text:
Mary Dullea (Piano)
Mary Dullea is from Cork, Southern Ireland and studied
at the
Royal College
of Music, London on the Edith Best Scholarship. Since
graduating she has performed throughout Europe, South-East
Asia, South
Africa and the USA. Festival appearances include Brighton,
Huddersfield, Aldeburgh, Belfast Festival at Queens and
for West Cork Music. Increasingly sought after as an interpreter
of new music Mary regularly commissions and gives first
notably with her piano trio, the Fidelio Trio. She has
broadcast regularly for BBC Radio 3 and is co-Artistic
Director of
Music @ Drumcliffe, a festival in the west of Ireland.
2004 saw a year in South Africa as piano lecturer at the
of KwaZulu-Natal and performances throughout the country,
including the National Arts Festival in Grahamstown.
2005 sees the release of Opera, her duo recording with Darragh
Morgan, by NMC. Future performances include a recital
based around Ligeti's Etudes, initially throughout
and the UK.
Roger Heaton (Clarinet) Roger
Heaton, clarinettist and conductor, studied at the Royal
Academy of Music, King's
College London and Huddersfield University. He performs with
groups as the Kreutzer and Smith String Quartets, was a member
of the London Sinfonietta and Ensemble Modern, and is a member
of the Gavin Bryars Ensemble, Music Projects London and Uroboros.
He plays at major festivals throughout Europe and records
regularly for radio and CD - 18 chamber and solo CDs currently
in the catalogue. He was Music Director and Conductor of
Rambert Dance Company during the 1990s and Clarinet Professor
at the Darmstadt Ferienkurse für Neue Musik (1982-94)
working with some of the world's leading composers,
from Cage to Zimmermann, and is currently Professor of Music
at Bath Spa University. His latest CD of clarinet quintets
by Morton Feldman and Christopher Fox was released on Metier
last December and a CD of Tom Johnson's solo music
will appear later this year on the Silenzio/Rome label. He
is currently working on a book for Routledge entitled The
Versatile Clarinet, and next year he will begin editing and
compiling the Encyclopaedia of the Clarinet also for Routledge.
Benedikt Kölbl (Baritone) Born 1977 in Innsbruck
Clemens received his musical education from an early age
from his music teacher parents. He has played the piano for
most his life and also studied the violin for a couple of
years. After his Matura in 1995, he started studying architecture.
His vocal career began as treble in the Wiltener Sängerknaben
and later on as bass in the Kammerchor Walther von der Vogelweide,
both situated in Innsbruck and led by his father. Apart from
that he collected musical experience in bands, youth choirs,
various vocal ensembles, and as a soloist in musical productions.
In 1994 he received his first professional vocal tuition
from Maria-Luise Erlacher and Prof. Kurt Widmer. In 1999
he passed the auditions for the Universität für
Musik und Darstellende Kunst and started his studies with
Prof. Ralf Döring in 2000. Along with his training as
a soloist he continued his choral singing (ChorusSineNomine,
Schönbergchor, Wiener Kammerchor, Wiener Akademie, Neue
Oper Wien). Since 2002, when he first came to London on an
exchange programme to the Royal College of Music, he travelled
a lot between Austria and the UK. Having finished the undergraduate
courses both in Vienna and London, he is currently doing
his fifth year with Neil Mackie, and attends regular masterclasses
as well as studying Lieder with David Lutz in Vienna. As
a soloist he has performed all over Austria and the UK, trying
to provide lively Lieder interpretations (Schubert Die Schöne
Müllerin, Winterreise, Schumann Dichterliebe, Liederkreis,
Brahms Magelonelieder, Mahler Lieder eines fahrenden Gesellen).
His operatic repertoire is still building up and includes
the Mozart baritone roles, early music (Dido and Aeneas coming
up in September) as
well as contemporary premieres, which he likes most. www.clemens-koelbl.at
Loré Lixenberg (Mezzo
Soprano) Loré Lixenberg
studied at the Guildhall and City University. She has performed
throughout Europe at numerous prestigious festivals including
the Salzburger Festspiele, Wien Modern, Oslo's Ultima
and the festivals in Lucerne, Edinburgh, Witten, Donaueschingen
and Aldeburgh. Loré Lixenberg has performed as soloist
with several distinguished groups including Klangforum Wien.
Recent projects include the role of Baby Jane in Jerry Springer
the Opera and she recently performed the lead role in the
world première of Bent Sørensen's opera
Under Himlen at the prestigious Royal Opera House in Copenhagen
to great critical acclaim. She has also been on tour with
the Birmingham contemporary music group singing music by
Stuart Macrae and Kurtag. Future projects include 6 TV operas
for BBC2 with Richard Thomas, concerts with Ralf Hind and
David Alberman singing Sorenson and Hind, a new approach
of Stephen McNeff for the Royal Opera House and a new opera
by Nigel Osbourne to be performed in Croatia in 2006. www.lorelixenberg.co.uk
Michael (Cello) Born in Scotland in 1976, Robin Michael studied
at the Royal Acacdemy of Music with David Strange
and Colin Carr and in masterclasses with Steven Isserlis,
Truls Mork, Pieter Wispelwey and Karine Georgian. Much in
demand as a soloist and chamber musician, he recently gave
his South Bank debut as part of the Park Lane Group Series
to great critical acclaim. In 1995, Robin worked with Gyorgy
Ligeti on his solo cello sonata and since then has devoted
much of his time to contemporary music. He has worked with
composers such as Kurtag, Maxwell Davies, Ferneyhough, Finnissy,
John Woolrich, Tristan Murail, Alexander Goehr, Phil Cashian,
Roger Redgate and Elena Firsova and taken part in many premiers
and broadcasts. He is the Cellist in groups such as Ensemble
Expose, Lontano, Gemeni, Nozsferatu, and the Uroborus Ensemble
and is a regular guest with the Composers Ensemble, Birmingham
Contemporary Music group, Ixion, Almeida ensemble and Music
Projects London. Robin has been an artist with Live Music
and the National Federation of Music Societies. Recently
Robin has appeared in festivals in Regello Ochrid (Macadonia),
Kilkenny and Huddersfield. Forthcoming engagements include
the premiere of a new cello concerto by Joe Cutler in London,
recordings of Zimmermann and Redgate, a BBC recording of
Finnissy's Jisei for cello and ensemble plus festivals
in Itlay and Belgium this summer. Robin plays on a cello
by Vincenzo Panormo c.1791 bought with generous assistance
from the Countess of Munster musical trust and the Abbado
trust. He teaches at the junior department of the Royal Academy
of Music.
Darragh Morgan (Violin) Born
in Belfast in 1974 Darragh Morgan currently resides in London.
He has given
solo recitals at
Wien Modern and Sonorities Festival as well as in Prague,
Malta, Nicosia, Hong Kong, South Korea, Italy, Switzerland,
Holland, USA and throughout the UK & Ireland. International
festivals Darragh has performed at include Warsaw Autumn,
Ars Musica, Klangspuren Schwaz, Darmstadt, Aldeburgh Festival,
Besancon Festivale de Musique, Dubrovnik Summer Festival,
Festival D'Automne a Paris, Jazz sur les Pommiers Coutance,
Cheltenham, OCM and Spitalfields Festivals. Much in demand
as an exponent of new music, Darragh performs regularly with
Ensemble Modern and has also appeared with the London Sinfonietta,
Icebreaker, Birmingham Contemporary Music Group, Musik Fabrik,
the Almeida Ensemble, and has led Ensemble Corrente, Topologies,
Reservoir, The Brunel Ensemble and the Remix Ensemble (Portugal).
He broadcasts regularly for BBC Radio 3, has appeared on
Radio 4's Pick of the Week as well as on The South
Bank Show, CYBC, RTHK, HN2 and Lyric FM. As a recording artist
he has worked with many and diverse artists. He is currently
a member of the new music collective Noszferatu and Artistic
Director of Music @ Drumcliffe. In 2002 he became a faculty
member of Apple Hill Chamber Music in New Hampshire, USA
and also regularly coaches at the Britten-Pears Young Artist
Programme. Darragh has participated in masterclasses with
Yehudi Menuhin, Pinchas Zukerman, Nigel Kennedy, Mauricio
Fuks, Pierre Amoyal and Paul Zukofsky. He plays a fine violin
made by Peter Boardman after a Peter Guarnerius, Venice,
1735. www.darraghmorgan.com
Rose Redgrave (Viola) Rose Redgrave
is a free-lance violist working in London. She studied
at the Royal Northern College
of Music for five years before being awarded a scholarship
to study at the Royal Academy of Music where she subsequently
became a fellow of chamber music. As a chamber musician
she works with several groups including The Goldberg Ensemble,
Chroma, Derwent Quartet and Uroboros ensemble and has broadcast
on BBC Radio 3 on numerous occasions. She also works extensively
with the Philharmonia Orchestra and BBC Symphony Orchestra
and more occasionally with the Northern Sinfonia, Scottish
Chamber Orchestra and London Mozart Players. She has played
regularly in theatre projects at Battersea Arts Centre
the National Theatre. In 2004 she was a soloist in Mozart
Sinfonia Concertante with Mia cooper, conducted by Richard
Hickox. Rose is a founder member of the Innovative Ensemble
Sound Collective.
Rowland Sutherland (Flute)
Rowland studied flute at the Guildhall School of Music and
Drama with Kathryn
Lukas, Philippa Davies,
Peter Lloyd and participated in master classes given by the
late Geoffrey Gilbert. He studied jazz with the late pianist
Lionel Grigson. He enjoys an international career in many
different fields of music. He regularly performs in new music
ensembles, jazz groups, symphony orchestras, various non-Western
groups, pop outfits and as a soloist. Many of Rowland's
solo contemporary flute performances have been broadcast
on BBC Radio 3, London. He has composed and arranged music
for groups, ensembles and for the BBC. Rowland Sutherland
fronts his own band, the critically acclaimed Mistura, who
perform Brazilian jazz fusion alongside Afro-Cuban and pan
African grooves. He has played and recorded with some of
the finest new music ensembles and dance companies in Britain.
These include: New Music Players, Ixion, Lontano, Icebreaker,
Uroboros, London Musici, Reservoir, Music Projects/London,
Phoenix Dance, Jazz Xchange Music and Dance and Rambert Dance
Company. Rowland performs in an adventurous flute and guitar
duo with Abigail James. They have attracted many new commissions
and have performed at various music festivals. In March 2002
Rowland performed in a concerto by Stewart Wallace, written
for the electric group Icebreaker with the American Composers
Orchestra, at New York's Carnegie Hall. The OrchestrasÕ music
director designate, Steven Sloane, conducted the event. Rowland
is a professor at the Trinity College of Music and the Guildhall
School of Music and Drama. As an educator he has given consultations,
workshops and/or coached at the Trinity College of Music,
York and Durham Universities as well as The Centre for Young
Musicians, Morley College.
Joe Cutler Joe Cutler was born in London in 1968 and studied
at the Universities of Huddersfield and Durham before spending
three years at the Chopin Academy, Warsaw on a Polish Government
Scholarship. Since 2000 he has lectured in composition and
orchestration at the Birmingham Conservatoire. His music has
been performed in over thirty countries worldwide by performers
such as the BBC Symphony Orchestra, Tokyo Metropolitan Symphony
Orchestra, Scottish and Swedish Chamber Orchestra, Netherlands
Wind Ensemble, Orkest de Volharding, Icebreaker, London Sinfonietta
and Noszferatu (a collective he co-founded in 2000). Prizes
and awards include a special mention at the 1997 Gaudemus International
Music Week (Amsterdam), second prize in the 2000 Toru Takemitsu
Award (Tokyo) and winner of the 2005 SCO/SwCO International
Composers Competition. www.bmic.co.uk/composers
Tansy Davies Tansy Davies music has been taken up by many ensembles including
the BBC Singers, Endymion Ensemble, the BBC Philharmonic,
and the RPO's new music group, Sharp Edge. Other close
working relationships have developed with the London Sinfonietta,
the Brunel Ensemble, the Composers Ensemble and the Birmingham
Contemporary Music Group. Her most recent compositions are
Spiral House, a trumpet concerto for Mark O'Keefe and
the BBC Scottish Symphony Orchestra, and Women in Love, a song
cycle written with the Irish poet Derek Mahon. Current projects
include a work for the London Sinfonietta to be premiered at
this year's Aldeburgh Festival and a new piece for the
London Symphony Orchestra to be performed in June. Future plans
include an ensemble work for the BCMG and solo works for John
Harle and Ulrich Heinen. Tansy Davies is Composer in Residence
at Royal Holloway, University of London. www.bmic.co.uk/composers
Doderer Johanna Doderer has worked with most of the renowned
orchestras of New Music in Austria. After a successful
first opera Die Fremde in 2001 she is working on her second,
the multi-media stage performance Strom.. Her list of works
comprises everything from chamber music to orchestral compositions.
She holds a number of prizes and scholarships including those
of the Vienna Symphony Orchestra, Austrian National scholarship
for composers, the City of Feldkirch's decoration of
culture for music the City of Vienna's promotion decoration
of culture for music and the SKE publicity prize. She is Composer
in Residence of the Society of Music in Vienna in 2004/5. Other
concert events in 2005/06 will include performances in Liechtenstein,
Easter Festival in Sterzing, concerts with Vienna's Junge
Philharmonie, tour with the Gaudeamus Quartet, First night
of the piano cycle Phantasy on the Grenzwald, piano concerto
in Vienna, Bregenz Festivals and the premiere of her opera
Strom. in 2006. Johanna Doderer is the grand niece of Heimito
von Doderer.
Reinhard Fuchs Reinhard Fuchs,
born in 1974, first studied accordion at the Bruckner-Conservatory
Linz (1991-1995).
that he completed his studies in composition with Michael Jarrell
(1995-2002) at the University of Music in Vienna. In 1997/98
Fuchs attended studies at the University of Miami in Florida.
Courses with B. Ferneyhoug, M. Stroppa, M. Lindberg, K. Huber
were further important stimuli for his work. Next to commissions
of renowned ensembles and organizers (Wien Modern, Salzburg
Festival, Musiktage Donaueschingen, Witten Music Days, Musikprotokoll
at Steirischer Herbst, Hörgänge, Konzerthaus Berlin),
Reinhard Fuchs can also refer to numerous international prices
and distinctions (1st prize at the 7th international composition
competition Salzburg, the 2nd prize at stasis et vita (Germany),
the special prize of the Fondation Royaumont (France), 2001
the Anton-Bruckner- Prize, 2003 austrian grant for composers).
In 1997, he founded the composers group Gegenklang together
with colleagues. His works are characterised by a tightly woven
musical structure and many of them have strong literary influences.
Upcoming commissions include new works for the renowned Salzburg
Festival in 2006 (orchestra) and the Bayerische Staatsoper
Munich (2006). www.edition21.at
Bryn Harrison Bryn Harrison
(b. 1969) studied composition with Gavin Bryars at De Montfort
University, Leicester. His music
has been performed extensively in the UK at most of Britain's
leading festivals and broadcast on BBC Radio 3. He has established
a particularly close association with the Huddersfield Contemporary
Music Festival receiving prizes there in 1993 and 1995 and
commissions from the festival in 1999 and 2002. In 1999 he
was selected to compete for the International Gaudeamus Prize
in the Netherlands and since then he has received many performances
throughout Europe, USA and Japan including those at festivals
such as Wien Horgange, Ultraschall, Hannover Biennale, Festival
Klangspuren, Europaischer Musikmonat, Wittener Tage and the
Paris Festival Automne. In 2001 he attended the Ostrava New
Music Days in the Czech Republic where he studied briefly with
Christian Wolff and Alvin Lucier and, in the same year, was
invited to attend the ISCM World Music Days in Yokohama, Japan
Performers include ensemble recherche, Apartment House, Plus-Minus,
Klangforum Wien, Ixion, London Sinfonietta, Suono Mobile, 175
East, Continuum (Canada) and Birmingham Contemporary Music
Group as well as duos and soloists such as Darragh Morgan and
Mary Dullea, Duo Contour, Anton Lukoszevieze, Irvine Arditti
and Mieko Kanno, Susan Knight, Andrew Sparling, Jonathan Powell,
Philip Thomas and the internationally acclaimed accordionist
Teodoro Anzellotti.
Marcel Reuter Born in Luxembourg in
1973 Marcel Reuter's
music is characterized by his sensitivity for sonorities and
harmonic colours. He considers literature as a major impulse
for his work. Pieces like At the faint sound so brief and She
dwelt so close have thus been inspired by poems by Samuel Beckett
and Emily Dickinson. Having himself widely performed as a pianist,
he is especially interested in collaborating with musicians.
At this moment, his catalogue includes mainly chamber music
pieces that reflect his idea of music as an intimate medium
of communication. Marcel Reuter's works have been played
at several important music festivals in Europe (Salzburg Festival,
MärzMusik Berlin, Wien Modern e.g.), as well as in Hongkong
and Montreal. Presently, Marcel Reuter is preparing a music
theatre project on Antonin Artaud, commissioned by Luxembourg
National Theatre. He lives in Vienna and teaches at the Vienna
Music University. www.edition21.at
Nick Shardlow Nicholas Shardlow
is eighteen years old and comes from Ashbourne, Derbyshire.
He began playing the violin at
the age of five, participating extensively in local orchestras
and competitions. He gave his first public performance aged
twelve as soloist in Vivaldi's Spring concerto with the
Newcastle Chamber Orchestra. In the same year, he was accepted
at Chetham's School of Music, Manchester, where he studied
for six years (1998-2004) with Thomas Kemp, with whom he still
learns. During this time he also took up composition, studying
whilst at Chetham's with Dr. Jeremy Pike, and in 2003
was awarded the BBC Young Composer of the Year Award, for which
his string quartet no.1 was broadcast on BBC Radio 3. He has
had several masterclasses with James MacMillan, Samuel Adler,
and Robin Holloway, was a composer on the NYO Composers' Course
(2002) and has also been featured in the Endymion ensemble's
Rising Generation series (Spring 2004), as well as the Austrian
Cultural Forum's New Artist series (November 2003) and
Soundings (May 2004). He currently reads Music at King's
College, Cambridge, and is composer-in-association with London-based
ensemble Chamber Domaine.
Johannes Maria Staud Johannes Maria
Staud was born in Innsbruck, Austria, in 1974. He studied composition
at the Musikhochschule
Wien with Michael Jarrell and harmony, counterpoint with Ivan
Eröd and electro-acoustic Dieter Kaufmann. He attended
masterclasses with Brian Ferneyhoughand and is a co-founder
of the composers group Gegenklang in Vienna. In 2000 he received
the first prize for composition at the Hanns-Eisler competition
in Berlin for his piece Vielleicht zunächst wirklich nur
and in 2002 the composition prize at the Salburger Osterspiele
for his composition for piano and orchestra Poligon. He received
the International Rostrum Of Composers in 2003 (in the under
30 category). Staud received the Ernst-von-Siemens–Förderpreis
in 2004. His present projects include an orchestral piece for
the Berlin Philharmonic Orchestra with Simon Rattle (World
Premiere 15th of June 2005 in Berlin) as well as a cello concerto
commissioned for Heinrich Schiff, Daniel Barenboim and the
Vienna Philharmonic Orchestra. (World premiere 23rd of July


text:
-->''The gate opens.''
''[[http://tinyurl.com/3v3aj8h Nil]]'' is a WebOriginal novel by {{@/Forzare}}, currently in progress.
Our universe is not alone. Infinite parallel realities coexist simultaneously; if you can imagine it, somewhere, in some universe, it's happening right now. Everything exists. This complex, infinite network is held together by individuals known as Focal Points, who act as the glue keeping reality whole. Most never even know that the Multiverse even exists.
And something is devouring them. A race of monsters known only as Nil sweeps through the Multiverse, consuming entire realities, murdering and [[TheVirus assimilating]] billions of people every day. In a desperate attempt to stem the tide, a coalition of 476 different Earths, having developed interdimensional travel, have banded together to form the organization known only as Vanguard, dedicated to containing Nil incursions and protecting as many Focal Points as possible for the greater good.
Siblings Danny and Laura Decker know nothing of the epic war raging behind the scenes. They live in blissful ignorance... at least until strange things start happening around them.
Everything is not as it seems.
And the gate is open.
!! This story provides examples of:
* MultiversalConqueror
* TheMultiverse
* PortalNetwork
* TheVirus

subset: commoncrawl


text:
Nice Recovery: Riviera Cruise Review by Bluenose 47
Overall Member Rating
Nice Recovery
Destination: Southern Caribbean
Embarkation: Miami
The Riviera is the nicest ship we have ever been on. It has the best food, the best cabins and the best service we have ever encountered in over 20 cruises. Of course, being less than 2 years old, you would expect it to be in tip-top condition, but it is simply the most spacious and elegant ship in its price category. No doubt its sister ship Marina is also equally fantastic. Our cabin on the Concierge deck was just aft of the Concierge Lounge and self service laundry and just ahead of the forward elevators, so it was very More conveniently located. Our room stewardess, Dayana, was terrific, responding to all requests, and the bed was the most comfortable we have ever encountered at sea. The bathroom was larger than normal, all marble and granite, with a full tub and shower combination, and there was a separate shower stall as well.
We ate at all 4 speciality restaurants (no charge) and found them all excellent. My favourite was Polo Grill, but many people think Red Ginger is the best. Red Ginger and Jacques have very unique and beautiful decors, and you can easily forget you are at sea. The Grand Dining Room is also a beautiful room, with more tables for 2 than I have ever seen on any ship, and the food there was excellent as well. We did not eat much in the Terrace Café, but on those occasions when we did, it was also very good.
The entertainment was probably the only real weak point, but only in a couple of respects. The onboard singers and dancers were very accomplished and were employed by the Jean Ann Ryan Company. It was their last cruise, so a new batch of performers would be there now. The vocalists all gave individual performances as well as being in the production shows, and they all were amazing - especially Patrick Dunn doing his Elvis show. The entertainers hired for this particular cruise were not so great. We have seen both before on other ships. In particular, the pianist, who would be fine for one show, if she did not talk so much, was overall annoying. Both the pianist and the comedian did two shows each - one too many in both cases. There was a Comedian/Magician who had been on board for a few cruises and we really liked him, but understand he was not everyone's cup of tea. He did magic classes on sea days which were a lot of fun. The Cruise Director was David Peterson, an industry veteran, who will soon be starting a new job as Director of Entertainment for Prestige Cruise Holdings, the parent company of Oceania and Regent Seven Seas. He was very professional and always present.
I was very unimpressed with the Future Cruise/Oceania Club lady, who basically said she didn't care whether I ever cruised with them again.
Two of our three shore excursions were excellent, the other one very disappointing, due to a poor tour guide.
Weather was fantastic and overall this was a cruise to remember. Less
Published 03/02/14
Cabin review: A39032 Concierge Level
A great cabin overall. Niggles would be a closet with a light inside, with sliding doors that would not stay shut unless you stuffed something between the doors. Balcony seemed small relative to the inside space of the cabin. Nice to have the laptop computer provided in the room, but the Internet was way too expensive.Read All Concierge Level (A3) Reviews >>
Read Cruise Critic's Riviera Review >>
Awesome Itinerary and Ship Exp...
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Oceania Riveria - July 2017
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text:
Bar Association Head comes down on side of Supreme Court in hiring row
Legal Affairs Minister Anil Nandlall says his ministry proceeded to advertise for vacancies for the Supreme Court's Verbatim Court Reporting Unit (VCRU) based on directions from the Public Service Ministry but President of the Bar Association, Ronald Burch-Smith says the law strictly provides for the Supreme Court to make the decision.
The action has sparked a row between the Ministry and the Supreme Court of the Judicature on which entity has the authority to hire the judiciary's staff. On August 1st the Supreme Court by way of an advertisement repudiated a notice by the Ministry of Legal Affairs in the July 27th edition of the Guyana Chronicle inviting applications to fill vacancies in the VCRU.
In the advertisement the Supreme Court said it will not recognize, and will not accommodate anyone appointed pursuant to the notice as they would not be considered employees of the Supreme Court. The notice was signed by Supreme Court Registrar Rashid Mohamed.
Yesterday, Nandlall told Stabroek News that while the Supreme Court enjoys autonomy, some functions, including the recruitment of employees are within the remit of the Ministry as it has oversight of the judicial sector. On April 16th Finance Minister Dr Ashni Singh revised the 2014 Budget in a manner which paved the way for the judiciary to be financed via a direct charge on the Consolidated Fund.
The move was in keeping with the Constitution which declares that entities under the Third Schedule, Article 222 (A) shall be funded by a direct charge on the Fund. Nandlall said yesterday though that the hiring of staff for the public service for the various ministries falls under the purview of the Public Service Ministry and that the Legal Affairs Ministry acted on the direction of the former to fill the vacancies. Vacancies advertised included Chief Editor and reporters.
Burch-Smith told Stabroek News yesterday that existing laws place such hiring in the purview of the Supreme Court, and added that he is surprised that there is a public dispute on the matter. He noted that the Judicial Proceedings Recording Act passed earlier this year authorizes judges to determine who should record ongoing proceedings. "Technically, the judge can appoint anyone to make the recordings," Burch-Smith said, and he added that judges would be free to accept whatever ar-rangement is set up by the Legal Affairs Ministry once the two sides agree to mechanism.
He reiterated though, that the laws make it clear that the Judiciary has authority to hire in the aforementioned regard.
Stabroek News has been told that there is a "rift" between the Ministry of Legal Affairs and the Supreme Court, with the latter saying that it should be the ones hiring staff. "They (the Supreme Court) claim that it was unconstitutional and only they (the Supreme Court) had the power to employ so that's what this is about… but it's a power struggle," an insider from the Ministry of Legal Affairs told Stabroek News on Friday.
The Ministry of Legal Affairs insider explained to Stabroek News that it was the objective of the Ministry of Legal Affairs to assist in the upgrading of the department and as such it procured state-of-the-art material for staff of the VCRU. Further, the source said that the Ministry of Legal Affairs from the outset had planned to hire the necessary staff. It was later told by the Supreme Court that only that entity was mandated to hire staff, an explanation that the Legal Affairs Ministry rejects.
In 2012, APNU MP Carl Greenidge had embarked on a series of motions intended to ensure the autonomy of constitutional agencies and the Supreme Court. One of the objectives was to ensure that the Supreme Court was funded by a direct charge on the Consolidated Fund rather than being treated as a subvention agency by the government, which had been the case.
In his motion, Greenidge had pointed out that Article 122 A (1) of the Constitution prescribes that "All Courts and all persons presiding over courts shall exercise their functions independently of the control and direction of any other person or authority; and shall be free and independent from political, executive and any other form of direction and control".
Further Article 122 A (2) says that "Subject to the provisions of articles 199 and 201 (appointment of judicial, legal and public officers) all courts shall be administratively auto-nomous and shall be funded by a direct charge upon the Consolidated Fund; and such courts shall operate in accordance with the principles of sound financial and administrative management".
This article would seem to make it clear that all administrative matters fall under the court and not the executive.
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text:
Small Faces -- Itchycoo Park (1967)
An innocent song about teenage drug use and truancy. Itchycoo is slang for stinging nettle, an herb I swear by for pollen allergies.
The American Breed - Bend Me, Shape Me (1968) This band's only huge hit was a remake of the The Outsiders' song from year before.
Lemon Pipers - Green Tambourine (1967)
Françoise Hardy -- Ce Petit coeur (1965)
The Osmonds -- Chilly Winds (1970) (No video, just this groovy pin-up.)
This song appeared in Pretty Maids All in a Row, an underrated creepy movie from 1970 written by Gene Roddenberry, directed by Roger Vadim, and starring Rock Hudson, who plays a high school football coach who rapes and murders the female students. If you want to watch it, you'll have to TiVo it, Torrent it, or buy a used VHS copy.
Previously on Boing Boing:
• Sixties music videos
• 9 great old punk videos
• 8 punk and post-punk female singer videos


text:
Sustainable Systems Engineering (CIVL3010)
Engineering graduates apply their technical skills in a wide variety of legal, institutional, and environmental settings, acting as agents and managers of technology-driven social change. Engineering decision-making and problem-solving are made more complex by technical, economic, environmental, social and ethical constraints. In particular, environmental sustainability has given rise to a new framework of engineering analysis that is now an essential part of the work of engineers. The goals of this unit are to introduce students to major problems of environmental deterioration, especially climate change and energy, and to concepts of sustainability within a system dynamics framework, and engage students in active reflection on the role of civil engineers in addressing these issues; to develop the students skills at quantifying the impact of engineering decisions within the broader economic, environmental and socio-cultural contexts; to develop communication skills through participation in group discussions, oral presentations, and written report writing. Lectures, group discussions, case problems and projects are all used in teaching and learning in this unit of study.
At the end of the unit, students will be able to: a) identify and analyse important ecological, social and ethical issues deriving from technology-driven change, including new paradigms of environmental sustainability within system dynamics framework, especially in relation to long-range air pollution, energy and finite resources; b) write environmental impact statements for engineering projects and identify and analyse the impacts of infrastructure projects on the social and natural environments; c) use design and analysis tools such as the Life-Cycle Analysis and the BASIX system to develop better engineering design solutions; d) understand the influence of organisational, ethical and legal factors on engineering practice.
The secondary objectives of the UoS are: a) to improve students team-work ability; b) to improve students communication skills, through verbal and written media; c) to improve students skills in research and use of library resources. The syllabus comprises role(s) of civil engineers, historical development of profession, laws of thermodynamics and climate change, energy; a system dynamics approach to sustainability; definitions and practice of sustainability; BASIX design system; environmental impact statements; ethics in engineering.
Our courses that offer this unit of study
- Bachelor of Engineering Honours (Aeronautical)
- Bachelor of Engineering Honours (Biomedical)
- Bachelor of Engineering Honours (Chemical and Biomolecular)
- Bachelor of Engineering Honours (Civil)
- Bachelor of Engineering Honours (Dalyell Scholars)
- Bachelor of Engineering Honours (Electrical)
- Bachelor of Engineering Honours (Mechanical)
- Bachelor of Engineering Honours (Mechatronic)
- Bachelor of Engineering Honours (Software)
- Bachelor of Engineering Honours and Bachelor of Project Management
- Bachelor of Engineering Honours with Advanced Engineering
- Bachelor of Engineering Honours with Space Engineering Major
- Bachelor of Project Management and Bachelor of Arts
Further unit of study information
Lectures, Laboratories, Project Work - own time
Through semester assessment (100%)
Faculty/department permission required?
Unit of study rules
Assumed knowledge
Study this unit outside a degree
Non-award/non-degree study
If you wish to undertake one or more units of study (subjects) for your own interest but not towards a degree, you may enrol in single units as a non-award student.
Cross-institutional study
If you are from another Australian tertiary institution you may be permitted to underake cross-institutional study in one or more units of study at the University of Sydney.


text:
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(CNSNews.com) – If the Equal Rights Amendment (ERA) were added to the U.S.
Constitution, the Obama health care law would not be needed to help ensure equality of health care between men and women, including contraceptive costs, Rep. Carolyn Maloney (D-N.Y.) said on Thursday.
Following a press conference held by Maloney and other lawmakers and women's rights activists on efforts to revive the ERA, CNSNews.com asked the congresswoman what the amendment would do in terms of contraception and birth control, a topic that was repeatedly brought up by speakers.
"Maybe change some attitudes in the country," Maloney told CNSNews.com. "One things for sure, it's well documented that the cost of women's health is much more than for men.
"And so the insurance companies charge more to women for their health care," Maloney said. "The Affordable Care Act [Obamacare] changes that and that is part of what is covered in the Affordable Care Act is preventive medicines, of which [contraceptives] is one of them."
"We wouldn't even need the Affordable Care Act for equality of treatment in health care if we had the Equal Rights Amendment," Maloney said.
Rep. Lynn Woolsey (D-Calif.) said at the press conference that women are "far from" equal to men.
"We have not achieved equality," Woolsey (D-Calif.) said at the press conference. "Far from it -- not by a long shot.
"Not when women have to work on the weekends to earn what a man earns Monday through Friday," Woolsey said. "Not when the professions that primarily employ women – teachers, nurses, federal employees and others – are under siege by the Republican budget.
"Not when reproductive freedom and the right to affordable birth control is under withering assault right here in the United States Congress," Woolsey said.
The ERA passed Congress in 1972 but was not ratified by the three-fourths (38 of 50) of the states needed before its June 30, 1982 deadline expired.
The ERA has been reintroduced in every session of Congress since 1982; Maloney has introduced it repeatedly since 2005.
Other lawmakers and feminist organizations joined Maloney at the press conference, including the National Organization for Women and the Feminist Majority Foundation.
Last year, Rep. Tammy Baldwin (D-Wisc.) introduced legislation to remove the deadline for state ratification of the ERA.
"I can tell you for sure we will keep this up until it is ratified and we are gaining strength daily," Eleanor Smeal, founder and president of the Feminist Majority Foundation, said at the press conference.
Maloney told CNSNews.com that women's rights are like "a glass of water in the morning."
"As was said so beautifully by so many people, it should be like having a glass of water in the morning," Maloney said. "If you ask any American, 'Should men and women have equality of opportunity?' and they would say, 'Yes, of course we should,' and it would emblazon in the Constitution this basic value."


text:
SWS is a Red Dead Redemption posse.
About the posse
The Southwest Stranglers have been together for over 3 years. We mostly play Call of Duty but also play, GTA, Halo, etc... Our amazing skill has earned our clan the alternate titles of Shit We Suck, Sisters With Soul, and Skanks with Syphilis. We are an XBL only clan.
We are sponsored by RagInu Tampons.
Joining the posse
Contact Ranvier or Regenfall
Rules, Limitations and Warranties...
- Must be 14 years of age.
- Must be well versed in vulgar and profane language or at least tolerate it.
- Must be able to "pwn n00bs".
- Must like Boobies; as much as our Space Custodian RageInu.
- Must be tolerant; racist, homophobic remarks not tolerated.
- All skill levels accepted; this a videogame, we play to have FUN.
- We play to win the game and/or the objective.
- Ride a horse like Regenfall and shoot like Ranvier.
- SWS is worldwide. This clan travels the verse, more than just Red Dead.
- Lastly and most important, We are Douchebag free. Currently DJ Hendo holds that title and only slot.
- Ranvier
- Regenfall
Space Custodian
- RageInu
Captain Rainbow
- Psia
Bathtub Brewer
- DJ Hendo
Admiral Ranviers Companion
- Haitian Thunda
Other Members
- Sticks442
- CrookyCrispzorz
- YukYuPhat
- Karmaassassin
- CitySlkrMltLiqr


text:
submit your own questions
One of the most important success
factors to Smart Service is having your own
organization understand and support the initiative.
to sign up to receive articles, updates, and news on
the remote service industry.
Who should be thinking about Remote Services?
What is difference between remote
support and remote service?
What is the difference between
remote service and Smart Service?
What if our
product is not equipped with remote service
How is Smart
Service going to benefit my customers?
Who in our
organization should own the Smart Services
technologies are required for remote service?
What are some
examples of Smart Service offerings?
Where should
my organization start?
Any service organization that is responsible for
keeping equipment, systems, and/or applications up
and running for their customers.
Remote service should be explored if you are
interested in increasing customer satisfaction, the
level of intimacy you have with your customers,
reducing service costs, and/or increasing service
Some things to think about are: Would the
products we sell be better differentiated if remote
service was a product feature? Would my customer see
value in higher uptime? Do my customers spend a
significant amount of money maintaining the systems
Back to
Remote support is about keeping the product
running as advertized. It is a "tool" to supplant
the break/fix model of supporting products in the
Remote service is about providing value-added
services and being more solutions focused towards
your customers. It goes beyond beyond break/fix and
helps customers improve their operations - not just
operating the equipment they purchased from you.
While implementing remote technologies is very
similar for both remote support and remote service,
implementing remote support programs versus
remote service programs is the difference
between a support tool and a value creation
It is a level of maturity and depth of solution
you are providing to your customers. You're "Smart"
when you begin to leverage data from the installed
base to drive decisions about your business. Your
customers get "Smart" when they make decisions about
their business based on the information and
intelligence they receive from you.
Here is a brief example involving capacity
planning. An equipment owner needs to make budget
decisions on when to replace equipment, maintain it,
and/or add more instances of it to keep up with
demand. There have been cases where equipment was
prematurely changed out to meet increasing demand
(switching vendors mind you). Had the equipment and
the environment where it was operating been properly
optimized (goes beyond just running as advertized),
the owner could have kept up with demand for at
least a few more years with what he currently owned.
Had the first vendor implemented a "Smart" capacity
planning and optimization service - which is enable
by remote monitoring technology - the customer would
have been retained and the vendor would still be
enjoying the annuity revenue stream from the
It is a common misconception that the equipment
you are servicing must have remote service
capability built in. This is far from the truth.
There are remote service technology vendors that
provide the means to remotely enable just about any
intelligent product - and even dumb products.
Many companies we work with found this hard to
believe. Their own product engineering group would
say it is impossible and the service group would
have their hands tied. That is, until it was
demonstrated to them how remote technologies
dropped right in and their product was now remote
service enabled.
We can assess how "remote service ready" your
product is and exactly what, if any, changes need to
be made to meet your business goals. There are
technologies on the market that make it much easier
than you think. Keep an open mind until you properly
assess your situation.
When done properly, remote service will provide
your customers with:
Many times, the service organization is the
steward of remote services. However, in our
experience, the most successful initiatives cross
many departmental lines.
Marketing is vital to your remote service
initiative because it requires a change in the way
your customers view service. It also changes how
your own organization thinks about your products and
services. Product engineering plays a critical role
to further extend necessary product capabilities. It
is hard to have "Smart Services" without "Smart
Therefore, when you bring it all together,
many stakeholder groups are required to fully
leverage the program. They are all equally
A continuous, [near] real-time connection that
your customers accept as secure and minimally
burdensome is the starting point for Smart Service.
Once the communication pipeline is in place, you
will need an event-driven management platform that
can handle monitoring your customer population.
Depending on your specific initiative, you may
need to integrate the event driven platform into
your CRM system and/or your financial system.
Therefore, the ability of that platform to conform
to open integration standards is vital to automating
your service initiative.
There may be an element of your service offering
that gives your customer visibility into information
that is derived from continuous monitoring. If this
is the case, you will need a customer facing web
portal that provides your customers a personalized
view into this information.
Here are some examples.
Determine where remote service sits on your priority
list. To answer this question you should understand
the opportunity Smart Service can provide your
company as well as what others in your industry are
doing with Smart Services. This is something we help
companies quite often.
Once the opportunity is understood, you are then
empowered to give Smart Service the proper
attention it deserves.
Have more questions? Submit them
SSI Partners, LLC is most
experienced at creating service offerings that are
valuable to your customers and your organization.
We have worked with market leading
product service organizations in healthcare, life
sciences, hi-tech, and industrial.
Our clients have received award
recognition for their Smart Service programs.


text:
On the Amendment S.Amdt. 4064: Inhofe S.Amdt.4064; To amend title 4 United States Code, to declare English as the national language of the United States and to promote the patriotic integration of prospective US citizens.
Result: Agreed to (62-35, 3 members not voting, 1/2 threshold)
Details: [click here]
This Month


text:
Anton part of a team with great spirit - says his dad
Date published: 06 January 2014
LIVERPOOL manager Brendan Rodgers gave his son Anton a smacker on the side of the cheek after the third-round clash — and then saluted Athletic's character.
Midfield man Anton came on with seven minutes of the Anfield tie left and tasted the atmosphere his dad experiences all the time.
Brendan said: "Oldham is a brilliant club, where they really look after Anton well. They have an outstanding young manager in Lee Johnson, they have a young team with a great spirit. I have seen them a number of times and Anton is a part of that.
"It is a great moment in his career and as a father it is even more special that he also got a round applause from the Liverpool supporters."
It was far from plain sailing for the hosts despte the 2-0 score. Lucas Leiva, Philippe Coutinho and 20–goal forward Luis Suarez were all summoned from the substitutes' bench to seal their progress.
Have Your Say
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text:
Beef Tenderloin with Ancho and Fennel Seeds
Vitaly Paley's luscious beef tenderloin won over more than a few skeptical cooks in F&W's Test Kitchen, who agreed that the seemingly discordant spice combination of ground ancho, fennel seeds and star anise not only works, but works brilliantly.
Slideshow: More Beef Recipes
- Active:
- Total Time:
- Servings: 8
- 1 tablespoon plus 1 teaspoon fennel seeds
- 1 star anise pod, broken into pieces
- 2 tablespoons pure ancho chile powder
- One trimmed 4-pound beef tenderloin roast
- Salt and freshly ground pepper
- 1/4 cup plus 2 tablespoons vegetable oil
- 1 cup water
How to make this recipe
Preheat the oven to 450°. In a spice grinder, grind the fennel seeds and star anise to a powder. Transfer to a small bowl and stir in the ancho powder.
Set the tenderloin roast on a large rimmed baking sheet and season all over with salt and pepper. Sprinkle the spice mixture all over the tenderloin and evenly drizzle with the oil, then gently pat the spices into the meat. Roast the tenderloin in the upper third of the oven for 35 minutes, turning it over once using sturdy tongs, until browned all over and an instant-read thermometer inserted in the thickest part registers 135° for medium-rare meat. Transfer the roast to a carving board and let stand for up to 10 minutes.
Meanwhile, set the baking sheet over 2 burners and add the water. Simmer over moderate heat, scraping up the browned bits stuck to the bottom of the sheet, until reduced to 3/4 cup, about 3 minutes. Season the jus with salt and pepper and transfer into a warmed gravy boat. Carve the tenderloin into 1/3-inch-thick slices and serve with the jus.
Make Ahead
The spice-coated tenderloin roast can be refrigerated for up to 6 hours. Let stand at room temperature for 45 minutes before roasting.
Suggested Pairing
Substantial, intense Pinot Noir.


text:
Milton's Prosody
Milton's Prosody, with a chapter on Accentual Verse and Notes is a book by Robert Bridges. It was first published by Oxford University Press in 1889, and a final revised edition was published in 1921.
Bridges begins with a detailed empirical analysis of the blank verse of Paradise Lost, and then examines the changes in Milton's practice in his later poems Paradise Regained and Samson Agonistes. A third section deals with 'obsolete mannerisms'. The final section of the book presents a new system of prosody for accentual verse.
Writing of the book[edit]
Bridges had been asked by Henry Beeching, his local vicar, to write a preface for an edition of Paradise Lost that Beeching was preparing for sixth-form pupils. Beeching wanted something to counter the prevailing da-DUM-da-DUM style of reading, that artificially distorted words to fit the regular pattern of the iambic pentameter rhythm. When Gerard Manley Hopkins visited Bridges in mid August 1886, they discussed Bridges' work on the preface.[1] The contents of the book evolved over decades through several published versions:[2]
- Bridges, Robert (1887). "On the Elements of Milton's Blank Verse in Paradise Lost". In Beeching, H. C. Paradise Lost, Book I. Oxford: Clarendon Press.
- Bridges, Robert (1889). On the Prosody of Paradise Regained and Samson Agonistes: Being a Supplement to the paper "On the Elements of Milton's Blank Verse in Paradise Lost," which is reprinted in the Rev. H. C. Beeching's edition of Paradise Lost, Book I, Clarendon Press, Oxford. Oxford: Basil Blackwell. (published anonymously)
- Bridges, Robert (1893). Milton's Prosody: An Examination of the rules of the Blank Verse in Milton's Later Poems, with an Account of the Versification of Samson Agonistes and General Notes. Oxford: Clarendon Press.
- (A combined revision of the 1887 & 1889 works.)
- Bridges, Robert (1901). Milton's Prosody, & Classical Meters in English Verse, by William Johnson Stone. Oxford: Oxford University Press.
- (Classical Meters in English Verse is not directly related to Milton's Prosody, but was appended to the book because of Bridges's interest in the topic and "as a memorial to Stone's untimely death".[3])
- Bridges, Robert (1904). Miltonic Elision. The Athenaeum. pp. 83–84, 113–14, 147–48.
- (3 brief papers which grew out of the study.)
- Bridges, Robert (1921). Milton's Prosody: With a Chapter on Accentual Verse and Notes (Revised final ed.). Oxford: Clarendon Press.
- (The definitive edition, revised, with Classical Meters... removed, and a new chapter on Accentual Verse.)
The Prosody of Paradise Lost[edit]
Bridges shows that:
- there are no lines with fewer than ten syllables in Paradise Lost
- with a suitable definition of elision, there are no mid-line extra-metrical syllables
- the stresses may fall at any point in the line,
- although most lines have the standard five stresses, there are examples of lines with only three and four stresses.
Thus according to Bridges' analysis Milton was writing a form of syllabic verse. At the time this was a controversial thesis. George Saintsbury disagreed with Bridges, and stated that Milton had simply been using standard extra-metrical liberties, but Bridges was able to answer this objection by showing that every single instance in the poem of such a variation from the norm could be explained by his natural definition of elision; this would be extremely unlikely to be the case if the poet had simply been allowing himself extra-metrical variations as described by Saintsbury. Bridges took the very restricted range of Milton's variations to be a proof of his thesis.
The Prosody of Paradise Regained and Samson Agonistes[edit]
Bridges showed that Milton further broadened his concept of elision in his later works. Bridges' investigation of Milton's twelve syllable lines led him to ideas of prosody embodied in his own Neo-Miltonic syllabics.
On Obsolete Mannerisms[edit]
Recession of Accent[edit]
Bridges discusses the obsolete practice of recession of accent. The rule being that "disyllabic adjectives and participles accented on the last syllable will shift their accent back if they occur before a noun accented on the first syllable."[4]
Bridges bases much of his account of Recession of Accent on the work of Alexander Schmidt's analysis of Shakespeare's practice. Schmidt takes, for example, an adjective such as 'complete' and shows that it is used with the normal accent on the second syllable in lines such as:
- He is complete in feature and in mind (Gent. ii 4.73)
And then proceeds to find numerous examples where the stress is changed according to the rule, thus:
- A maid of grace and complete majesty. (L.L.L. i. 1.137)
- Than all the complete armour that thou wear'st. (Rich 3rd iv. 4.189)
Bridges lists a number of clear example of recession of accent in Milton's earlier work, such as:
- The sublime notion, and high mystery
but then goes on to note the very frequent occurrence of the rhythm ⌣ ⌣ – – (that is, xx// ) in Milton's verse, a rhythm that Milton would have taken from Shakespeare, as at the end of the following line from A Midsummer Night's Dream:
- The ploughman lost his sweat, and the green corn
Milton's frequent use of this rhythm undermines any case for supposing recession of accent played a role in Milton's later metrical practice. Bridges argues that Milton excluded the 'licence' of recession of accent because it would have given rise to uncertainty about where a stress should lie. He observes that the words complete, extreme, serene, and sublime occur twenty-four times in Paradise Lost, Paradise Regained, and Samson Agonistes, and in each case the accent is on the second syllable, whereas each of these words appears only once in Comus and there 'suffers' recession of accent.[5]
The Prosody of Accentual Verse[edit]
In this final section, Bridges describes a prosody of accentual verse.
Terms and notation[edit]
Bridges classifies the following types of syllable (alternative symbols have been added for browsers that do not display symbols correctly):
|Syllable Type
|Syllable carries the stress
|Is genuinely long, slows down the reading. For example: broad, bright, down.
|All syllables with short vowels, even those that would be long 'by position' in Classical terms. That is, if the consonants around a short vowel do not genuinely retard the syllable then it will be counted 'light'. Light also includes all classically short syllables. For example the second syllables of 'brighter' and 'brightest' are both light, despite the consonants in the latter.
Bridges also has a shorter version of the 'Light' symbol for 'very short' syllables. We can use ⌵ ('.').
Bridges lists six "rules" for accentual verse. He states (p. 89) "These 'laws' are merely the tabulation of what my ear finds in English stressed or accentual verse". The rules are as follows:
- the stress governs the rhythm
- the stresses must all be true speech-stresses
- a stress has more carrying power over the syllable next to it, than it has over a syllable removed from it by an intervening syllable
- stress has a peculiarly strong attraction towards verbal unity and for its own proclitics and enclitics
- a stress will not carry a heavy syllable which is removed from it by another syllable. Here Bridges cites several lines from Shelley which violate this rule, such as: "Each and all like ministering angels were."
- a stress will not carry more than one heavy or two light syllables on the same side of it
List of common stress units[edit]
Bridges lists the common stress units or feet:
|Bare Stress
|The 2 falling disyllabic feet
|The 2 rising disyllabic feet
|The britannics or mid-stress trisyllabics
|The falling and rising trisyllabics
|The quadrisyllabics
|The five syllable foot
- Brogan, T.V.F. (1999) [1981], English Versification, 1570–1980: A Reference Guide With a Global Appendix (Hypertext ed.), Baltimore: Johns Hopkins University Press, ISBN 0-8018-2541-5, archived from the original on 4 September 2011 (reference is to the 1999 Hypertext edition, available online; publisher and ISBN is for the original printed edition)
- Phillips, Catherine: Robert Bridges: A Biography, Oxford University Press, 1992. ISBN 0-19-212251-7
External links[edit]
- Full text on Google Books.


text:
Courtyard Efficiency Suites
An oversized accommodation featuring separate sleeping quarters with two Double beds. The living room includes a Queen sized sleeper sofa along side an efficiency kitchen. Our oversized economy options offer an array of sleeping arrangements that include a single Queen, two Queens and three Double beds. All of our oversized courtyard rooms lead to our beautiful breezeway where you are sure to find relaxation among the vegetation.
View Rates


text:
Ted Simons: An administrative law judge recommends that APS be allowed to raise its rates about $6 a month. The Arizona Corporation Commission is set to hear the case in early December. APS reached a settlement agreement on the rate hike with 22 of 24 parties in the case. One thing not included in the settlement is a request to return to the days of free powerline extensions. David Majure has more.
David Majure: Getting electricity to your property used to be free. As long as the property was within 1,000 feet of existing powerlines and the cost of a line extension was $25,000 or less, Arizona Public Service would make the connection at no cost to the landowner. The policy was an effort to promote growth. But in 2007, the Arizona corporation commission changed the policy that had been in effect for decades. The Arizona capital times quoted corporation commission chairman Kris Mayes as says we decided to eliminate the free footage allowance because we were concerned that utility rate payers were subsidizing log splitters and sprawl. Now the landowner must pay the entire cost of extending a powerline to its property. The expense is no longer passed on to our ratepayers. Critics say it's created a disincentive for growth because many landowners can no longer afford to build on their property. They say the policy is hurting the market for construction jobs, negatively impacted local tax revenues and causes property resale values to plummet.
Ted Simons: Joining me to talk about the free line extension policy -- Bobby Miller, a west valley Realtor who's representing Arizonans for Fair Power Policy, an organization that's pushing to reinstate free line extensions, and Sandy Bahr, director of the Grand Canyon chapter of the Sierra Club. Good to have you on "Horizon". 2007, power policy is reversed. Why is that a good idea?
Sandy Bahr: Because it ends a subsidy for urban sprawl. Something that's in place for a long time. Arizona has a lot of subsidies for sprawl and development. And finally, the corporation commission decided, look, the ratepayers should not be paying for the people who wanted -- the people who want the line extensions should pay for it.
Ted Simons: Why is it a bad idea?
Bobby Miller: It has a domino effect into too many areas of the community. The people who were subsidizing were paying 20 cents approximately per household, but the policy benefited an extreme number of rural Arizonans, as well as those who intend to go to rural Arizona and there's a domino effect that begins from the construction industry through 50 trades on down to mortgage industry, engineering, surveying, all the way into federal and state lands and the values of those.
Ted Simons: Let's start with the economic impact of this. You just heard Bobbie, this sounds like a killer as far as construction development is concerned. They have to be concerned.
Sandy Bahr: First of all, there's no indication that this has affected construction in anyway. The economic downturn has affected it, and the bottom line is if you already have a markets that is overbuilt, we have thousands and thousands of empty houses and thousands of lots that have been platted but that haven't been built on and so the argument that we need to encourage more building by subsidizing it, that doesn't hold much water. You know, yes, there has been an economic downturn, but I think if you ask most, they'll say growth ought to pay for itself, we've been subsidizing it for too long. This is a small way begin the process of paying for itself.
Ted Simons: The concept of growth paying for itself. That makes sense.
Bobby Miller: But it always has been there. Look at the industry we have in Arizona and discuss exactly what would be the largest industry. Is it semiconductors, anything beyond growth? I'd say no. I've been here my whole life since 1951 and watched growth be the most dominant industry and this has affected growth substantially and has the potential to stymie growth.
Sandy Bahr: There's no indication it's affected growth at all and so that is not an accurate statement. They presented their case to the corporation mission commission. The administrative law judge reviewed and they found no indication that this policy has affected growth at all.
Ted Simons: Doesn't it make sense if it's going to cost a homeowner, a developer, whomever, $20,000 more than what they're already paying, especially in rural areas, doesn't that sound like a chilling effect, even in areas that are already developed but not to 1,000 feet?
Sandy Bahr: Well, first of all, in most places it's not going to cost that much. If you have them pay for the sewers, it gets incorporated into the cost of the home and the mortgage. And there were, by the way, other provisions in the rate case, there was an impact fee under consideration and several things that APS backed off on and the bottom line, it's a basic question of fairness. Should all of the APS ratepayers have to subsidize someone's mansion in the woods?
Ted Simons: That's the basic question. Should everyone pay for a powerline extension for that other person? Why should I have to pay for that?
Bobby Miller: I have been since 1954, and I didn't hear anyone complain. All of the relatives in the industries I spoke of related to growth from any way are affected by that. She says it has no impact. She doesn't sell land. I sell land. I'm not selling land.
Sandy Bahr: You cannot blame an economic downturn on this policy. It does not pass the laugh test.
Ted Simons: Go ahead, respond to that, please.
Sandy Bahr: I thought you were done.
Bobby Miller: I'm not done. This is not an economic downturn effect.
Bobby Miller: There's a lot of people who have lost their homes but own a piece of property that would gladly put a rural home or a manufactured home on that land and make that move out to rural Arizona. They cannot do it. Quite frankly, we've had four quotes for an 800-foot extension, it was $25,400, to 130 foot extension, it was 11,800. And for property line power just delivered to a home that used to be free, all of these were free in the past, it now costs $7,800 for property line power. The fact of the matter is this has been major effect for my clients, the people I see every day. I don't lobby at the state capitol. I talk to people who want to buy, sell and live in Arizona.
Sandy Bahr: The Realtors lobby at the state capitol and for a very long time, the Realtors, and the Realtors' association, the homebuilders association, have opposed any efforts to have growth pay for itself. There's more money in their pocket if the rest us pay for it. It's a basic issue of fairness. And maybe at one time, there was a good reason for it, but there are a lot of policies that don't make sense. One would say we don't need to subsidize growth anymore. Continuing to focus purely on growth and having an economy that relies too heavily on it, has brought us to this situation and it's going to take a long time to dig out.
Ted Simons: This particular situation suggests if one person is hit with this, regardless of the cost, it's going to cost something to get the power out there, 1,000 feet, more or less, if they pay for it, aren't they subsidizing for everyone else that comes after them?
Bobby Miller: That's correct, Ted. That person intends to keep doing things but having the power grid completely growing and gives everybody else an opportunity to tie in. Which has always been the case. That's one of the reasons rural Arizona has done so well, when you go to the mountains, there are beautiful communities that have paid their way and beautiful communities up at Anthem and the southwest valley, all the way down to Buckeye that have filled in those communities with power at their own expense that has worked for the last 50 years.
Sandy Bahr: And the ratepayers and taxpayers have heavily subsidized those communities in many way, not just with extension of electric lines but roads and other service services and the people of Arizona have said repeatedly we think that growth should pay for itself. We need to turn this around. This is one small step to do that. You know, we -- we need to begin now to move this back and have -- and have development pay for itself and -- and you know, I would again argue that the economic downturn has more do with a lot of land speculation and over-supply and the problems with the mortgages and foreclosures and this is just a really small piece of the pie but it's an important one if you're an APS ratepayer. By the way Tucson electric power ended this and Unisource and all those other utilities have ended this policy. And it's a basic issue of fairness and, yes, the Realtors want us to continue to pay their freight.
Bobby Miller: That's not true. Salt River project --
Sandy Bahr: They're not regulated by the corporation commission.
Bobby Miller: And quite frankly, a lot of statements she made were erroneous. I grew up on Bethany home road when there was nothing beyond my home. If the policy that the Sierra club presented back in 2000, prop 202, would have gone through, which is a lot like this policy, I would have seen no growth in Phoenix in my lifetime. We grow here and develop here and so much of our industry depends on the continued growth and continueddevelopment which this policy has been snuck under the radar in 2007. We at this table may have been aware of it, but the common people in the general populace weren't aware of what happened with the corporation commission diminishing this particular policy. And it needs to brought forth and let the people decide. Which was a 2-1 vote against the Sierra club.
Ted Simons: Very quickly, we don't have much time left. Is there compromise on this issue? Can you cap a fee? Doing something halfway? Kansas and Iowa and these other places which seem to have less than the cap we have here.
Bobby Miller: By all means, common sense will always prevail. It's something that we need to sit down and make sure that all have the opportunity to see, rather than having a small sector sneak it under the radar.
Sandy Bahr: Talk about a small sector, the Realtors are professionals at this. We have subsidized this for far too long. The corporation made a wise decision in 2007. They should keep it in place. It's a good settlement for the ratepayers of APS.
Bobby Miller: I respectfully disagree.
Ted Simons: We have you both on camera and record. Thank you for joining us on "Horizon."


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The hottest songwriter at the moment, Pharrell Williams (and his signature hat) will join NBC's singing competition The Voice next season. He replaces original coach CeeLo Green who recently announced his departure. NBC is yet to announce whether fellow original Voice coaches Christina Aguilera, Blake Shelton and Adam Levine would be back for Season 7. "It's been a huge year for Pharrell, with recognition for his contribution in the world of music — the 'Despicable Me' franchise soundtracks, his Oscar-nominated song Happy and his Grammy-winning collaboration with Daft Punk on the breakout dance hit Get Lucky," said Paul Telegdy, President, Alternative and Late Night Programming for NBC Entertainment. "His dominance in record sales in 2014, coupled with his incomparable accomplishments in the world of fashion and design, make him an irresistible addition to The Voice family," said Paul Telegdy. Singer-songwriter-producer Pharrell was previously an advisor to team Usher on season four of The Voice. He performed the hit single Blurred Lines with Robin Thicke last May on The Voice. Pharrell is the lead vocalist and drummer for the band N.E.R.D. and is a partner in the record production duo the Neptunes.
Pharrell Williams To Replace CeeLo Green As 'The Voice' Coach
25 Comments
The Voice seems to be all about the judges. There has not been a viable star/performer to come out of that series. As much I dislike Idol, they even recently had that Phillip Phillips guy crank out some radio friendly fare.
I suppose this makes sense, Pharrell is everyone now. I wonder what hat he will wear..
Agree. It's the Adam and Blake show. The other two judges really don't matter that much.
The flaw in The Voice is that the judges don't get to see the singers thus don't get to see if they have the "it" factor that makes one a star. It's less about the ability to sing and more about that "it" factor. See Taylor Swift or Katy Perry. Neither which would have make it on The Voice.
Carrie Underwood was actually the only star out of Idol. Kelly is only famous because she was the first Idol winner, beside she just an average singer?
I concur. 6 seasons and not a single hit!
To be fair, the season 3 winner, Cassadee Pope, has been a hit in country music scene.
First single went #5 on the country charts, top 40 on the Billboard Hot 100, and made platinum, and the album went #1 on the Country Albums chart.
Clearly not a Kelly Clarkson/Carrie Underwood instant success, but not bad at all
Farewell artistic integrity. Hello big bags of money!
Must not be so happy with those album sales…
Very good choice. The Voice should again be commended for its seamless judge transitions.
But yeah, while America enjoys watching the show itself and people battling it out and the judges and all that, it doesn't seem like people are that interested in the contestants themselves. Or whatever label they're signed to is not that interested in promoting them?
No hits wonders here. But still better than this seasons Idol-ugh. But as with Idol they keep picking the worst to remain in competition . They need to rethink how they are picking these people . Somwe of them were awful, do they have a tin ear ?
The Voice already jumped the shark with its rotating judge panel (as has Idol for that matter). Here's an idea – turn the show inside out. Have real recording artists compete for spots on the judging panel, with their performances being graded by a live audience, phone-in, and text voting.
Otherwise, just dump the Voice – it's already hoarse.
Yes, the Voice is a out ratings. Its produced by TV network not a record label. Ironically, its talent is much better than Idol. You'd think they'd have at least been able to break 1 star out of it. Some have had moderate success. But getting Pharell is quite a coo. I wish they'd rotate Adam & Blake. I stopped watching cuz got bored of their shtick. It also seems The Voice around the world always has 3 male judges and one (little suster) female. Quite interesting
Just a side note, the Voice Greece actually has two of each as judges, which I think is how it should be. I think it would be more of a competition amongst the judges if it were like that.
A "coo"?
I think the writer meant "coup", as in coup d'état
The paring of Pharrell against Usher would be worth watching.
Pharrell and Usher will alternate seasons just like Usher and Ceelo did. Only one black dude per season.
Pharrell was a mentor a few seasons ago. So we shouldn't be shocked he's coming on board.
I think bringing Pharrel on the show will be a big improvement. I've watched the show since day one and I think that by having someone who has helped others for years by either joining them, writing for them, or producing others would be a huge asset to anyone lucky enough to be on his team. I believe he can make someone a star.
Oh yeah man………Happy is what I am
It should be two girls two men on the judge panel and the talent they pick need to be picked and thought out better I've seen them get rid of good performers and singers
I agree! I believe to see Usher, Pharell, Adam and Blake would be awesome! I'd love to see Kanye West, Jay Z, John Mayer and Madonna on the judge panel as well, even for a special p.m.
I think Christina has to be back for the next season. The Voice isn't the same without her. She makes shine the show.
The voice has had people win and make it on the radio. Anyone that watches
The show would know that. Don't comment when you don't know what your talking about
I love this show and the concept please keep it blind. Sets it apart from the other boring shows
Talk to contestants and see what they think of their success. I appreciate the judging is not mean spirited.
they should get justin timberlake instead


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Pets of the Week
For more pets, see previous Pets of the Week columns, and see their pictures for October, November, December, January, February and March, or see them all.
You can see all of the Los Angeles city shelter animals needing homes at LAAnimalServices.com. For pet availability, call both shelters at (888) 452-7381 today.
Beauty (ID # A1278475) is a gorgeous gray 2-year-old cat looking for a new home.
She may be a little shy at first. But once she knows you, Beauty loves to cuddle and will nestle you for security and to share warm affection.
We don't know where Beauty has been before she came to the shelter, but she's definitely ready to have a new home and a person of her own again. She is already spayed and ready to go home with you today.
Meet her at the West Valley Animal Shelter, 20655 Plummer St., Chatsworth.


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Mr. B has been selling motorcycle novelties and accessories for over forty years now a long while. As an avid biker himself, he has a nice stable of Harley Iron Horses.
Starting many many many years ago, working out of a trailer, a camper and then trucks razor scooter green and decals. Mr. B would travel around the country selling his wares at some of the then new bike events like "Datona Bike Week", "Sturgis" and hundreds of even smaller get togethers.
Mr. B then started a Mail Order Catalog business that grew to contain thousands of products for the biker. This went on for a lot of years, with great success may I add.
Then Mr. B met me a couple of years back buy hoverboard online. You may call me "THE WEB MASTER" or John if you prefer. Having sold many hundreds of products on the web since we met, Mr. B and I are now proud to put his entire catalog online, and stop killing all those trees. You now have enough history about Mr. B and his store.
How many Products are on this site?
There are currently over 5,000 items for sale and growing daily.
Do you provide an 800 Toll free number?
Yes, we do. It is only for ordering, not questions on previous orders. 1-800-347-5741. Please use 631-261-8097 for anything else.
Is your site secure?
When you begin to "checkout" our site becomes secure using the strongest encryption available.
What is your privacy policy?
We will never sell or divulge any customer information from our web site. If you receive any e-mails about specials and new items, they would come directly from us and you buy razor scooter can easily ask us to stop at any time by clicking a button at the bottom of our mail.
How long have you been in business?
Mr. B's Accessories has been around for almost 40 years, selling via mail order and web all over the world.
Do you print a paper catalog?
In order to give our customers the best prices and quickest service we have gone completely web only this year.
What is your return policy?
We take back items with manufactures defects with prior authorization only. You just need to call 631-261-8097 to get it. If you order an incorrect size, we will exchange it, but you will have to pay for the shipping.
Do you give any discounts?
From time to time we run specials that you will receive via e-mail or you can check by coming back to our site. We do sell at wholesale levels to other businesses that purchase in quantity. Wholesalers just need to click on "Wholesale" to learn how to purchase at a much reduced rates.
Do you have a brick and mortar storefront anywhere?
Yes, we still have our first store located in New York on Long Island located in Northport.


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By Martin Wolf
Is the UK on the road to disaster? Those who believe it is insist that it is mad to tackle a calamity caused by excessive borrowing with still more borrowing, this time by the government as borrower and lender of last resort. These criticisms are wrong and right: wrong, if the government remains creditworthy; right, if it does not. Read more


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Here's a few pictures from the Ironman!
It's all about to happen...
I'm in there... somewhere.
The Marc Machine.
Ready for a sandwich.
The Marathon.
12hr 56. Swim 1hr 30. Bike 6hr 23. Run 5hr 01.
Bloody hell Paul, you have got to be off your trolly. Really impressive though. Super well done.
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Fri Feb 24, 2012, 05:19 PM
ChromeFoundry (3,266 posts)
Judge awards iPhone user $850 in throttling case
User sues AT&T For Throttling iPhone Data - and WINS!...
Judge awards iPhone user $850 in throttling case
SIMI VALLEY, Calif. (AP) A judge in Southern California on Friday awarded $850 to an iPhone user because AT&T Inc. reduced his download speeds in an attempt to manage usage on its network.
Pro-tem Judge Russell Nadel found in favor of Matt Spaccarelli in Ventura Superior Court in Simi Valley. Spaccarelli filed a small claims case against AT&T last month, arguing the communications giant unfairly slows speeds on his iPhone 4's unlimited data plan. Nadel's ruling could pave the way for others to follow suit. AT&T has some 17 million customers with "unlimited data" plans that can be subject to throttling, representing just under half of the company's smartphone users.
AT&T stopped signing up new customers for those plans in 2010, and warned last year that it would start slowing speeds for people who consume the most data. In the last few months, subscribers have been surprised by how little data use it takes for throttling to kick in often less than AT&T provides to those on limited or "tiered" plans.
Spaccarelli said his phone is being throttled after he's used 1.5 gigabytes to 2 gigabytes of data within a new billing cycle. Meanwhile, AT&T provides 3 gigabytes of data to subscribers on a tiered plan that costs the same $30 per month.
Source: http://news.yahoo.com/judge-awards-iphone-user-850-throttling-case-195042925.html
13 replies, 3592 views
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Judge awards iPhone user $850 in throttling case (Original post)
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Response to ChromeFoundry (Original post)
Fri Feb 24, 2012, 05:45 PM
truthisfreedom (19,990 posts)
1. Wow! Title might as well read "Judge puts AT&T into impossible position."
Now what are they going to do?
Response to truthisfreedom (Reply #1)
Fri Feb 24, 2012, 06:59 PM
green917 (300 posts)
4. Actually offer what they are advertising?
The plan is called an "unlimited" data plan. If the plan is advertised as unlimited, then it should be unlimited and practices like throttling should be grounds for litigation on the part of their clients.
Response to truthisfreedom (Reply #1)
Fri Feb 24, 2012, 07:48 PM
DisgustipatedinCA (12,530 posts)
5. Impossible position?
I pay $300 a month to AT&T to make this possible. They damned well better come up with something. Off to Twitter to berate AT&T again.
Response to ChromeFoundry (Original post)
Fri Feb 24, 2012, 06:23 PM
AnotherMcIntosh (11,064 posts)
2. AT&T attorneys know that a judgment from a Small Claims Court has no precedential value.
One or two attorneys who handle consumer fraud cases, however, might be interested.
Response to AnotherMcIntosh (Reply #2)
Fri Feb 24, 2012, 09:44 PM
DeSwiss (27,137 posts)
7. Well....
...I don't know about that. It may lack ''precedent value'' from a legal standpoint, but not from a practical one.For one, lawyers aren't allowed to argue a case in small claims courts.
- So if you've pissed-off enough of your customers, it can really add up!
Response to ChromeFoundry (Original post)
Fri Feb 24, 2012, 06:27 PM
Earth_First (14,910 posts)
3. Verizon called me earlier in the week...
They were concerned that this was the third month in a row that I've paid my bill erradically during the billing period, my billing due date is the 3rd of the month.
They wanted to know why they were not being paid on time.
My response was that when I initially signed up for their flagship 4G LTE smartphone, the Thunderbolt; that I was recieving lightning fast service.
Months went by and the service was diminishing month after month, sometimes struggling to even pick up a 3G signal.
I told them when they can start consistantly deliver the service/product that I was drawn to with their services; I would start consistantly paying my bill on time.
Until then, they may get it on the 11th, they may get it on the 28th.
It keeps them guessing, just like whether or not I have to guess whether or not I can reliably count on the delivery of their product...
Response to Earth_First (Reply #3)
Fri Feb 24, 2012, 10:21 PM
saras (6,670 posts)
8. Write it up a little nicer. Post it EVERYWHERE. Please?
That's a HELL of a lot more sensible of a protest than getting pepper-sprayed - if the same number of people do it.
Response to ChromeFoundry (Original post)
Fri Feb 24, 2012, 09:02 PM
jerseyjack (1,361 posts)
6. Good for the bastids.
Response to ChromeFoundry (Original post)
Post removed
Response to ChromeFoundry (Original post)
Sat Feb 25, 2012, 04:30 AM
boppers (16,588 posts)
10. Capacity is not bandwidth.
Ah, journalists trying to write articles about technology are silly.
Response to ChromeFoundry (Original post)
Sat Feb 25, 2012, 06:20 AM
slackmaster (60,567 posts)
11. I'm sorry, but the subject line gave me a very inaccurate image of the incident
Response to ChromeFoundry (Original post)
Sat Feb 25, 2012, 07:42 AM
greiner3 (5,214 posts)
12. Off topic on the AT&T part;
But on the Small Claims part I brought a case against Hewlitt Packard recently. It is scheduled for trial next month. I purchased a computer from them and while under warranty it broke. I could not get satisfaction from their over seas call centers and the computer is a 'dust catcher' now.
It cost me $72 to file and I am asking for several thousand in damages (ask for 'everything' and settle for half). Even if I lose against the local 'suit' I will have the satisfaction I actually DID something about me being wronged. Also, and I feel this will be the larger satisfaction, I will have cost HP a LOT of money in retainer fees.
Suck on that HP AND Meg Whitman!!!!!!!!!!!!!!!!!!!!!!
Response to ChromeFoundry (Original post)
Sat Feb 25, 2012, 10:16 AM
snot (10,225 posts)
13. K&R'd. We now have none of the benefits of
genuine competition OR of regulation. The system is owned.


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