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A really good moisturizing conditioner
I have 4a/4b/4c hair. My hair is thick, course, and dense. My problem is that I cannot find a conditioner that can penetrate and moisturize my hair. The products just feels like they are just sitting on my hair like they dont moisturize but don't strip it either. I have tried almost all products on the ground such as shea moisture, assuie, tresseme, V05 (hate it feels like water), garner fructis, creme of nature, hair mayo (home made one and one from sally's) and etc. I mostly try ground products because I am a college curly on a budge. Has anybody tried a really good moisturizing conditioner?? SN: because I live in a small area there are only certain products that they have and even in the surrounding areas
I had the same problem a few months back getting the same mediocre results when using store brand products or even stuff from health stores that had all natural ingredients. I'm also at university so it was getting very very frustrating!!
I bought the science of black hair book just to see if I really was on the right track in terms of understanding my hair. Anywho, in the products section there were different recommendations for hair products.
The key thing I took away from that section was to stick to one brand of hair care products (if u could)that balanced your moisture and protein well.
So I bought the elucence brand and my hair has been amazing since then.
The moisture conditioner by that brand is THE best conditioner I've ever used for my hair. The protein conditioner is even better!! I have 4b more 4c type curls (or non-curls), so moisture was defo needed. I also realised that my hair responded better to the first sets on ingredients being an infusion rather than just the bog standard 'water, cetly alcohol..." Etc. I didn't realise this untill I used hello hydration and Avalon where my hair felt yucky for that week Lool.
One question to also ask: how would you describe your porosity?
Another thing I've started to do now is to mix my moisture conditioner with acv or if I do a protein dc ill mix it up again.
my hair is more sheeny, bouncy, defined and healthier looking.
I can attest that to both the change in conditioner, getting my balance right and chucking acv into the mix.
sounds like you need to clarify and then try one conditioner afterwards
I would suggest Aubrey Organics Honeysuckle Rose conditioner
I really like Dessert Essence Coconut Conditioner. It's about $8 for 8 oz. if you buy it at Vitamin Shoppe or Whole Foods or stores like that, but if you buy it online from sites like Vitacost, it's $4 and some change.
I have low porosity hair and I usually clarify my hair one or twice a month to make sure I get all of the build up out of my hair especially since I very rarely use shampoo. I have been wanting to try Aubrey organics and Giovanni for a while now and I have heard some really good reviews about them as well. Thanks for the website I will definitely check it out. If anyone else has anymore suggestion please post.
Maybe a porosity control conditioner would be best
keep in mind, it is a horrible detangler. so if you equate good conditioner with providing good slip in the shower, this is not the conditioner for you.
if you are looking for a conditioner that will keep your hair soft after it is dry than this is the "one".
i would also suggest that your shampoo be of good quality or you may not really feel the positive affects of the honeysuckle rose conditioner. so avoid sulfates and cones.
good luck!!
this thing packs in moisture like craaaaazy! I love it! Im not a 4 but when I was researching to buy this, a ton of 4's on the curly Nikki forum really recommended it! An added plus-this has SO much slip it makes detangling a breeze
The down side-it has bis-aminopropyl dimethicone. This cone is CG friendly but builds up on some peoples hair (although I've heard that's rare and can be avoided by the occasional low poo)
Try adding oils and heat to your conditioners. Do you pre poo. Also lots of natural 4's are protein sensitive so make sure to balance your moisture and protein. I luke aussie 3 minute deep conditioner.
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My hair is 4b/c, thick, coarse and dense. What I started doing is: 1st - rinsing my hair with conditioner, like VO5, or any co-wash conditioner, then rinsing it out really well, keeping it detangled; 2nd - blot hair with towel so that it's not dripping wet, to get damp hair; 3rd - putting a plastic cap on and the sitting under a heating cap or a hair dryer for 10 minutes on hot; 4th - then immediately apply a moisturizing conditioner or any deep conditioning treatment while the hair is warm.
My hair seems to absorb the conditioning properties better this way. Perhaps because the cuticle is more open.
If my hair is in need of clarifying, then I clarify first.
Also, I've found that giving my hair a protein treatment as a pre-poo, then shampooing and following with a good moisturizing treatment gets really good results.
AO Honeysuckle Rose is a great moisturizing conditioner. I often add full fat yogurt and baby banana to it. A little honey and wheat germ oil doesn't hurt either.
For an inexpensive conditioner, I suggest Aussie Moist. But the best conditioner I've used by far has been CHI Nourish Intense Hair Masque. It is AMAZING though quite pricey.
First, clarify. You have to start on really clean hair.
When I was having this problem, I also made sure the cuticle of my hair was open, by sitting under a heating cap for 10 minutes and then applying a good moisturizing conditioner. It seemed to take better.
Elle Pixie's blog http://www.questfortheperfectcurl had a video with hair conditioner recs. I opted for her Dominican conditioner rec: Crecio Pelo. It's available at BSS where Dominican products are sold, totally affordable. I really like this conditioner and have put it in my rotation.
As others have mentioned: AO Honeysuckle Rose is a bet. I also get results from doctoring Tresemme Naturuals Nourishing with the following ingredients, EVOO, honey, baby banana, full fat yogurt and wheat germ oil. You don't need to add a lot of these ingredients. A Tablesppon max of the EVOO, 2 T yogurt and baby banana, 1/2 teaspoon of wheat germ oil (it's very oily so be careful). I try to keep the intergrity of the conditioner and just pump it up a little.
I also like Talijah Wahjid's Herbal Enhancing Conditioner, it's yellow. It mixes well with other things.
And just plain EVOO and honey warmed and mixed.
Just make sure you clean your hair to get rid of any product build-up and do try opening the cuticle first with either a heating cap, under a hooded dryer, a hair steamer or warm hot towels and immediately applying conditioner.
You may have to condition your hair again the next wash, but you won't have to clarify for several washes.
See what happens.
I use giovanni smooth as silk conditioner. Works great! i have 4b natural hair about shoulder length and i've been using this stuff for over 1yr now, it really does work wonders. And the great part about it is..i can use ANY Shampoo (before i use the conditioner) and still be smooth and soft and easier to manage
But i will add that i also use the coconut/lime relaxer(just basically a strong conditioner) before i wash my hair
basically i mix coconut cream and a cap full of lime together(sometimes i add coconut oil, but u dont have to) and then i put it in the fridge over night..next day it is a creamy texture...you put it on your head before you wash your hair(i leave it on for 1hour with disposable shower cap covering it) but you can leave it on as long as you want, the longer the better...then i go and wash my hair(any shampoo will do but i use Head and Shoulders) and after that i put in the Giovanni Conditioner for about 30min and braid my hair into about 6 parts on my head..then i wash that out(with the braids still intact..)
For more conditioned hair i add coconut oil or "Kinky Curly Knot Today Leave in"
After my hair dries i can unbraid and style it however i please, i also think this method helps when i heat style my hair as well.
Kenra Moisturizing Conditioner. This is an oldie but goody. I know a lot of naturals avoid it because it can be a little pricey and it is only available at salons and places like Ulta, Trade Secrets and Regis. This has been a main stay staple for me.
Tresemme Naturals with Aloe Vera and Avocado
Has anyone tried the Trader Joes Spa Nourish???!
Beauty In Kinks #704
I have tried quite a few brands but I always end right back at herbal essences hello hydration. It has the best slip for detangling but most of all my hair is left moisturized after I rinse it out. I have 4b/c hair. Aussie most and V05 did absolutely nothing for me but I use my Shea moisture restorative conditioner mixed with coconut oil as a great leave-in
I have 4A/4B hair and I use the Raw Shea Butter Restorative conditioner
Im sorry to hear that. I swear by shea moister but i notice it didnt work for you. My sis has your same issue she said kckt worked for her
Sent from my MB612 using CurlTalk App
Try to use natural conditioners instead of chemically filled ones. In my experience, argan oil is best, it's non-greasy and full of vitamins to make your hair smooth, soft and healthy again. Use one called Pro Naturals moroccan argan oil conditioner, that's the one I use and it's the best at getting damaged hair back together.
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My Christmas present 2013 x3 28i already in for service
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As I reported earlier my brand new X3 experienced a catastrophic fail with the windshield fluid pump stuck on due to faulty junction box electronics. The dealer removed the fuse as a stopgap which means I can't lock the vehicle, I can't open the rear hatch and I have no way to clean the front windshield. I have been waiting since 1/25 for replacement parts and dealer nor bmw has provided a date. Anyone else having a similar experience? At this point I'm frustrated beyond belief and have my patience has been exhausted.
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Created attachment 52907 [details]
Reporter, please translate the text into English and reopen. Thanks in advance.
I'm sorry for my poor english... The following report is written in "CHINGLISH".
In chinese environment, the chinese characters can't be displayed correctly if you choose a non-chinese font(as Courier
New) for the editor. This may be "disposed" by setting fonts separately for "string" and "comments", but why don't give
a better solution as follows: 1-allow user to select particular fonts for western chars and CJK chars (see OOO Writer),
2-replace them with correct fonts (pre-define, user-define, or from font list: see CSS font-family).
kongnan, thanks for the report. You english is perfect, don't be shy to use it ;-).
Ken, is this something we already have on the list? I can vaguely recall similar issue. Is it Netbeans of JDK related?
Could you guys please reproduce it and attach the steps here (with the steps for chinese or japanese locale setup as
well). Maybe just post a link here, I think you already described the setup somewhere. Thanks
I believe this can be viewed as a good RFE for next release
but don't think its an actual issue for nb6 since there is now
just one font choice for a given item of editor.
(we are in the final phases of nb6 release right now)
there is also a rfe to allow for easier choosing of the
global editor font, so user does not need to choose multiple times.
And your #2 suggestion is good also, to have a smaller kind of list
that is applicable for fonts that can work with cjk.
can team evaluate and see if this is really an RFE or is it something
we can fix though I think if it involves new properties and ui/approach
for options it might be a longer term kind of fix.
I think suggestions by filer can be taken as basis for enhancements.
I agree with Ken, that this is rather RFE.
*** Bug 200948 has been marked as a duplicate of this bug. ***
This old bug may not be relevant anymore. If you can still reproduce it in 8.2 development builds please reopen this issue.
Thanks for your cooperation,
NetBeans IDE 8.2 Release Boss


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Small block 350 Chevy
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Originally Posted by
I have a set of LT1 Small block Heads the casting # tells me they are from a 1992 to 1997 LT1 Gen 2, I would like to use them on a 1979 350 Small block Z 28 Engine. I notice that the cooling ports are different
Will these heads work and what do I need to do?
The large coolant passages on the deck ends have to be welded closed, otherwise they will gush coolant into the interior (oily part) of the engine. Then since this distorts the gasket surface and leaves a glob of weld above the surface the heads have to be milled to restore the surface. Then the head has to have a regular coolant hole drilled partially into the patched area.
Then a coolant return hole has to be made in the front of the head for fittings to bring coolant to a collector box you'll have to fabricate or make by modifying a catalog item similar to what you need but not quite right. On the back of the heads is located a vent hole this needs to be either plugged or exploited with a fitting that can feed the heater bypass circuit.
You will need to purchase a carb style LT1/4 intake this is a GMPP kit that isn't too cheap, it's made to modify the LT1/4 from EFI to carb with a conventional distributor so it includes some stuff you don't need to terminate the Opti-Spark system of these engines.
Over the years I've done a few of these and in fact run a conversion on my S15. There really isn't a foolproof and inexpensive way of rerouting coolant to return via a conventional Gen I manifold. To do this still requires the plugging, drilling and milling on the gasket deck plus adds drilling into the forward cooling jacket and welding in a passage to route cooling to the manifold face that doesn't leak into the oily parts and at the same time provides a top end head oil return, so this adds a lot of complication and cost to the simpler way I discussed above.
I'd recommend you either sell these heads to a collector or buy the bottom end that fits them. However, I so love the LT1/4 that I recommend you sell the heads rather than buy a short block that fits them. This engine is a difficult and unique aberration on the SBC that is expensive to maintain and is really unconventional at most every problem it tried to solve. It's just a PIA unless you're really into these things and have the time and/or money it takes to mess around with them.
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Hi guys,
My wife and I volunteer at our local Little League. My wife also serves on the board and runs the small and neglected concession stand. They have a deep fat fryer that doesn't work properly and needs to be repaired. The brand name is Imperial and the fryer has two vats, one small and one large. It's the large vat that doesn't work and shuts off after cooking just one batch of French fries. The strange thing is that the pilot light also goes out. I troubleshooted the fryer tonight and had it working. I thought that my wife was turning the temperature up too high which would cause the high-limit switch to turn the fryer off. The concession stand has lost lots of money because they can't fry anything like corn dogs or mozzarella sticks, only french fries.
If anyone has experience with fryers please help. It's the kids who lose out and I'm sorry this hasn't been fixed sooner. Thanks!


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Spencer Armchair
this super cute chair and ottoman would look lovely in the living room or as the reading chair in my boudoir. each would require a different fabric, of course. fortunately, Pottery Barn has us covered in that regard, with almost a zillion fabrics to choose from. my faves are the Espresso Chain Link Jacquard and the Sailor Blue Twill.
comfort without any fuss. i love the plaid fabric and slim profile. a lack of skirt gives this piece a tailored, elegant look. great for the living room or home office.Tags: home, furniture, chairs, home decor, seating, home accessories, living rooms, armchairs, home officeAdded 9 Years Ago from Crate and Barrel
elegant lines and a rich color provide the perfect place to relax in the evening, and catch up on some quality reading time. a very pretty design.Tags: home, chairs, home decor, seating, red, home accessories, living rooms, den, home officeAdded 9 Years Ago from Allcoffeetables
what better way to exude confidence and guarantee yourself the best seat in the house? this bright red armchair might be a great place to start looking. i love the color, the design, and the lines of the chair.Tags: home, furniture, interior design, home decor, bedroom, home accessories, living rooms, sexy, armchairsAdded 10 Years Ago from World Market
moody and sophisticated, this armchair is sure to lend your living room or study a rich dark look. a likely favorite for reading or watching tv. i love the deep brown shade.Tags: home, furniture, home decor, home accessories, living rooms, armchairs, study, moody, reading chairAdded 10 Years Ago from Pottery Barn


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It turns out that this week is CHD Awareness week. Some of y'all might remember that last year I helped put together a Pinterest Board to share stories and raise awareness. I haven't had the wherewithal to plan anything yet this year. I keep saving all my heart-momma-friends' posts and reading them and vowing to put something up to commemorate Congenital Heart Defects and to draw attention to something that has had such a profound impact on our lives here at the Stanley Clan. Unfortunately, life hasn't even slowed down enough this week to allow me time to READ all those posts, let alone write one of my own. So instead, I'm pointing y'all in the direction of some of my friends' whose stories and posts are far more poignant than mine right now. We feel really passionately about congenital heart defects and awareness and pulse-ox screenings. And we know that, as well as Caden is doing right now, there will be more surgeries and his heart will always, always, play a huge role in our family's path and in bringing us to our knees before a God who loves and crafted Caden into the beautiful little boy who is snuggled in my arms right now.
If you dont know Caden's story, you can read it all right here.
You can also visit any of these fellow heart family's blogs, they are all sharing stories and facts and helping raise awareness about congenital heart defects this week.


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Magnussen Y187585
Y1875-85 Kenley Next Generation Youth Desk Chair in White Finish
Learn more »
When it comes to dressing up a room, nothing sets the stage like Kenley. A white finish, nickel drawer pulls, mirror with cork panels, and nightstand with charging station, touch lighting and night light offers timeless style with benefits Available at AppliancesConnection
Magnussen has a passion for details. They design every piece of furniture that carries the Magnussen Home name. Magnussen understands that finishing touches like intricately carved woodwork or ironwork do more than complete the look of a piece of furniture; they set the tone of your home. Their furniture does more than fill a home. It expresses who we are. An unwavering commitment to ensuring your satisfaction is what sets Magnussen apart. We invite you to browse furniture that takes craftsmanship and style beyond the expected. Consider compelling new designs for your living room, bedroom, dining room, family room, foyer and more
- Pure white finish
- Crafted of select hardwood solids with cherry veneers
- Decorative carving accents
- Tapered foot base for unmatched stability
- Brand: Magnussen
- Series: Kenley
- Type: Desk Chair
- Style: Transitional
- Width: 18"
- Depth: 21"
- Height: 38"
- Weight: 24 lbs
- Finish: White
- Material: Cherry veneer and hardwood solids
Y1875-54K3 Kenley Next Generation Youth Twin Panel Bed with 2 Storage Rails in White Finish Kit 3
$994.99Qty: Add to Cart Free Shipping
Y1875-10 Kenley Next Generation Youth Five Drawer Chest in White Finish
$679.99Qty: Add to Cart Free Shipping
Y1875-31 Hutch Only for Kenley Next Generation Youth Desk in White Finish
$250.00Qty: Add to Cart Free Shipping
Y1875-30 Kenley Next Generation Youth Three Drawer Desk in White Finish
$619.99Qty: Add to Cart Free Shipping
Y1875-20 Kenley Next Generation Youth Seven Drawer Dresser in White Finish
$679.99Qty: Add to Cart Free Shipping
Y1875-01 Kenley Next Generation Youth Two Drawer Nightstand in White Finish
$369.99Qty: Add to Cart Free Shipping
Y1875-42 Kenley Next Generation Youth Portrait Mirror in White Finish
$339.99Qty: Add to Cart Free Shipping
Y1875-90 Kenley Next Generation Youth Trundle in White Finish
$420.00Qty: Add to Cart Free Shipping
Info & Guides
- Brand:Magnussen
- Stock Id:244134
- Product Number:Y187585
- Series:Kenley
- Style:Childrens
- Width:18"
- Depth:21"
- Color:White
- Weight:24 Lbs
- Type:Desk Chair
- Height:38"
- Material:Wood
- Brand:Magnussen


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These wintry cupcake trees are a fun project for the whole family to make together with Duff Goldman by Gartner Studios baking and decorating products.
Start with a Duff Goldman by Gartner Studios cake mix(s) in a flavor of your choice. We used white cake mix for this project. Bake cupcakes according to package directions in 3 sizes in paper baking cups: jumbo, regular, and mini. After baking and cooling, stack them up largest on the bottom to smallest on the top then insert a bamboo skewer through the cupcakes to secure the tower. Trim the skewer to size if necessary.
Next, cut down a sugar ice cream cone, in about 1/2, and place it on top of the top mini cupcake. Using a small star tip (#16) on a tube of Duff's white icing, pipe a double row of branches around the tops of the 3 cupcakes and follow up the cone. Decorate immediately with a sprinkle of edible glitter or sprinkles, your choice. Top off the tree with a star. You can make the stay by using a rolling pin to roll a gumdrop flat in sugar, then cutting out a small star with a cookie cutter. Attach the star with additional icing.
Duff White Buttercream Frosting or White Icing Pouch
White Cupcake Liners
Small Star Tip #16
This crazy cake pokes sweet fun at Santa getting stuck in the chimney. This is a fun project for the whole family to make together with Duff Goldman by Gartner Studios baking and decorating products.
45 minutes + BAKING TIME / LEVEL: EASY/INTERMEDIATE
Bake a Duff red velvet cake in a 9″ x 13″ inch cake pan, following package directions. Remove from pan when cool, then freeze the cake. If frozen the next steps become much easier. Cut the cake into 3″ squares, then cut each square horizontally into fourths using a sharp serrated knife.
Using a pastry bag, pipe white icing between each of the four layers, stacking as you go. Next, pipe vertical lines to complete the vertical brick pattern. Top off the chimney with additional white icing and sprinkle with coconut if desired for a snowy effect.
Mold Santa's legs and feet using Duff colored fondant in red and black, then insert the feet into the top of the chimney. We made the white trim on Santa's boots with a slice of a small white gumdrop. White fondant would also work well.
Duff White Buttercream Frosting
Duff Fondant in red, black, and white
Coconut (optional)
White gumdrops
They're melllllting! Cake pops are crazy fun, especially these "melting snowman" cake pops. Make your standard snowman cake pop, or have some silly fun with the melting snowman instead! This is a fun project for the whole family to make together with Duff Goldman by Gartner Studios baking and decorating products.
1 hour and 15 minutes / LEVEL: INTERMEDIATE
Bake a Duff cake in a flavor of your choice in a 9″ x 13″ cake pan. Cool the cake complete, then crumble the cake into a bowl. (yes, we said crumble the cake.) Mix in some cake icing and then roll the cake mixture into balls in two sizes, one slightly smaller than the other.
Stack the two cake balls together, with the small one on top. Use your hand to flatten them slightly to create a "melted" look. Insert a cake pop stick into the top of each, then refrigerate. After about 15 minutes, remove the cake pops from the refrigerator and dip in white melting chocolate, letting the excess coating puddle under each snowman on wax paper, giving it a melted effect. When the coating has set, decorate the snowmen using mini chocolate chips for eyes and buttons and a sliver of an orange gumdrop for the nose (attached with more melted coating). The mouth is made by piping dots of melted mini chocolate chips. Make the hat with a small black gumdrop.
Duff Cake Mix, in your favorite flavor
White Melting Chocolates
Mini Chocolate Chips
Gumdrops, in orange and black


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CONTACT! and the Blogging Community
Hear the New York Philharmonic's inaugural CONTACT! concert this week on Q2, and read what the blogosphere is saying right now.
CONTACT! has already generated quite a bit of buzz. Read what's been written so far. Q2 will be updating this page as more reactions and insights are posted. Were you at the concert? Have an opinion? Tell Q2 what you think and be a part of our new music community.
Miss the concert? Hear the CONTACT! performance this Tuesday, December 22 at 7PM with an encore presentation Sunday, December 27 at 2PM. More from Q2's coverage of CONTACT! including full-length composer interviews here.
Just click on the name to read from CONTACT! bloggers such as:
Timothy Andres, from Andres.com
Broadway World
Feast of Music
Andrew Frisicano, from BrooklynVegan.com
Olivia Giovetti, from Time Out New York blog, "The Volume"
George Grella, from The Big City
Bruce Hodges, from Monotonous Forest
John Leiser, from JohnLeiser.wordpress.com
Lucid Culture
Sugar Vendil, from Classical Music is Dead*
Gigi Yellen, from The Gathering Note
Timothy Andres, composer and pianist, from Andres.com
Dalbavie's Melodia was also my favorite piece on the bill. It began as a measured series of seemingly unconnected gestures, which gradually morphed into longer ideas, based on pentatonic Gregorian chant. Each gesture was incredibly "perfect", in that inimitable way of French composers; fresh harmonies, beautifully inventive orchestration, just the right number of repetitions. It couldn't have made a more stark contrast to the piece that followed (and I'm using the term "piece" in its loosest sense here), Arthur Kampela's Macunaíma. Everyone always brings up Ives when there's a piece with lots of activity, marching band music, funny quotes, grinding dissonance, etc. Oh, he's a "Brazilian Charles Ives". Actually, Macunaíma was more of a "party piece", like Rzewski's Les Moutons de Panurge, though without any of the interest provided by having an audible process (or, you know, any coherent structure whatsoever). It provided exactly the sensation when you throw a party, and it reaches a certain point in the evening, and you wish everyone would leave your house so you can go to bed, but you get this sinking feeling that they actually have another few hours left in them. Just like that.
Nonetheless, it was kind of fun to see the NY Phil let loose for awhile (I almost forgot I was watching the NY Phil) because the first half of the program didn't really afford them the chance. Glenn Dicterow looked downright skittish during Arlene Sierra's Game of Attrition; I doubt if he ever had to work so hard simply to hold his section together during the entire Maazel era. It gave the proceedings that all-too-familiar air of a student new-music concert, where everyone's half-learned their part in dress rehearsal. Symphony Space's unforgiving acoustic did them no favors here; the violins sounded as if they were playing in the next room. Lei Liang's Verge faired better; he'd arranged his string orchestra as a series of stereophonic quartets, Bartók-style. This helped with sound distribution a great deal, though the opening would have sounded beautiful with a little reverb.
It's too bad about the acoustics, because Symphony Space is a nice-sized venue for this sort of concert, and it's informal and comfortable. They even served up a cough syrup-like booze potion afterwards. These guys are really working hard, I thought. As well they should. And though the concert was a mixed success, it's gratifying to see the Philharmonic taking risks that would have seemed unthinkable a year ago.
The debut concert of CONTACT!, the New York Philharmonic's new-music series, to be broadcast on Q2, Classical 105.9 FM WQXR's contemporary classical music stream, on Tuesday, December 22 at 7:00 p.m. and Sunday, December 27 at 2:00 p.m. Listeners may access the broadcasts by visiting www.wqxr.org/Q2 or iTunes.
The first CONTACT! program took place on Thursday, December 17, 2009, at Peter Norton Symphony Space, and featured works by Marc-André Dalbavie, Arthur Kampela, Lei Liang, and Arlene Sierra, performed by New York Philharmonic musicians and conducted by host Magnus Lindberg, The Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic.
The broadcast will include introductions by the composers, in discussion with Mr. Lindberg, which took place that evening prior to complete performance of their works.
The compositions - all New York Philharmonic commissions - are Marc-André Dalbavie's Melodia, a piece where noise evolves into melody; Arthur Kampela's MACUNAÍMA, based on a book about a Brazilian mythic hero; Lei Liang's Verge, inspired by the birth of his son; and Arlene Sierra's Game of Attrition, inspired by Charles Darwin's theory of evolution, natural selection, and power struggles. The instrumentation varies from work to work. Mr. Dalbavie's piece, for example, utilizes 13 players that include winds, horns, percussion, and strings. Mr. Kampela's piece is for 20 players, with five off-stage led by an assisting conductor. Mr. Liang employs 18 strings, and Ms. Sierra uses 20 instruments, including winds, brass, percussion, harp, keyboard, and strings.
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Classical Diversions: New Music On Fire In New York!
New York's new music scene, always aglow with the fervor of ongoing cultural metamorphosis, suddenly seems fully on fire. In recent weeks, sensational concerts including new works have been given by Lincoln Center's New Visions series, the American Composers Orchestra, and the New York Philharmonic's new CONTACT! series, among others. And it no longer feels as though these concerts are attended only by new music cognoscenti. Lots of generally curious music lovers pile in, too (many of these concerts were buzzed up and sold out!), the result, in part, of indefatigable work done over the years by Bang on a Can and other institutions that have helped open new ears to new music.
The Philharmonic's CONTACT! Series is an especially welcome newcomer. Part of the new energy that has seized the orchestra since dynamic Alan Gilbert stepped onto the podium as Music Director a few months ago, CONTACT! made an auspicious debut last week in concerts at Symphony Space and the Metropolitan Museum of Art. The program for both concerts featured four new works that, mirabile dictu, one hopes to hear again; they were introduced by the orchestra's engaging composer-in-residence, Magnus Lindberg: Arlene Sierra's Game of Attrition, for chamber orchestra; Lei Liang's Verge, for eighteen strings; Marc-André Dalbavie's Melodia, for instrumental ensemble; and Arthur Kampela's Macunaíma, for an ensemble heavy on percussion, including a complement of spring drum thingies meant to evoke the Brazilian forest.
If you wish you could have been there at Symphony Space or the Metropolitan Museum, or you were there and want to hear the program again, here's your chance: this debut CONTACT! concert will be broadcast on Sunday, December 27 at 2 p.m. on Q2, WQXR's contemporary online classical music stream.
And may we put another event on your radar? The CONTACT! Series returns on Saturday, April 17, when Alan Gilbert will be conducting members of the Philharmonic, with baritone Thomas Hampson, at the Metropolitan Museum. On the bill will be three world premiers: Sean Shepherd's These Particular Circumstances, Matthias Pintscher's Songs from Solomon's Garden, and a new work by young superstar composer Nico Muhly.
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Flying Carpets
I braved the snow on Saturday to make my way up to the Metropolitan Museum of Art, where the NY Philharmonic was holding the second of its two debut performances as CONTACT!, the Phil's new, new music series. There is precedent for this sort of thing elsewhere: the LA Phil's Green Umbrella concerts have been around for nearly 20 years, and the Birmingham Contemporary Music Group - made up of players from the City of Birmingham Symphony Orchestra - has been performing since 1987. But, for an orchestra that has been living far on the conservative end of the spectrum for the past three decades, this was a welcome add-on. (Pierre Boulez, the Phil's director from 1971-77, used to conduct contemporary music all the time, though he alienated audience and players alike by all-but-abandoning older music.)
Curated and conducted by the Phil's composer-in-residence, Magnus Lindberg, CONTACT! commissioned small ensemble works from four composers, all in their 30s and 40s. The Philharmonic seemed to be trying really hard to appeal to a younger audience, pricing tickets at $20 and marketing the event under the banner: "Prepare to go where no audience has gone before." (Ugh: what is this, a Star Trek convention?) They even hosted a "Blogger Night" at Symphony Space on Thursday, complete with open bar and a chance to chat with the composers afterward. (I was invited, but had to decline due to a preexisting date with my office holiday party. Oh well, at least I still managed to find an open bar...)
It was also a conscious decision to hold the event outside of Lincoln Center, in what the Phil referred to as a "less formal, more intimate setting." (Presumably, this was less labor intensive than ripping out all of Avery Fisher's seats and replacing them with carpets, which Boulez did for his famous "Rug" concerts.) Although I wouldn't exactly call the Grace Rainey Rogers Auditorium an informal space, it was nice to hear the Philharmonic play a smaller room for a change, with good light and forgiving acoustics.
There were definitely some hiccups that need to be worked out. Lindberg, who spoke with each of the composers before their piece, was awkward and strange with his thick Finnish accent and nervous, almost inappropriate laughter. Lindberg is a formidable composer, but his baton technique could...well, use some work. And, while the Philharmonic men all wore black Chinese shirts in place of their usual penguin suits (cool!), the women mostly wore their usual concert dress (not cool!)
As opposed to Friday night's Galapagos show, CONTACT! was all about formal music, written from an academic point of view. London-based Arlene Sierra's Game of Attrition had something to do with Darwinism, pitting instruments against each other. It sounded like standard spiky modernism to me, with a brutal finish in the percussion and winds.
Chinese-born, California-based Lei Liang's Verge proved to be the highlight of the night, using four string quartets and two double basses to create an incredibly tense atmosphere that built to a fever pitch. Lei imbued his music with a distinctive Chinese sound, full of bending notes and hand slaps that ebbed and flowed like the Mongolian long chant he grew up listening to. An absolutely fresh and vital voice I hope we hear more of in these parts. (You can listen to a clip of Verge below.)
French composer Marc-André Dalbavie worked with Lindberg at IRCAM in the 80's, where he was an early exponent of Spectral music: the movement which sought to break music down into its molecular elements. Dalbavie claims to have moved on to more melodic writing - reflected in his piece's title, Melodia - though to my ears, his music sounded mostly disjointed, at least until the slow, soft fade at the end.
The concert ended with Brazilian-born Arthur Kampela's Macunaíma, which Kampela claimed - in a manic, rambling introduction - was his attempt to "deconstruct" the instruments of the orchestra and, by so doing, "teach the Philharmonic players a new way of playing." After a 20 minute circus of harsh, ugly sounds that had the musicians mumbling to themselves, walking up and down the aisles and, at one point, playing behind a curtain, I can only hope this particular lesson didn't settle in too deeply. Is it too much to expect the Phil to have a filter that would keep them from staging the musical equivalent of a fart joke?
CONTACT! will be back at the Met Museum on April 17, featuring world premieres by Sean Shepherd, Matthias Pintscher and Nico, who kidded with me about a possible NY Phil commission during my chat with him last year. Let's hope the Phil works out some of their kinks by then.
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Andrew Frisicano, from BrooklynVegan.com
the New York Philharmonic CONTACT! series - first show, pics, video & broadcasts online tonight & Sunday
The New York Philharmonic's CONTACT! new music series kicked off its first installment on Thursday, December 17th at Symphony Space with four pieces written for the occasion by four very different composers (and repeated two days later at the Metropolitan Museum of Art). Conductor and NYP composer-in-residence Magnus Lindberg guided the audience in with a brief onstage conversation with each piece's composer. The personal and distinct voices that came out helped immensely in absorbing their sometimes abstract work. Arlene Sierra noted the Darwinian inspiration for her Game of Attrition, which politely pits similarly voiced instrument against one another (imagine a busy garden full of competing life). Lei Liang labeled the sources for his piece - his new son (literally, picking notes from his name, Albert) and the sounds of his Chinese roots - but those gave little warning for what came next. The piece's otherworldly, almost-electronic introduction expanded into an awesome burst of melody and abrasion. A clip of the piece, Verge, is above. The New York Times described is as such...
The opening, an atmospheric haze of sounds laced with soft bow scrapes and cosmic high harmonics, seems not very pitch-oriented. Soon, however, melodic fragments and thick, piercing chords emerge, along with a plaintive theme meant to evoke Mongolian chant.
At one point the music breaks into a grimly urgent episode, as the instruments dispatch perpetual-motion riffs. Verge ends in spiritual calm, though the sustained chords are still pierced with ethereal scratching sounds.
French composer Marc-André Dalbavie struck up a friendly chat with Lindberg as they reminisced about old times. And last up, Arthur Kampela absolutely bound off the stage with excitement and ideas about his piece, based on the fantastical Brazilian novel Macunaíma (from his summary, well worth checking out). It was more physically experimental than the others, with orchestra members entering and exiting through the aisles and hiding offstage for a portion of performance (to hold what sounded like a party behind a black curtain). The music resembled his verbal retelling - intriguing and quixotic - leaving a strong impression.
Hear it for yourself: The performance is bring broadcast on WQXR's Q2, the classical station's classical online stream, Tuesday, December 22 at 7pm (now) and Sunday, December 27 at 2pm. You'll have to wait until April for the next event of the series, which focuses on three composers - Nico Muhly, Matthias Pintscher and Sean Sheperd.
Listen to Lei Lang's Verge below.
[photos by Chris Lee]
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Olivia Giovetti, from Time Out New York blog, "The Volume"
Live Blogging CONTACT!: Arlene Sierra Wins the Game of Attrition
Posted in The Volume by Olivia Giovetti on December 17th, 2009 at 8:33 pm
When Alan Gilbert (known now in the TONY office Alan Motherflipping Gilbert) took over the New York Philharmonic, he brought with him a vibrant energy that he has, in part, channeled into the development of new works. And if David Byrne's recent complaint that American arts funding is being primarily channeled into the glorification of "dead guys" is any indication of how desperately we need these new works, CONTACT! has come just in time.
As this is being typed, at the Phil's ingenious invitation to live bloggers and Tweeters, we are sitting in Symphony Space listening to the first of four pieces (all written this year) by a quartet of intrepid 21st century composers with a nod to the past and an eye to the future. The new age of classical music in New York couldn't be more aptly heralded than with Arlene Sierra's Game of Attrition. Florida native Sierra, who now lives in London, has spent the better part of this year mired in the festivities of the Charles Darwin bicentennial. Natural selection's originator is, in Sierra's words, "a national hero" who is so ubiquitous his face appears on British currency. And, as Sierra also points out, attrition plays a major part in natural selection with creatures competing for the same environment and resources (a familiar concept to anyone seeking arts funding nowadays). At turns spry, savage, sly and seductive, Game of Attrition is a Stravinskian play between brass and strings, piano and percussion that is so enrapturing, it seems criminal to be typing while it plays.
Live Blogging CONTACT!: Lei Liang On the Verge of a Glorious Breakthrough
Posted in The Volume by Olivia Giovetti on December 17th, 2009 at 8:51 pm
Lei Lang begins Verge, a piece for two double-basses and four string quartets written in the months leading up to the birth of his son, not with the assertive arrival of Sierra's piece, but with echoes and waves, possibly the way we heard sounds from inside the womb. Yet this is no nativity piece. A far cry from The Creation or El Nino, Verge is more a meditation on identity. Quite literally, the recurring A, B and E notes are found in Liang's son's name, Albert. Surviving Tiananmen Square and shortly thereafter emigrating to the States, Liang blends his two cultural identities in song, drawing on traditional Mongolian music and both Western and Eastern idioms (especially a pulsating Italianate sound from double bass and cello and a higher, Mongolian echo in violin and viola). Like his son and Liang himself, this piece is a combination and celebration of the two.
There's an aura of emergence, the sense of a birth that very much permeates the auditorium. We can't help but feel like surrogates to this delivery, waiting for the first glimpse of the head, listening for the first cries. There are the pushes, the breaths, the slaps, the contractions and on the podium Mangus Lindberg is, at this moment, the best doctor in New York. Possibly the country. Possibly the world.
By the end we're beaming with parental pride.
Live Blogging CONTACT!: Marc-André Dalbavie Devolves Into Evolution
Posted in The Volume by Olivia Giovetti on December 17th, 2009 at 9:36 pm
Marc-André Dalbavie defines the main training of a French musician as "to work on color, to work on harmony, to work on [a] complex evolution from one color to another." Even if his name weren't so obviously (and thrillingly) Gallic, his Parisian training would shine through in Melodia. Working almost backward from a minimalist opening to a Les Six-tinted middle to a Romantic-era gallop into the meat of the piece (which, in turn is based on a Gregorian line), Dalbavie manages to create an evolution while simultaneously creating a devolution.
For all its compelling moments (and a rainbow of colors), Melodia begs for a second listen. With what we originally assume to be a pretty simple piece of music in a 9th century melody (if those Gregorians only knew what would happen twelve centuries later…), there is an inherent complexity. By the end it's coaxed out, however we want to retrace the line to fully understand the journey of that line. Knowing how the story ends would, for once, be beneficial to appreciating the story on the whole.
Live-blogging CONTACT!: Arthur Kampela Delivers a Jungle Boogie
Posted in The Volume by Olivia Giovetti on December 17th, 2009 at 10:12 pm
In Mário de Andrade's rhapsodic 1928 novel, Macunaíma, the title character transcends race, culture and even the human body in a metamorphosis allegorical to the pan-culturalism of Brazil. With this as the basis for Arthur Kampela's piece of the same name, it's hard not to think of another recent percussion-centric piece that was inspired by a novel. Yet where So Percussion's Imaginary City has very few direct parallels between Italo Calvino's Invisible Cities, Kampela seems to take de Andrade's book very much to heart.
Sound comes from another part of the theatre as a sextet of musicians march down the theatre's aisles with textures and instruments from the murky reaches of the Brazilian jungle. It's all-enveloping and all-encompassing. It's also really freaking cool. As brass, strings and woodwinds join, they play in the same vein as their percussive counterparts. Taken on their own, some of the elements could be vaguely ridiculous in the way that that modern music was send-up in the indie flick (Untitled). Yet the atonal chromatics of a violin, the ascending scales of a clarinet and the seemingly sporadic slams on a piano all converge rather harmoniously (if not necessarily harmonically). Not to be outdone, the echoes of a roaring '20s-era samba join in, the portrait of a country at once modern and ancient. Clearly there's a method to Kampela's madness. And if these four pieces (which will be encored at the Metropolitan Museum of Art on Saturday) are in any way indicative of what's to come from the Phil, we can only repeat the last line of our overall grade of 2009: Alan Motherflipping Gilbert. We rest our case.
Read more from Time Out New York's "The Volume" »
George Grella, from The Big City
New Music New York
I saw the New York Philharmonic's CONTACT! concert Saturday night at the Metropolitan Museum and will have a review of it soon at MusicWeb International's Seen and Heard (the holidays do slow down the publication process a bit), but can say in brief that it was impressive all around, and you can hear it for yourself at Q2, which will be streaming a recording of it at 7PM on Tuesday, 12/22 and at 2PM Sunday, 12/27. Unfortunately you will be missing the theatrical element of Arthur Kampela's piece, but you'll still hear a lot of good music. It's incredibly important and exciting that the orchestra of New York City is promoting new music again, in what is arguably the capital of new music and creative experimentation.
Bruce Hodges, from the blog Monotonous Forest
Last night at Symphony Space the New York Philharmonic inaugurated CONTACT!, the orchestra's contemporary music series, and the exuberant result bodes well for the future. Composer-in-residence Magnus Lindberg made his Philharmonic conducting debut in four world premieres for a capacity audience -- and not only from the new music universe, either. (Although make no mistake: if a bomb had dropped on the building, a significant portion of New York's compositional talent would have been wiped out.)
Introducing her Game of Attrition with a reference to Darwin, Arlene Sierra described instruments competing with each other for prominence. Small cells (e.g., pairs of sixteenth notes) scurry about in restless, constant motion, like some oddly ticking clock. Chinese-born Lei Liang offered Verge, a tribute to his newborn son, for 18 strings divided into four quartets plus two double basses. His gimmick, well-realized, was to use only notes derived from "A-L-B-E-R-T," his son's name. The result is filled with rapid tremolos and melodies that sound like Mongolian folk tunes.
Marc-André Dalbavie acknowledged his spectral roots but described his gradual transition to more "horizontal" music, and in Melodia drew on a 9th century melody, which gradually materializes from a microtonal cloud. In between the ensemble makes voluptuous flourishes -- repeated appearances of a sort of arpeggiated chord -- showing Dalbavie's masterful use of color. I can only echo a friend's comment afterward, who thought it a treat to hear the Philharmonic play this score with such utter mastery.
For the finale, Macunaíma, Arthur Kampela used six percussionists walking up from the back of the theater wielding spring drums: small cylinders, each with a slender spring sprouting from the bottom, which create a gentle whirring sound when shaken. When they reached reached the stage, the other musicians gradually joined in, but with surprises: bassoonist Judith LeClair brushed a metal washboard, Liang Wang (oboe) appeared to have a ratchet, and Nancy Allen's upper harp strings were basted with masking tape to give her an array of clicking sounds. At one point some musicians wander offstage, creating what sounds like a dance band and the faint sounds of conversational chatter.
Lindberg made an affable host, eliciting concise, illuminating comments from the composers and excellent work from the Philharmonic, many of whom were smiling ear to ear. Afterward, more than a few people lingered to hear Lindberg interview the composers onstage, while in the back of the hall, others indulged in cocktails in his honor, made with Finnish vodka, of course.
The concert will be repeated on Saturday, Dec. 19, at 7:00 PM at the Metropolitan Museum of Art. Concerts on April 16 and 17 will feature premieres by Nico Muhly, Sean Shepherd and Matthias Pintscher (the latter with Thomas Hampson), all conducted by Alan Gilbert.
[Above, left to right: Kampela, Sierra, Liang, Dalbavie and Lindberg. Photo: Chris Lee for the New York Philharmonic]
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John Leiser, from JohnLeiser.wordpress.com
CONTACT! at Symphony Space 12/17 Lindberg
The new director of the NY Philharmonic, Alan Gilbert, has promised to have more newly composed music and the first of these concerts was at Symphony Space. Magnus Lindberg, the composer in residence, conducted and chatted with the composers before each piece . The place was full of enthusiastic listeners for four world premiers by four composers. Arlene Sierra spoke about her interest in game theory and then we heard her aural conception of it in an interesting piece that moved the players into different groups for sounds. Then Lei Liang spoke about his new son Albert and how he assigned notes to Albert's name and composed within that restriction and came up with a spacey soundinga piece called Verge; like on the verge of this and that, great stuff. Marc-André Dalbavie said that he was moving towards a more linear type of composing and his piece, Melodia, was odd and charming at the same time. Arthur Kampela spoke of an Amazon legend, Macunaíma, and was a percussive holiday with the players moving down the aisles with noise makers and pulling strange sounds from the "real" instruments, pretty wild stuff.
I just hope that the new music isn't delegated to odd venues, Not that Symphony Space is odd, but some how Mr. Gilbert finds a way to bring it to the Avery Fischer bunch too. I hate to say this, but take a peek at what Salonen did in L.A.
Read more at JohnLeiser.wordpress.com »
The debut concert of CONTACT!, the New York Philharmonic's new-music series proved auspiciously to be a lot more than just a PR opportunity, a brazen attempt to court a younger audience: these people mean business. The NY Phil has commissioned works for decades, but the fact that they selected Arlene Sierra, Lei Liang, Marc-André Dalbavie and Arthur Kampela to create an inaugural program of world premieres for a series devoted exclusively to the avant-garde underscores the seriousness of their commitment. Under the direction of composer-in-residence Magnus Lindberg – making his NY Phil debut as a conductor – players from the Orchestra demonstrated a versatility and an unabashed enthusiasm for a program that was challenging and often highly unorthodox (and thus a welcome break from the familiar canon – it probably couldn't have been timed better for the musicians).
Sierra's Game of Attrition was described beforehand in a brief dialogue between composer and conductor as essentially math-rock for orchestra, a Darwinian competition for space between instruments of similar timbres. Composers have been sending motifs on a journey around the orchestra, or from one rank of the organ to another, since before Bach. But with a playfulness and an understated deliberation, Sierra's simple ideas grew as she said they would into larger, more expressive figures: evolution on display, the warmth of the lows contrasting with the ominous portents of the highs and what sounded like a deliberate quote from The Eton Rifles by 70s mod punk rockers the Jam. The tension was most appealingly apparent toward the end in a detente-breaking conversation between marimba and piano. And then it was over.
Lei Liang's Verge, for 18 Strings was another successful attempt to put new spin on an old idea, in this case using the notes of the scale to spell out a name. It's been done scores of times – you assign a note to the first twelve letters of the alphabet, and then you start over. Google Prelude and Fugue on B.A.C.H., for example and see what you get. Liang dedicated this one to his infant son: he'd started the piece before the child was born, hence the title. With the strings arranged T.S. Eliot style in four quartets with a bassist at each end of the stage, it was a hypnotic, ambient, oscillating tone poem replete with quadrophonic effects that built to a dramatic, windswept crescendo of Mongolian tonalities on the second movement, evocative of throat singers Huun Huur Tu's most recent work. It was the high point of the evening.
Marc-André Dalbavie and Lindberg met in Paris in the 80s and bonded over their passion for spectral music. Dalbavie told the audience that he was moving further and further toward a horizontality in his composition, and his Melodia, for Instrumental Ensemble cleverly blended in the well-known Dies Irae theme from Gregorian chant, an effective update on what Rachmaninoff did with Isle of the Dead. While the tonalities would shift ever so slightly, the dynamics bubbled and lept, often in considerable contrast with the stillness of the melody, such that there was.
Arthur Kampela's Macunaíma takes its title from a seminal Brazilian magic-realist novel from the 1920s. To be fair to the composer, it seemed from the point of view of one unfamiliar with the book to be a narrative, and for that matter, it might have been spot-on. But for those in the crowd who hadn't read it, it sounded – as one cynic put it - "like the four-year-olds in my morning class when you pass out the instruments." It actually wasn't that bad, percussive and carnivalesque, but like the kind of carnival that takes place on the far side of a Stop and Shop parking lot in northern New England, where it seems that the carnival guys have left all the best rides back in Massachusetts, and the sounds that make their way across to the folks on the other end aren't exactly enticing enough to lure the eight-year-olds who make up their target audience. It was impossible to tell whether the ensemble were enjoying themselves or just counting time until the end, which they did perfectly: the composition didn't afford them the opportunity to do much of anything else.
Don't just take our word for all this: the entire concert will be rebroadcast in its entirety on Q2, WQXR's contemporary online classical music stream this Sunday, December 27 at 2 PM. And even more auspiciously, CONTACT! continues on April 16 at 8 PM at Symphony Space, Alan Gilbert conducting world premieres by Sean Shepherd, Nico Muhly and Matthias Pintscher.
Read more at LuridCulture.wordpress.com »
Sugar Vendil, from Classical Music is Dead*
The Nouveau Classical Project
Live Blogging- CONTACT! at Symphony Space
This is hard! Note: post will change throughout evening.
Just finished hearing Arlene Sierra's Game of Attrition. Lindberg interviewing Lei Liang, he made his piece based on his son's name, Albert. His piece, Verge, has ideas of converge and diverge. Inspired by Mongolian tradition. Anyway you can read all the educational stuff online.
Listening to Verge now. Guess it's not about his son, as there seems to be an uneasy feeling prevalent, and at times anxious feeling. Liang has created some unique effects with the strings.
Sierra: indifferent. Liang: strong like, not love.
intermission…I can chill now thank goodness.
Concert about to start again
Lindberg discussing spectral music with Marc-André Dalbavie. D. said something about color and the music being autobiographical in Melodia, upcoming piece.
Dalbavie isn't afraid of having some tonal elements in his music. Yes there are enough unique harmonies and non-diatonic melodies (man I NEED to brush up on theory if I'm gonna keep doing this live stuff) that make it sound "new" enough. But Dalbavie conveys cohesive musical thoughts… I should probably go into depth, but like I said about my theory skills… anyway it's clear there are some established compositional elements he uses that do not take away from the originality of his voice.
Artur Kampela wearing funky black and white plaid pants talking about Macunaíma. Talking about how idea of listening is philosophical, linked to the imagination, how we only hear and mostly see. He talks really fast and is enthusiastic about listening! Applause and amusement from the audience.
Electronic sounds start off the piece–church bells, wind. Pretty stark. People walking down the aisles making sounds with what seem to be home made can instruments. Basically sound effects to set up atmosphere–sounds like the wild, nature, even frogs. Kampela creates a picture, relates back to what he was saying about listening and imagination. I'm wondering though, do I have a certain picture in my head because I associate these sounds with what I've heard in movies? Disney cartoon is coming to my head. Running through the forest. Cheshire Cat. I was expecting something else after that talk. Tuba and viola, I believe, just walked off stage.
Now it sounds like we're back at the fair! As if we had fallen asleep and had a weird dream. People who walked off are playing different music backstage… the musicians who are on stage have a sound effect type of deal going on. The two orchestras create the feeling that we're in two places at once–body in one place, mind in another. Musicians are coming back now…
Now it comes full circle, the music continually transitions almost as if rewinding, back to the atmosphere of the opening, closing with the people who had walked on at the beginning exiting with equal starkness.
I am hungry and I can't wait to have a drink at the post-show reception.
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Gigi Yellen, from The Gathering Note
Writing from New York, where an exemplary innovation in music programming launched tonight in a hall you might know as the home of that radio show Selected Shorts. The Peter Norton Symphony Space holds about 750 people; looked like at least 600 came out for the launch of CONTACT! a new-music series conceived by New York Philharmonic Music Director Alan Gilbert and curated by the Philharmonic's composer-in-residence, Magnus Lindberg.
The composers Arlene Sierra, Lei Liang, Marc-André Dalbavie and Arthur Kampela received the commissions for this first pair of concerts in the series. (The concert repeats Dec. 20 at the Metropolitan Museum of Art.) Dressed in casual black like the musicians (and all but one of the composers -- hang on), Lindberg addressed the audience, introducing each piece by doing a short interview with its composer: a couple of hand-held microphones, a couple of stools stage left, a couple of comfortable minutes.
Sierra's cerebral explanation of her Game of Attrition, for Chamber Orchestra, which opened the evening, met Lindberg's insistence that the composer talk about rhythmic textures. Rhythm -- a persistent dactyl -- is the glue in this exploration of conflict among matching pairs of instruments (bass drum and string bass against, say, oboe and bassoon, or piano and harp). Janacek's Sinfonietta came to mind, and at one point Villa-Lobos (more about him later). The American-born composer (Miami, Florida, 1970), who lives in London (and teaches in Cardiff), spoke of the big British celebration of this Darwin centennial year as an inspiration for the piece.
The Sierra work and Kampela's Macunaíma called for the biggest ensembles of the evening, 21 and 22 players. The Philharmonic's hardworking harpist, Nancy Allen, performed in three out of the four pieces, but neither she nor anyone other than bowed strings played in the evening's second work, Verge by Lei Liang.
Born in Tianjin, China, in 1972, Liang came to the U.S. when he was 17, following the Tiananmen Square protests (he now teaches at UC San Diego). He described his new composition as a gift for his newborn son—written on the verge of his birth, working with three letters of the boy's name (Albert) and the rhythms of the fetal heartbeat. "Verge," "converge" and "diverge" figured prominently in the composer's comments. He cited a Mongolian chanter as the primary inspiration for the melodic material.
Verge uses four grouped string quartets, plus two string basses, for a tender texture merging Asian and western influences. The viola gets the first solo, and plays a prominent role throughout the piece, often in its high registers, as a meditative introduction featuring sweeping glissandi and percussive bass gives way to a fugal rush at the center of the work.
After intermission, a jovial Lindberg introduced the composer Marc-André Dalbavie, his friend and colleague from 25 years ago at IRCAM, the Paris-based Institute for Acoustic/Music Research, Pierre Boulez's old stomping ground. They spoke of spectral music, of vertical music, and of how Dalbavie's work has returned to his first love, Gregorian chant, becoming more horizontal, as evidenced by the breathtaking Melodia, composed for this concert.
This work used the smallest ensemble on the program, just 13 players. A 9th century requiem melody, stated in the opening bars, anchors this hymn-like work, which luxuriates in all its French color. Papa Debussy and his Jeux des Vagues have not been forgotten. Percussion included gentle gongs. There was drama in frequent sforzandi, and in the Bach-like crescendo that returned to plaintive horns over ominous strings, a prayerful conclusion. The composer was born in Neuilly-sur-Seine in 1961 and lives in St. Cyprien.
Rearranging the stage for the final work took a while: 22 musicians in a semicircle, and some offstage arrangements too. Macunaíma by the Rio de Janeiro-born, New York-based Arthur Kampela, provided whimsy, intensity, and challenge, starting with the presence of the composer himself.
The 49-year-old Kampela bounced onstage, a head full of auburn curls cascading to mid-chest, wearing a checkered collared shirt topped with black leather buckled vest and a sport jacket, over black and white plaid pajama-style pants. All effusive energy, Kampela called the title character of his new piece The Till Eulenspiegel of Brazil, an adventurous prankster, its literary source "one of the early attempts at magic realism." Before Lindberg tapped him on the shoulder (otherwise, he might have gone on for an hour), the composer was emphasizing the difference between just hearing and really listening. "If we hear a sound from the other room, is it what we think it is?" he asked. Sound trite? Ah, not in light of what followed.
Lindberg took the podium, then looked out into the house: first right, then left, a serious look, headed all the way to the back wall. Was the look part of the performance? I wondered. In fact, it was a cue: from somewhere outside the hall, a bell chimed; then there emerged long, low sounds like impending thunder. These came from six players, three proceeding down each aisle from back to front, banging a spring drum as they walked.
Remember that reference to Villa-Lobos? Here is that great Brazilian's shadow, not overpowering (as Beethoven's was to Brahms) but inspiring: sounds of the rain forest are everywhere in this piece. The players of the spring drums included harpist Allen, percussionists, and other ensemble performers who took up their usual instruments when they arrived onstage. But Allen's harp featured a paper insert through an octave or more of its strings, and that was hardly the only modification.
"The word musician is not limited to a person who plays a particular instrument," stated Kampela, whose approach to creating is to ask what sounds any instrument can make without breaking. Springs and chopsticks took the place of bows; the piano was modified. Musicians left and returned (indeed, the ensemble includes a "conductor of offstage band," Daniel Boico in this performance, inserting an Ivesian interlude of offstage laughter, cocktail-party chatter, and cafe tunes a Brazilian band might play).
In short, this was a well-programmed evening, traversing a multitude of aesthetics and influences, and encouraging audience engagement in the living work of music. An "ask the composer" Q&A session after the show enticed a handful of audience members to the thoughtfully-placed microphones, but the majority just helped themselves to the festive opening-night reception. I caught up with bassist Satoshi Okamoto, fresh from playing in Macunaíma, and asked him about preparation. He got the score in November. They had three rehearsals, including talk time with the composer. The score looks like a diagram. You can see a bit of that score in this video of Kampela produced as part of the NY Philharmonic's support for this concert.
The Dec. 17 concert repeats Sunday night at the Metropolitan Museum of Art. And it will be broadcast—and webcast—twice: Tuesday Dec. 22, 7pm EST and Sunday Dec. 27, 2pm EST on the new WQXR stream dedicated to contemporary music, Q2.
See what's happening with classical music listening? You can hear this concert anywhere in the world, as you can read this anywhere in the world. But it'll come to you from the town where it was performed. Expensive? No doubt. Alive? Absolutely.
Like so many other cultural centers, Seattle is grappling with contemporary challenges to the classical music performance and broadcast models that have served it so well for so long. Here's an example from New York of a best effort at keeping the music both local and accessible, alive and rooted in the great traditions.
The CONTACT! series continues in April with world premieres by Sean Shepherd, Nico Muhly, and Mattias Pintscher to be conducted by New York Philharmonic Music Director Alan Gilbert.
Read more from The Gathering Note »


text:
KKK wants to rally in Nahunta
There are 103 comments on the jacksonville.com story from Feb 12, 2010, titled KKK wants to rally in Nahunta. In it, jacksonville.com reports that:
The city today denied a Ku Klux Klan group's request to use its parking lot for a rally to raise public awareness on sex offenders, illegal immigration and prayer in school.
Join the discussion below, or Read more at jacksonville.com.
Valletta, Malta
#1 Feb 13, 2010
Back to the good old days.
#2 Feb 15, 2010
Florida has always been the leader in keeping kaffirs under control.
#3 Feb 15, 2010
..next to the Boers that is.
Since: Dec 09
Pretoria, South Africa
#4 Feb 15, 2010
We dont need that kind of trouble here, said Jude Conrad of Nahunta.If the KKK comes, then the people against them will come and the only thing that will come out of that is a big mess.
Jude Conrad is a Fun spoiler!!!
#5 Feb 15, 2010
More like a communist.
"Listen to your instincts.."
Since: Jan 10
Canadian Pride
#6 Feb 15, 2010
Lol...most towns would wipe the street with them. That wouldn't be tolerated here.
Valletta, Malta
#7 Feb 15, 2010
Do you tolerate blacks to overrun you with crime?
It's what America, Europe and Africa needs. They would be given a hero's welcome, except by blacks and stupid liberals.
#8 Feb 15, 2010
Why can't you understand SIMPLE psychology? The name KKK, and Nazi, have negative feelings. With the Jews whining about the holocaust they are dead. People just know Nazi is BAD, and that's all they know, why? they don't really know, just bad bad word.
We NEED new labels that are not offensive to succeed.
A kinder gentler approach to gain the acceptance of the masses.
#9 Feb 15, 2010
KKK is BAD WORD, just like NAZI.
The only picture that enters people's minds is blacks hanging from tree's.
#10 Feb 15, 2010
Your problem is you are too idealistic, and not SHREWD at all.
You have to be SHREWD in this new world.
#11 Feb 15, 2010
Why do YOU invoke them all the time, Glen?
Is it because you're a 'Kosher Nutzi'?
#12 Feb 15, 2010
Fawk you you PC kakhead. I don't care if you call me Hitler, a racist, a negro, a cracker or anything else. Anyone bothered by a word is a pathetic sack o shit.
#13 Feb 15, 2010
Well, Glen is a pathetic sack o shitskin.
#14 Feb 15, 2010
Except from article:
"Grand Dragon Gregg Wolf of the Knight Riders, Knights of the Ku Klux Klan, went before the City Council on Monday seeking a permit to hold the rally from noon until 2 p.m. Feb. 20 at the City Hall parking lot."
The only thing is 'GW' that Wolf is a very common Jewish name.
Sounds like another 'Kosher Nutzi', BEWARE!
#15 Feb 15, 2010
The way I see it, there are two camps if jews. Left and right.
Look at chimpout and ni88mania, they are run by jews but they are brutal with the kaffirs. I read a long interview with Joe Slavo or one of the anti-apartheid jews and they were denouncing other jews in the US trying to claim what they did was just because they are jews.
I know those fawkers in Israel are not like liberal left American jews. The can not have the same goals. They stand out because they always have high IQ's, so they accomplish big tings.
Many Boer consider Israel and the jews a real friend for the partnership during apartheid.
I myself just speak my mind. You know I am all over the place with my views. I am like a devout Christian atheist..lol
#16 Feb 15, 2010
Israelis are a whole different ballgame from their leftist Yank cousins, they hate Schwartzas.
#17 Feb 15, 2010
Yeah of course, after the jews have ruined every white society, now in Israel when it comes to their own land, they want to be racist.
Not going to happen, because us gentiles intend to scream racism as loud and as whiny as JEWS.
Israel GETS NO APARTHEID STATE, not on our watch.
#18 Feb 15, 2010
Well, IDIOT, that would be a overwhelming majority of Americans,
What you think is KAK, you are ONE person.
#19 Feb 15, 2010
There are many Arab citizens in Israel, who get to vote and freely express their opinions like anyone else.
#20 Feb 15, 2010
Do you think the Jews give a faulk about The whites in south africa? They are protecting their business interests.
They would kill all the boers if they had no business interests in south africa, GUARANTEED.
QUOTE:Just as Israel is South Africas largest trading partner in the Middle East, South Africa is Israels principal trading partner in Africa. Trade between the two countries was worth about R4 billion in 2003, up from R3.8 billion in 1999, the diamond trade alone was worth R4.4 billion between 1999 and 2003.
South Africa is a very important country in Africa and it plays an important role in the rest of the world, said Fluss. According to Israels Export and International Cooperation Institute more than 800 Israeli companies and exporters currently operate in South Africa, and in the future the two countries plan to cooperate in areas of mining, telecommunications, agriculture, engineering and water.
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text:
- It is one of the world's great cities, recognized for its livability, walkability, sustainability, innovation – and stunning natural beauty.
- Its new, state-of-the-art Vancouver Convention Centre is built on the harbor with spectacular views of water and mountains. The center has a space in which TED can custom-design its own theater.
- Immediately next to the convention center are world-class hotels, restaurants and event spaces.
- TED's remit is now global, not just American – yet the move preserves the conference's west coast roots.
- Meanwhile the proximity of Whistler offers a perfect setting for TEDActive.
NEW YORK, Feb. 4, 2013 /PRNewswire/ -- TED, the nonprofit known for "Ideas Worth Spreading," announces today it will celebrate its 30th anniversary by holding its annual North American conference in Vancouver, Canada, in 2014, moving from the current Long Beach, California, venue. TEDActive, a parallel event featuring the full conference simulcast, will be held in nearby Whistler, the renowned mountain resort, moving from Palm Springs, California. Both conferences will take place simultaneously March 17-21, 2014. Registration for both events opens on February 11, 2013. Vancouver was chosen for several reasons:


text:
Olympic Valley, CA, USA < change city >
DJs (22)
Wedding Day Beauty (20)
Caterers (18)
Florists (16)
Cakes (12)
Bands (12)
Coordinators (9)
Wedding Fashion (7)
Officiants (5)
Rentals (5)
Limos (4)
Videographers (4)
Invitations (3)
Honeymoon (3)
Ceremony Musicians (2)
Ceremony Sites (37)
Reception Sites (24)
See All Vendors >
Squaw Valley Tram
1960 Squaw Valley Rd
Olympic Valley, CA 96146
Hotels/Accommodations, Attr...
Recommended in 11 weddings
5 descriptions
The reason Mark moved to Tahoe. This place is amazing! Hike Shirley Canyon to H...
River Ranch Inn
2285 River Road
Tahoe City , CA 96145
Hotels/Accommodations, Attr...
Recommended in 9 weddings
3 descriptions
The take out point for Friday's rafting trip. If you're not joining the rafting ...
River Grill
55 West Lake Boulevard
Sunnyside-Tahoe City, CA, United States
Welcome Sites, Restaurants,...
Recommended in 6 weddings
4 descriptions
Most summer trips that we take to Tahoe include floating the river. Good for fami...
Lake Tahoe
, United States
Recommended in 6 weddings
3 descriptions
Lake Tahoe is another great destination. Although it is about 3.5hrs away, it is ...
Gatekeeper's Museum
130 West Lake Blvd
Sunnyside-Tahoe City, CA, United States
Attractions/Entertainment, ...
Recommended in 5 weddings
3 descriptions
Very beautiful location but I don't recommend it. We lost our deposit because th...
The Village At Squaw Val...
1750 Village East Road
Squaw Valley, CA, United States
Hotels/Accommodations, Attr...
Recommended in 5 weddings
0 descriptions
Old Brockway Golf Course
400 Brassie Avenue
Kings Beach, CA, United States
Reception Sites, Ceremony S...
Recommended in 4 weddings
0 descriptions
Resort At Squaw Creek
400 Squaw Creek Road
Olympic Valley, CA, United States
Recommended in 3 weddings
3 descriptions
Squaw Valley Home of the 1960 Winter Olympics Hop on the famous cable car, at th...
Alpine Meadows
Alpine Meadows, CA
Alpine Meadows, CA, US
Recommended in 3 weddings
3 descriptions
Take 3 hours, and head up to the steep 5 Lakes Trail of Alpine Meadows you can al...
Tahoe City
Tahoe City, CA
Attractions/Entertainment, ...
Recommended in 3 weddings
2 descriptions
While you're here, check out Tahoe City which has great food, shops and spectacul...


text:
Kendrick Lamar visits Funkmaster Flex at Hot 97 and drops rhymes over two classic NY hip-hop instrumentals (Prodigy's "Keep It Thoro" and Nas' "Nas Is Like"). Not bad at all. Unfortunately, audio cuts out 2-minutes into the "Nas Is Like" clip but you get the idea. [Insert explosion and growl here.]
[via Nah Right ]


text:
Exton, PA, USA < change city >
Reception Sites (67)
Photographers (68)
Florists (63)
Bands (56)
DJs (53)
Caterers (38)
Cakes (33)
Wedding Day Beauty (31)
Coordinators (22)
Limos (19)
Videographers (15)
Wedding Fashion (13)
Officiants (13)
Invitations (12)
Favors (11)
Decorations (10)
Jewelry (10)
See All Vendors >
The Desmond
1 Liberty Blvd
Malvern, PA 19355, US
Hotels/Accommodations, Rece...
6 ratings, 3 reviews, 49 weddings
The Desmond was top notch. The food was excellent, the service was outstanding a...
Cairnwood Estate
1005 Cathedral Road
PO Box 691
Bryn Athyn, Pennsylvania 19009, USA
Reception Sites, Ceremony S...
5 ratings, 3 reviews, 18 weddings
For the size wedding, aproximately 120 guests, this is an amazing venue. The sta...
Best Western Concordvill...
780 Baltimore Pike
Delaware, PA 19342
Hotels/Accommodations, Rece...
3 ratings, 4 reviews, 15 weddings
Concordville Inn was really the best venue for us. The Best Western hotel was ri...
The Columbia Station
4 Bridge Street
Phoenxiville, PA 19460, USA
Reception Sites, Ceremony S...
1 rating, 1 review, 10 weddings
Great food, great service, great venue, great price! Family owned and run is the...
Waynesborough Country Club
440 Darby Paoli Rd
Paoli, PA 19312
Reception Sites
1 rating, 1 review, 9 weddings
Great! Staff was super accommodating and 5 class white glove service. Scenery and...
Waynesborough Historic H...
2049 Waynesborough Rd
Paoli, PA, United States
Reception Sites, Ceremony S...
1 rating, 1 review, 6 weddings
Jeffrey Miller Catering was wonderful to work with. Food was FABULOUS. The tent w...
The Farmhouse at People'...
39 Conestoga Road
Malvern, PA 19355, USA
Reception Sites, Ceremony &...
1 rating, 1 review, 5 weddings
Awesome! Amazing food, amazing decor, amazing setting! And the barstaff was very ...
Meredith Manor
2270 Pottstown Pike
Pottstown , PA 19465, United States
Ceremony Sites, Reception S...
1 rating, 1 review, 5 weddings
There are not enough good things to say about this venue. They were amazing. They...
Downingtown Country Club
93 Country Club Drive
Downingtown, Pennsylvania 19335, United States
Reception Sites, Golf Courses
1 rating, 1 review, 4 weddings
It was beautiful and the staff was so attentive. They did a great job. My guests ...
Reception At Penn Oaks
Penn Oaks Dr
West Chester, PA 19382, US
Reception Sites
1 rating, 1 review, 3 weddings
We could not rave enough about Penn Oaks! The staff was wonderful, the food was ...


text:
Understanding the Scriptures
Alma 34
|Dissension (v. 2)
|Rebellion, apostasy
|Expedient (vv. 9–10, 13)
|Necessary, essential
|Every jot and tittle (v. 13)
|Even the least part (jots and tittles are the smallest written symbols in the Hebrew language)
|Availeth you nothing (v. 28)
|Is worthless to you, does not help you
|Dross (v. 29)
|Waste, of little value or use
|Procrastinate, procrastinated (vv. 33, 35)
|Put off, delay
|Subjected to (v. 35)
|Controlled by
|Revile (v. 40)
|Insult, criticize
Alma 34:9–14—"A Great and Last Sacrifice"
Amulek taught that only "an infinite and eternal sacrifice" would have the power to redeem God's children from the Fall of Adam, which brought sin and death into the world (see Alma 34:10–12). Elder Russell M. Nelson taught: "Jesus was the only one who could offer such an infinite atonement, since He was born of a mortal mother and an immortal Father. Because of that unique birthright, Jesus was an infinite Being" (in Conference Report, Oct. 1996, 46; or Ensign, Nov. 1996, 35).
Alma 34:32–34—Why Is It Important to Repent and Prepare in This Life?
Elder Bruce R. McConkie taught: "This life is the time that is given for men to repent and prepare to meet God. Those who have opportunity in this life to accept the truth are obligated to take it; otherwise, full salvation will be denied them. Hopes of reward through so-called death-bed repentance are vain" (Mormon Doctrine, 631).
Studying the Scriptures
Do two of the following activities (A–D) as you study Alma 34.
What Makes Up a Testimony?
Alma 34:8–16 records a portion of Amulek's testimony.
Review each of the following scripture segments from Alma 34 and write in your notebook what you think they mean: verses 8–9; 10–12; 13–14; and 15–16.
Explain what you think was the basis of Amulek's testimony.
What part of Amulek's testimony is also a part of your testimony?
Write a Letter
A friend tells you that she does not pray anymore because she does not have a private place to pray and does not know what to pray about. Study Alma 34:17–27 and write a letter to her, based on Amulek's counsel, that gives five suggestions on where and when she could pray and what she could pray about.
Scripture Mastery—Alma 34:32–34
You are concerned about a friend who is not keeping the commandments. His comments are listed below. Write them in your notebook. Then write a response for each one. Include in your answer words or phrases from Alma 34:32–34.
"I'll repent before my mission, but until then I want to have some fun."
"Well, if I die, I can always repent in the spirit world. Isn't that what it's for?"
Write a Quiz
For each verse in Alma 34:37–41, write a question that can be answered by that verse. After each question include your answer.


text:
[AWARDS] The Michigan Bucks and FC Tucson led all teams with two selections apiece on the 2014 PDL All-League Team.
The Bucks, who host this
weekend's 2014 PDL Championship, are represented by the league's Golden Boot winner Dzenan Catic (16 goals) and midfielder Zach Steinberger, while midfielder Ricardo Velazco and goalkeeper Billy Thompson were selected from FC
Tucson, which lost in the Western Conference final to the Kitsap Pumas.
One notable selection: the Fresno Fuego's Jose Cuevas, who has
returned to USL PRO's Charleston Battery.
2014 PDL All-League Team
GK – Billy Thompson, FC Tucson
D – Yair Hernandez,
Laredo Heat
D – Nolan Intermoia, Thunder Bay Chill
D – Cory Keitz, Kitsap Pumas
D – Ramon Martin Del Campo, San Jose Earthquakes U-23
M – Jose Cuevas,
Fresno Fuego
M – Zach Steinberger, Michigan Bucks
M – Ricardo Velazco, FC Tucson
F – Dzenan Catic, Michigan Bucks
F – Anthony Grant, Seacoast United
F – Chris Hellmann, Des Moines Menace


text:
South Central Region
The NNLM South Central Region aims to advance the progress of medicine and improve public health through increased access to health information within the states of Arkansas, Louisiana, New Mexico, Oklahoma and Texas.
News & Announcements
- NIH News
- SCR Blog – The Blogadillo
- Upcoming Classes
- Louisiana Flood Emergency Information
Connect with Us
- Like us on Facebook
- Follow us on Twitter
- Join the NNLM SCR Listserv
Upcoming Webinars
- SCR Webinar Series: Systematic Reviews with Margaret Foster - Next webinar scheduled for July 6th
- SCR CONNECTions - Next webinar scheduled for July 12th
- NNLM Resource Picks - Next webinar scheduled for July 26th
Network Membership
If you are providing health information through a library, information center or other organization, please consider joining the NNLM network.
For more information about specific network programs in the SCR, contact the Regional Medical Library at email@example.com or 817-735-2223.


text:
Is it my Phillips screwdriver or its just me?
I'm having a very hard time screwing in a 2-inch long screw through my ceiling wood joist. I'm trying to hang a ceiling fan.
Looking at some do it yourself videos online, I'm surprised at how easy this woman is able to put the screw inside the joist.
I was wondering if my screw driver is worn out (don't know how to tell) or putting 2-in screw inside a joist is never easy.
Sure, your screwdriver bit can be worn and then it will slip out of the screw more easily. It might also be the wrong size bit for the screw. It is not easy to sink a 2" screw with a hand-screwdriver, though. Especially when you are standing on a ladder. An impact driver would make short work of it. A regular drill will still make it easier.
if your driving long screws that require torque,, dont use philips you need robertsons or grex
If memory serves me right driving a 2" screw by hand without pre drilling is not fun whice ever screwdriver you use.
Still trying to figure out exactly what it is your trying to do.
Why are you trying to use that long a screw?
I've never seen a 2" screw used when installing a ceiling fan.
More details would sure help.
that's an existing screw that i removed (dont know how they were able to screw it in. dont know why they used that long). i'm using the existing holes also but still cant get it in.
they used it for ceiling lights only but has pre-wire for ceiling fan in case i add one which what i'm doing.
i guess i wont try to screw back that long screw in. instead i'll buy a shorter screw, drill a new hole on the joist.
how long do you think is long enough for a standard living room ceiling fan and what size of screw?
I would pre-drill for a 2" screw. Tough going with out it.
after searching online i found i should use #10-32 screw. but coudnt find the length i need. is 1/2" length ok?
A slot head screw and screwdriver would work better. Phillips head screws are made to cam out so they're not tightened too much. And lubricate the threads with beeswax or a screw lubricant. And check that your screwdriver is the right size. It shouldn't fit too loosely but it should fit all the way into the head of the screw. If you drill a hole larger enough to easily drive the screw with the wrong screwdriver, it won't be strong enough.
#10-32 is a common machine screw but it is not what I would use for hanging an overhead load in a wooden beam, especially a vibrating, live load like a ceiling fan. It will eventually fall down. You need something with fewer threads-per-inch and ideally you should have a self-tapping wood screw.
Also, don't pre-tap a screw hole with a drill bit when hanging an overhead load if you aren't already pretty "handy." Don't want the fan to fall down on your family members or anything!
a slotted screw is useless for trying to drive into wood. their for machine screws and electric switch plates.. you need robertsons to drive into wood
I used #12 x 1-1/2"L sheet metal screw instead of machine screw.
formula based on wood handbook:
p = 15700 G^2 D L
i assume G as 0.3
D = 0.22in for #12 screw
L =1 inch penetration
p = 310 lbs... weight of ceiling fan is 35 lbs so even if i multiply weight by 3x for dynamic it still ok..
can someone correct this calculation if i'm wrong. i've never done wood calcs.
We've never done any either :jester:.
We just grab a screw and drive it in there.
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text: None of Abbott, the Dealer Managers or the Information Agent for the Tender Offers makes any recommendation that holders should tender, or refrain from tendering, all or any portion of the principal amount of their Notes pursuant to the Tender Offers. Holders must make their own decision as to whether to tender their Notes.Private Securities Litigation Reform Act of 1995 — A Caution Concerning Forward-Looking StatementsStatements made in this news release contain forward-looking statements within the meaning of Section 27A of the Securities Act and Section 21E of the Securities and Exchange Act of 1934, as amended, including, without limitation, statements related to our future growth, trends in our industry, our financial or operational results, our financial or operational performance and the planned separation of Abbott's research-based pharmaceutical company from its diversified medical products company and the expected financial results of Abbott and AbbVie after the separation. Such forward-looking statements are predictive in nature, and may be based on current expectations, forecasts or assumptions involving risks and uncertainties that could cause actual outcomes and results to differ materially from the forward-looking statements themselves. Such forward-looking statements may, without limitation, be preceded by, followed by, or include words such as "believes," "expects," "anticipates," "estimates," "intends," "plans," "seeks," "forecasts" or similar expressions, or may employ such future or conditional verbs as "may," "will," "should" or "would" or may otherwise be indicated as forward-looking statements by grammatical construction, phrasing or context. For those statements, we claim the protection of the safe harbor for forward-looking statements contained in the U.S. Private Securities Litigation Reform Act of 1995.Forward-looking statements are not guarantees of future performance. Economic, competitive, governmental, technological and other factors that may affect Abbott's operations are discussed in Item 1A, "Risk Factors," to our Annual Report on Securities and Exchange Commission Form 10-K for the year ended Dec. 31, 2011. Except as required by applicable law, Abbott disclaims any intention or obligation to update or revise any forward-looking statements, whether as a result of new information, future events or otherwise. Abbott may not update these forward-looking statements, even if its situation changes in the future. All forward-looking statements attributable to Abbott are expressly qualified by these cautionary statements.


text:
FS - 5 pcs SCR 6uf/400vdc MKP capacitors
I got 5 pcs of new, unused SCR (a.k.a Solen) 6uf/400vdc caps up FS.
$25 including shipping worldwide for all of them.
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text:
On the Show Tonight: 5/15/14
Hi ho there you person with interests and beliefs, I have a bit of an odd question to ask you.
What's that? What's on the show tonight? Oh, my bad. Of course.
- We'll talk about the Christian woman condemned to death (I like to keep things light)
- We'll talk about the hero cat (the one that saved the boy from the dog, you MUST have seen the video on Facebook 1,000 times over the past two days). Yeah, it'll be throwing on the first pitch in Bakersfield on Tuesday.
- We'll also talk about..........would you live in this house?
- Finally. What the heck is this? I took this video yesterday on my porch. Is it a baby snake? An alien? Some form of land eel? *shudder*
In case the above video doesn't work.........I posted it on Facebook took, check it out:


text:
Special "Cat" Deal from Fayette Humane Society
The Fayette Humane Society will be celebrating "Adopt a Shelter Cat Month" for the remainder of June.
Dr Lee Schrader says during this time they will provide a special offer for first time adopters, where you can get a cat for "free".
For more information on how to participate in "Adopt a Shelter Cat Month" call 335-8126 or visit www.fayettehumanesociety.com


text:
Cromwell current
From Wikipedia, the free encyclopedia
The Cromwell current is the name of a submarine river. It was discovered in 1952 by the scientist Townsend Cromwell. It is 250 miles (400 km) wide. It flows to the east. The current appears about 300 feet below the surface of the Pacific Ocean at the equator.
The Cromwell current carries a lot of oxygen and nutrients. It is very rich in marine life.


text:
Equilibrium thermodynamic calculations, coupled to a kinetic model for the dissolution rates of clinker phases, have been used in recent years to predict the time-dependent phase assemblage in hydrating cement pastes. We couple this approach to a 3D microstructure model to simulate microstructure development during hydration of ordinary Portland cement pastes. The combined simulation tool uses a collection of growth/dissolution rules to approximate a range of growth modes at material interfaces, including growth by weighted mean curvature and growth by random aggregation. The growth rules are formulated for each type of material interface to capture the kind of cement paste microstructure changes that are typically observed. We make quantitative comparisons between simulated and observed microstructures for two ordinary portland cements, including bulk phase analysis and two-point correlation functions for various phases. The method is also shown to provide accurate predictions of the heats of hydration and 28 d mortar cube compressive strengths. The method is an attractive alternative to the NIST cement hydration model CEMHYD3D because it has a better thermodynamic and kinetic basis and because it is transferable to other cemenititious material systems.
Citation: Journal of Materials Research
Volume: 26
Issue: 4
Pub Type: Journals
cement hydration, building technology, computer simulation


text:
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To date, our previous landlord has not been forthcoming at all. The only reason we knew she stopped paying the mortgage was that we got a notice from the Credit Union after about 6 months of non-payment. She filed for bankruptcy and the foreclosure went through. A new family purchased the home the same day the last meeting was to take place (I'm not sure if it went to auction, no one will tell me) with the intention of moving in and renovating ASAP.
At first, the new owners seemed to want to keep things amicable, but their lawyer is pursuing 60 days eviction. Our previous landlord still has not sent over our previous leases (it's been 2 weeks) and their attorney is now threatening 21 days. Today we were given rental applications. I think they're fishing for eviction reasons. Any advice?They've never given any indication they wanted to continue renting to us previous to today's rental application request. Our previous landlord also is going to shut off the power (it's in their name), and the new owners don't feel that it would be necessary to keep the power on. However, we are on a well and shut off of power also means shut off of water. Any help would be greatly appreciated, this has all moved so quickly. Thank you!
Please google PL 111-22 which will answer some of your questions. The reason the attorney may be threatening 21 days is because he may think you are not a bona fide tenant - in other words, that the previous owner was your sister-in-law, or something like that.
I have a legal guide on Tenant's Remedies Post-Foreclosure; if this property was not foreclosed they may not apply to you. In the worst case, if you do not have a lease, then the new owner *could* give you a 20day notice of termination of tenancy and if you did not leave, then they could commence an eviction.
But (and this is a BIg but) - a 20 day notice has to be served on you , the tenants, allowing at least 20 days until the end of the rental period before they have standing to evict you. If you would normally pay rent on the first, the notice *has* to arrive on or before the 10th to be effective on the 31st. Lawyers who do not regularly practice landlord tenant law in WA miss this requirement. If you were to receive a 20-day notice today, for example, the only thing you'd be responsible for would be to be on your way on or before August 31. It is too late in the month to ask you to leave pursuant to a 20-day in July.
So I doubt they are fishing for reasons, they don't need a reason if you don't have a lease.
Don't hesitate to contact me if you need more assistance. Elizabeth Powell
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If they shut off your power, give them notice in writing as soon as you can. Landlords in WA can never shut off power (except briefly to make repairs) and a tenancy without water is not a tenancy. They would be making a terrible error if they shut off your power. If that happens, give them notice in writing to knock it off, and get the power turned back on. E Powell
Thank you so much Elizabeth! I really appreciate the resources you have provided me. We do have leases, but our landlord has not provided them to the new owners as far as we know. I will keep trying to get her to send them over. There are 9 other people being affected by this, so I really appreciate the help. Thanks again!
If its the old landlord shutting the power off then really your only solution is to get it turned on in your name. You cannot force him to keep it in his name if he doesnt even own the residence anymore and you cannot force the new owners to put it in their name.
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