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Mount Shasta as a Visual Resource
The San Francisco Art Boom: 1860s-1880s
More artists of Mount Shasta were spawned by the San Francisco art boom of the 1860s and 1870s than by any other phenomenon. The wealth generated by the Gold Rush, the Railroad, the Comstock Lode, banking, and commerce, created a very favorable climate for artists. People like the Stanfords, the Crockers, the Hopkins and the rest of San Francisco society were buying art. Landscape paintings of famous places in the West were eagerly bought, and the current doings of the artists, where they were now and what they were painting, was duly reported in the papers and periodicals.
In 1871 the San Francisco Art Association was founded; its purpose was to band the artists together for fellowship and exhibitions. William Keith, Thomas Hill, and its president, Juan B. Wandesforde133, were all founding members who had earlier painted scenes of Mount Shasta. (The connection to Britain was very strong. Keith and Wandesforde were born in Scotland, Hill was born in England.) Many more artists who would eventually join the Association had already or would later paint Mount Shasta. These included some of the most talented and best trained, like Raymond Yelland, Gilbert Munger, Thaddeus Welch, and Theodore D'Estrella. Other artists of the Association, such as Ransom Holdredge, Frederick Schafer, Carlos Hittell, Meyer Strauss, Harry and Arthur Best, James Stuart, Hiram Bloomer, Sydney Yard, Charles Robinson, and many others, at one time or another, came to Mount Shasta to paint.
In 1874 the Association opened an art school, the California School of Design, and they patterned the curriculum on the Ecole des Beaux-Arts of Paris, the Munich Academy of Art, and the National Academy in New York City.134 Standards were high and the training was traditional and rigorous. It is interesting to note that almost every successful landscape artist in San Francisco at this time had spent or was about to spend a year or more of art study at one of the great European art centers of the era, at Paris, Munich, or Dusseldorf.
Unfortunately, by the 1880s, the influences from Europe caused a change in the artistic taste of San Francisco society and of the country as a whole. The traditional art of the Europeans was in vogue and also there were new ways of painting coming from Europe, particularly from the village of Barbizon outside of Paris. In addition, the public probably just was ready for a change. Whatever the case, many artists, even great painters like Albert Bierstadt, nearly went broke trying to paint in their formerly successful but now old-fashioned styles.
But as to the heyday of the boom, it was really something. William Keith reminisced in 1895:
How shall I begin? I puzzled sorely over this question when the Call's request for an art essay reached me. Finally the answer came, quite as an inspiration--at the beginning. So I turned back to the days of Marple and Young--to the early days of art in S.F. Ought I to say "art". I am in doubt, for I mean the early '60s and that period immediately succeeding the close of the war. But I will let it stand.
Everything and anything in the semblance of a picture sold then. An art wave swept over California. I shall stick to the word now--and everybody bought pictures. Those were the halcyon days for painters in this City. The people had money, had more of it than they needed, so they bought art works generously. Even chromos commanded big prices. I remember that Marple copied a chromo of Bierstadt's "Sunset in California" and sold it for a handsome sum. He did not even pretend that it was more than a copy. Those were also Bierstadt's halcyon days. Men who could mix colors and put colors on canvas had no trouble in selling the finished canvas. Some of those who sold pictures here in those days could do more than mix colors, and some few could even paint pictures that were deservedly ranked as works of art - but the later number were not large. I like to dwell upon those days, because S.F. artists found home appreciation then, and, what is better, a home market. The wealthy people of California bought pictures painted by California artists. The country was young then and men could see the poetry and romance and the art that lay at their own doors....135
Wandesforde was a Scottish aristocrat related to the Earls of Wandesforde. He gave up being a drawing teacher at the Glasgow Collegiate and Communal Academy and came to New York about 1850. During that year he became a founding member of the New York Water Color Society ( other founding members were such artists as Jasper Cropsey and John Henry Hill).136 He was noted for portraiture, having done likenesses of artist and inventor Samuel F.B. Morse and artist J.W. Kensett. While in New York he was once commissioned to go to Montreal to paint a portrait of the visiting Prince of Wales, when the latter came to North America.137 Wandesforde himself was also a well traveled individual, having visited places as far away as India.
Wandesforde arrived in California around 1860. Although he was a capable portraitist, his extensive training in the English watercolor tradition eventually made him one of the most respected landscape painters in California. He influenced other artists in California because his technical skills, learned from the English watercolor painters, were an obvious asset to any painter. Naturally enough, his work is similar in style to the American Hudson River school painters, for both he and those East Coast artists found technique and inspiration in the English watercolor tradition.
In California, Wandesforde was one of the first independent, self-motivated and self-employed painters to come to Mount Shasta. His earliest watercolor of Mount Shasta was done in 1863 and later he produced at least five more views of the mountain, in watercolors and oils. He also made views of Castle Crags, the Trinity Alps, and other Siskiyou County Scenes.138
The Daily Evening Bulletin of August 22, 1867, reviewed some of Wandesforde's Mount Shasta paintings:
Mount Shasta Wandesforde has studied more closely than ever an artist did before, at various times of day from early morning till somber evening. A large view in oil is just completed and is a very striking picture. It shows the mountain eleven miles off as seen from the sage bush plain with its wintry willow fringed streamlet at evening. The conical peak rises like a pyramid, its huge base dark with the shadow of approaching night, its snowy summit still flashing in the last rays of the sun, rose tinted and transparent like a jewel, while the saffron sky behind deepens into orange, true twilight colors which every Californian has observed. This is doubtless the most correct view of Mount Shasta ever painted. A smaller view sketched in oil on the spot shows the peak of a dull white color at early morning and is noticeable for the fine treatment of the mountains in the middle distance bristling with their ranks of receding pines. Some of the above landscapes will ere long be placed where the public may see them..."139
In 1868, the Overland Monthly magazine reviewed Wandesforde and said:
Foremost among these may rank J.B. Wandesforde, a cultivated English artist who was a pupil in his boyhood of Varley, the father of English watercolorists and later of Le Capelaine, and always of nature; traveling a great deal in many parts of the world, always observantly sketching and thus acquiring that readiness and accuracy as a draughtsman which still distinguish him. Mr. Wandesforde came to America in 1850, making his home in New York, where he painted in both oil and watercolor, exhibited at the National Academy, became one of the earliest members of the Century Club, and established a good reputation. His watercolor portraits and landscapes were especially admired for purity of color and gracefulness of form and sentiment.
After coming to San Francisco he was employed mostly in portraiture and teaching for several years. During the past two years he has given much attention to landscape studies, both in oil and watercolors, and has made sketching tours to the Shasta and Trinity mountains, to Clear Lake and adjacent Coast Range sites of the Sierra Nevada. He had produced the most satisfactory views of Mount Shasta and Mount Diablo we have seen. A large water color of the former is probably the finest single mountain piece produced here by any artist. A fine piece in water color with a pot of violets is worthy of Hunt. Mr. Wandesforde's studies of California mountain and lake scenery are extremely faithful. His method in all his work is conscientious. He has exerted an excellent influence on several young artists here, and both as painter and tutor is doing much to popularize Art140
Wandesforde produced six illustrations for The Golden Gate by James Linen, published by Bosqui and Company, S.F., in 1869. These later illustrations entitled Wandesforde to be noted in the book Early American Book Illustrators and Wood Engravers, 1670-1870.141 He also contributed several sketches to Edward Vischer's book Pictorial California, published in 1870. Late in his life, Wandesforde's home burned and much of the distinguished artist's work was destroyed.
Frederick Butman's 1864 large oil painting of Mount Shasta, now part of the collection of the University of California at Berkeley, is one of the oldest painted views of Mount Shasta by a California artist still in existence; as far as is known, only Wandesforde's 1863 watercolor and Bierstadt's 1863 oil sketch are older and still extant. Another equally luminous work is on display at the Bancroft Library.
Dwight Miller, professor of Art History at Stanford, writes as follows about Butman's large 1864 Mount Shasta scene-
This superb example of 19th-century American landscape painting indicates Butman's place among the very best of the San Francisco painters. The crisp, deft execution, the cleanness and resonance of the coloring with a tasteful, unaffected richness of hue, the sensitive phrasing of the successive landscape planes, are all exceptionally fine.142Two other of Butman's Mount Shasta paintings are known, and there may have been several more.
Butman was an artist from Maine who came to California in the late 1850s. Like Wandesforde, Butman's reputation was widespread and his activities were chronicled in the San Francisco newspapers. An essay written in 1868 states that "his pictures were fresh and showy, appealed strongly to local taste, and from 1860 to 1865 gave him a greater share of popularity and success than enjoyed by any other painter."143 His work was important as it helped, along with the 1863 visit by Bierstadt to California, to give impetus to landscape painting by California artists.
It also seems reasonable to say that the presence of major artists like Wandesforde, Butman, and Bierstadt at Mount Shasta in 1863 and 1864, and the exhibitions of the resulting paintings, established the mountain as a required subject matter for the next generation of San Francisco landscape painters.
"A HEAVY JOB OF PAINTING.- A bay paper, says the Sacramento Reporter, states that Munger has gone to Mount Shasta for the purpose of painting it. He has an immense job on hand and will use a vast amount of paint before it is completed." That quote from the Yreka Journal, Dec. 7, 1870, illustrating that even journalists cannot resist making easy jokes. Munger's mission to Mount Shasta was actually a bit more serious. Munger was working on Clarence King's 40th Parallel survey team which had come to climb and circumnavigate Mount Shasta. Munger had already worked the previous year, 1869, as guest artist with King in the Rocky Mountains. The second year, 1870, found King with funds to explore the Cascade mountains and Munger was asked again to join the party. The reknowned photographer Carleton Watkins was there at Shasta too, capturing the mountain in black and white negatives. But Munger would paint on canvas the details and color of geography and geology which black and white negatives could not convey. The work of Munger and Watkins was a fine combining of two artistic visions in the name of science.
King, in the extraordinary 1871 book "Mountaineering in the Sierra Nevada," would write about Munger's presence. "When our tents were pitched at Sisson's, while a picturesque haze floated up from the southward, we enjoyed the grand, uncertain form of Shasta, with its heaven-piercing crests of white, and wide, placid sweep of base; full of lines as deeply reposeful as a Greek temple. Its dark head lifted among the fading stars of dawn, and, strongly set upon the arch of coming rose, appealed to our emotions; but best we liked to sit at evening near Munger's easel, watching the great lava cone glow with light almost as wild and lurid as if its crater still streamed." [Clarence King. Chapter 11, Mountaineering]. It should be remembered that King had been a member of a Yale artist's group which found great inspiration in the art philosophy of John Ruskin, and that appreciating and collecting artworks was a lifelong passion for King. King's interest in art helps explain the metaphoric and artistic language which reverberates throughout King's writing.
In a following passage King again mentions Munger: "The California haze had again enveloped Shasta, this time nearly obscuring it. In forest along the southeast base, we came upon the stream flowing from McCloud Glacier, its cold waters milky white with fine, sandy sediment. Such dense, impenetrable fields of chaparral cover the south foothills that we were only able to fight our way through limited parts, getting, however, a clear idea of lava flows and topography. Farther east, the plains rise to seven thousand feet, and fine wood ridges sweep down from Shasta, inviting approach. While Munger and Watkins camped to make studies and negatives of the peak, Frank Clark and I packed one mule with a week's provisions, and, mounting our saddle-animals, struck off into dark, silent forest. ." [Clarence King. Chapter 12, Mountaineering] Note that one of Munger's paintings appears to have been sketched or painted from this southeast side of Shasta's base (see the Schroeder, Michael D.. "The Munger Web Site", painting ID#9 "Mount Shasta.")
Munger's presence with the King party at Sheep Rock in the Shasta valley was noted in a diary kept by another artist, the young Oregonian artist Thaddeus Welch, who was there on his own sketching and exploring at Shasta. Welch wrote: "I had my paints and brushes along, nothing smaller than Mt. Shasta would do those days. We were four or five days making the trip. At old Fort Crook, on Fall River I left the others and rode in a lumber wagon to Sherp Rock, on the North fork of the Shasta Butte, where I made a number of sketches. At the same time, Clarence King with his party of geological surveyors were at the same place. Gilbert Munger, the artist, and Watkins the photographer were also of the party. H.R. Bloomer was Sisson's on the West side, so there wasn't much danger of Shasta getting away. [Broekhoff, Helen V. Thad Welch Pioneer and Painter, Oakland Art Museum, 1966. First published in Overland Monthly and Out West Magazine in 1924.]
Munger's association with Clarence King is honored in Fresno County, where the California peak named "Mount Munger" exists in the same general vicinity as "Mount Clarence King" and "Mount Ruskin."
Munger's reputation was significant enough in the 1870's booming San Francisco art world to cause him to be the subject of interest in newspaper columns such as "Art Gossip" and "What Our Artists are Doing," For example, it was written that: "Munger has returned from his sketching tour with a capital collection of sketches. He has worked along all the way from the summit of the Sierras to Lake Tahoe, and his portfolio is consequently rich in good things" [quoted in- Miller, Dwight. California Landscape Painting, 1860-1885: Artists Around Keith and Hill. Stanford Art Gallery, 1976, p. 11.]
The best starting point for information about Munger is undoubtedly "The Gilbert Munger Web Site" by Michael D. Schroeder. Mr. Schroeder, a computer scientist and art historian, has created an exemplary model of a web site devoted to the life and works of a single artist. The site includes a comprehensive visual catalog of about 200 of Munger's paintings, arranged by geographical locale. The catalog includes two paintings of Mount Shasta: "Mount Shasta with Indians" (15 by 30 inches) and "Mount Shasta" (19 by 34.5 inches).
As a side note, it was the discovery of active glaciers on Mount Shasta which enthralled King, and reinforced his tempered belief in so-called 'catastrophic' geological change- thus putting him at odds with most of the geologists of his time [see Burch, Keith. Clarence King, Catastrophism, and California. In:California History, Fall, 1993. pp. 234-250]
Many of the younger California artists, less trained and less successful than someone like Wandesforde or Butman, made do as best they could. Thaddeus Welch, an Oregonian who migrated down to California, may be more typical of the California landscape artist of his era. He writes, in 1870144:
In the meantime, several of us determined to hunt a cool place when the summer's work should be over. Our party consisted of four besides myself. A two-horse team and wagon carried us and our camping outfit. Our destination was Fall River Valley, East of Mount Shasta. I had my paints and brushes along; nothing smaller than Mount Shasta would do those days.
We were four or five days making the trip. At old Fort Crook on Fall River I left the others and rode in a lumber wagon to Sherp Rock, on the north fork of the Shasta Butte, where I made a number of sketches. At the same time, Clarence King with his party of geological surveyors were at the same place. Gilbert Munger, the artist, and Watkins the photographer were also in the party. H.R. Bloomer [another early California artist] was at Sisson's on the West side, so there wasn't much chance of Shasta getting away. Where I was, there was nothing but sand and sagebrush, rocks and rattlesnakes. One day I sat on a pile of lava that stuck out of the sand, and painted for several hours. I heard something rattle, but I paid no attention thinking that I had perchance pushed against a rattle weed. The next day I took a look under the rock where I had been seated and there he was as comfortable as you please. He had been only six inches from my heel all the time I was painting the day before.
No other incident occurred to disturb my happy dreams, until my bête noire, penury, was again on my track and I saw I must give Shasta a rest while I took a walk to Yreka to see how the printing business was flourishing. But there was no show for a stranger and the prospect commenced to look pretty blue... Wandering around without a nickel among strangers, I had about come to the conclusion that an artist's life is not what it is cracked up to be.145
Welch's story ultimately had a happy ending. His talent was recognized by some friends and art patrons, and he was sent to Europe to study at the art centers of Paris and Munich; he returned to California, and became a successful painter of landscapes to the point that forgeries bearing his name were found even during his lifetime. A large collection of his landscape paintings is on permanent display at the Shasta State Historical Park Museum, in Shasta City, California. That museum also holds a major collection of early California art which was collected during the 1920s by Mrs. Helen Boggs, a noted philanthropist and California historian.
Hiram Bloomer was one of the early members of the San Francisco Art Association. He was a pupil of Thomas Hill and J.B. Wandesforde146 Thaddeus Welch mentions that Bloomer was at Sisson's in 1870. It might have been at this time that Bloomer painted the picture of Mount Shasta in which Sisson himself was a subject. Sisson's daughter mentions this painting:
...another struggling young painter, Henry [sic] Bloomer, who afterward became nationally known, painted a picture of Mount Shasta with Father in his red hunting shirt wending his way along the trail on 'Old Bob'.147 [Old Bob was Sisson's remarkable and trustworthy horse.]
Welch mentions that Bloomer and author Robert Louis Stevenson were at Ganz, a suburb of Paris, in the late 1870s. Welch met them there by accident one day148. This chance meeting underscores the fact that it was very common for the San Francisco artists like Bloomer and Welch to study and tour in Europe. It can be said that the California artists of this time were absorbing a variety of the techniques and ideas of the European art traditions and they brought those influences back to California.
Carlos Hittell was a good friend and companion to William Keith. "Carlos was a refined and jolly companion," relates Mrs. Keith, "and a great and intelligent traveler. "149
Hittell was a successful artist, European trained and highly educated. He traveled in 1884 to Munich with Keith, and studied at the Royal Academy in Munich, staying there for four years. He then spent several more years at the Academie Julien in Paris. He gained considerable notoriety wearing full cowboy gear, hat, chaps and spurs, on the Champs Elysees in Paris.
Carlos was no stranger to California's far north. A large Mount Shasta painting, titled Shasta Butte from the Sacramento River Canyon, 1895 by Hittell, and which is now in the Shasta Courthouse Museum near Redding, is one of the most realistic and at the same time subtly colorful images ever made of the mountain.
Both his father, T.H. Hittell and his uncle, J.S. Hittell, a Shasta County pioneer, were famous California historians. Carlos helped illustrate a few of their books, and he also did illustrations for California author Mary Austin.150. Additionally, Hittell did scientific illustrations for Dr. C. Hart Merriam, a scientist who in 1899 published the definitive Biological Survey of Mount Shasta.
Carlos Hittell is also noted for work with two science museums. On the West Coast, he painted background scenes for the Museum of Vertebrate Zoology at U.C. Berkeley. On the East coast, in New York City, he produced seven large background scenes for dioramas at the American Museum of Natural History. One of these scenes is titled "The White Pelican nesting islands on lower Klamath Lake, California and Oregon"
An obituary, April 15, 1899, from a San Francisco Newspaper, is here quoted in full as it is the source of many subsequent accounts of his life. It should be added that Holdredge was born in England, though it is not known when he came to the U.S. or California.
R.G. Holdredge, artist and well known character about town, who claimed to be one of the originators of the Bohemian Club of San Francisco, died this afternoon at the county infirmary. Holdredge was taken to the infirmary yesterday, penniless and hungry, and although his acquaintances here expected that his end was not far off, it was not thought that he would be called so soon to render his formal account.
Holdredge has had a remarkable career. Before he took up the study of art he was head draughtsman at Mare Island. His natural genius was recognized by his friends, and they assisted him to go to Paris, where he studied under the great masters. After traveling extensively through Europe he returned to the Pacific Coast, where he soon gained the reputation of being one of the leading landscape artists of that day, taking rank with Hill and painters of equal note. He was one of the organizers of the Art Association, which subsequently developed into the Hopkins Art Academy. He was an early member of the Bohemian Club. He classed among his closest friends Charles Warren Stoddard, Robert Louis Stevenson and other well-known men of letters.
Holdredge made considerable money as an artist, but convivial habits started him on the decline, and when he came to Alameda, about ten years ago, he was all but penniless, but managed to eke out an existence with his brush and pallet. His ambition was to be a great portrait artist, but his natural talents turned toward landscapes. He has often stated that this was the disappointment of his life, and was the direct cause of leading him to drink.151
Holdredge spent part of the summer of 1873 in the Rocky mountains, drawing sketches from which he later did scores of major paintings, and he became known both during his life and afterwards as a Rocky Mountain painter. In actuality he was primarily a Californian resident.152 And we know Holdredge painted at least five different Mount Shasta canvases, which range widely in quality, and thus were done during years far apart. There is as well one painting of the 'Klamath Indians' ( a tribe of the Klamath Lake Basin in California and Oregon, just north of Mount Shasta), which art collector and historian Dr. Franz Stenzel has dated as being painted about 1878.153
The German born artist Frederick Schafer painted at least a dozen, if not many more, Mount Shasta scenes. These paintings range in size from the very small to quite large, and range in style from tight realism to loosely painted attempts at impressionism. At times his art approaches the quality of Thomas Hill or William Keith. At his best, he was a fine painter.
It is often written that he was an alcoholic, and thus his work was intermittently good or bad. However this may not be true. An authority on Schafer wrote in 1971 that " He lived with his family continuously from 1880 to 1894 in Alameda and thereafter in Oakland until his death in 1927. A grandson, recently found, lived with him for 21 years said he was a 'family man' and most emphatically did not drink."154
Frederick Schafer arrived in the U.S. in 1876 or 1877. The dates of his living California are not certain, but judging from the variety of scenes that he painted, he must have traveled extensively throughout the Rocky Mountains and northern California.
One thing that seems unusual in Schafer's paintings of Mount Shasta is the almost invariable appearance of a portion of Castle Crags in each of these paintings. He also seems to have had special connections. "Some further information from Dr. Evans indicates that the painting of Mount Shasta viewed from Cape Horn was possible only with the special permission of Southern Pacific...only because he was let off at this famous curve (in Castle Crags.) Only work crews otherwise even stopped there. Cape Horn was accessible only by Railroad or ropes."155
Distinguished, literate, professorial, academic, dedicated, and with an untarnished reputation as an artist and teacher, R.D.Yelland is remembered as one of the stalwarts of the San Francisco art world. Born in England, his family brought him to America at age three. He studied at the country's leading art institute, the prestigious National Academy of Design in New York City; after graduation he continued on as an instructor. In 1874, at the age of 25, he moved to Oakland, Ca. as a professor of drawing and painting. He quickly gained a fine reputation as a teacher, and later assumed many responsible academic positions in the Bay area, including assistant directorship of the San Francisco Art Association, and directorship of the California School of Design.156
Yelland was a technically adept painter of the academic tradition. He had been trained from the time honored method of training the eye and hand through the drawing and painting of classical statues, and he taught his students in the same way. He developed in his students respect for the the value of knowledge as applied to painting. He was an expert painter, and was invited ,on his first trip to Europe, in 1886, to exhibit at the Paris Salon.157
Yelland may well have been influenced at that time in Paris by the original group of French Impressionists, who were having their eighth and final exhibition in Paris in 1886. Many of Yelland's works have strong affinities to these impressionist painters. The similarities of the pastoral landscape sketches of Yelland to those of the Frenchman Camille Pissaro are striking158.
Yelland was not against trying to adopt and experiment with many styles of painting, and he was successful in the realms of academic realism, Barbazon tonalism, and a modified impressionism. He was first and foremost a teacher, and he influenced an entire generation of future artists. A poem written in 1900 expresses the general respect accorded this artist:
They fill the long, long hall, the works that he
Has spread his heart on; for he loved his art,
And though clear eye and skillful hand had part
In all he painted, yet their witchery
Could not alone have made the things we see,-
The mystic redwoods where the sunbeams dart,
Great Shasta'a snowy cone, the very heart
Of stormy waves that dash resistlessly
Upon the rocks that ever beat them back,-
And dearer yet to him and so his best,
The gentler scenes about his home that lay,
The oaks, the lowlands where in wandering track
The sluggish waters creep, the glowing west,
As daylight fades across the shining bay.
Poem by Berekely poet Charles S. Greene159
September 28, 1900
Among Yelland's students were Abbot Thayer and Maynard Dixon, both of whom became influential American artists. Yelland also had several artist friends with whom he would go sketching; William Keith was numbered among them.
A letter by Yelland's niece mentions her uncle and Keith when they went together to Mount Whitney.
Uncle R.D. Yelland and Wm. Keith were close friends. Our brother Raymond climbed Mt. Whitney long ago with a Sierra Club group. Wandering about on or near the summit he discovered a tree where uncle R.D. Yelland and Wm. Keith had carved their names - Imagine that! Those two used to often go on sketching trips together.160
Yelland's association with Mount Shasta is not thoroughly documented. He traveled to Oregon in the early 1880s and perhaps began to paint in the Shasta area around that time. Catalog titles of paintings and drawings relating to the area include Sunset Light on Mount Shasta; Castle Crags, 1899; Mount Shasta (pastel); Mt. Shasta (watercolor); Mount Shasta; Green Valley, Klamath; and Mt. Shasta from Edgewood. During the last decade of his life Yelland painted at least one Mount Shasta oil in the darker and more sentiment filled Barbizon style. There is also a reference to a realistic Yelland masterpiece of Mount Shasta, quite large, three by six feet, date and current location unknown161.
In 1907 the Yosemite artist Harry Cassie Best showed paintings of Western scenery at an one-man exhibition held at the exclusive Washington D.C. Cosmos Club. President Theodore Roosevelt bought one of the paintings, a scene of Mount Shasta. A letter from the President states:
November 12, 1908
White House
Mr. H.C. Best,
Cosmos Club, Washington, D.C.
Dear Sir:-
I appreciate very much your painting, the "Afterglow on Mount Shasta," and shall give it the place of honor in my home. I consider the evening twilight on Mount Shasta one of the grandest sights I have ever witnessed. Kindest regards to Mrs. Best and little Virginia Best.
Yours truly,
Theodore Roosevelt
Acording to author George Warton James, there were many more paintings of Mount Shasta by the hand of H.C. Best:
Mount Shasta, morning noon and night, in cloud and sunshine, wreathed in smiles, frowns, tears and storm, has especially appealed to Mr. Best, and some of his most notable canvases have represented this glorious sentinel of the Northern Gateway to California's flowery glades. His early love and passion for the Oregon Mountains has found mature fulfilment here. One of his 'Sunsets on Mount Shasta' represents the mountain monarch under the glow of the evening sky. Oranges, pinks, peach-glows, soft tints and shades of blue, purple and rose-mist enswathe the snow-clad summit.
Many of H.C. Best's Mount Shasta views have turned up in auction galleries during the past few years, and surely there are yet more to be uncovered. One caution, however, is that occassionaly Mount Hood paintings by H.C. Best, as well as Mount Hood paintings by the brother Arthur Best, have been catalogued, in at least two locations, as Mount Shasta paintings, which they are not.
In any event, during the early turn of the century H.C. Best, and his brother Arthur William Best, were both well known painters of western scenes. Both men were born in Canada and came to the West as muscians, and in several minor orchestras they earned a living. They both turned to landscape art through natural inclination and according to James, for reasons of financial need. H.C. Best also made an attempt at political cartooning, with some success, having published cartoons in several S.F. newspapers.
At some point Thaddeus Welch, the successful landscape painter, asked H.C. Best to go with him to Yosemite. Obviously taken in by the beauty of that valley, H.C. Best eventually was granted permission to construct a fine studio building in the valley, and, incidently, after H.C. Best's daughter married Ansel Adams, the noted photographer, the studio became world famous as the Adams Studio.
George Wharton James, editor of Out West magazine, wrote a short biography of H.C. Best, and published it in the magazine in 1914. Years later it was reprinted as an illustrated pamphlet, titled Harry Cassie Best, Painter of the Yosemite Valley, California Oaks, and California Mountains. It may be that in that article that Mount Shasta was called for the first time "The California Fuji-San".162
Strauss has the distinction of being the only artist of the 19th century known to have painted a view of Mount Eddy (for those unfamiliar with the region, Mount Eddy is a large mountain directly west of Mount Shasta). He painted a few other Siskiyou County scenes, notably Sacramento River near Shasta Springs, New Trail to Shasta Springs, and Mt. Shasta, Eastern Slope as well as several scenes of the Siskiyou forests.163
Strauss was born in Bavaria in 1831. He came to the States in 1849 and earned a living in several cities by painting theater sets.164 He did so in San Francisco from 1875 to 1877, and thereafter became a landscape painter of some modest reknown. He was a member of the Bohemian Club and the San Francisco Art Association.
Edwin Deakin was born in 1838 in England. With his parents he moved to the U.S. in 1856 and to California in 1870. He was a prominent figure in the San Francisco art world until he died in 1923. There are records of several paintings of Mount Shasta by Edwin Deakin, but no reproductions of these recorded paintings have been found There is however, one painting, titled "Mill At Shasta" (oil on canvas, 25 by 42 inches) reproduced in the exhibition catalog "American Painting- A Comprehensive Exhibition February 23 thru April 7, 1973" , San Francisco: Maxwell Galleries Ltd., 1973., p.40. Note that the 'Shasta' referred to is most likely that of Shasta City, the old gold mining town three miles west of Redding California The painting, of an old, perhaps abandoned mill, underscores an important point about Deakin: he was known for having brought the notion of the "picturesque" into California.. According to Paul Mills, "Deakin's main artistic accomplishment, of which we have evidence in the 1873 sale, was to establish a 'picturesque' style in California. In this new land, where the sensitive eye had seen local buildings only as one hasty rawness succeeding another, Deakin was able to find subjects which allowed him to conjure up nostalgic, sentimental visions giving California something of the mood of George Morland, Joseph Turner and Richard Bonington and their English castles, towns and cottages-buildings which he knew in his childhood and which he was to revisit later. The concept of the Picturesque is deeply imbedded in the popular imagination today - in fact, in a diluted and simplified way, it underlies the modern cult of the tourist attraction. It is difficult now to imagine there was ever a time here in California when the old missions, and San Francisco's China town were not universally regarded as picturesque, but there was." [Paul Mills, quoted in. Mahoos, Ruth I. "A Gallery of California Mission Paintings by Edwin Deakin" Los Angeles: Los Angeles County Museum of Natural History, 1966., p. 12.]. Much of Deakin's work captured the charm of ruins and local exotic places.
One of Deakin's most picturesque paintings is of a dilapidated art studio of his friend, the reknowned artist Samuel Mardsen Brookes. Interestingly enough, this painting relates to Mount Shasta because both Brookes and Deakin traveled to Mt. Shasta around the time that this painting was produced. Art historian Paul Mills writes that: "In 1876, it was reported that 'Brookes and Deakin had returned from Mount Shasta, and are hard at work upon the material obtained during their short trip. Deakin is at work upon a large picture of Shasta that give an idea of the height and grandeur rarely seen anywhere but in nature."[San Francisco Chronicle, October 30, 1876]. Brookes, also an Englishman, and Deakin were close friends, and there are evidences that Brookes was occasionally influenced by Deakin's style of painting stone. Deakin also did a charming painting in 1876, the year of their trip to Shasta together, of Brookes at the easel in his dilapidated studio." [Mills, in Mahoos, p. 12]. As a sidenote, Brookes had been hired by Spencer Fullerton Baird of the Smithsonian Institution, to travel to the Shasta region to paint color portraits of the Dolly Varden trout, these trout losing their color when killed and shipped back east; a painting was required to capture the true colors of these most interesting fish. Although Brookes did many fish paintings, it may well be that the fish in this painting by Deakin are the Dolly Varden. Note that a search by Smithsonian staff failed to locate the Brooke's paintings of the Dolly Varden (Miesse. Personal communications with the Smithsonian, circa 1992.) (Also, note that Spencer Fullerton Baird, because of his sponsership of Livingston Stone and the famous fish hatchery on the McCloud, was the namesake of the town of Baird now underwater under Shasta Lake).
"Peak of Mt. Shasta" 8 by 12 oil on board (identified by him, painted circa 1875).
Chris Jorgensen, born in Oslo, Norway in 1860, emigrated to California at the age of ten. As a young man he lived in San Francisco and was talented but impoverished. Fortunately he was befriended by artists of that city's booming art world. He was given free training and eventually opened studios in both San Francisco and Oakland. He was squarely in the middle of the early California art awakening,. He was trained by influential teachers such as Virgil Williams, Thomas Hill, and Juan B. Wandesforde, and later he himself had his own notable students including Grace Carpenter Hudson and Charles Rollo Peters. For nearly twenty years Jorgensen lived and worked in a studio in the Yosemite Valley. Jorgensen also lived and worked in Carmel and is well-known for his association with the Monterey region. Only one Jorgenesen painting of Mount Shasta so far has been found in the art records, though given the wide range of his landscape subjects there are undoubtedly others. Jorgensen died in 1935. [see:Littell, Katherine Mather. "Chris Jorgensen- California Pioneer Artist." Sonora: Fine Arts Research Publishing Co., 1988.]
"Mt. Shasta, Siskiyou Co. Ca. " oil, 33 by 45, 1899.
James Everett Stuart began his art studies in San Francisco and studied at the San Francisco School of Design under R. D. Yelland and Virgil Williams. He became part of what is now called the San Francisco Art Boom of the 1870s, and from that time on he was a noted painter of the West Coast. His work ranged greatly in quality. James Everett Stuart painted over 5,000 pictures during his long art career, this fact known because beginning in 1900 he kept a journal of all of his work. Stuart paintings often have the location and price written on the back of the paintings; the price is usually very high, exorbitant even, and he would sell the art a a fraction of the price in times of need (source: Stenzel: An Art Perspective of the Pacific Northwest). Stuart was primarily a landscapist who had painted Mount Shasta perhaps over a hundred times. It is probable that from the mid-1870s to the mid-1930s Stuart was creating Mount Shasta artwork, and thus he was in a way the last true old-timer of the 19th Century California art world.
James Everett Stuart was asked if he was related to the famous portrait artist Gilbert Stuart, and he replied: "Perhaps, but we are not sure. I may be a distant cousin only." (source: Letter from Arthur Thomas to J. A. Baird).165 Stuart had opened studios in many west coast cities; close to Mount Shasta, in the 1880s, he opened a studio in Ashland, Oregon (source: Washington State Historical Society. Northwest History in Art, 1778-1963). One of his most famous paintings, reproduced many times in literary biographies, is a portrait of the poet, playwright, and novelist Joaquin Miller. (That portrait, which now hangs in the California State library in Sacramento, is a fine rendition of the author. Miller, incidentally, who lived as a miner at the base of mount Shasta for four year as a teenager, was more closely aligned with Mount Shasta than any other writer in history.)
Alphonso Herman Broad did not arrive in California until 1887, after the art boom had passed. He is included in this section because he was a close friend of many of the 1870s artists, and because his paintings are typical of the Barbizon influenced paintings of the post boom period.
Broad was a self-taught artist who often painted with a characteristic 'apple'-green color. As mentioned, his paintings are reminiscent of the Barbizon school, though they are never as dark and moody as those of the later style of William Keith, with whom Broad was a close friend and sketching partner. The two made many sketching trips together to the Sierras.166
Broad was a successful building contractor, designer, and businessman who had served on the board of trustees in Berkeley, and had been that city's town marshall. He began painting later in life, and it is said that he placed his paintings in the buildings he created. His Eastlake style buildings, especially the cottages he designed, were well-known in the Bay Area. Among the major Berkeley buildings he built are the Whittier, LeConte, and Columbus Schools.167
There are four known Mount Shasta paintings by Broad. Each is interesting because of his manner of showing a quiet scene in the mountains. There is no attempt to make the mountain spectacular; instead he chose to portray in both paintings a small pond in a high meadow, with great ponderosa or sugar pine trees closely framing the whole somewhat pastoral scene. The mountain looms large in the background, but the feeling of the painting is more of a painter who enjoyed being at that spot. It was the ability of conveying the intimate emotion of a place that was the objective of the Barbizon influenced painters.
Information from: Chelette, Iona M. California Grandeur and Genre. Palm Springs: Palm Spring Desert Museum, 1991.
[133] Wilson.First Art School in the West. pp.44-46.
[134] Wilson. p. 48.
[135] The Call, Vol. 79, No. 25. San Francisco, Dec. 25, 1895.
[136] Stebbins. p. 148.
[137] Wilson. Artists Around Keith and Hill. p. 28.
[138] Ibid. p.28.
[139] Ibid p. 29-30.
[140] Ibid p. 26.
[141] Hamilton, Sinclair. Early American Book Illustrators and Wood Engravers, 1670-1870. Princeton, N.J. Princeton University Library, 1958.
[142] Miller. Artists Around Keith and Hill. p. 18.
[143] Ibid. p. 16.
[144] The date 1870 is given due to the mention of Clarence King and Carlton Watkins at Mount Shasta. Whether Welch wrote his journal at the same time or years later is not known. It was in 1870 that King and Watkins were together at Mount Shasta. King was at the time conducting the Shasta stage of his 40th parallel survey, and Watkins made a complete photo series of the mountain, those negatives still in posession by the U.S.G.S. in Denver.
[145] Broekhoff p. 12. This Oakland Museum reprint was first published in the Overland Monthly and Out West Magazine in 1924.
[146] Wilson. Artists Around Keith and Hill. p.33.
[147] Rough draft notes of Belle Sisson McQuire, daughter of J.H. Sisson. She says about the red shirt that Sisson wore "He also wore a red shirt as he said the deer or other animals seeing this moving red object would pause to look at it and so give him time for a better aim."
[148] Broekoff. p.26.
[149] Brother Cornelius. Volume 1. p. 237.
[150] Most of the information presented here about Hittell was gleaned from notes in the Baird Archives at U.C. Davis.
[151] Obituary, april 15, 1899. newspaper clipping found in the Baird Archives at U.C. Davis. Name of paper unknown, possibly the San Francisco Chronicle.
[152] Trenton & Hassrick. p.153.
[153] Stenzel, Dr. and Mrs Franz. p. 17.
[154] William Dick. In a letter written in 1970. Found in the Baird Archives at U.C. Davis.
[155] Unsigned letter in the Baird Archives at U.C. Davis.
[156] Seavey. p.2.
[157] Seavey. p.2.
[158] This observation is based on a comparison of a limited number of the works of each artist. But the arrangement of hills, buildings, and roads, usually seen from similar heights, and a similarity in the colors used, indicates if nothing else a common sensibility. In addition to being exposed to the paintings of Pissarro in France, there was one or more of the Pissarro paintings shown in San Francisco in 1894 at the Mid-Winter Exhibition, which Yelland may well have attended.
[159] Greene. p.13.
[160] Letter dated 1964, written by Zella Vivian Yelland, niece of R.D. Yelland. Letter found in the Baird Archives at U.C. Davis.
[161] Personal conversation with Al Becker, director of Abbey House Galleries.
[162] James. p. 2-3.
[163] Easton, Eldridge & Co. 1896 auction Catalogue of Strauss paintings; and Kerwin Galleries.
[164] Hughes. p. 446-447.
[165] Arthur Thomas, close friend of J.E.Stuart, written in a letter to J.A.Baird. Baird Archives at U.C. Davis.
[166] Hughes. p. 64.
[167] Ibid. p. 64.
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First Federal Mail Symposium Opens Today at Washington Convention Center
February 8, 2005
Contact: Viki Reath (202) 501-1231
Washington, D.C.— Registration for the first annual, three-day Federal Mail Symposium starts at noon today, as the symposium holds special networking sessions with U.S. Postal Service (USPS) national account representatives and security experts.
The U.S. Department of Homeland Security will display its vision for protecting the entire postal and shipping sector, along with a new, cost-effective pathogen-detection machine at the symposium, sponsored by the Interagency Mail Policy Council and the U.S. General Services Administration (GSA).
Keynote speakers are, tomorrow, Claiborne Haughton, retired Acting Deputy Assistant Secretary of Defense for Equal Opportunity, and, Thursday, Erik Wahl, who uses art to provide a unique look at using creativity to explore new levels of vision and performance, on Thursday.
The symposium provides training on security, basic mail management, performance measurement, USPS innovations, paying for postage, relocating a mail center, outsourcing mail operations, paying for mail and innovations in postage meters and personal computer (PC) postage.
All major mail and small-package carriers, along with a broad array of software and specialized mail equipment suppliers will present exhibits.
The symposium ends Thursday with a special luncheon to present the 2004-2005 Federal Mail Best Practice Awards. The two major award winners are Al Laich, Mail Manager at the U.S. Peace Corps, and the Peace Corps Mail Center.
The Internal Revenue Service's Mail Management Staff will be cited for Honorable Mention, and Special Recognition goes the U.S. Patent, and Trademark Office mail center and the U.S.P.S. Web cast Training Team.
The symposium continues through Thursday at the Washington Convention Center. Registration is $395.
GSA is a centralized federal procurement and property management agency created by Congress to improve government efficiency and help federal agencies better serve the public. GSA's 12,000 associates acquire, on behalf of federal agencies, office space, equipment, telecommunications, information technology, supplies and services, and provide services and solutions for offices that house more than one million federal workers in more than 8,000 government-owned and leased buildings in 2,000 U.S. communities.

subset: commoncrawl


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I'm going straight up there sounds like the best club in Scotland!!
Sig awaiting witty quote from someone.
This sounds like Leon, has the food fetish like
Leon and is as tough as Leon.
My name is Arek Zienkiewicz Im founder Gold Team in Scotland .Leaon stop use my logo on this forum u have never been training in my club and u never will be.
Sig awaiting witty quote from someone.
I have just joined this forum and cant stop laughing at this guy who pretends to be me. How long has this guy bn tryin to giv me a bad name? I have an idea who the hitman is and no one particularly hard. I am the real leon summers who worked at mcdonalds n goes to karate etc. ignore all the posts from this hitman cunt. He got removed from facebook for impersonations.
The plot thickens.....
Twitter @steflachMMA. Herald Sport www.heraldscotland.com/sport


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Eisenhower Physicians and Patients Stay ConnectedT
he Internet has long been an indispensable tool in the medical community, providing health care professionals with online access to the latest research, journal articles, and information on new technologies. Many physicians at Eisenhower are expanding their use of online resources in an effort to stay better connected with their patients, and in some cases, provide online consultations that will save patients the time of office visits.
Earlier this year, Eisenhower Medical Center announced a new partnership with RelayHealth®, a leading provider of health care connectivity services, that allows participating physicians to have secure, easy online access to patient information, and gives patients online access to their doctor's office. The new program stores patient medical records, and allows patients to use the Internet to e-mail doctors, schedule office appointments, view lab results, request referrals, refill prescriptions and receive health information—all from the convenience of their own computer. It also gives physicians and patients the option to perform online doctors' appointments.
More than 75 doctors affiliated with Eisenhower currently use the system to share test results with their patients, prescribe medications electronically, and coordinate care with the other members of a patient's medical team. Some physicians also use an online evaluation called a "webVisit" to determine the nature of a patient's health concern, and whether he or she needs to see a doctor. The confidentiality of all communications is protected by the highly secure RelayHealth.
For Eisenhower patients, many of whom travel extensively or live only part-time in the area, the ability to maintain their medical files electronically and easily transport them to other doctors or institutions is one of the key benefits of RelayHealth. Patients are also eligible to use the service to create their own online personal health record, enabling them to keep track of their own health care needs. "Eisenhower's investment in RelayHealth demonstrates another major and creative step forward to improve our connection to patients and their families and to achieve a truly connected health care community regardless of specialty and setting," says G. Aubrey Serfling, Chief Executive Officer and President, Eisenhower Medical Center. "Accessibility of the latest patient data and electronic communications means that doctors can immediately make decisions that positively influence outcomes and create true continuity of care with every patient.""Physicians can respond quickly to a patient's concerns, and patients can communicate with their doctor's office from any location."
Most routine communications, such as scheduling appointments or refilling prescriptions, are free to the patient. There may be a fee associated with a webVisit, but that charge is reimbursed by some major health insurance plans.
Both patients and physicians cite the convenience of online communication as the principal benefit of the new Relay Health service. Physicians can respond quickly to a patient's concerns, and patients can communicate with their doctor's office from any location. The ability to share medical records electronically saves both patients and doctors valuable time, and helps ensure that physicians have a comprehensive picture of a patient's health profile. Eisenhower officials expect the number of physicians and patients using the service to expand as more people become accustomed to using the Internet as a principal communications tool.


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Good comeback sparky.
Good comeback sparky.
MMA Strength, Conditioning and Awesomeness Blog- UPDATED 8/2/11 Random Musings prior to actual content http://maccavelli.wordpress.com/
Didn't think you where being serious. Anyways not a respectful question to fighters. Leaves everyone up for criticism. Andy would beat up your average street thug. I would aspire to be like any of the UFC Champions. If that theory applied to me you speak of, I would slate GSP regularly. Which I don't.
Love how you even spelt your sig wrong.
And no he doesn't.
Rob McCrum, Pro BW. www.bjjscotland.co.uk
lads this thred is turnin into some serius ruck am at vitor belfurts place now gettin redey to do some tecneckuecal sparrin coz es got ruck tomorow pals
http://www.facebook.com/pages/Johny-Boy/215858055149963?ref=ts wbc world champ 19-0
Who has got the worst spelling, punctuation and grammar on this forum?
Andy Hillhouse is a nice guy, as is Nathan Thompson! Wouldn't class either of them as the worst fighter in the UK.
There are plenty out there... where's the love though? What's the deal with naming them on a forum?
www.chimpmedia.co.uk - Mixed Martial Arts Filming & Website Design
doesn't matter what your level or how good you are, everyone is doing there bit keeping this awesomeness going.
being empty of yourself you cannot be attacked because you arent filled by you.
So this thread is for people sat behind a monitor, to ridicule fighters for not exactly excelling at something the keyboard warrior would never have the skill/motivation/fitness to do themselves? Why name and shame those that actually get up and do it?


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John J. Byrne, whose turnaround of auto insurer Geico Corp. led billionaire Warren Buffett to buy the company and call him "the Babe Ruth of insurance," has died. He was 80.
Byrne died March 7 at his home in Etna, N.H., according to family spokesman Robert Snyder. The cause was prostate cancer.
Byrne also served as the first chairman of the board of Internet retailer Overstock.com Inc., the Salt Lake City-based company founded by his son, Patrick. The two clashed at one point over Patrick's public campaign against short selling.
"He was a great father, a great teacher, a great man and my hero," Patrick Bryne said of his father.
Overstock.com Co-President Stormy Simon said a portion of John Byrne's legacy and mentorship lives on within Overstock.
"It isn't just the financial investment with the stock he purchased," she said. "It's the personal investment by being chairman, mentor and sharing his years of business knowledge that will continue to contribute to our success."
For his part, Buffett had praise for Byrne in a letter to Berkshire shareholders, reviewing investments in 1980. He credited Byrne's "managerial brilliance" with resuscitating Geico after his arrival in 1976.
"There aren't many Jack Byrnes in the managerial world, or Geicos in the business world," Buffett wrote. "What could be better than buying into a partnership with both of them?"
At the time of the letter, Buffett's Berkshire Hathaway Inc. owned about one-third of Geico. Buffett bought the remaining two-thirds in 1996 for $2.3 billion and made it a unit of Berkshire. By then, Byrne had left Geico for White Mountains Insurance Group Ltd.
"Jack's performance in reviving Geico from near-bankruptcy was truly extraordinary, and his work resulted in enormous gains for Berkshire," Buffett wrote in his letter summarizing 1985, noting Byrne's departure. "We owe him a great deal for that."
Byrne's tough-love tenure at Geico entered the annals of corporate turnarounds.
He arrived in 1976 as president and chairman of Geico an acronym for Government Employees Insurance Co. after working as executive vice president at the Travelers Corp. Geico was near bankruptcy, having posted a net loss of $126 million in 1975, according to a 1981 article in Forbes magazine.
Byrne closed about 100 offices, cut the workforce to 4,000 from 7,000, quit the highly regulated auto insurance markets of New Jersey and Massachusetts, and raised rates by as much as 40 percent, Forbes said. He also reached a re-insurance agreement with competitors, potentially saving the industry, and sold $75 million in preferred stock to restore the company's capital, Forbes said.
By 1980, the company was back to health, with $44 million in net operating income in the first nine months.
Buffett, who had bought his first Geico shares in 1951 as a business student at Columbia University in New York, was among the buyers of the preferred stock that was part of Byrne's rescue plan.
Buffett, attracted to Geico's depressed share price, had arranged to meet Byrne soon after he took over as CEO.
"We talked to maybe 2, 3 a.m.," Byrne said of the meeting, at the home of Washington Post publisher Katharine Graham, according to Roger Lowenstein's "Buffett: The Making of an American Capitalist" (1995). "He wanted to know the things I would do. What did I think of our ability to survive?"
When the business day dawned a few hours later, Buffett called his broker and bought 500,000 shares of Geico at 2 1/8 and left a standing order for shares in the "multimillions," Lowenstein wrote. At the Washington Post board meeting that drew him to town, Buffett announced, "I've just invested in something that might go under. I could lose the entire investment next week."
Instead, Geico's share price almost quadrupled within six months, to 8 1/8, and Buffett became the controlling investor over the next few years, Lowenstein wrote.
Byrne, with advice from Buffett, hired Louis Simpson as Geico's chief investment officer in 1979. Simpson rose to president and CEO of Geico's capital operations from 1993 until 2011 and was once identified by Buffett as a candidate to succeed him in an emergency to oversee all of Berkshire's investments.
John Joseph Byrne was born on July 11, 1932, in Paterson, N.J., to John J. Byrne and Winifred Mohr Byrne. As a teenager, he worked at his father's insurance agency, according to a death notice on the website of Rand-Wilson Funeral Home in Hanover, N.H.
He graduated from Rutgers University in New Jersey in 1954 and earned a graduate degree in mathematics from the University of Michigan. He began his career as an actuary at Lincoln National Life Insurance Co.
After Geico, Byrne led the Fireman's Fund Insurance Co. until its acquisition in 1991 by Allianz AG Holding of Germany, now Allianz SE. He retained control of the fund's holding company, which he renamed Fund American Enterprises Inc. Today it is White Mountains Insurance Group.
Byrne served on the Board of Overseers of the Tuck School of Business at Dartmouth College in Hanover, which his three sons John, Mark and Patrick attended, according to the death notice.
Besides his sons, Byrne's survivors include his wife, Dorothy; seven grandchildren; and his brother, James Byrne, according to the funeral home.


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Parents, grandparents, babysitters, and friends learn Cardio-Pulmonary Resuscitation skills for infants and children. You will also learn how to treat both conscious and unconscious choking in infants and children. This Family & Friends program does not offer certification. Register each participant individually to ensure that enough mannequins are available.
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$20.00 per person
Parents, grandparents, babysitters, and friends learn Cardio-Pulmonary Resuscitation skills for infants and children. You will also learn how to treat both conscious and unconscious choking in infants and children. This Family & Friends program does not offer certification.
Register each participant individually to ensure that enough mannequins are available.
In order to continue providing quality programs at Women's Hospital, refunds will only be available for medical necessity. We are happy to apply the class fee to other classes if you need to reschedule.
Childbirth Education at 336-832-6682 or 336-832-6848, send an email
This class is a condensed version of our Birth & Baby series for parents who have a difficult time fitting 5 weeks of classes into their schedule.
Learn about the latest infant care and safety recommendations and ways to give your own child support as he or she transitions into the parenting role.
This course offers Dads-to-be the tools and knowledge needed to feel confident on their journey to becoming new fathers. Experienced dads who have been trained as coaches, teach dads-to-be how to hold, comfort, diaper, swaddle and play with their infant while being able to support the new mom as well. A class for men taught by men.
This option of five weekly classes helps you and your labor partner prepare for childbirth. Topics include newborn care, labor & birth, cesarean birth, pain management, comfort techniques and a tour of Women's Hospital.
Interested in a waterbirth? This informational class will help you discover whether waterbirth is the right fit for you. Education about waterbirth itself, supplies you would need and how to assemble your support team is what you can expect from this class. Some obstetrical practices require this class in order to pursue a waterbirth. (Not all obstetrical practices offer waterbirth-check with your healthcare provider.) Register only the expectant mom, but you are encouraged to bring your partner to class!
Come visit Women's Hospital for a tour of our family-centered maternity services. We schedule them weekly for your convenience. Tours last approximately 1 hour and are led by a Registered Nurse. There is no fee, but you must register each adult participant separately. Tours meet in the lobby of the Women's Education Center.
Breastfeeding is a special time for mother and child. Like any new skill, breastfeeding will be more successful with early preparation and practice. This class will help you feel ready to begin this important relationship. Your partner is encouraged to attend with you. This class meets for two consecutive weeks. Week 1- Learn what to expect in the first days of breastfeeding your newborn. This class will help you feel more confident with the skills needed to begin your breastfeeding experience. Week 2- Many new mothers are concerned about breastfeeding after leaving the hospital. This class will address the most common fears and challenges about breastfeeding during the first few weeks, months and beyond. We will build on the skills learned in week 1. (If you select a 9:00am-12:00pm class, all information from week one and week two will be covered in one class.)
At this location Women's Hospital Education Center, Classroom 4 Beginning on November 28, 2012
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Zinc Urn Collection
- No Longer Available -
Reminiscent of the stately ornaments once used in the formal gardens of 19th-century Europe and America, our indoor urns are cast by hand for fine detail and finished in zinc to re-create the genteel patina of time. Individually or in an eclectic grouping, they make elegant cachepots or objects of contemplation.
Show Details +
- Small: 7" diam., 9"H; 2.5 lbs.
- Medium: 8½" diam., 10"H; 5.5 lbs.
- Large: 12" diam., 16"H; 10 lbs.
- Palazzo: 10" diam., 8"H; 4.5 lbs.


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Warren High entered its girls water polo match at Troy on Wednesday ranked No. 4 in the CIF-SS Division V poll. The host Warriors are ranked No. 3 in Division IV, so the Bears figured to be in for a hotly contested game.
They were. But they emerged with a 9-8 victory thanks to two overtime goals by Kayla Casas, who scored a total of six times.
Warren is 6-3.
Santa Margarita 10, Wilson 3: Alexis Angermund, Jessie King and Julie Luna scored for the visiting Bruins (1-2) in this nonleague setback. Melanie Slater made eight saves for Wilson.
Boys soccer
It took awhile, but after hitting the crossbar no less than three times, Erick Bermudez scored a goal in the 72nd minute off a long throw-in by Marcello Frasca to lead Downey to a 1-0 victory over visiting Lakewood in nonleague play.
Gihan Gutierrez made five saves for the Vikings (2-2) while Josh Haskill made 11 for the Lancers (2-2-1).
St. Anthony 0, Whitney 0: The Saints got second-half scoring chances from Bryan Zamora, Josh Littleford and Andrew Walsh, but they couldn't find the back of the net in this nonleague tie. Marcel Soto made 10 saves for the Wildcats.
Boys basketball
Kaleahl Ferguson scored 26 points and Keshaun Mack had 17 for Jordan, but the Panthers were defeated 81-61 by Aliso Niguel (7-1) in the North Orange County Tournament. The Wolverines, ranked No. 6 in Division I-A, got 22 points from Scott Lynds.
L.A. Adventist 68, Immanuel Christian 23: The host Eagles (5-3) led 34-8 at halftime and never looked back. Kenyatta Louder led the way with 18 points and five blocks. Thomas Richardson had 16 points and six steals, Juwane Damon had 10 points and three assists and Kahlio Stance came through with nine points, nine rebounds, nine assists and five steals.
Pacifica 44, Valley Christian 34: Caleb Miller scored nine points to lead the host Crusaders (4-4) in this nonleague defeat.
Girls basketball
Junior Rachel Nagel scored 31 points for Whitney (5-2) in a 49-30 victory over Valley Christian in the Valley Christian Tournament. Hailey Garcia scored 10 points to lead the Crusaders (1-6).
L.A. Adventist 41, Immanuel Christian 25: Janee Daniels scored 20 points, made eight steals and had five assists for the host Eagles (9-3). Jherica Hewitt contributed 16 points and Imri Starks had 13 rebounds and 10 steals to go with four points.


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The Scottish Premier League is a very enjoyable league that has produced some great, talented players. Although it's not known across the entire world, it has produced some good players. Scotland is also home to the world famous Celtic. Although Celtic's a well known team, it's not enough to bring the SPL to a stature of England's Premier League. With Celtic and Aberdeen often having competitive games, it's definitely a division to watch. The Scottish Premier League has some great teams, but it's the Celtic jersey you will wear with pride.
Soccerplus first opened in 1994. We were one of the first soccer websites to hit the webView more
Address: 1640 E. Washington Blvd.
Pasadena, Ca 91104, USA
Phone: 1-800-945-7291
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text:
The Gettysburg Address lives in popular imagination as sweetly
poetic patriotism. While that perspective has value, deeper
meanings in Abraham Lincoln's great words are often overlooked.
This conversation explores how the Gettysburg Address asks what it
means to be an American. What is the meaning of the phrase "all men
are created equal" in the Declaration of Independence, and in
Lincoln's quotation of that phrase? How does the Constitution fit a
discussion of equality? Though the promise of equality now seems
ideal and inevitable, Lincoln's foes dismissed the Declaration's
reference to equality as mere opinion, with no legal standing, and
instead invoked the Constitution, because it allowed slavery.
Beyond equality, what was the "great task" that Lincoln said
remained? And what is the fundamental basis of our government? By
asking what it means to be an American, and what America is,
Lincoln joined a conversation that continues today.
D. Carlyon
Sponsored by NY Council for the Humanities
To RSVP, call 845-565-2076 or register online at: https://my.msmc.edu/secure/commedregistration/
Share this page


text: One of the clearest indicators a stock is expected to price in more upside comes from short sellers. Changes in the number of shares shorted over time can give a clue as to whether investors are becoming more or less pessimistic about the name. This list covers stocks that have seen decreases in shares short in the past month, implying that investors are becoming more optimistic about the prospects of the company. Furthermore, these names appear undervalued to EPS trends. Allow us to explain: Short sellers benefit when share price falls. The more they believe in the downside potential the more short positions they will initiate. If they start to think shares have more upside potential (in which case they would lose money) they will decrease their short positions. This is also referred to as short covering. For this list we screened for stocks seeing significant short covering month over month. Short covering data is presented in three parts; the number of shares shorted, the percentage of shares float, and the days to cover. The change in number of shares shorted month over month is most useful when put in context of the number of shares eligible for trading on the market (share float). The larger the decrease/increase, the more upside/downside is expected by short sellers. The days to cover ratio is defined as current short interest divided by the average daily trading volume. Intuitively, this represents the the number of trading days it takes for the short sellers to theoretically buy back all shorted stocks. The longer the days to cover, the more pent up demand there is to eventually buy back shares and exit short positions. Next, we ran a screen on the stocks seeing a significant decrease in shares shorted for those that appear undervalued based on EPS trends. Assuming that P/E is equal to a constant k, increases in EPS should be matched by proportionate increases in price. When they don't match up, a mispricing may have occurred. That is, these stocks have been seeing strong increases in analyst estimated EPS than increases in price over the last month.


text:
High potassium levelsHyperkalemia; Potassium - high
Hyperkalemia is higher-than-normal levels of potassium in the blood.
The kidneys normally remove excess potassium from the body. High potassium levels are more likely to occur when the kidneys are not working properly and are less able to get rid of potassium.
If your kidneys are not working well enough, taking extra potassium (for example from using salt substitutes that contain potassium or taking potassium supplements prescribed by your health care provider) could lead to problems.
Certain medicines may cause potassium levels to build up because of their effect on the kidneys, including water pills (diuretics) and blood pressure medicines.
- Burns over large areas of the body
- Damage to muscle and other cells from drugs, alcohol abuse, coma, surgery, injury, or certain infections
- Disorders that cause blood cells to burst (hemolytic anemia)
- Severe bleeding from the stomach or intestines
- Tumors
Addison's disease is a disorder that causes an increase in total potassium.
There are often no symptoms with high levels of potassium. Symptoms that may occur include:
- Nausea
- Slow, weak, or irregular pulse
- Sudden collapse, when the heartbeat gets too slow or even stops
Exams and Tests
An ECG may show dangerous and abnormal rhythms such as:
- Heart block, when the electrical impulse through the heart gets slower or stops
- Slower than normal heartbeat
- Ventricular tachycardia or fibrillation
Your doctor should check your serum potassium and do kidney blood tests on a regular basis if you:
- Are taking ACE inhibitors, angiotensin receptor blockers, spironolactone (Aldactone), amiloride (Midamor), or triamterene (Dyrenium)
- Have been prescribed extra potassium
- Have chronic kidney disease
- Use salt substitutes
You will need emergency treatment if your potassium level is very high, or if you have danger signs, such as changes in an ECG.
Emergency treatment may include:
- Calcium given into your veins (IV) to treat the muscle and heart effects of high potassium levels
- Glucose and insulin given into your veins (IV) to help lower potassium levels long enough to correct the cause
- Kidney dialysis if your kidney function is poor
- Medications that help remove potassium from the intestines before it is absorbed
- Sodium bicarbonate if the problem is caused by acidosis
- Water pills (diuretics) to decrease total potassium
Changes in your diet can help both prevent and treat high potassium levels. You may be asked to:
- Limit or avoid asparagus, avocados, potatoes, tomatoes or tomato sauce, winter squash, pumpkin, and cooked spinach
- Limit or avoid oranges and orange juice, nectarines, Kiwis, raisins, or other dried fruit, bananas, cantaloupe, honeydew, prunes, and nectarines
- Avoid taking salt substitutes if you are asked to eat a low-salt diet
Your doctor may make the following changes to your medicines:
- Reducing or stopping potassium supplements
- Stopping or changing the doses of medicines you are taking, such as ACE inhibitors, angiotensin receptor blockers, spironolactone (Aldactone), amiloride (Midamor), or triamterene (Dyrenium)
- Taking "loop diuretics" to reduce potassium and fluid levels if you have chronic kidney failure
It is important to follow your health care provider's directions when taking your medicines:
- Do not stop or start taking medicines without first talking to your health care provider
- Follow your prescribed schedule as closely as possible
- Always tell your health care provider about any other medicines, vitamins, or supplements you are taking
Seifter JL. Potassium disorders. In: Goldman L, Schafer, AI, eds. Cecil Medicine. 24th ed. Philadelphia, Pa: Saunders Elsevier; 2011:chap 119.
Review Date: 11/16/2011
Reviewed By: David C. Dugdale, III, MD, Professor of Medicine, Division of General Medicine, Department of Medicine, University of Washington School of Medicine. Also reviewed by David Zieve, MD, MHA, Medical Director, A.D.A.M., Inc.


text:
Hello everyone,I got a question and I hope I'm asking in the right section.I need to put a button in a page that can switch between two audio clips. Something like that buttons that allow you to switch between image A and image B, and if you click again, it turns again to image A. Same, but with two mp3.
With this code I can start/stop both clips in the same time:
<audio id="audio1" src="sound1.mp3"></audio><audio id="audio2" src="sound2.mp3"></audio>
 <button onclick="document.getElementById('audio1').play();document.getElementById('audio2').play()">Play</button> <button onclick="document.getElementById('audio1').pause();document.getElementById('audio2').pause()">Pause</button>
Now I need to add a button that switches the "mute" alternatively between the first and the second clip.
Do you think I can find some code like this around, or I'm supposed to develop by myself? Can you help me?Thank you in advance!
Hi there koanstudio,
Welcome to the forums
You can toggle between two audio clips like so:
<meta http-equiv="Content-Type" content="text/html; charset=utf-8">
<title>Toggle sound clips</title>
<audio id="audio1" src="1.mp3"></audio>
<audio id="audio2" src="2.mp3"></audio>
<button id="controls">Play track 1</button>
var button = document.getElementById("controls");
var track1 = document.getElementById("audio1");
var track2 = document.getElementById("audio2");
button.onclick = function(){
currTrackNo = this.innerHTML.replace(/Play track /, "");
nextTrackNo = (currTrackNo == "1")? "2" : "1";
this.innerHTML = "Play track " + nextTrackNo;
if (currTrackNo == "1"){
} else {
Hopefully the coed is easy to understand, but if you have any questions, just let me know.
Hi Pullo, I really thank you for spending your time to help me, you're very kind.The code you wrote worked perfectly. But... each time you switch, the muted clip goes in pause. I know my need may sound strange but I want both clips continue even when muted (I will put two slightly different clips to compare).Thats why in the code I wrote in the first post I made both clips start in the same time.I hope this will be workable too. Thanks in advance!
No problem.
So, let me get this straight.You have a button.When you hit this button the first time, track one starts to play.When you hit it a second time, track one is muted (but continues playing) and track two starts to play.On every subsequent button press after this, you mute the track that is audible and unmute the one that isn't.
Is that correct?
Almost correct: but both tracks should start in the same time. And end in the same time too, because I will put same tune in two different versions.I think the best way is: one button to play/pause both tracks simultaneously (independently from mute status); and another button to switch alternatively the mute status (indepenently from the play/pause status).Example: 1) I click on "play" and I listen to track one, 2) After (for example) 25 seconds I click on "switch" and I listen to track two from 25th second on, 3) I can keep on switching or I can pause and resume in every moment.This code can be useful, for example, if you put the same track, one complete, and one instrumental version. With the switch button you can toggle voice on and off.Please let me know if I didn't explain myself well.
Hi there,That's perfectly clear. Thanks. I'm a bit busy right now, but I'll knock some code up later on and post back here. In the mean time, if you fancy experimenting with this yourself, the HTML5 audio element has a muted property, which you can set to true or false.
Please take your time, I'm already lucky enough to have such a good help from you!
Hi there,
So, this should do what you want.Any questions, just let me know:
<meta http-equiv="Content-Type" content="text/html; charset=utf-8">
<title>Toggle sound clips</title>
<audio id="audio1" src="1o.mp3"></audio>
<audio id="audio2" src="2o.mp3"></audio>

Track one: stopped

Track two: stopped

Listening to: nothing

<button id="start">Start the tracks rolling</button>
<button id="toggle" disabled>Toggle</button>
var startButton = document.getElementById("start");
var toggleButton = document.getElementById("toggle");
var track1 = document.getElementById("audio1");
var track2 = document.getElementById("audio2");
var status1 = document.getElementById("playStatus1");
var status2 = document.getElementById("playStatus2");
var currTrack = document.getElementById("currTrack");
function updatePlayStatus(track, status, t){
if (track.paused == true){
status.innerHTML = "stopped";
startButton.disabled = false;
toggleButton.disabled = true;
currTrack.innerHTML = "nothing";
startButton.onclick = function(){
this.disabled = true;
track2.muted = true;
status1.innerHTML = "playing";
status2.innerHTML = "playing";
currTrack.innerHTML = "Track 1";
toggleButton.disabled = false;
var t1 = window.setInterval(function() { updatePlayStatus(track1, status1, t1) }, 500);
var t2 = window.setInterval(function() { updatePlayStatus(track2, status2, t2) }, 500);
toggleButton.onclick = function(){
if (track1.muted == true){
track1.muted = false;
track2.muted = true;
currTrack.innerHTML = "Track 1";
} else {
track2.muted = false;
track1.muted = true;
currTrack.innerHTML = "Track 2";
This is exactly what I needed!I really thank you for your help, and I hope you didn't spend too much time to develop it.I also have to say, this forum is the only place where I could find a pro answer.
Not at all, it was a fun thing to code up. Thanks for taking the time to report back
Im a little lost on how to add the music to be played?
Have a look at the docs on the <audio> element: https://developer.mozilla.org/en/docs/Web/HTML/Element/audioThe src attribute specifies the URL of the audio to embed.
so i have to upload the music and have a URL where in the code would i paste it?
You just need a path to an audio file:
<audio src="http://developer.mozilla.org/@api/deki/files/2926/=AudioTest_(1).ogg" autoplay>
Your browser does not support the audio element.
<audio src="/@api/deki/files/2926/=AudioTest_(1).ogg" autoplay>
Your browser does not support the audio element.
<audio src="../../@api/deki/files/2926/=AudioTest_(1).ogg" autoplay>
Your browser does not support the audio element.


text:
71 items found in this collection
Street from above with buliding being demolished.
Woman and Raghubir Singh in Paris apartment.
People and sculptures in museum.
Man lying beside river next to car with open door.
Man taking photograph in art museum.
Woman reading at table in crowded open-air cafe.
Boy skateboarding on pavement in front of the Eiffel Tower.
Anne Singh with small boxes between her eyes and glasses laughing.
Two women on floral-patterned sofa looking at large book.
Tomb of Degas.
People sitting on couch in museum.
Couple sitting at table, outside, holding hands.
Man taking picture of wife and child on bridge; another couple about to kiss.
Couple standing in middle of room, man holding up thin book to look at.
Scene at a disco, people dancing.
Two men and a woman with a policeman by cars.
Page 1 of 5 Next »


text:
Welcome to Campus! The General Interest Career Fair is coming up on campus in a few days. That's right—you can find employers, companies, post-grad programs—maybe even a J-O-B!
This Friday over 100 organizations will be there to greet you, hear your elevator pitch, and discuss their organizations as well as the post-grad opportunities they offer.
Freshmen and sophomores sometimes erroneously believe that they should not go to the career fair until junior or senior year. This is a common misperception. Here are some excuses heard around campus:
I'm a freshman. I don't need to start thinking about a career!
I have no idea what I want to do post-graduation, let alone for the next six years—let alone for the rest of my life! Yikes!
But Rocky's lunch looks so good, and I already missed the curly fries last week!
First of all, I love curly fries as much as the next Rockyite, both let's face it: both lunch and the Career Fair last for a while. There's no reason you can't eat curly fries AND focus on your future between 10:30 am and 2:30 pm this Friday. The career fair is for all students and offers the chance to start thinking about careers as well as making valuable contacts for your future.
Second, if you have no idea what you want to do post-graduation, a Career Fair is the perfect place to do your research. You can either spend your time looking at stock photos of smiling faces on company websites—or you can talk face-to-face with a real representative from that company. Talk about a no-brainer. Even a brief conversation with representatives from different sectors can give you the lay-of-the-land on some career options. You might even change your mind about your career path or find a new avenue to pursue.
And if you end up in the "well….maybe grad school" zone, that's useful information, too! In that case, make sure you make your calendar for the Grad and Professional School Fair on Oct. 4 from 12:30-3:30pm.
And finally, freshmen and sophomores—all we can offer you is a big, emphatic invitation "Come to the Career Fair!"
That's right. Career Fairs are not just for seniors and juniors. Here are some more reasons why:
- It's great practice for presenting yourself—putting a suit on (which tie should I wear), dusting off the elevator pitch (or starting one).
- Freshman can land internships over the summer. (What?) I'll say it again: Freshmen can get summer internships, too!
- Networking takes time, and there's no time like the present. Besides, it's great to get connected with circles outside your hometown network, especially if you're interested in branching out after graduation.
- There's no (well, almost no) pressure! When you get to be old like us seniors, you might look back and wish you took the opportunity to visit a career fair before the prospect is accompanied by jolting memories of A Chorus Line songs (Read: "I really need this job!"). Not that we seniors are thinking that! Of course not….
Here's a few resources for front-running freshmen and smart seniors alike:
Here's information on how to work a Career Fair.
Check TigerTracks for a list of the employers coming to the fair. Then, do some research so you know the right questions to ask!
Here's how to keep your wardrobe classy and professional. http://www.princeton.edu/career/undergrads/interviewing/dress/
Once you look the nicest you've looked since your graduation photo, hop over to our Linked In Photo Booth to get a professional headshot taken!


text:
Cassadee Pope & Danielle Bradbery playing NCAA Women's Championship concert
Listen to Cassadee Pope on iHeartRadio | Listen to Danielle Bradbery on iHeartRadio
Cassadee Pope and Danielle Bradbery will be taking part in the NCAA Women's National Championship game. The country singers, who both launched their careers working with Blake Shelton on "The Voice," will play a free concert in Nashville Tuesday prior to the big game.
Nashville's Tennessean says Pope is also slated to sing the national anthem at the start of the match. Cassadee and Danielle say they're excited to be contributing to the festivities surrounding the event.
Pope adds that she feels honored to "be a part of something that highlights females' achievements."
The 2014 NCAA Division One Women's Basketball Championship is set for Nashville's Bridgestone arena Tuesday night.
Photo Credit Getty Images


text:
Results 1 to 3 of 3
10th March 2012 01:59 AM #1
- Join Date
- Jan 2012
- Posts
- 139
What approach did you use when introducing solids?
Many of the Mums here used the Baby-Led Weaning approach which I think sounds like a really great -- I had never heard of it when I started solids with my boys. I didn't use any particular method. I did read and follow some of the suggestions in the book Super Baby Food There are some wonderful recipies for babies and toddlers.
If my boys didn't like a food, I would stop feeding it and move onto something I knew they did like, then a few days later I would re-introduce the food again. I would keep having them "try" it and more often than not they would come to like that food.
What books, methods or advice were most helpful for you as you started feeding your baby? Did they work? Do you wish you had tried something else? Did you try one method with an older child and then switch to something else once you had other children?
11th March 2012 08:19 AM #2
- Join Date
- Dec 2011
- Posts
- 532
I pretty much did baby led weaning from the start, though I knew that's what it was called with my first or read anything about it during early parenting. When my baby started to show an interest in my food, then I started feeding her. I would give her tiny bites of what I was eating and start providing her soft foods for independent eating. First foods around our home include avocados, bananas, and rice.
For the most part my babies ate whatever we were eating. Clearly, some things like grapes and hard meats are a bad idea in young infants, so use your best judgement.
This Baby Led Weaning website has some great advice for getting started.
11th March 2012 02:42 PM #3
- Join Date
- Jan 2012
- Posts
- 1,936


text:
Student sought man on Craigslist to beat her up and have sex with her, then reported it as rape
A student who was visiting the University of California, Santa Cruz for a lesbian, gay, bisexual and transgender conference in February claimed that she had been raped in broad daylight on the school's campus.
Turns out, though, Morgan Triplett's story was a hoax. According to police, the bizarre truth is that she successfully used Craigslist to locate a stranger who agreed to beat her up in exchange for sex.
Triplett, 20, a student at University of California-Santa Barbara, allegedly posted two abuser-wanted ads in the Santa Cruz County region of Craigslist. In both, she promised she wouldn't file charges.
The one seeking somebody to shoot her in the shoulder in exchange for sex didn't pan out. However, Triplett did find someone willing to "punch, kick and bruise her in exchange for sex," reports the Register-Pajaronian.
Triplett met her unnamed mangler somewhere on or near the UC Santa Cruz campus, reports local NBC affiliate KSBW.


text:
May 31, 2010
Elizabeth Seward is a singer-songwriter based in New York. In this interview she talks to contributor Cole Stryker about her background in Appalachia and the way the Internet has changed her songwriting.
CS: Tell us a bit about where you're from and how you got to where you are today.
ES: Well, I grew up in a small town in Ohio called Marietta. I started writing my own music around the age of 12 and by the time I was 16, I was constantly playing every show or open mic I could land within an hour or so drive from Marietta. I moved to NYC when I was 18 to pursue music, played some solo shows when I got here, but it didn't take me long to form a band. I started a band that sounded nothing at all like my solo music when I was 20 called Devola. We toured a lot and worked really hard, but members quit and changed and it all started to fall apart just as I was starting to write songs again on my own. I've been getting back to my songwriter roots for the last two years. Most of my songs have been unpolished low-fi recordings birthed in Garageband and right now I'm just writing and recording obsessively, trying to be as good as I can be.
CS: You live in New York now, but you're from Appalachia. Does your rural background influence your songwriting?
ES: Oh, I think so, yeah. It's difficult to expect your home culture to not affect your art. Sometimes I feel a little too 'in it' to really see the influence Appalachia has had on me, but other people tell me they hear it all the time. The blues, the hint of country twang, the burden-ridden lyrics that you'll find most frequently with country music, the finger-picking you'll find most frequently with bluegrass and folk music. Come to think of it, I use a lot of country imagery in my lyrics–I mention nature, particularly hills and forests, more often than I even realized…until just now.
CS: Tell us about your 'Song a Week' project.
ES: The 'Song a Week' project was an idea of my close friend and fellow musician, Ben Britz. He has always complimented me on how quickly I piece together songs and at the end of 2009, he challenged me to start an online project that would hold me accountable to my fans online. He said something like 'do a song a day' and I said something like 'ummm, no, how about a song a week.' And then I just started the Tumblr page for it. Sometimes I have a hard time believing that I'm still going strong with it, but it's been a remarkable process. Putting yourself in a box can sometimes be the best way to come up with something you're happy with.
CS: Are there any changes in your songwriting process when you're forced to create new songs so often?
ES: Definitely. I've been fiddling with my melodies more, working myself harder with my guitar parts, playing around with the idea of using loops, playing piano here and there, etc. When you're forced to create a new song every week, you strive to make each its own piece; to breathe life and individuality into each of them. So I can see how my songwriting has been changing over the course of this year and really, it's a nice thing to sit back and watch. I'm not sure anything else could have cornered me into expanding on my style.
CS: You've written on your blog about your enthusiasm for D.I.Y. culture. How do you feel the Internet has changed the relationship between you and your fans?
ES: I'm such a big fan of the Internet. It has changed everything! When I started playing music and taking my career seriously, it seemed like there was one way and one way only to make fans: a record label. Everything you want to do you can do yourself. With the expansion of the Internet, I'm constantly thinking and making lists of what I can do next. The huge change the Internet has made is that I'm now in control and my fans can reach me. They can literally just send me an email and expect to hear back from me, leave me a comment and wait for my comment back, vote on t-shirt designs, etc. I'm excited to be a musician during this time.
CS: What's next for you as an artist? Working on any cool projects?
ES: This project has taken a lot of time just to get started and keep afloat, but now that I'm in the swing of it, there's a long list of collaborators I'm planning on working with for the second half of 2010. A group project I'm not really allowed to talk about yet is underway, as well as a new band I'll be going public with sometime this summer. Other than that, I'm just trying to organize my songs, get better recordings, release them as I see fit, and continue down the long road of songwriting improvement.
Listen to Elizabeth's tunes at http://www.myspace.com/elizabethsound


text:
Cat lovers celebrate St. "Catrick's" Day at the Seal Beach Animal Care Center for a bargain Saturday on adoption feline fees.
The center, at 1700 Adolfo Lopez Drive, will slash its cat adoption fees from $75 to $5.
Adoptable cats are already spayed or neutered, micro-chipped, treated for worms and current with many important vaccinations, the volunteer staff said.
Overcrowded conditions at the center have been a fact of life since the start of the recession.
"We have so many cats coming to us because people have lost their jobs and homes," Gail Bowers, a center board member, said. "Since we are a no-kill shelter, the only way to reduce our population is to get these great cats adopted to new homes."
The center will be open from 11 a.m. to 5 p.m.
For more information, call 562-430-4993 or visit www.sbacc.org.
Victory berth
The Port of Los Angeles has moved the SS Lane Victory for its 2012 cruise season to Berth 46 in San Pedro.
Port officials are making more room for China.
After two decades at Berth 94, the World War II vintage steamship is the last fully operational, sea-going ship that has secured her new temporary home at Berth 46 in the outer harbor.
That location could change since tentative plans by port officials call for the ship to relocate to nearby Berth 50 or another location, although nothing is definite.
There is plenty of parking at the new berth, which offers a portside view of the breakwater and Catalina Island.
For details on directions and cruise dates, visit www.lanevictory.org or call 310-519-9545.
Navy's security exercises
Staffers at the Seal Beach Naval Weapons Station are scheduled to take part in the year's largest Navy security exercise for a week, starting Monday.
The exercise is set to continue to Saturday, and officials said there could be increased traffic around the base.
Visitors may also be delayed getting into the base due to gate closures and access delays. There also may be restrictions to Anaheim Bay.
A 24-hour command status line can be reached at 562-626-6000.
Pedestrians robbed
Police confirmed that two men - one armed - robbed two women at gunpoint in Belmont Shore this week.
The incident was reported Tuesday night at about 10 p.m., shortly after the two women left a restaurant.
One woman said her purse was grabbed from her, but that her friend resisted surrendering her purse.
"I thought it was really scary," the robbed woman said.
The robbers fled in a car. Police are still investigating the crime.
firstname.lastname@example.com, 562-714-2167, http://twitter.com/JoeSeguraPT


text:
SOMERSET, Ky. (AP) — A state biologist says at least one pair of bald eagles is nesting at Lake Cumberland and that the birds are making a comeback in the area.
Kentucky Department of Fish and Wildlife Resources biologist John Williams told The Commonwealth-Journal (http://bit.ly/Z8kUJt ) there may be more than one pair at the lake. Williams says since the federal government banned the pesticide DDT in 1972 and a national re-introduction of the birds in the 1970s and 1980s, the number of nesting bald eagles around Kentucky has steadily increased.
Due to the high concentration of suitable habitat, most eagle nests are in western Kentucky. However, reports of bald eagles from central and eastern Kentucky are becoming increasingly common.
Creation of large reservoirs statewide has provided habitat that historically was not available to eagles.
Information from: Commonwealth Journal, http://www.somerset-kentucky.com


text:
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