating Committee with one nominee for each position to be filled. Anyone interested in becoming a board member is invited to express his or her interest in serving the Credit Union by writing to the Nominating Committee, c/o Credit Union President, 2027 E. Monument Street, Baltimore, MD 21205. A current resume should be included.
The mission of Johns Hopkins Federal Credit Union (JHFCU) is to provide its members with competitive, high-quality financial services, while remaining strong, secure and reliable in its operations.
You might wonder what benefits you get from JHFCU membership. This section will outline why joining a credit union can make your financial life much easier.
At JHFCU, we know that banking is an errand, and that financial services are a necessity. However, it is our view that we should make your experience at JHFCU as pleasant as possible and that over the course of your relationship with JHFCU you would look to us as a trusted source for deposits, loans, and other financial needs.
The reason we feel so strongly about providing benefits to our members is due to our ownership structure. While banks are owned by a person, group of persons or stockholders who hope to reap the profits made by the bank, a credit union is owned by its members. So if you have money in an account at JHFCU, you are an owner of the organization. That being said, all revenues benefit you in the form of better rates, lower fees, or they are invested into the infrastructure to provide you better service in the future.
JHFCU will always offer very competitive rates and fees in order to provide our members value. Occasionally you might find a better rate offered elsewhere or a different fee, but in total your JHFCU membership could save or earn you thousands of dollars.
JHFCU was formed in 1971 by a small group of Johns Hopkins University employees, and for over 30 years has retained the primary focus of serving Hopkins and its various related entities. We are a benefit to the Hopkins employees, and as such, we are familiar with the other benefit programs, the payroll system, and more. We are able to better understand our members and thus serve you better.
Once you become a credit union member, you are a member for life, even if you leave the employing institution you became eligible through or move to another location. Click here for a list of eligible groups in our field of membership.
JHFCU is insured by the National Credit Union Administration (a U.S. government agency), click here for details on insured amounts.
JHFCU offers its members a wide range of benefits and services, including:
Find out how easy it is to start taking advantage of a lifetime of financial benefits. Click here to find out more about joining JHFCU!


text:
Environmental Services...were delighted with the service and said that the interpreter was excellent.
Brenda O'Neill,
South Lanarkshire Council
Group Liaison interpreting is a type of consecutive face-to-face interpreting used where a small group of people requires an interpreter. Although called "group liaison" this type of interpreting can also include situations where individuals within a group need an interpreter.
Group Liaison interpreting is commonly used for groups for which conference interpreting would not be appropriate because the group is too small, or needs to move around (meaning interpreting booths are impractical) or simply because the group does not want the formal approach that conference interpreting gives.
This kind of interpreting works well in situations such as:
Group Liaison interpreting is a very flexible interpreting arrangement. We realise that many visits or events have a number of different components to them. A typical day might involve many different elements:
With Group Liaison interpreting, the interpreter moves with the group from one part of the day to another and is on hand throughout to interpret and help group members.
If you would like further information or would like to book a Group Liaison interpreter please contact us.


text:
Up and down in Vegas
Updated: September 17, 2003, 10:21 PM ETBy Ed Graney | Special to ESPN.com
If he had the answer, John Robinson would be a wealthy man. OK., much wealthier than he already is.
How in the world can his team look so helpless defensively in a 46-24 loss at Kansas one week and so inspired in a 23-5 victory at Wisconsin the next?
"The million dollar question," Robinson said. "Early in the year, I think college football teams tend to be more inconsistent and play opponents they often don't know much about. You also have school starting at different times for different teams and kids need to get through things like registration and checking out all the girls. It can really take away the focus you would like to have."
To continue reading this article you must be an Insider
Become an insider and get access to all our articles and toolsView Insider Benefits »
Magazine subscribers: activate your Insider account.
- Winston shines at FSU pro day
- Jameis Winston, the potential No. 1 overall pick, drew coaches from all 32 NFL teams to Florida State's pro day.
Jared Shanker »
- LSU-Bama Renew Battles
- Trending in NOLA: The latest Saban-Miles battles.
- Baylor WRs take a starring role
- Dynamic duo
- Betting: Best 2015 CFB Playoff bets
- Katz: Teams that will surprise in 2015
- Haney: TCU among 2015 favorites
- National links: Reshuffling the top four


text:
Quentin Tarantino May Combine BASTERDS, DJANGO into Trilogy with KILLER CROWE
Quentin Tarantino hasn't made a name for himself in Hollywood by doing the expected. Following the extreme success of INGLORIOUS BASTERDS, and his latest flick DJANGO UNCHAINED, the film legend is entertaining the idea of intertwining the two films with a third, KILLER CROWE.
In a recent interview with The Root, Tarantino explains the relationship between BASTERDS, UNCHAINED, and the future CROWE, and how they fit together. He said, "there's something about this that would suggest a trilogy. My original idea for Inglourious Basterds way back when was that this [would be] a huge story that included the [smaller] story that you saw in the film, but also followed a bunch of black troops, and they had been f--ked over by the American military and kind of go apes--t. They basically -- the way Lt. Aldo Raines (Brad Pitt) and the Basterds are having an "Apache resistance" -- [the] black troops go on an Apache warpath and kill a bunch of white soldiers and white officers on a military base and are just making a warpath to Switzerland."
"So that was always going to be part of it," Tarantino continued. "And I was going to do it as a miniseries, and that was going to be one of the big storylines. When I decided to try to turn it into a movie, that was a section I had to take out to help tame my material. I have most of that written. It's ready to go; I just have to write the second half of it.
"That would be the third of the trilogy. It would be [connected to] Inglourious Basterds, too, because Inglourious Basterds are in it, but it is about the soldiers. It would be called Killer Crow or something like that."


text:
Sunovion targets 22,000 psychiatrists with Latuda reps
Latuda hit pharmacy shelves in February, and reps will emphasize the drug's efficacy and positive cardiometabolic profile, according to slides presented by Mark Iwicki, president and COO, Sunovion, at a meeting in Tokyo on January 25. An additional team of 70 reps will target hospitals, and a "majority" of all reps "have previously sold at least 1 other atypical antipsychotic," according to the slides. AbelsonTaylor has the professional AOR assignment.
Susan Adler, a Sunovion spokesperson, said patient support programs for Latuda are in place, and that materials for patients would be a component of the company's promotional efforts. TV spots will probably not be used, said Adler. "In general, atypical antipsychotic product [marketers] wouldn't focus on [televised] DTC ads," she said.
Latuda was tested against olanzapine (Zyprexa) for weight change as part of Sunovion's PEARL study, and findings indicated that patients taking Latuda experienced an average change in weight of roughly 2.2 pounds for a 40 mg dosage, and 2.4 pounds for a 120 mg dosage; Latuda is currently available in 40 and 80 mg dosages, to be taken once daily. Olanzapine (15 mg) demonstrated an average weight change of 9.2 pounds in the PEARL study. Adler declined to speak about the drug's metabolic profile with respect to marketing plans.
Sunovion is testing Latuda for bipolar depression, and plans to submit an sNDA during the first half of 2012, according to a slide presentation given by Antony Loebel, EVP, clinical research and medical affairs, at the meeting in January. The company expects to submit Latuda for approval in Canada and China this year, and is currently analyzing phase III data in Japan.
In Europe, "active partnering discussions" are in progress, according to Loebel's slides. An estimated two million people have schizophrenia in the US, according to company data.


text:
FS Gold Lion KT77/EL34 plus 12AT7,5AR4
Once more,
Genalex Gold Lion KT77/EL34,
anyone with an EL34 amp, this is your chance to get great tubes at a discount.
$68 for the Genalex
add $10 if you want the 12AT7/5AR4 for a simpleSE amp.
$7.95 usps shipping in the US
these are the new production.
|All times are GMT. The time now is 03:20 PM.
vBulletin Optimisation provided by vB Optimise (Pro) - vBulletin Mods & Addons Copyright © 2017 DragonByte Technologies Ltd.
Copyright ©1999-2017 diyAudio


text:
Videos - Support - Iyashi
Video Department
View our selection of videos uploaded to YouTube. We provide as vast an amount of information about our products as possible to inform you as the consumer about your wellness product choices. View what others have to say about Iyashi products, what naturopaths such as Doctor Ross Anderson have to say, and see for yourself what Iyashi can do for you. We update our videos as frequently as we can, so keep an eye out for new videos!
Our Youtube Channel - Iyashi Wand - Iyashi Pendant - Iyashi Bracelet - Shieldite - Other Products
© Copyright 2015 by iithealthstore.com


text:
Evinrude made a splash with their new G2 line of E-TEC outboards, and this year, they're expanding the line-up to include a new batch of smaller engines. The 2.7-liter G2's are b... Read more
Outboard engines went through a major-league change, when modern four-strokes hit the market (See Outboard Smack-Down: Two-stroke versus Four for more on the topic). They became more fuel-ef... Read more


text:
Is It Time For Dallas To Come To Terms With J.R.?
It's time for Dallas to make its peace with Dallas.
Cities don't choose their legends. Wandering troubadours and blind prophets and kilted bards show up at the gates of the city and, by their lamentations and chansons, assign the myth, then flee. It's yours forever, whether you like it or not.
J.R. will always be with us.
I realized this only recently. It hit me about 11 minutes into the first episode of the Dallas series premiering this month on TNT. Or should I say the series continuing this month? Because it's not a remake, and it's not a Hollywood-style "reimagining." It's the same TV series, as first created in 1978, as though it has simply been on hiatus for the past 20 years. It's not only the same characters; it's the same actors playing the same characters. It's as though the series is Holy Writ. You couldn't reimagine it any more than you could reimagine the Battle of Fort McHenry and leave out the part about the flag.
And, as I say, there's this moment, this little scene at minute 11, when Bobby Ewing goes to visit the elderly, bankrupt J.R. and finds him in his pajamas, seated in an overstuffed chair, his face impassive, staring into space in some kind of catatonic state that his nurse calls clinical depression. As Bobby pulls up a chair, it's like that famous Strindberg play where only one character speaks but the star billing goes to the nonspeaking actor.
Continue reading the article, which appears in the June D Magazine, here.


text:
Date of Stay: January, 2011
This is a new very nicely landscaped and maintained RV park. Laundry and restrooms/showers are very nice and kept clean. The clubhouse is user friendly and larger than most RV parks have. Managers and owners are friendly and work to make this the best park possible addressing problems when they occur. The heated pool and hot tub have a covered patio and are great. There are many planned activities for us Winter Texans if you choose to participate. Sites are available in different widths and lengths with concrete pads and roads. Shopping, ship and dolphin watching, beach walking and fishing are all near by. Friendly RVer's make you feel at home. We'll be back next winter!
Date of Stay: August, 2010
This park is conveniently located close to I70 near Springfield OH. It has grassy sites; some in sun, and many with large older trees for shade. They have activities planned for weekends for kids and adults. It has a combination of full-time residents, monthly stays and weekends stays. Manager and others work hard to keep this park looking good. Everyone is friendly. A Wal-mart is available just down the road. Will definitely stay here again.


text:
Thought its time to change profile after long time. I am married with good sex life but everytime i come to lush that day becomes more erotic and wild. Reaching nearly 45 and I think lush makes my sex life interesting.. Lots of sex almost have experienced everything and don't know what is favorite one.. may be MFF, may be kink, may be BDSM, i think depends on mood.. I am Indian living in US so any women from India please give a shout would love to chat with ..But let me tell you its been great experience here full of life and all my fantasies have came true here .. ofcourse would not want a life other then this...
No favourite stories listed.
In a flight overseas getting BJ from a beauty next seat. 14 hour journey 2 times BJ. Was amazing..
Cloudy.. Which makes you feel stay inside. But the tent in pants grows when you are inside...
1. Women on Top 2. missionary (lets you see her expression) 3. Doggie 4. All kamasutra positions (Something new always is better to try)...
Attach a note to this member, which only you can see.
Please tell us why you think this profile page is inappropriate.