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PHOTO GALLERY: Kim Kardashian's Birthday Celebration
Happy 29th birthday to Kim Kardashian!
The reality star celebrated her birthday last night surrounded by friends and family at Philippe Chow Restaurant in Los Angeles.
Kim looked stunning in a red, one-shoulder dress, while Khloe opted for a black mini-dress and Kourtney showed off her bump in a grey number.


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A Golf Inspired Escape
Coachman's Golf Resort is located in the heartland of southern Wisconsin, just southeast of Madison and off of Interstate 90. Their golf course is a 27-hole regulation course that's both fun and challenging. Lined with willow trees and oaks, and with gently sloping hills, it offers challenges and enjoyment to golfers of all skill levels. There's also a pro shop onsite so you'll be able to stock up on the latest gear and equipment. A must for any golfer! You can take in the beautiful Wisconsin views as well when you're playing a few rounds! Whether you're a novice or a veteran, Coachman's can cater to any level golfer. There are also options for groups and wedding parties! Coachman's Golf Resort offers comfortable accommodations, casual dining, lounges, and banquet facilities for up to 200 guests.
- Wifi
- Restaurant Onsite
- Pets Allowed
- Property Size 61 units
- Conference Facility
- Kids Allowed
- Nearby City Edgerton
- Nearby Water Saunders Creek
- Open Dates Mar 17 to Nov 1
"The Family that Golfs Together, Stays Together" would be a great motto for Coachman's Golf Resort. Golfing families with varying skill levels can enjoy a relaxing, unhurried golfing experience on 27 exciting holes. The traditional lodge offers comfortable accommodations and enough room for everyone in your group. Plan your next Wisconsin family vacation in Edgerton!
Coachman's Golf Resort is the perfect place for a golf centered getaway, it's right in the name! Featuring 27 holes of championship level golf, the fairways are lined with willows and oak, and there are tees for beginners and pros alike. Don't forget to bring your clubs, but if you do forget something, the Pro Shop has the latest gear to make sure you have everything you need! You'll be sure to discover a fun-filled experience at this Wisconsin getaway!
If you're looking for the right space to hold your next meeting or conference, then Coachman's Golf Resort could be for you. With three different meeting rooms of varying size and space, your group will have everything it needs, no matter it's size. There's even an outdoor venue that can seat up to 385 people. The staff at Coachman's Golf Resort are happy to help make your next meeting there a success!
A combination of spacious indoor and outdoor facilities, 27 holes of golf, and plenty of comfortable accommodations make Coachman's Golf Resort the perfect venue for your next Wisconsin family reunion. From gourmet catered meals to light snacks and appetizers, the onsite restaurant delivers a sensational dining experience. Coachman's experienced event planners will help deliver a memorable reunion experience for everyone in your group!
Coachman's Golf Resort is the perfect place for your dream wedding. The beautiful scenery and professional staff will all help make sure that your big day is everything you want it to be. With a beautiful venue that can accommodate groups of all sizes, all you'll have left to worry about is saying "I Do."
When you come to Wisconsin, you'll be surrounded by beautiful nature. While you're out on the course, take in the breathtaking views. Coachman's Golf Resort offers beautiful views of all the greenery that Wisconsin has to offer. While you're here, take a day trip to one of the nearby lakes, you'll be happy you did!
A stay at Coachman's Golf Resort is a trip to a luxurious and romantic escape from reality. With 27 holes of golf onsite, there's always an opportunity to play a few rounds together. Or, if you're looking for something more low-key, you and you sweetheart can enjoy a delicious meal at the restaurant before unwinding in your spacious and luxurious room.
Coachman's Golf Resort is a great place to celebrate your honeymoon. If you're golfers, then the 27 holes of golf will make the days fly by. And even if you don't golf, there's still plenty to enjoy! The onsite restaurant offers incredible fine dining options, but with the luxurious appointed rooms, you may not even want to venture outside!
Villas and Condos
Accommodations at Coachman's Golf Resort consist of guest rooms in a traditional lodge type of setting. For added convenience, unlimited golf is included with many of the packages offered, as well as meals and cocktails. A pro shop, outdoor swimming pool and driving range are also available to guests for before or after long rounds on the course.
- Pro Shop
- Roll-Away Bed(s)
- Swimming Pool
- Volleyball Court(s)
- Air Conditioning
- Alarm Clock
- Blackout Drapes
- Coffee Maker
- Fireplace
- Hot Tub
- Jacuzzi
- Patio
- Picnic Tables
- Refrigerator
- Karaoke
- Photography
- Sightseeing
- Swimming
- Volleyball
- Fire Pit(s)
- Golf Course
- Hiking
- Wildlife & Nature
- Picnic Table(s)
- Banquet Room(s)
- Catering
- Meeting Room(s)
- Room Service
Nearest Airports
- Dane County Regional Truax Field (MSN) / 19.6 miles
- Chicago Rockford International Airport (RFD) / 50.1 miles
- Wittman Regional Airport (OSH) / 78.3 miles
* Not all airports listed here may be open to public use, or service commercial flights
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subset: commoncrawl


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Verizon Wireless has announced that it will launch its Long Term Evolution (LTE) network on Sunday in 39 markets and 60 airports, covering more than 110 million people. The new network will offer download speeds of up to 12Mbps more than ten times faster than current data speeds. Tony Melone, senior vice president and chief technical officer at Verizon Wireless promised that the new network would deliver superior performance.
The first devices to use the new network will be USB wireless data modems for laptops and are expected to appeal primarily to business customers and technology early adopters. However, Verizon Wireless will announce up to five new smartphones capable of running on the network at the Consumer Electronics Show in Las Vegas in January. These handsets are expected to use the existing 3G network for voice calls and the 4G network for mobile internet access and running applications. There has also been speculation that Apple could announce an LTE version of the iPhone 4G early next year, though both Verizon and Apple have declined to comment. Initially Verizon will offer two monthly data plans USD50 for 5GB of data and USD80 for 10GB. It will charge customers USD10 for each additional 1GB used.
Source: TeleGeography
© Copyright 2017, ITU
The information presented within this blog comes from various organizations around the world. ITU encourages users to seek more detailed information from the original source through the links provided.
Links to third-party websites are provided for the convenience of all users. The ITU is not responsible for the accuracy, currency or the reliability of the content on these third-party websites. ITU does not offer any guarantee in that regard nor does ITU endorse the third-party organizations, their sites or content.


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Athens Academy's senior football players took the field before Friday night's game against Athens Christian to celebrate four years' worth of achievements on senior night.
Once those same athletes made their playing debuts for the night, it became evident they would be crucial in wrapping up the Spartans' undefeated regular season.
"From ever since we were in middle school, we've been dreaming of that being us on the field," Athens Academy running back Taylor Allen said. "It feels good that our time is finally here and we are just trying to enjoy it."
Riding the efforts of its seniors, Athens Academy (10-0, 6-0 Region 8-A) won 27-9 over Athens Christian (4-6, 3-3) on Friday. They finished their regular season undefeated and at the top of the GHSA power rankings and ranked No. 2 in the Associated Press poll.
"The rivalry has been there for a while and playing Athens Christian always gets us fired up," Allen said. "This one meant a lot... it was a chance to go 10-0 and make history tonight."
Athens Academy is 7-1 in the series since the teams joined the GHSA, but Athens Christian won last year's game 13-7.
Allen rushed for more than 100 yards in the first half and finished with 151 yards on 21 carries. Senior quarterback Austin Schulte was 13-of-20 passing for 141 yards and a touchdown.
Schulte was particularly impressive on the last Athens Academy drive of the first half, driving the offense 85 yards in 11 plays and running 3:36 off of the clock. The drive looked like it might stall out early after the Spartans drew an illegal procedure call, but Schulte threw a 26-yard pass on second-and-15. A few plays later, Schulte threw a 12-yard touchdown to Eric Williams to put the Spartans up 17-3 at the half.
The recipient of that pivotal second-down pass? Another senior, this time tight end Bobby Marshburn.
"It seemed like a bunch of senior were making plays, and even the seniors up front were doing a really good job on both sides of the ball," Athens Academy coach Michael Gunn said. "I was really proud of the defense in the first half, and that was a lot of seniors too."
The rest of the way was easy running, as Allen continued his impressive performance and the Athens Academy defensive line frustrated Athens Christian with its physicality.
The loss was difficult for the Eagles to swallow. The first-team offense sputtered after only gaining one first down in the first half and finished with one field goal and a late-game touchdown with four seconds left. The defense was over-matched but managed to force a few punts.
"They have a good football team. I think we have a good football team," Athens Christian coach Steve Brooks said. "They outmatched us on the line of scrimmage... Tonight they were bigger, faster and stronger than us."
Athens Christian quarterback Brett Branton was 10-of-16 passing for 64 yards and a touchdown, while running back Taylor Hardigree had 48 yards rushing and 59 yards receiving.
The Eagles lost its ability to control its position within the GHSA power rankings, which had them pegged at No. 14 before the game, but now could drop the Eagles from the all-important top 16.
If the Eagles do not finish in the top 16, which will be released by the GHSA on MaxPreps.com on Tuesday, they will not participate in the new GHSA playoff format. Brooks wasn't worried, citing the team's difficult schedule as a reason why the Eagles should still earn a playoff berth.
"There's a good chance that we will get to play," Brooks said. "The teams below us, there was some separation there, so we don't think we're going to fall. There is a better chance that we're in than not. We had the No. 1 toughest schedule in (GHSA Class A)."
The rankings and the first round playoff matchups will be posted Wednesday.
— The Grady Sports student bureau is part of the sports media program at the University of Georgia's Grady College of Journalism and Mass Communication.


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Healthy employees are the backbone of any company. At Park Nicollet, we are committed to protecting the safety and health of your workers. We strive to help injured and ill employees recover quickly. This allows your company to maintain high levels of productivity and reduce medical expenses.


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Overall, the three major VNC releases work well with Windows hosts and provide an intuitive platform for remote control. Unfortunately, the lack of printing support keeps TightVNC and UltraVNC from being a first choice for anything but remote control needs. The $30 license for RealVNC is still a good deal, but most Windows users would be served just as well by Remote Desktop.
WinRemotePC 2009 LiteInfoWorld's Free RAS score: Good
WinRemotePC 2009 Lite by WinSoftMagic is a utility that stuffs a lot into a little package. WinRemotePC Lite is another Windows-only program that requires an open port in your firewall. But unlike DESKTRA, it includes the ability to transfer files between host and remote client. WinRemotePC Lite does not provide remote printing capabilities, but does include a couple of unique features.
WinRemotePC is a simple 3MB download for both host and client. It installed without a hitch on my Windows XP Pro systems. As with DESKTRA, Remote Desktop, and VNC, I had to open up a port in to my host. Once the system is running and a client connects, the WinRemotePC Lite host uses only 40MB of RAM and very little CPU time during sessions. The client side also used very few system resources: 40MB when connected.
Remote control of the host PC worked well and was quite responsive. I was able to resize the screen by simply dragging the edges of the client window. I noticed very little latency when opening windows and moving around the host desktop from my remote PC.
Where WinRemotePC Lite gets interesting is in the various plug-ins built into the system. In addition to the remote desktop plug-in, seven others provide drag-and-drop file transfers, a shared clipboard, and a command-line/Telnet console. One plug-in that help desk technicians would find useful is the process explorer. This tool gives the remote-connected user an expanded Task Manager view of the host PC. Registered users can have access to WinSoftMagic's plug-in SDK to add their own plug-ins to the program.
Unfortunately, like most of the remote access programs covered in this review, WinRemotePC 2009 Lite doesn't provide remote printing support. As with the others, if the remote user connected over a VPN to the host, then printing to a shared printer is possible. But there is no native support for redirected printing.
For users who need remote access to their desktops and want to transfer files between the host and client, WinRemotePC 2009 Lite works well. Like the other tools that require port forwarding, it doesn't scale well for multiple users to multiple hosts inside the firewall. Mainly, however, WinRemotePC Lite needs native remote printer support to be a well-rounded alternative to other free utilities.
Read about more great free tools for Windows and Mac users:
* Top free troubleshooting tools for Windows
* More great free troubleshooting tools for Windows
* Top 10 Windows tools for IT pros
* The best free open source software for Windows
* The best free open source software for Mac OS X
* Download InfoWorld's Windows 7 Deep Dive Report
This story, "InfoWorld review: Free remote access tools for Windows and Mac," was originally published at InfoWorld.com. Follow the latest developments in Windows, Mac, and mobile computing at InfoWorld.com.
Read more about mobilize in InfoWorld's Mobilize Channel.
This story, "Top Free Remote Access Tools for Windows, Mac" was originally published by InfoWorld.


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This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution license (http://creativecommons.org/licenses/by/3.0/).
EBNA1, a nuclear protein expressed in all EBV-associated neoplasms is indispensable for the maintenance of the viral episomes in latently infected cells. EBNA1 may induce genetic alterations by upregulating cellular recombinases, production of reactive oxygen species (ROS) and affecting p53 levels and function. All these changes may contribute to tumorigenesis. In this overview we focus, however, on the epigenetic alterations elicited by EBNA1 by drawing a parallel between EBNA1 and the FoxA family of pioneer transcription factors. Both EBNA1 and FoxA induce local DNA demethylation, nucleosome destabilization and bind to mitotic chromosomes. Local DNA demethylation and nucleosome rearrangement mark active promoters and enhancers. In addition, EBNA1 and FoxA, when associated with mitotic chromatin may "bookmark" active genes and ensure their reactivation in postmitotic cells (epigenetic memory). We speculate that DNA looping induced by EBNA1-EBNA1 interactions may reorganize the cellular genome. Such chromatin loops, sustained in mitotic chromatin similarly to the long-distance interactions mediated by the insulator protein CTCF, may also mediate the epigenetic inheritance of gene expression patterns. We suggest that EBNA1 has the potential to induce patho-epigenetic alterations contributing to tumorigenesis.
Epstein-Barr virus (EBV), a herpesvirus widespread in human populations, replicates in oropharyngeal epithelial cells and establishes lifelong latent infection in resting memory B cells. Although the primary infection is usually inapparent, the association of EBV with a series of lymphomas and carcinomas and its potential role in the pathogenesis of certain autoimmune diseases resulted in a detailed description of the viral latency products and their host cell dependent expression patterns (EBV latency types) (reviewed in [
Recently, the genetic theory of carcinogenesis that dominated the field of cancer research for a long time was supplemented with epigenetic models, and it was observed that viral oncoproteins regularly cause epigenetic dysregulation in neoplastic cells (reviewed in [
In mammals, pioneer transcription factors control organogenesis of liver, lung, pancreas, prostate and midbrain [
FoxA proteins, the prototype pioneer factors that belong to the
In embryonic stem cells silent tissue-specific enhancers were marked by windows of unmethylated CpG dinucleotides, some of them located within pioneer factor binding sites [
The long terminal repeat sequence of mouse mammary tumor virus (MMTV LTR) also carries binding sites for FoxA, and Holmqvist
Both FoxA1 as well as FoxI1, another member of the Fox family expressed in zebrafish, remain bound to chromatin even in mitotic chromosomes [
Recently, the histone variant H2A.Z, localized in a hyperacetylated form near the transcriptional start site (TSS) of active genes in interphase cells, was found to be associated, although in a deacetylated form, with mitotic chromosomes in chicken cells [
Factors repressing transcription may also associate with mitotic chromosomes. Runx2, a runt-related transcription factor, acts as a repressor of RNA polymerase I mediated ribosomal RNA (rRNA) synthesis, and it is retained associated with rRNA genes at nucleolar organizing regions within the condensed mitotic chromosomes [
PU.1, a transcription factor interacting with lineage-specific enhancers in B cells and myeloid cells appears to maintain a high level of histone H3 lysine 4 mono-methylation (H3K4me1) at its targets and cooperates with stimulus-responsive transcription factors in enhancer activation [
PBX1 (pre-B-cell leukemia homeobox 1), a homeodomain protein, interacts with and affects the DNA-binding specificity and affinity of Hox (homeotic) proteins which are governing the choice between alternative developmental pathways [
In addition to pioneer factors, CTCF (CCCTC-binding factor), an insulator protein separating chromatin domains and mediating higher order chromatin interactions (looping) is also bound to mitotic chromatin [
Epstein-Barr virus (EBV), a human gammaherpesvirus, is associated with a series of malignant tumors (reviewed in [
Episomal maintenance in cells carrying latent EBV genomes is achieved by EBNA1 that binds directly to multiple sequence specific binding sites within
EBNA1 not only governs the replication and segregation of the viral episomes, but by binding to a repetitive sequence (family of repeats, FR) within
In addition to interacting with EBV genomes, EBNA1 also binds diverse sequence motifs close to the transcriptional start sites of a series of cellular genes in Raji Burkitt lymphoma (BL) cells [
In cells carrying latent EBV episomes, viral DNA synthesis is initiated once per cell cycle typically at the DS element containing four EBNA1 binding sites (reviewed in [
EBNA1 is capable of binding to both unmethylated and methylated
Binding of EBNA1 to metaphase chromosomes [
Interactions of the pioneer transcription factor FoxA and the viral oncoprotein EBNA1 with epigenetic regulatory mechanisms.
|Epigenetic mechanism
|Phenomenon elicited by
|DNA methylation
|Histone acetylation
|Upregulationhistone H3
|Histone methylation
|Polycomb/Trithorax complexes
|Binding to mitotic chromosomes
|Nucleosome rearrangement
|Alteration of a hormone-dependent sub-nucleosome complex at the MMTV LTR
|Nucleosome destabilization at
|DNA looping
|EBNA1-EBNA1 binding may link distinct DNA regions in viral and cellular genomes (epigenetic memory?)
The authors declare no conflict of interest.


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Last December, I took an unexpected trip to Cologne, Germany, one of the many places in Europe which hold Christmas Markets. Let's just say that it was difficult for me to contain myself once I set eyes upon the beautiful, magical scene of red stalls and twinkling lights below the cathedral, and all the treasures which awaited my discovery!
Here are the top ten foods I enjoyed immensely (in no particular order), and I strongly recommend visiting Germany in December, whether it's this year or sometime in the future (more to come on the markets and my trip in a future post).
The Top Ten Edible Reasons to go to the Christmas Markets in Germany
1. Bratwurst.
Yes, you can get bratwurst in Germany all the time, but not cooked outside on grills over hot coals.
2. Mushrooms with garlic sauce.
Can I just tell you that this is simply "awesomeness in a bowl"?
3. Market plates.
When you're at the markets, there's no need to step foot inside a restaurant if you don't want to.
4. Raclette.
No words. Just tears of joy.
5. Baked potatoes with herb butter.
This was my dinner one evening and I was in potato heaven.
6. Apfelstrudel (Apple Strudel with Vanilla Sauce)
Warm and wonderful; you absolutely cannot go to Germany and not have apfelstrudel!
7. Baumkuchen (Tree Cake)
The most intriguing way of making a cake that I have ever seen. And it tastes fantastic, to boot!
8. Waffles.
One of the things I loved most was not having to ask if they use real cream. OMG, yes!
9. Hot Chocolate.
So, technically "potable" and not "edible", but how could I leave this out?
We're talking real chocolate, People, and real cream–again!
10. Stollen.
Last, but certainly not least, I present to you a perfect specimen of Stollen.
There are many more market foods which you may fall in love with which are not on my list, as I was not able to try everything I wanted to try, but the German Christmas markets are definitely a food lover's paradise, and I plan to return, over and over again.
Some more food photos, for those of you who can't get enough…
Don't know how this compares to Scottish Smoked Salmon, but it looked great!
I could have eaten half of these myself.
These seemed to be the "hottest" item going, at the market (no pun intended) as the lines for these were the longest and everyone appeared to be eating them more than anything else. However, I didn't find them very appealing as they were too greasy for me (trust me I have no problem with most fried food), but I also found the combination with applesauce not to be to my liking, but that's what is so wonderful about experiencing other cultures and their food–it's all different or else we'd all be eating the exact same thing!
As you can see, there's something for everyone, and as this kind stranger let me know–it's all good!
Life in LA…
A beautiful Brazilian Plume Flower in my garden.


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PFALZ-L ArchivesArchiver > PFALZ > 1998-10 > 0908865184
From: Beverly H Du Val< >
Subject: [PFALZ-L] Re: Kelberg Emigration Project
Date: Mon, 19 Oct 1998 23:33:04 -0700
In case any of you missed the Ancestry Daily News today you might want
to check this out.
Bev Du Val
Surprise, AZ
The Regional School of St. Martin in Kelberg, Germany would like to
contact descendants of emigrants from Kelberg and its surrounding
villages in the Rhineland-Pfalz. It is believed that many more Germans
emigrated from this area than had been previously determined. Class
Ten of the Kelberg school would like to hear from you if your
ancestors originated from this area. Kelberg is located north of the
city of Trier and west of the city of Koblenz. This county belonged to
Kreis Adenau until 1932 and after that date it belonged to Kreis
Mayen. Since 1971, Kelberg has belonged to Kreis Daun, Rhineland-Pfalz,
The Kelberg School has established a home page on the Internet and it
can now be reached at:
Here you can find the names of the Retterath parish emigrants, dates
of emigration, and other family information as found in German records.
At present, the home page covers "Auswanderer aus der Pfarrei Retterath"
which includes the towns of Arbach Bereborn, Franzenmuehle, Kolverath,
Lirstal, Mannenbach, Oberelz, Retterath, and Salcherath. In addition
to these, almost forty towns are included in the county of Kelberg.
This is an ongoing project and more information will be included as it
becomes available.
The Class would like to determine where the emigrants eventually
settled and learn more about their lives here in America. If your
ancestors came from the Kelberg area, you are invited to send them
your ancestors names, dates and places of birth, dates of emigration,
and places of settlement. Their mailing address is:
Kelberg Emigration Project
Regionale Schule St. Martin Kelberg
Schulstrasse 5-7
D-53536 Kelberg
U.S. contact:
Karen B. Whitmer
7627 Blaisdell Avenue
Richfield, MN 55423
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
or call Juno at (800) 654-JUNO [654-5866]
This thread:
|[PFALZ-L] Re: Kelberg Emigration Project by Beverly H Du Val< >


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Vennligst vent...
Blekk & Toner guide
Increase the storage capacity of your Dell™ System with 200 GB Solid State Hard Drive from Dell. It boasts a storage capacity of up to 200 GB, enabling users to store large amounts of data. Featuring uSerial ATA interface, this hard drive delivers enhanced data transfer speed of up to 6 Gbps.This product is compatible with the following systems:- PowerEdge R330


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Never again. Three years later, I am still suffering from infections and head pain. The experience itself was very painful and the result of the thread lift lasted only about a month. One of the selling points was that the doctor could go back in and re-adjust the threads as needed. When I returned to the doctor to have the threads removed, the threads could not be located so they could not be removed. I have head pain every day since this was done. Please don't do it. The doctor tried to tell me that mine was an unusual case. From other reviews that I have read, I don't think so.
My 3 Year Nightmare
Never again. Three years later, I am still...
Was this review helpful? {{ voteCountOthers + ' other' + (voteCountOthers == 1 ? '' : 's') }} found this helpful


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I've heard Japonais Bistro heralded as the "best sushi in the city" by some, and as "expensive and disappointing" by others. I figured it was time to check this place out for myself.
I've been hearing about Japonais (pronounced za-po-ne) Bistro for a while now and, despite its current status as one of the hottest restaurants in Edmonton, the comments have been very inconsistent. Some have had fantastic dining experiences, while others have been disappointed. Never one to take someone's opinion as a given (especially with food and movies), I knew I'd make my way to this restaurant sooner rather than later.
The verdict: I liked it. It's a lovely restaurant and the food is very well-prepared. It didn't, however, blow my mind as a trendsetting, risk-taking restaurant – it's very good and it has some innovative dishes but, in concept, it's quite similar to other Japanese establishments in the city.
Why would I expect a sushi restaurant to be different, you ask? Well, for one, everyone's been talking the place up as a sort of ground-breaking sushi house. Expectations are built. And, for another, it's all in the name. Japonias (French for Japanese) Bistro (French for bistro). The restaurant makes claims towards innovative, North American inspired Japanese food, while hinting towards the influence of French cuisine. It causes one to expect pairings of classic French cooking with the sharp, unique flavours of Japanese delicacies.
In this regard, I was a little disappointed. The menu does have some new, inspired dishes, such as the Yuzu Truffle Kanpachi (sliced amberjack with yuzu truffle, himalayan pink salt, and sake jelly) and the Sushi Tortilla (salmon, tuna, avocado, red onion, tomato, cilantro, jalapeno, and arugula on a crispy honey tortilla), but I suppose I expected more of a fusion between East and West. Distinctly Japanese flavours highlighted by Western-style cooking.
So, yes – the name might mislead slightly. But what Japonais Bistro does offer extremely well is their traditional Japanese fare. In this respect, the restaurant deserves their highly acclaimed status.
There's plenty of traditional Japanese dishes to choose from: sunomono, tataki, sashimi, sushi, tempura, makimono, bento boxes, and grilled delights. Japonais Bistro doesn't skimp on the options – they've got something for everyone.
We tried a variety of dishes for our first visit: Fuji Beef Short Ribs, Halo Maki (salmon, cucumber, torched smoked salmon, sesame sauce, jalapeno), Mango Tango Maki (shrimp, cucumber, mango, avocado, sweet soy), Rainbow Rolls, and Tuna and Salmon Sushi.
The maki were flavourful and fresh, each with an innovative ingredient (jalapeno, mango) that made it different from the usual fare. The sushi was excellent, each feathery-light piece of fish melting in your mouth with subtle flavours and a delicate texture. The short ribs were a revelation – one of my favourite dishes, Japonais Bistro cooked them perfectly, marinating them in a beautiful apple soy sauce that held in all the smoky barbecue flavour of the grill without overpowering the senses with a charcoal taste.
We left satisfied, without bursting at the seams from eating too much. For two people, it amounted to approximately $35 per person, without drinks. It's a little pricier than other sushi places, but pretty much on par with Mikado and Kyoto, the other two Japanese staples in our city.
I'd return to this restaurant simply to try other things on their menu. I've already got my eye on the New Style Sashimi (sashimi seared with hot olive oil, soy, ginger, garlic, green onion, sesame seeds, and yuzu soy), the Seafood Ceviche (assorted seafood, jalapeno, garlic, cilantro, onion, fresh lime juice, and wonton chips), and the Soft Shell Crab Salad (organic greens, crispy soft shell crab, fresh fruits, avocado, and ginger vegetable dressing).
I'm also dying to try their "Omakase" experience – translated as "I'm in your hands," the diner pays a set price to be served a variety of chef's choice dishes, made to order. Japonais Bistro charges $75 for the Omakase dinner: a must-try for the sushi fanatic.
At the end of the day, Japonais Bistro is a Japanese restaurant. Their sushi is perfect and they have an extraordinary ability to take traditional Japanese flavours and give them a unique spin. Whether their innovation comes from North American or French influences, it's hard to tell – all you need to know is that it tastes damn good.
Japonais Bistro
11806 Jasper Avenue
Edmonton, AB T5K 0C1
(780) 760-1616
Make a Reservation Here.
Fri: 11:30-11pm
Sat: noon-11pm
Sun: noon-9pm


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Roll, Tide ROLL! Football is king in Alabama. The State's Legendary Coach, Paul Bear Bryant, created a dynasty in college football that lives on, even today, in the heart of Dixie. This DVD features some of the most exciting plays of the Legends of Crimson Tide Football. From Fanzz.
Click on the product image below for a preview.
The Legends of the Crimson Tide of Alabama DVD
This products showcases such Alabama stars, which also proved their mettle in professional football, such as the great Joe Namath, Ken Stabler, Bart Starr, Ozzie Newsome, Cornelius "Biscuit" Bennett, Derrick Thomas, Brodie Coyle, Mark Anderson, Demeco Ryans, Cornelius Wortham, Evan Mathis, Wesley Britt and Freddie Roach.
Click on the product image above for more information.
The Legends of the Crimson Tide of Alabama DVD - Preview


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Ultima SportTop grain Leather Upper
Weight Distributing Foot Beds
Thinsulate Lining
Reinforced Toe
Reinforced TPR Gripper
Protected Lacing System
Available for left or right handed delivery
Only have Men's 10.5, Left handed and 11, Right handed
With 3/32" Full Sole Virgin PTFE Slider , $160.00
Attractive design, comfort, and functionality make the Icewalkan ideal shoe for curlers of all skill levels.Suede upper on "skateboard-style" flat sole. The Icewalk is available in men's sizes only.
Icewalk 3/32"Teflon $140.00
The most recognized performance
curling shoe
in the world has been
Ladies HR597L
Available -Ladies, 7 & 71/2 only
5/32 Slider
$$$: Inquire?


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At a pivotal time for the Internet of Things, Low Power Wide Area Network (LPWAN) technologies are blindsiding existing wireless sensor network technologies with multi-kilometer network ranges, multi-year battery lifetimes and cloud-integrated network stacks, according to a recently published report by global IoT research firm ON World (www.onworld.com).
"After a decade of technology advances such as low power wireless radios, MEMS and cloud platforms, LPWANs represent a new gold rush for Internet of Things investors and developers," says Mareca Hatler, ON World's research director. "The simplicity and accessibility of LPWANs is drawing new entrants and innovative IoT services that will contribute billions of dollars to the global economy."
ON World's interviews and surveys with 150+ IoT market leaders found that 1-in- 3 are planning or currently offer LPWAN products and services with the majority of these...| Read more »


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In this article
Why does bleeding after birth happen?Every new mum bleeds after having her baby (lochia), whether the birth was vaginal or by caesarean section. It's how your body gets rid of the lining of your uterus (womb) after birth. The blood may come out in gushes, or flow more evenly, similar to a heavy period.
The bleeding will change colour and become lighter as your uterus heals and returns to its pre-pregnancy size. At first, the flow of lochia will be heavy and bright red, and may have clots in it. Gradually, it will change to pink then brown, and eventually to yellow-white.
You may bleed for as little as two weeks to three weeks, or for as long as six weeks after having your baby. The flow will gradually become less. Red lochia usually tapers off within the first couple of weeks, though if you try to do too much too soon, it may start flowing again. If you see bright red blood, it's a sign that you need to slow down (NHS Choices 2011).
Do I need to do anything about the bleeding?Not really. Just stock up on maternity pads. Two or three packs of 12 should do. Don't use tampons for the first six weeks or so after you have your baby, as this can introduce bacteria into your still-healing uterus, causing an infection (DH 2009:122).
You may need to change your pad every hour or two to start with, then every three or four hours in the coming days and weeks. Always wash your hands before and after changing your pad (NICE 2006:15).
You may also have a wound between your vagina and back passage (perineum). You'll need to keep this part of your body clean to prevent infection there as well. Take a bath or shower at least once a day, and change your maternity pad regularly (NICE 2006: 15).
Some mums like to add salt to their bath water, but your wound will heal just as well with clean water alone (Fernandez and Griffiths 2012).
How do I recover from tearing?
Find out how you can help speed up your recovery after experiencing a tear during labour. Two parents share their tips.More life as a parent videos
When should I call my midwife or doctor?
Call your midwife or doctor if you develop the following symptoms, as you may have an infection:
- The lochia has an unpleasant smell.
- You come down with a fever and/or chills.
- The bleeding stays heavy, and is bright red, after the first week.
- Your tummy feels tender low down on one or both sides. (NICE 2006:11, Wong 2012)
Sometimes, bleeding that's much heavier than normal lochia happens. This is called postpartum haemorrhage (PPH).
PPH may happen within 24 hours of giving birth (primary PPH), or between 24 hours and 12 weeks after the birth (secondary PPH) (RCOG 2009). It may be caused by a piece of membrane or retained placenta, or when your uterus doesn't contract down properly after you've delivered the placenta.
Call an ambulance if:
- The bleeding suddenly becomes very heavy, and soaks more than one pad an hour.
- The bleeding becomes persistently fresher (bright red) and heavier four days or more after giving birth, even after you rest.
- You pass lots of large blood clots that are bigger than a 50p piece.
- You start to feel faint or dizzy.
- Your heartbeat starts to race, or becomes irregular (Marchant 2009: 667-8, NICE 2006:11).
You can be treated with antibiotics, or you may need a minor operation to remove the rest of the placenta (RCOG 2009). Once you are receiving the right treatment for postpartum haemorrhage, you should be fine. But it may take a little time, good care and rest for you to recover fully.
Make sure you know all the postnatal symptoms you should never ignore.
Last reviewed: April 2013
ReferencesDH. 2009. The pregnancy book. London: Department of Health. http://www.dh.gov.uk/prod_consum_dh/groups/dh_digitalassets/@dh/@en/@ps/@sta/@perf/documents/digitalasset/dh_107667.pdf www.dh.gov.uk [pdf file, accessed February 2013]
Fernandez R, Griffiths R. 2012. Water for wound cleansing. Cochrane Database of Systematic Reviews (1): CD003861. http://onlinelibrary.wiley.com/doi/10.1002/14651858.CD003861.pub3/pdf/standard onlinelibrary.wiley.com[pdf file, accessed February 2013]
Marchant S. 2009. Physical problems and complications in the puerperium. In: Fraser DM, Cooper MA. eds. Myles Textbook for Midwives. 15th ed. Edinburgh: Churchill Livingstone, 665-78
NHS Choices. 2011. Keeping fit and healthy with a baby. NHS Choices, Health A-Z. http://www.nhs.uk/conditions/pregnancy-and-baby/pages/keeping-fit-and-healthy.aspx www.nhs.uk [Accessed February 2013]
NICE. 2006. Routine postnatal care of women and their babies. National Institute for Health and Clinical Excellence, Clinical guideline, 37. London: NICE. http://www.nice.org.uk/nicemedia/pdf/CG37NICEguideline.pdf www.nice.org.uk [pdf file, accessed February 2013]
RCOG. 2009. Prevention and management of postpartum haemorrhage. Royal College of Obstetricians and Gynaecologists, Green-top guideline, 52. London: RCOG press. http://www.rcog.org.uk/files/rcog-corp/Green-top52PostpartumHaemorrhage.pdf www.rcog.org.uk [pdf file, accessed February 2013]
Wong AW. 2012. Postpartum infections. eMedicine. http://emedicine.medscape.com/article/796892-overview emedicine.medscape.com [Accessed February 2013]


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all wordsany wordsphrase
n. 1) the value placed on injury or damages due to an accident caused by another's negligence, a breach of contract or other wrongdoing. The amount of monetary damages can be determined in a lawsuit. 2) when expenses are greater than profits, the difference between the amount of money spent and the income.


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Patterns in a Chromatic Field was the second piece by Morton Feldman I ever heard, and it remains one of my favourites. The first time I encountered it was in Huddersfield in 1996, in a late-night concert straight after the one that featured the first Feldman piece I'd ever heard, For Samuel Beckett.
I was there because I had a piece in contention for the festival's Young Composer Award. (I didn't win, although I did get beyond the workshop stage and get a proper concert performance alongside the piece that did win. Long story.) Feldman was one of the featured composers that year (the first time a dead man had been featured this way in Huddersfield, I believe), so there was quite a lot of his music to hear. Being a provincial boy who'd been to a provincial university, I'd never heard of him before. Hearing For Samuel Beckett was an extraordinary experience. I'd read about him beforehand and so had an idea of what to expect (slow, quiet, goes on a long time), but I really wasn't prepared for how it would feel to sit through something like this. It started off well; Feldman's music has a sound that's immediately attractive. So for the first few minutes it was great. As it progressed though, the sheer apparent stasis of it began to get to me. By about 20 minutes in it began to feel like some form of torture. After that confusion and disorientation began to set in. And then something odd happened. The music seemed to be putting me into a kind of trance like state, not entirely unlike the state of mind you might find yourself in after a low dose of hallucinogens. By about the 50 minute mark when the piece finished, I couldn't decide whether it had gone on far too long or not nearly long enough. We left the hall and walked over to the venue where the late-night gig was happening. This was Patterns in a Chromatic Field, and here everything clicked into place, I experienced that rare sense of revelation that classical music delivers rather more rarely than it promises, and I became the devote of Feldman's music that I remain today.
So Patterns holds a special place in my heart. It's where I "got" Feldman, and it came into my life at a very exciting time when it briefly seemed I might amount to something. It's also a piece for cello, so I also get to have the (probably futile) notion that one day I might play it myself. In my mind it's become a rep piece for cello. I've heard a good four or five recordings of it since then, but last night's performance by Anton Lukoszevieze and Philip Thomas of Apartment House is only the second time I've heard it live.
That's important, because Feldman's is a music that feels significantly different in concert. It's something to do with commitment. Listening to a recording in your own living room, there are always distractions, the possibility of doing something else while the music's playing. Going to a performance requires a higher level of commitment. You're there for an hour and a half of quiet, often superficially uneventful music that demands a level of concentration that's almost superhuman. (This goes for everyone there, whether they're performing or listening.) At the same time, the fact that there's nothing else but you and the music (well, and the rest of the audience), makes it easier. It's just you and this intimidating experience ahead of you, and the only thing that can distract you (apart from the rest of the audience) is whatever thoughts spring into your mind as it struggles to maintain its focus on the moment.
I say superficially because of course there's actually a huge amount going on. You hear a lot of music written under the influence of Feldman, and what most of it fails to grasp is that although tiny motifs and ideas return and reiterate again and again, over and over, there's actually very little repetition in Feldman. Like walking into a dark room, once you've acclimatised yourself you find there's actually a huge amount of detail to appreciate where initially there seemed to be nothing. Patterns is unusual in late Feldman in that it's often quite antsy and fidgety in texture, and has a sense of nervous activity that only periodically dissipates to reveal a more glacial texture. Lukoszevieze and Thomas's performance tends towards the slower end of the range I've heard (they come in at just over 90 minutes), and yet they still mange to convey this jitteriness, a quality that I think often gets lost in the race to play Feldman as slowly as possible. This is quiet and defective and profound music, sure, but there's also humour to be had, another element of Feldman's personality that often gets neglected, and which they convey deliciously here in the the throwaway ending, for instance.
One of the startling things I find listening to this piece on the flesh again after all those years is how much of it has seeped into my own music. Feldman's been a huge influence on me, of course, but it's startling to sit listening to Patterns and real is how much this specific piece has left its mark on my own work. Sometimes this is the result of initial enthusiasm and half-absorbed lessons: you can hear this in Infinite Breathing, where a Feldmanish texture jostles for supremacy with passages in thrall to Ustvolskaya, whose music I discovered around the same time as Feldman's. Later on in Le tombeau de Feldman it's a more deliberate allusion, but it's startling to realise how what I thought at the time was a kind of generalised ersatz-Morty was a half-memory of this particular piece, the main difference being that my figures tend more towards the diatonic than Feldman's (that at least was a deliberate thing).
I sometimes wonder if Feldman, who twenty years ago was a fairly marginal figure, isn't now becoming too pervasive a figure. I certainly worry that it's become cliché to write music under his influence (albeit often without a real understanding of what he's doing and why he uses those textures and strategies), and periodically try to kick the Feldman habit in my own music. Having said that, he's clearly not edged quite so far into respectability that some people won't walk out before he's done. Five did last night. One of them was a woman who heroically and selflessly sneaked out as quietly as she could before she succumbed to a coughing fit. I salute her. The other four confuse me (why on earth stick it out for over an hour and disappear with 20 minutes or less to go?) and annoy me (if you are going to duck out early, couldn't you at least try to leave quietly?). But to come back to this piece, to her it live in that situation where you're stuck in a hall with it, and just as you settle in having made sure you went to the toilet first, you experience a momentary frisson of exhilarating fear as you register what you're committing yourself to, banishes thoughts like that. What's wonderful, what makes it great music, is its capacity to come out and startle you, and (particularly in a well-judged performance like this one) make you feel like music you've been listening to for years is music you've never properly heard before. You thought you had it figured, and then you realise that you've hardly scratched the surface.
Saturday, November 09, 2013
Morty and Me: Appartment House perform Patterns in a Chromatic Field at the Purcell Room
Patterns in a Chromatic Field was the second piece by Morton Feldman I ever heard, and it remains one of my favourites. The first time I encountered it was in Huddersfield in 1996, in a late-night concert straight after the one that featured the first Feldman piece I'd ever heard, For Samuel Beckett.
Monday, August 12, 2013
On competitions
Clarinettist and Twitter pal Heather Roche recently wrote an interesting post about composing competitions. She asked a number of questions of composers about the whole business of entering competitions. As I spent ages wibbling on in the comments in reply, I may as well recycle that into a post here.
I have very mixed feelings about competitions generally, which are a lot to do with the notion (drummed into me as a teenager by a cherished teacher) that the very idea of a competition is utterly opposed to what music should be about, and of course nothing whatsoever to do with the fact that I never win the damn things. Nevertheless, I've entered a number of them over the years. This is partly as it's just one of those things you do, but it's also because I suffer from anxiety, and it sometimes seems like a way of getting my scores out into the world in a way that keeps things at arm's length, in some way, and makes it feel less like ACTUAL PEOPLE are JUDGING my music. As I've got older and lost most of my enthusiasm for the idea of career-building, these occasions have become fewer. Strangely, last month I put in for five or six competitions/calls. This was simply because I happened to see a lot that seemed like they might be interesting for one reason or another, or happened to be asking for pieces written for a lineup I'd already written for, or just seemed to fit in one way or another with an idea I already had at the back of my mind. So far I've had three outright rejections, one promising but noncommittal response, and deafening silence from the rest (probably because the deadlines are not reached or only just gone).
So with that in mind, and apologies for the length of this reply (I'm struggling to stay awake through this, god knows you just be losing the will to live), here are some answers to Heather's questions:
"what about a call for works makes you want to submit a work?"
Generally, an opportunity that fits in with whatever my interests are at the time, or fits a piece I've already written or have half written or have in mind, or features musicians who I think might be sympathetic to what I'm trying to do, or just sounds like it might be interesting.
"What makes you hesitate? What makes you run away screaming?"
Deadline! It amazing how often I find out about something about two weeks before the deadline. Maybe that's just me though. These days I'm less inclined to submit unless I can do so online; frankly it costs money that I don't have to print scores. I'm not so keen on the idea of writing for an obscure instrumentation (unless it's a really interesting one), as it's a lot of time to spend on something that may not have any use beyond the specific competition; remember, I never win these damn things. Fees (see below); I know a lot of groups, festivals etc. are short of money. But so am I!
"How can festivals or ensembles encourage you to submit?"
I've done the "turn up at a rehearsal, do a workshop, get a recording" thing, and while it's not entirely without its merits, these days what I really want to do is work with people who are interested in what I'm doing and might be interested in more than a one-night stand. So I guess anything that sounds like I won't just be rep fodder would attract my attention more.
"Under what conditions might you think it acceptable to pay a fee to enter a competition?"
Generally, never. I have entered competitions where a fee was payable in the past. I look back at those as money I might as well have burned.
"What kind of prize would you expect or like to see offered in both situations in which you have paid and those in which you haven't?"
All I really want from these things is a performance, the opportunity to work with some sympathetic musicians who'll take the music and the aesthetic seriously and be helpful of technicalities and forgiving of my misjudgments, and ideally a connection with some musicians who I might want to work more with (and vice versa of course).
"Having described the situation at the Witten festival, does that sound like something you would be interested in, or advise your students to submit pieces for?"
Yes it does, and I did! But as I say, I never win these damn things, and so must add that to my ever expanding collection of rejection emails. C'est la vie. I console myself with the satisfaction of having gotten a working piece written in only a couple of weeks; I actually think it's one of my favourite things I've written for a while, so I hope it'll get a chance somewhere else.
Wednesday, May 08, 2013
For Steve
There are plenty of people who knew Steve Martland better than I, and could tell you better stories than I. My principal encounter with him was in 2001, when my string piece "Infinite Breathing" was chosen by him for a SPNM workshop and concert. So I got to experience the generosity and big-heartedness of the man first-hand. Between the workshop and the concert we went for a meal and we had a fantastic conversation, which I can't really relate here because it largely consisted of things that would be libellous if i wrote them down. Very funny, though. When I bumped into him afterwards at other events, he remembered who I was. This may not sound like much, but believe me that's a rare thing in this business. Steve was a man who cared about people above all.
I can't quite believe he's dead. No-one else can, from the people I've spoken to. It's particularly sad because I gather that after a long period of creative stasis he was feeling re-energised: the commissions were coming in again, he was full of ideas and the hunger to realise them, and things seemed generally to be coming together for him. It's a sad thing to consider what he might yet have had to give in music. It's a greater loss to the world though, no longer to have the man himself in it.
This is a tiny thing I did today as a memorial. It seems dreadfully inadequate, but I couldn't not make the attempt. I hope it's not sentimental, at least. Steve wasn't a sentimental man, just a passionately caring one.
Monday, March 18, 2013
Notes before a Final (5): Kaija Saariaho
One of the things I constantly find myself saying when I take part in discussions about future repertoire for the orchestra I play in is to emphasise the need to put in music by people who aren't dead. Everything I've played and planned to play thus far in this competition was written in the past century, and can be described as contemporary in the sense that it was written by people who were alive within living memory (my parents' if not mine). However, it's still all written by dead people (and reasonably long-dead people at that - the most recently breathing composer, Lutosławksi, dies over 20 years ago). It therefore seemed a matter of urgency to include something by someone still alive. As with the Falla, I found what I needed by trawling through Spotify and other online sources for recordings.
Kaija Saariaho scores double points for being not only a non-dead composer, but also a non-male one. She's white and European, but two out of four ain't bad, I figure.
Sept Papillons (Seven Butterflies) is a work for cello solo. This seemed to create a nice symmetry: I begin with just me, introduce a piano for the two 1914 pieces, and finish alone again (no singing this time though). I'm playing the sixth papillon. It's an extraordinary piece, that seems to exist on the edge of silence. It's full of tapping, high ethereal noises and harmonics, and has a sense of weightlessness abut it. After the richness of tone that the Falla demands, this is something's else entirely: silvery, glittering and brittle. At the end it just seems to evaporate. It connects to the Webern's gossamer textures, just as the Falla and Partch seem to connect by their more earthly moods.
Having moved from loss and despair through to consolation and peace, this seems to me to take things somewhere else, more ethereal and otherworldly. It's absolutely not a rousing climax, it's not designed to bring the crowd to their feet, but that's not what I'm aiming for. I figure that's what's expected in this sort of event, and what's expected seems to me to the least interesting thing you could do. I hope that rather, this sequence will provide something nourishing for the soul.
Notes before a Final (4): Manuel de Falla
This is in a sense a set of two halves. The first two pieces are ones I've been familiar with and wanted to play for a while. The last two are fairly new to me (as a player, at least) and I've learned them specially for this gig.
Having set up a trajectory with Partch and Webern - in which Partch prepares for and amplifies the emotional world of Webern - I wanted what followed also to throw a light on Webern, but this time through contrast. After the devastated mood of those two pieces, I wanted something comforting, without being too sentimental. I had a Mendelssohn Song without Words in mind, but this was a little too long for the context (especially as I'd decided I'd need a fourth piece to round things off). Cue a lot of random looking up of cellists on Spotify.
Eventually I alighted on the Popular Spanish Suite by Manuel de Falla (which is a transcription of some of his Popular Spanish Songs), and in particular "Nana".
Falla is one of the most famous of Spanish composers (both in his nationality and his style), but perhaps surprisingly the Spanish Popular Songs are a rare example in his output of his using preexisting folk tunes. "Nana" is a lullaby, and had all the qualities I was after: it has that sense of consolation, but isn't sentimental, and has that aspect of noble melancholia that comes to my mind when I think of flamenco (the songs are all full of flamenco influences). It's also quite simply a very beautiful melody.
It's an unexpected juxtaposition with the Webern, and I hope an effective one. Curiously, it only dawned on me later that this and Webern's Three Little Pieces were written in the same year, 1914. Falla died one year after Webern, too. I chose this piece purely on the basis of its sound, and yet these connections and resonances seem to arise between the pieces.
A lullaby could be a good way to end a sequence, but I wanted something else, something to effect a further transformation. This is where the final piece in the set comes in.
Sunday, March 17, 2013
Notes before a final (3): Anton Webern
When you look at a score by Webern, the really obvious thing you notice is there really aren't many notes there. You might think this makes it easy to play. You'd be wrong about that.
When I mentioned to a friend that I was going to be playing Webern's Three Little Pieces as part of my set for the Office Musician Final, her reaction was something along the lines of, "All the rep for cello you've got, and you're doing that?"
There are lot of preconceptions about Webern. It's cold. It's difficult. It's unrewarding to play. All thse things are bollocks. Webern's music is some of the most emotional there is. He was deeply traumatised by the death of his mother in 1906, when he was 22. He never really got over it, and pretty much his entire output after then is, I think, consumed with grief at his loss. It's grief quietly expressed. Not chest-beating, extroivert grief, but internalised, a weight held deep inside that never leaves. It's highly condensed: a fleeting gesture or even a single note carries the sort of weight that in conventional music would be carried by a long melody or a cascade of notes. This is what makes it so difficult to perform: you have to reach deep inside yourself and put so much into so little. The other thing that people find difficult to appreciate is that it needs great accuracy. There are complex rhythms and tempo changes that aren't necessarily directly evident to the listener, but it matters to get those silences and those placements of single notes just so. I think the point is that as a musician, you need to be filled with that level of intense concentration to put the music across to the listener. I cn honestly say that rehearsing this music has been incredibly rewarding, and my admiration for it has only increased. It's all very well to play somethign fast and showy with lots of notes and scrambling about, but to play a single note just right - now that's real virtuosity, and far harder to bring off.
There's a affinity between Webern's inconsolable grief and that of the protagonist in "The Long-Departed Lover" which I hope will come across whn they're heard one after the other. This is what I hope to achieve in a good programme: that the pieces all fit together and illuminate each other in some way. I hope that the contrast of the Falla piece that follows the Webern will also shine a new light on it. If a few people come out of it feling better disposed to Webern than they were before, I'll feel like I've achieved something.
Friday, March 15, 2013
Notes before a final (2): Harry Partch
I can't recall precisely when I first heard of Harry Partch. I have a vague memory that I was aware of the name when I was a student*, but if he was mentioned in British academia at all then, it was as a freakish footnote. I knew he was a hobo, that he invented a 43-tone scale sand some weird instruments. He was an eccentric, marginal figure, not someone to be seriously considered or studied. Certainly his infamous scale would have been presented as some kind of crazy folly, and the logic and impetus behind its creation not considered anything worth study (and anyway, getting hold of recordings of the music was next to impossible in that pre-intenet era. I may have been aware of the term "Just Intonation", but I didn't really have any conception of what it actually was until years later.
Something I never learned to do very well was to play the piano. I started playing the cello at 6 but didn't have a keyboard lesson until I was 17, when my mother (who'd decided not to force it on me as my elder siblings had nearly all hated it) figured I probably needed some keyboard skills for the A level I was studying. At times this lack has irritated or frustrated me over the years, but latterly I've come to realise it was a blessing, as it kept me from becoming too trapped in the 7 white and five black bars covering the window of the cell called equal temperament. Although I didn't have the understanding to fully appreciate the significance at the time, I was always aware that the way I tuned my cello, in perfect fifths, didn't quite fit with a piano. (I knew I needed to tune my A string slightly sharp to stop the C string sounding really flat.) This is what got me interested in the notes "between the notes". I was fascinated by the quarter-tone music written by Ives and Lutosławski, and captivated by the "out-of-tune" intervals of the harmonic series. It seemed strange to me that they were called out of tune; surely they, as natural phenomena, were correct, and the scale on the piano must be wrong? But I didn't have the language to describe and understand such things properly, other than the quarter-tones which were what amounted to microtonality as far as my education was concerned. (It's astonishing to think that back then even quarter-tones were regarded by a lot of teachers and musicians as intervals too small to be perceived. The degree to which received wisdom can smother your thoughts is extraordinary.)
So for years I had this vague idea in my head of Partch as this funny weird guy. Then I heard his music, and perhaps as importantly read his book Genesis of a Music in which he explains in detail the theory and practice of his compositions. That was a major explosion in the middle of my preconceptions, the consequences of which I'm still getting to grips with.
So Harry's an important figure for me, who revealed truths I'd only half-glimpsed before. Nowadays it's easy to get hold of recordings of his music - you can find the recordings he made of some of his Li Po settings on Spotify - and it's even possible to get hold of some scores. I forked out the whatever-outrageous-cost-of-a-photocopy Schott charge for the Li Po settings, partly because I thought they were wonderful of course, but also because I liked the self-sufficiency they stand for - just Harry, with his voice and his adapted viola, making his revolution all alone. There's a strength and also a melancholy to this single-player set-up, and Li Po's poems also carry some of this sense of isolation and loneliness.
*Thinking about it, I suspect it was in connection with Tom Waits, and specifically "Bone Machine", that I probably first heard about him.
Wednesday, March 13, 2013
Notes before a final (1): Balancing Act
Creating a programme for a concert isn't just a matter of chucking together a bunch of stuff you'd like to play, whatever some people think. My original plan for the first round of the competition was to pair Feldman's Durations II with Debussy's Cello Sonata; I thought it would make an intriguing pairing, the Feldman both acing as a kind of warm-up for me and the pianist before we launched into the various difficulties of the Debussy, but also acting as a foil: there's the contrast between Feldman's slow, flat surfaces and Debussy's busier, jump-cut style, but also a shared interest in texture and colour. The Debussy got cut because the time I had got cut, down from 15 minutes to 10. Lutosławski's Grave is a piece which, like the Debussy, I've been laying privately for years, so I had under my fingers (at least enough that getting it up to scratch seemed feasible), and in its changes of mood and varied texture has a certain affinity with Debussy, and hence I figured would provide a similar fit with the Feldman (which I was determined to keep in the mix).
The Lutosławski's quite an overtly virtuosic piece, very dramatic and full of gesture (very much unlike the Feldman). The obvious thing to do for the finale would be something similarly flashy. Doing the obvious just isn't me though. From the moment I dared to start thinking I might make it to the final I knew I wanted to do some kind of sequence that would create a certain mood, and progression of mood. The one piece I knew I wanted to play from the off was Webern's Three Little Pieces for Cello and Piano (I'll talk about this piece, and the others, in more detail in further posts). The other thing I was keen to include was one of Harry Partch's Li Po settings, and it occurred to me that one of them in particular would make a great prelude to the Webern, and really help the intense emotion of that to come through. "The Long-Departed Lover" is, as you'd guess from the title, in part about loss, as is the Webern; pretty much his entire output as a composer is coloured by the trauma he suffered when his mother died. Following that, I wanted something very calm and soothing, even comforting. This was the hardest piece of the jigsaw to find; not just the right tone, but the right length to fit in the limited time I had. In the end, I added two pieces to follow Webern: one to comfort, and another to bring a transformative, fantastical end to the set.
After my set in the semi-final, I was asked, "do you do any more... mainstream pieces?" I guess the answer is, "not this time!". Mainstream doesn't seem a very interesting place to be to me. It only occurred to me after I'd settled on the music I wanted to play that only one of the composers I'm playing through the whole competition isn't dead (bad), and that the piece most people would recognise as "Difficult Modern Music", the Webern, is the oldest piece I'm playing, by the composer who died longest ago. I find that quite a satisfying thought.
Retuning to the stage
Here's me playing Feldman's Durations II and Lutosławski's Grave at the Office Musician of the Year semi-final, my first public performance as a soloist for about 25 years:
It's strange to listen back to it now. At the time I thought it went really well, and others told me they did too. But recordings are an unforgiving thing, and listening to this in the cold light of day, without the excitement of being present at or involved in a performance makes me start to hear everything that's wrong with it: the notes I didn't quite pitch right, the moments where the rhythm's a bit off, the failure to pull the bow quite straight or put the finger down quite firmly enough that just skews things slightly away from what I wanted. This is partly inevitable, that small slips become magnified by a recording, and things that are barely noticed as they fly by in performance can be heard and re-heard. I's like to think it's also down to the fact that I've been working a lot harder at playing than I have for years, and am becoming more exacting of myself and more aware of what I need to improve.
In the end (post recording self-criticism aside), the semi went well, I thought. Having spent years living in fear of the idea of standing up* in front of people and playing as a soloist, it seemed to come remarkable easily. My wife said she was surprised at the degree to which I performed, not something she would have previously associated with me. This was something I and my accompanist Jon had worked on quite a bit since the masterclass - trying to make sure we injected a certain theatricality to proceedings (it's not called performing for nothing, you know). We even planned our entrance, bow etc. In the event our brilliantly planned choreography came to nothing, as the event was really rather more informal than that. We came out of the audience, as there wasn't an easy route from "off-stage" to "on-stage." I hope I managed to look vaguely like I looked like I knew what I was about, anyway. I said a few impromptu things about the two pieces which I think managed not to be total waffle, and then we played. It helped that Jon's a great musician and a good rehearser. Most of our rehearsing ha to be squeezed into our lunch break, so time's at a premium, and making efficient use of it vital. It was a massive boost to confidence walking on to the stage to know we'd really thoroughly prepared ourselves and had nailed all those tricky corners. One of my old teachers once told me you need to allow for a performance being around a quarter to a third less good than the best you're capable of. The great feeling was being confident we were good enough to drop that bit of quality and still be OK.
Interestingly, the main criticism I had from the judge was that we could have given more space to the Feldman. I actually agree with this, but as we'd been given only 10 minutes (and as you can tell from the recording above we were already pushing the boundaries of that) we had to take a particular approach that was a bit faster than I'd have naturally done. Having said that, I think it's always a good idea to question received wisdom, and the idea that a piece like that should be done as slowly as possible is one such thing.
There were eight of us in the semi, and five went through to the final. It's a strong line-up, but I think I may actually be in with a chance. Of course, I'm scuppering that chance with a programme that's pretty much the exact opposite of a crowd-pleasing fireworks display. I think having got there, there are two ways I can go: one is to do something to show off, and the other is to decide I don't care about the winning and just do something I really want to do. Too much of my life is given to compromise as it is, so I'm going with the latter option.
* Not literally. This is cello playing, after all.
Thursday, February 14, 2013
Over the edge
So, what have I been doing since the last time I declared I was reactivating this place and then didn't?
Well, teetering on the edge of a nervous breakdown for one, but that's another story.
I wrote a fucking amazing piece for orchestra. The conductor was scared of it though, so I had to write a less scary one. In two days. TWO DAYS! I'm brilliant, I am.
I went to some gigs and listened to some music. Maybe I'll tell you about that sometime, maybe I won't.
I mucked about with some other people's music.
I did a bit of my own.
I started recording versions of songs from Beck's Song Reader.
I entered a competition for amateur musicians.
Yes, I am going to perform my cello all on my own-some (OK with a pianist). The last time I did this was in 1989 and it was a disaster. I have suffered crippling anxiety about it ever since.
But in the last few years, I've been doing a lot of recording of my own stuff - mostly drones with cello, processed cello sounds, that sort of thing. I realised what I should have realised about 20 years ago really, that it's fundamentally a waste of time and energy trying to foist your music on other performers who are on the whole at best indifferent and at worst condescending or actively hostile. You know - classical musicians. (There are of course one or two noble exceptions to this.)
So I was making this music all by myself, without any need to rely on pothers, and it felt good. I played some of it to my friend Rhodri, and his reaction was, "this is really good. You should get yourself a gig at Cafe Oto or something."
Well, he's right of course. It's all very well sitting in your front room recording stuff and fiddling about with it, but music's a performing thing, yes? It's intriguing to think how this stuff might be done live - it would have to be executed in a different way to the way I go about constructing a recording of course, but having to adapt to that could spark off some new and interesting avenues. But the thought of getting up in front of people and performing as the centre of their attention was just terrifying. This was something I needed to address. It's closed off all sorts of opportunities for my for two decades.
I'd heard of Music in Offices before, and in fact I know a couple of people who've entered their Office Musician of the Year competition. One even won it! And the other reached the final. No pressure there, then. So when some people turned up at a rehearsal of my orchestra before Christmas touting it, it planted a seed in my mind. Perhaps this was what I needed? Something to force me to stand up and play in front of other people. I spoke to one of my friends who'd done it before. She told me she'd entered it for pretty much the same reasons I was thinking about it, and it had done her a huge amount of good; boosted her confidence in her own abilities and opened up all sorts of opportunities to play that she'd never even conceived before. I um-ed and ah-ed about it for a few weeks, then bit the bullet and sent in the application form jut before the deadline at the end of November.
The heats stage is at the end of February. But on Monday night my accompanist and I went along to a masterclass that MiO had organised for the participants. It seemed a good idea to have a dry run where it didn't matter too much if I fucked up. The two musicians taking the class, Joel Garthwaite and Maite Aguirre were both lovely and positive and had plenty of wise advice.
And you know what? I didn't fuck up. In fact I was OK. Not perfect, but OK. It's a couple of weeks to the heats, so there's time to sort out the rough edges. Suddenly it occurs to me I might have to start practising the stuff I planned for the final, because there's a possibility I might get there and actually have to play it.


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Does anyone else have any input on doing a pay wifi hotspot?
On 2/8/06, Josh Hyles <josh dot maillists at gmail dot com> wrote:
> hi everyone, thanks for taking the time to read this. I'm not a total
> newbie, but I'm not sure where to turn in my current venture. I live
> across the street from a quizno's sub shop and was hoping to setup a
> wifi access point for users that come in the shop. Now before you go
> think... ah how nice of you mate... lol, I am hoping to charge
> something like $0.99 per hour or something. figure thats cheap and if
> i make one sale per day, i can put it toward my cable bill each month.
> Anyway, the task I'm trying to implament would be a paid for(via
> paypal) wifi service that will run all by itself. people create
> usernames and passwords along with paying via paypal and everything
> takes care of itself. Well, my roommate is a programmer(mainly .NET,
> but he thinks he can learn this stuff) and he wants to see if we cant
> just write the whole thing outselves. The problem is, we're not sure
> how to, if its even possible, to add users to the internal radius
> database so we dont have to run another radius server on another box.
> OR if there is a better way to go about this all together?
> Thanks in advance.
> Josh


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But turning a place upside down only works if you there's a plan for once you have it there. As Ken points out, in this instance, there doesn't seem to be one.
What is surprising is that in publicly announcing cutbacks, Randy Michaels, Zell's radio guy-turned-Tribune czar, is focusing on, of all things, PRINT.
Take his notion of how to make the papers more readable and sell more of them.
Michaels saying the papers will become more USA Today-like, with:
"a new look and feel in each market, emphasizing what people are telling us they want in the research: charts, graphs, maps, lists."
Wow. Great solution for 1992 perhaps, 10 years after USA Today turned the newspaper world, Pleasantville-like, from black and white to color. The problem with that is that USA Today is essentially flat last several years in circulation, and it's got a national base and multiplicity of hotel/travel programs to keep the numbers up.
Ken's whole analysis is worth the read. Anyway, I just started chuckling that this is the second instance in which a company I know had a chance to pick one of two words for its business and managed to pick the wrong one. Tribune is a newspaper company - emphasis on the word "new." I mean, that's the crux of the business, right? Tell me what's new? Its the timeliness of the content that makes the paper interesting, not the format delivered (the "paper" part).
In today's world, any paper that is delivered just once a day is going to be old by definition. Call newspaper the latest oxymoron, right next to jumbo shrimp. Old-paper is more appropriate. Any plan to fill an old-paper with a bunch of crappy charts and graphs is not going to change this face. Even the crappy charts will be dated by the time it reaches me on a paper.
Online however, is what is interesting. And, Tribune does have a successful presence there as well. Turning more resources there seems to make more sense than trying to revitalize the old-paper. Well, that and fixing the ad model too. (Couldn't help myself). In any event, looks like out of the choices new and paper, Tribune picked the wrong word.
If your curious, the other instance I thought of where a company picked the wrong word was when Ask Jeeves ditched the name "Jeeves" and re-branded themselves ask.com. In my mind, the "Jeeves" part was the only interesting part of their name. Ask was and is plain vanilla and hard to brand around. I'm not saying Jeeves is a great search engine name either (it's not), but it was the better of the two choices. Even today, a couple of years later, when referring to the company, I still call them Jeeves. Beats saying Ask.com.


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The 8" Mocha Kelsey #648 is a Non-Metallic CSA certified boot with a Sympatex waterproof bootie. The Vibram 1275 Olympia unit sole features a unique compound that's not only resistant to fire (heat) but also helps limit slippage on ice by increasing friction between the sole and ice.
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- Direct attached P.U. welt with Vibram® Olympia 1275 Fire and Ice sole, which can be resoled
Available in sizes 7 to 13 in a well fitting EEE width


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Undergraduate and Graduate Students
Is there a fee to use Health Services?
There is no fee to use health services for an illness visit. Your health fee is in lieu of the co-pay. There is a co-pay for immunizations.
Each time you visit Health Services for care, we are able to bill your insurance (whether it's your student health insurance plan through the university, your own plan, or a family health insurance plan). This may require that you change your Primary Care Physician to Health Services for the school year or that you obtain a referral. We will tell you this when you call for an appointment. Please bring a copy of your insurance card to each visit. If you do not have a card, then you need to have your insurance information with you. We will need a copy of both sides of your insurance card. This can be faxed to us at the time of your visit. There will be no out-of-pocket charges to you or your family. You should also bring your student ID to your visit.
What should I do if I am feeling ill?
When Fall and Spring semester classes are in session, Health Services is open on Monday through Friday from 8:00 am to 5:00 pm. Please call first for an appointment. The phone # is 508-999-8982.
What should I do if I need help and the Health Services is closed?
If you have an emergency and Health Services is closed, contact Public Safety at (508) 999-9191 for immediate assistance. If calling from an on-campus phone, dial 9191.
If it's not an emergency, your Resident Assistant (RA) or Resident Director (RD) may be able to assist you. In addition, you may call 508.999.8982 to speak with the nurse practitioner on-call. The nurse practitioner is only available during the fall and spring academic semesters.
What should I do if I have a question about my health, my lifestyle, my risk for sexually transmitted infections (STI's) or pregnancy, my weight or diet, or if I'm just stressed out?
Call Health Services for an appointment at x8982. Our professional staff can answer your questions, test you on site for STI's or pregnancy, counsel you on diet and weight management, or help you identify stress in your life. If needed, a referral to Counseling Services can be made for you, or you can contact the Counseling Center directly by calling x8650.
One resource available on the web is the Self Care Guide.
Is my health care confidential?
Your medical care is strictly confidential and no information will be released to parents, faculty, administrators or anyone else without your written permission.
The only exceptions are:
- If you are a threat to yourself or to others.
- If you are in a life threatening condition, medical information will be released to the professionals who are providing care or to others on a need to know basis. Exception: HIV status will not be released.
- If we are requested by law for some communicable diseases or by a subpoena. Immunization status must be available to University officials and state inspectors to comply with Massachusetts law.
Insurance billing does not contain specific information when the insurance statement (EOB) is mailed to the subscriber. An office visit will only say medical. This is not true for any lab testing. The laboratory often lists the specific tests being billed.
How long are my medical records kept by the university?
Medical records are kept for 7 years after you leave or graduate from the university. You may want to request a copy of your immunization records or your complete file prior to this time frame.
Other Common Questions
Can I keep prescription medications in my room?
Yes. We recommend you keep them in a locked box.
Can I get my allergy shots in the Health Service?
No. You can, however, contact Health Services for the names of local allergists.
Does the Health Service sell condoms?
They are free.
Where are you located?
We're located in the back of Roberts Hall and across from Pinedale.
Does the Health Services provide women's health care?
Yes. We have a Board Certified Women's Health Nurse Practitioner on staff. Call us for an appointment.
Does the Health Service treat sexually transmitted infections?
Most STI's can be diagnosed and treated on campus (for men and women).
Can I have blood work done on campus if needed?
Yes, if you have blood work ordered by your physician we will draw blood. It is then sent to our reference lab, which currently is UMASS Memorial Laboratories.
Can I be seen at the Health Office if I don't have school insurance?


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Ulta Sedona Clay Mineral Mask
- 2 reviews See the Breakdown
- Product Info | Add Your Review
Ulta Sedona Clay Mineral Mask Reviews
A+ product!This product is on sale at Ulta for $5 right now, so I thought I would try it. Its the best mask I have ever used. It's super thick, but yet so soft and creamy when it touches your skin. After washing this product away, your skin feels super soft exposing refined pores. I couldnt stop touching my face! — 8 years, 10 months ago2Lazy2Create1 | 2 reviews
This review is: Helpful | Not helpful | Inappropriate | 3 of 4 people said helpful
GREAT!EVERY ONE SHOULD TRY THIS, YOU WILL NOT BELEIVE HOW GREAT YOUR SKIN CAN BE — 9 years, 1 month agopamrandle | 13 reviews
This review is: Helpful | Not helpful | Inappropriate | 1 of 2 people said helpful
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My Reasons for Reporting This


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Joe Theismann played in the NFL for 12 years and has done broadcasting and game analysis for more than two decades since his career ended in 1985. Given his experience, here's the advice he'd offer the Colts: Draft Andrew Luck because Peyton Manning probably won't ever play again.
"First of all, if you're the Indianapolis Colts, you have to draft Andrew Luck," Theismann said of the two-time Heisman Trophy runner-up from Stanford during an interview Friday on SiriusXM's Mad Dog Radio. "I watched him play about four games this year, and he's the real deal. He's as complete a package as you are going to get coming in to professional football.
"Andrew Luck, if you have him available and you are the Indianapolis Colts and you saw what happened when you lost Peyton Manning, you have to go draft him. (QBs) Dan Orlovsky, Curtis Painter are not the future of the Indianapolis Colts. So I think you have to draft him irrespective of what gets worked out regarding Peyton."
Team owner Jim Irsay swept Bill and Chris Polian out of the Colts front office earlier this week. Irsay has made it clear he wants to keep Manning if his surgically repaired neck allows him to play. And as the guy who owes Manning $28 million in March, Irsay will decide whether to keep the four-time MVP regardless of who he hires to fill the power vacuum left by the departure of the Polians.
Theismann thinks Manning's medical chart will make choice obvious for Irsay.
"I hope (Manning) does come back, but I would say right now on this show, I don't think Peyton Manning will be back in a uniform to play football, for his health and for his safety," said Theismann.
"Ever again. I mean, he hasn't practiced. He hasn't taken a hit. You're rolling the dice on $28 million for him to take a hit. Would you do it?"
Nate Davis is a reporter, blogger and editor who's been at USA TODAY since 2000. He has covered the NFL since 2005. No, he did not play quarterback for Ball State. Davis' succession of our esteemed colleague Sean Leahy at The Huddle is considered a Brady-for-Bledsoe swap by most "insiders."More about Nate


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Medicine Makes Kid 'DIZZAAYYY!' After Surgery [VIDEO]
One of my personal biggest fears is what stupid things I may say or do after being on medicine after a surgery. This video is the perfect example as to why.
One of my personal biggest fears is what stupid things I may say or do after being on medicine after a surgery. This video is the perfect example as to why.
I've heard ballet is competitive, but really? Obviously there can only be just one Prima Ballerina. I guess the competition starts at an early age...
It's a bird, it's a plane, it's…a hot dog? 955 of them! Celebrating the 95th anniversary of the landmark American Coney Island restaurant, the restaurant teamed up with their local Detroit radio station, 95.5 , to host a hot-dog hoarding contest at a local football field.
Roger Pharr, of Flint, told our news director, Dave Goldman, he was awake and felt the 4.3-magnitude earthquake that shook East Texas this morning. When the quake -- the second to hit in East Texas in as many weeks -- was over, he made a video to talk about his experience with the quake.
Big D and Bubba find the funniest and weirdest videos! Check out the Chimpanzee riding a Segway!
Carrie Underwood has fans of all ages! Here is a darling 3-year-old preschooler who loves belting out Carrie's latest hit "Good Girl." This child is so irresistible and really knows how to rock out. Go, Good Girl, GO!
We all need a little inspiration every now and then! Singer Carly Rae Jepsen's catchy tune, "Call Me Maybe," inspired these Harvard baseball players.
So, if you need a little push this morning -- here it is!
A family that sings Queen songs together -- stays together. "Scaramouche! Scaramouche! Will you do the Fangdango?"
Master Corporal John Celestino of the Windsor Regiment challenges a National Guardsman from Camp Atterbury, Ind., to settle the age-old U.S. versus Canada debate once and for all with a friendly game of Tug of War.
I've got a feeling he didn't marry her for her math skills! But, this also means he's going to be on your You-Kn0w-What-List for a looooong time!
This kid will never forget his eighteenth birthday (although he wishes he could!) cause granny and grandpa really out did themselves this year, with a little birthday blues. I can't wait to pull this on my daughter Chloe! I can't believe I didn't think of this before. Isn't it a parents duty to embarrass their children? I thought so. Go Granny - go Granny!
Sometimes you just need to "get jiggy" with it!


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Down in the Dumps
Dear Sugar
I am extremely unhappy at home and don't know what to do about it. I have been married for five years and we have two children who I love and adore, but my marriage is not what it used to be. My husband is constantly putting me down, as a wife and mother, and he is always nit picking at my every move.
I am a working mother and housewife but the only thing that really makes me happy are my children. I am overly exhausted from being a working mom with a newborn baby and housewife and feel like I get no help from my husband. I have voiced my concerns and he has done nothing to pitch in. Although I love some aspects of my husband, I am at the point of thinking about leaving him. Do you have any advice for me? Miserable Melissa
To see DEARSUGAR's answer
Dear Miserable Melissa
I am sorry you are so unhappy right now. How long have you had these feelings? It sounds as though you could be suffering from some postpartum depression and the lack of support from your husband isn't making matters any easier. Did you feel this way after you had your first child? Do you have any help with the kids?
You have made a big life change going from one child in your home to two children. Your husband is now getting even less attention from you and you are having even less time to spend as a couple. Try to remember you are not alone in your feelings. Millions of women find their first year with a newborn to be one of the most difficult.
I am sure you feel like you have reached your breaking point, but since you still have love for your husband, I think it would be best give it all you've got before ending your marriage. When you tell your husband how overwhelmed you are, does he sympathize and ask how to help? Do you ever give yourself alone time to re-group, rest, or simply have some quiet time?
I suggest seeking couples counseling as there seems to be some deeper issues in your marriage that need to be resolved so you can try to get through the tough times. If you feel your relationship can not be mended, ultimately you need to do whatever makes you happy. In order for your children to be happy, you have to be happy as well. Follow your heart and do what feels right. I wish you luck.


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3 Recommendations
glamconnie's recommendation
Usually the high waist is difficult to pull off, but this version is nearly fool proof! Tuck in a color graphic short-sleeved blouse and cinch the waist with a braided belt.
GlamDiva1781's recommendation
I love, want, and Im going to get these !!!!!!
xman16trs's recommendation
The wife will look great in these, another birthday gift.


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This has been an extremely eventful week here at Fairytale Brownies. As our loyal readers know, one of our Customer Service Team members is having a baby. Well, she's due anytime now, and we decided to throw her a Fairytale Surprise Party!
Needless to day, any good party here at Fairytale includes the best brownies on earth! (No, the cake is cake, brownies were later.) Tanika was so surprised and pleased...and I hope Mackel will be pleased with all the love shown by all our people here, and I'm sure he will be.
On Tuesday, we're kicking our season into high gear with the arrival of our seasonal employees here in Customer Service. They will be here until just before Christmas to help us send brownies, cookies, and all of our other corporate food gifts for the holiday season. We have one who is with us for his fourth season, and has started with us already! Welcome back Tony "The Confrontation" Sanders!
As a side note, Rosh Hashanah will commence at sundown on September 8th this year, so, Happy New Year!


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Now Maria Sharapova is just messing with us.
The tennis star was back on her Facebook page today with an update on her hairstyle, one day after fooling the world into thinking she had cut her famously long blonde tresses.
In case you missed it, we posted a photo yesterday of Sharapova's close-cropped look, which she now says wasn't for real.
PHOTOS: Best images of Sharapova
To wit:
"Wow, when I posted those photos with the short hair I had no idea everyone would all go bananza ... (My dear friends, I never actually said I cut my hair!) So for the sake of my email inbox and it's stressful 24 hours, I would like to show you the below pictures ... my hair is still long ... and blonde ... and well it's pretty much the same! We did a shoot a few days ago and I sported all types of hair styles ... long and yes short (a wig!!!)."
Sharapova says this photo shows what her hair still looks like.
Reid Cherner has been with USA TODAY since 1982 and written Game On! since March 2008.
He has covered everything from high schools to horse racing to the college and the pros. The only thing he likes more than his own voice is the sound of readers telling him when he's right and wrong.
Michael Hiestand has covered sports media and marketing for USA TODAY, tackling the sports biz ranging from what's behind mega-events such as the Olympics and Super Bowl to the sometimes-hidden numbers behind the sports world's bottom line.


text: Just recently my boy started licking his tail alot. At first i thought something bit him, but we took him to the vet and they gave him a shot an d put him on cephalexen to clear up any infection. It didnt work, he still licks his tail. Then they put him on a steroid called predinosone, which i toook him off because he started peeing everywhere, the vet is suggesting that it might be a food allergy, which is frustrating because we just swithced his food to Nutro (Natural Choice) and he has done so so well on it. all of his skin issues cleared up, he stool stopped being mushy and he gained 26 pounds. He Looks awesome!!!!, but the vet is suggesting to switch him to a veterninary diet becasue someihing is causing to him to react to lick his tail. I hate to do this because it has been trial and error with his food and we finally found something that works. Does anyone have any suggestions about his licking besides a food change? Thank you


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Thanks for helping us sort this video!
Thanks for helping us associate the correct Pornstars to this video!
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damn...he looks like a little teenage boy but his dick is HUGE
More of this please. Stacy liked it right deep in her arse. Wish i was Ivan, i would love to fuck Stacy
That skinny little guy sure has a big cock!!!!!!!
I don't understand how this video doesnt have any comment this boy is sooooo fucking hot
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Shop Personalized StationeryCarlson Craft Wedding Invitations Customize any Address Stamp to match your style!
Make sure guests know exactly where to sit at your next big event by providing place cards for all. Each bright white folded card features leafy vines in red hues to the left of the card.This design owes its inspiration to Shawn's best friend, his sister Valerie.


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A Guide to the Alliance Gin (Buda, Texas) Records, 1890-1915.
Historical Note
Cotton ginning cooperative, organized in 1890; incorporated as the Buda Alliance Milling and Ginning Co
Scope and Contents
Photostats, including charter, minutes of meetings, lists of stockholders, and production records.
Access Restrictions
Unrestricted access.
Administrative Information
Preferred Citation
Alliance Gin (Buda, Texas) Records, 1890-1915, Dolph Briscoe Center for American History, The University of Texas at Austin.
Detailed Description of the Papers