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Saturday night 14th July saw the first Youth rugby awards at Sardis Road for almost ten years as the reformed Pontypridd RFC Youth enjoyed the first of many future presentations; Call-a-Cab Taxis proudly sponsored the evening.
Speaker for the night was the ever entertaining Martyn Lewis, secretary of the Pontypridd Mini and Junior Rugby Section, whilst senior youth coaches Sean Oliver and Wayne Gristock joined him on stage, along with Pontypridd Premiership player Lee Evans, who presented the players with their trophies.
The newly formed team started in the Blues BI league, effectively the 9th division and having lost only one league match all season, they were justly rewarded with a promotion of 7 divisions to the Blues BB league, or 2nd division ready for nest season.
The presentations began with a very proud dad and former Ponty stalwart Dai Legge, presenting a Special Recognition Award for Representing Wales Under 16's to his own son Garrick Legge. In April, Garrick was selected to represent Wales in matches against England, Italy and France, everybody at Pontypridd RFC is proud of his gutsy performances and feel he is more than deserving of the accolade he has achieved. The players were all awarded with specially engraved tankards to mark their involvement in the rebirth of youth rugby at Sardis Road.
The first special award of the evening was the presentation of the Up and Coming Player Award to fullback Rhys Simms by clubhouse manager Mark Davies. The award was donated and the precipitant chosen by the bar staff at Sardis Road who have all enthusiastically followed the youth team this season. The award is for the player the staff members feel have the skills, attitude and ability to succeed at the higher level.
Lee Evans presented the next award to open-side flanker Dafydd Gristock, who again had an outstanding season and deservingly won the Most Consistent Player Award. Gristock is a quick, nimble and aggressive player who is always first to any breakdown, many a scrum-half has reached down to grab the ball, only to frustratingly get a handful of Dafydd's flowing blonde locks.
The result of the player's poll was then read out and Lee Evans presented the Players Player of the Year Award to Rhys Simms. As fullbacks go, there are few in the game that can match the blistering pace of Simms. Not only is he an outstanding outfield player, but he's also been blessed with the golden boot. His goal kicking has been phenomenal this season, with penalties and conversions going over with infinite ease, no matter where on the field he kicks them from!
Next up was the Player of the Year Award as voted by the coaching staff, again it was Lee Evans who presented the trophy and the Pontypridd RFC Youth Player of the Year went to inspirational centre Dan Deardon. This young player has impressed so much during the season that he even earned a call up to senior squad training and has trained with the Pontypridd Premiership team every week since February, having both impressed the senior coaches and players with his dynamic pace, proving to have immense strength for such a young player.
Special Coaches Awards were presented to two players who were both in the running for all three above awards. The first went to outside half and captain Lewis Smith who led by example, showing great skill and determination throughout the season.
The second award went to versatile Cardiff Blues Academy player Sam Studley, who was a late joiner of the squad, but has proved a pivotal player in several of the bigger matches and deservedly earned a call up to train with the senior squad alongside Deardon and others.
Two Ponty youth players were awarded their Boys Club of Wales Caps on the night; these were Lewis Smith and Dan Deardon. Eight Ponty Youth players were invited for trials and most got through to the final trial, a huge accolade for the depth of talent in the team.
The final award of the night was the presentation of memorative tankards for the youth coaches of Wayne Gristock and Sean Oliver, without whom there would have been no resurgence of youth rugby at Sardis.
Team Awards:
Player of the Year: Dan Deardon
Players Player of the Year: Rhys Simms
Most Consistent Player: Dafydd Gristock
Special Awards:
Special Recognition Award for Representing Wales Under 16's: Garrick Legge
Boys Club of Wales Caps Awarded to: Dan Deardon & Lewis Smith
The Clubhouse Up and Coming Player Award as voted by the staff: Rhys Simms
Achievement Awards presented to:
Lewis Smith (200+ points)
Sam Studley (Cardiff Blues Academy & Captain of Crawshays Welsh RFC)
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Place onions in a small saucepan, add water, cover and bring to a boil. Reduce the flame to medium-low and simmer 15 minutes or until tender. Remove the onions and place in a serving bowl. Add the miso to the onion cooking water and stir. Slowly add the diluted kuzu, stirring constantly until thick. Cook 1 minute over a low flame. Pour the gravy over the onions and garnish with parsley.
Per serving - 68 calories, 0 gram fat (5% calories from fat), 2 gram protein, 15 gram carbohydrate, 3 gram fiber, 0 milligram cholesterol, 159 milligram sodium


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Johnny Parker is freshly 30 and this hairy hottie from Arkansas proudly makes his debut on MenOver30. Johnny loves to keep that beefy body au natural and we ain't mad at him for wanting to leave all that sexy fur right where it belongs. Johnny, sporting a neatly trimmed beard and a big smile is rockin a sexy scruffy look. It's complemented by a sweet tattoo that wraps around his left bicep. He's not done with it. He knows he wants to fill in his shoulder completely then figure out how much more he'll add. Tattoos are addicting. Johnny is just waiting to find the right artist to make his even better. Johnny is recently partnered and he lucked out finding a guy just like the one he's always wanted: 'a guy with short hair; bit scruffy with lighter hair than his own; has a hairy body; knows his way around the gym and an all around good guy.' Wow that's pretty specific but when it's meant to be you can't fight fate. Johnny is versatile in his sex life, both on and off camera, and admits he loves the new 'on-camera' experience. Porn is always something he wanted to do; so he's gonna do it 'til he gets tired of doing it. Pfff!�who ever gets tired of 'doing it'? ...A regular jokester this one!Johnny comes home to find the place a mess. He starts to tidy up a bit and starts picking things up off the floor. As he reaches under the couch he pulls out a skin mag full of sweet young twinks with huge cocks. As Johnny flips through it his cock starts to stir in his jeans. This clean up can wait as he puts down the magazine and strips down to his briefs. His cock is rock hard and tenting his tighty-whiteys as he rubs his thick cock over its cotton confines. He continues to look at the hot guys playing with their boners and he can't help but haul out his own. He strokes his cock slowly, finally giving his cock the attention it's been craving. Johnny smiles right at the camera as he pleasures his meat. He then gets comfortable on the couch, pulling the magazine towards him as he slowly continues to stroke his hard cock. His free hand tugs at his heavy nut sack for a bit before slipping past it. His fingers dart further south making their way into his furry cheeks til they find that tight hole. Johnny bites his lower lip as his fingers breach his sphincter. His cock is throbbing as he plays and fingers that hot hole. His eyes roll back as he spreads those beefy thighs apart giving him better access to that sweet spot. His fingers work that hole and launch Mr. Parker into orbit. His eyes roll into the back of his head as his balls pull up tighter and then release their cargo. Johnny grunts as his load shoots sending jet after creamy jet spraying atop the fur canopy that covers his abs. Johnny then dips his fingers into the suspended cream and hungrily helps himself to most of it.
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Security Blue Single Checks
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Personalized checks are top-tear and are available as singles or as duplicates that produce a copy of the check for easy record keeping. Single sets come with 150 checks in five pads. Duplicates come with 125 checks in six pads. Both check styles are the 2 3/4" x 6" standard size and come with a black vinyl checkbook cover and register. Both check styles are available with either traditional or calligraphy typestyle. Coordinating labels are also available. You get 144 return address labels in the individual design shown with foil accent border. Labels measures 3 1/2" x 2" and print as shown. Please allow 5 business days for order processing and verification, in addition to the shipping time. Want your checks faster? Select 2nd Day or Next Day shipping options during checkout.


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Croydon Athletic have been slapped with a hefty fine and points deduction for breaking FA rules.
The club must pay £7,500 for breaches of rules regarding payment of players under written contract, and have also been deducted 10 points - which leaves them marooned at the foot of Ryman Division One South on two points, 11 points from safety.
The fine will raise serious questions on the future of the cash-strapped club who are in dire need of new investment.
An FA statement read: "Croydon Athletic have today been deducted 10 league points and fined £7,500 after a case of financial irregularities was proven.
"An Independent Regulatory Commission heard how the Ryman Division One South club had been charged for 24 breaches of FA Rule E1(b) in relation to the 2009-10 season.
"The charges relate to breaches of The FA's rules relating to the payment of players under written contract.
"Croydon were warned as to their future conduct, fined £7,500 and received a 10-point deduction with immediate effect."
The Rams admitted the charges, committed when shamed former owner Mazhar Majeed was in charge of the club, and chairman Chris Roots added: "We were happy that we received a fair hearing and thank the Football Association and the panel for its consideration.
"Our immediate focus remains securing new ownership for the football club so that we can start to look forward."


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Hey there, time traveller!
This article was published 14/5/2013 (1561 days ago), so information in it may no longer be current.
I was over the moon when I learned at least 35 Canadians are among the more than 78,000 people from 120 countries who have applied for a chance to be among the first human settlers on Mars.
But, tragically, I came plummeting back to Earth after hearing Hockey Night in Canada's Don Cherry and Toronto Mayor Rob Ford aren't among the candidates we can literally vote off our planet.
If your job doesn't involve watching TV or surfing the Internet, you may not have heard the thrilling news about the Mars One Project, a $6-billion scheme to send four volunteer space pioneers on a one-way trip to establish a human settlement on Mars in 2023.
This ambitious project is the brainchild of Dutch entrepreneur Bas Lansdorp, who, for humanitarian reasons, is scouring the globe for four "astronauts" to fire into space with no chance of returning to Earth.
Where's the money coming from? Well, according to its website (mars-one.com): "Mars One intends to fund this decade-long endeavour involving the whole world as the audience of an interactive, televised broadcast of every aspect of this mission, from the astronaut selections and their preparations to the arrival on Mars and their lives on the red planet."
From a purely scientific perspective, you know these guys have to be legitimate, because, on their website, you can fork over cash to buy Mars One T-shirts, hoodies, coffee mugs and posters.
In a news release last week, Lansdorp boasted: "With 78,000 applications in two weeks, this is turning out to be the most desired job in history. These numbers put us right on track for our goal of half a million applicants."
The way it works is, you can apply online to be a Mars settler until the end of August. Eventually, they'll hire up to 40 applicants, who will train for seven years, which I believe is how long it takes to learn to operate the deep fryer at McDonald's.
In the end, "an audience vote" will select the four lucky winners who will be packed off to Mars in 2023 to live in a special habitat that, with the help of robots, will be sent up first, which seems like a good idea, scientifically speaking.
Despite being a courageous journalist with fire in his eyes and naturally curly hair, I currently have no interest in going to Mars, even though my wife feels it would do a lot to improve our marriage.
From what little I have read, Mars is cold, bleak, desolate and unfriendly to human life, so it's a lot like Saskatchewan, only there aren't as many people wearing watermelons on their heads, which is a plus in my book.
Part of my reluctance to be a Martian settler is the fact that, to get to the fourth planet from the sun, you would be required to travel on a rocket ship, which would involve huge amounts of gravity, which is the most powerful force in the universe other than the force that pulls me into Tim Hortons doughnut shops when I drive to the office.
What with being the size of a major kitchen appliance, gravity has never been my friend. For instance, a few years ago, I went to the Red River Ex on Media Day to report on their deadliest thrill rides, the end result of which was, thanks to gravity, I spent about 20 minutes hunched over trying not to lose my lunch and my dignity, a tragedy that was captured by pretty much every local news station.
Still, I do not wish to dissuade anyone from submitting an application for this ambitious quest, which I am sure will get off the ground provided they sell enough T-shirts. If you are thinking of spending the rest of your life on Mars, you might want to mull over a few pros and cons.
On the plus side:
1) You would never ever have to mow your lawn again, regardless of what your wife or your neighbours say;
2) You would no longer be exposed to episodes of Here Comes Honey Boo Boo or The Real Housewives of Wherever unless you brought the DVDs along;
3) You could say things like "Beam me up, Scotty" and wear your Star Trek pyjamas all day long without being ironic;
4) If your earthly residence is Toronto, the Maple Leafs would never break your heart again;
5) You'd finally lose weight, largely due to the fact that you will (a) eventually starve; and (b) have to eat out of toothpaste-style tubes for the rest of your life, which shouldn't be all that long.
On the downside, I'm thinking you might miss a few of the comforts of home. Maybe not Don Cherry and Rob Ford, but oxygen certainly comes to mind.
And chances are the basic-cable package on Mars does not include the NHL playoffs, which shouldn't be a big problem for all you Leafs fans.


text: Russell Oberhelman, Adrienne Morgan and John Hansen of the Las Vegas-based Johnson Jacobson Wilcox CPAs visited E.W. Griffith Elementary School to announce the winner of the firm's annual art contest during the end-of-the-year assembly. Fifth graders submitted artwork for the contest, depicting whey they are proud to be Americans. Phoebe Ray's winning artwork will be … [Read more...]


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Overburden Cased Drilling Systems
Tools that allow controlled drilling in heaving sand and gravel conditions. Boart Longyear's cased drilling systems add flexibility to drilling in varying conditions. In addition to the benefits of increased flushing control, the Inner and outer strings are able to be independently controlled on some systems, which greatly increases control over drilling. For deeper applications Boart Longyear's double head drilling system allows for a dual string drilling system with internal flushing, which minimizes deviation from target. This method of drilling reduces risk, project time and produces optimal results.
Drive Drilling System
Ideal for use in soft ground conditions where flushing is not necessary or where flushing can be used without the risk of cavities.
Duplex Drilling System
Duplex drilling utilizes an inner drill string and outer casing to control flushing and avoid cavities.
This system independently advances an inner drill string and an outer casing to maintain borehole integrity and reach greater depths.
Double Head Rotary / Percussive
Utilizes a rotary head to drive the outer casing and a hydraulic drifter to drive the inner drill string.
Jet Grouting System
These tools play an important role in ground modification / ground improvement.
Jet grouting is performed with either single, double or triple tube jet grouting systems. All components of the system are designed to withstand high injection pressures. Above the drill bit is the drill string monitor which houses the injection nozzles as well as the automatic valve which controls flushing and injection. The automatic valve allows regular low pressure flushing through the drill bit while the hole is being drilled. Once high pressure fluids are injected into the drill string the automatic valve closes, directing the high pressure flow out through special injection nozzles.
Single Tube
Provide a path only for the injection of the cement suspension from the top of the drill string at the drill rig to special injection nozzles on the bottom of the drill tools above the drill bit.
Ground Freezing System
Prevent water intrusion and provide structural support for excavation with these tools.
Ground freezing is a temporary ground support technique that is used extensively for groundwater control and ground stabilization in underground construction and deep excavations. The process involves circulating refrigerated liquids through a series of subsurface pipes to freeze the ground creating a solid barrier that prevents water intrusion and provides structural support for excavation.
Product range
- Freezing rods up to 114 mm diameter and lengths up to 3 m.
- Driving rods with various bit configurations including carbide tips and flushing holes with check valves.
- Rotary drive flanges.
- Rotary percussive freeze rod systems available upon request.
Key features
- Specially selected steel to provide strength required for drilling while also remaining stable when subjected to extreme low temperatures.
- Specially designed threads that maintain a tight seal in the drill string, preventing leakage of freezing fluids into the surrounding ground.
- Custom designed rod seals that can withstand low temperature as well as tolerate various greases commonly found on drilling sites.
- Various configurations of driving points incorporating carbide inserts, flushing holes with check valves, and percussive bits.
- Economical rod designs keeping total project cost to a minimum.
Boart Longyear offers a full range of bits designed for specific drilling applications. Our bits are constructed of high strength quenched and tempered steel and feature high quality tungsten carbide inserts. From Hemispherical button inserts to scalping button inserts our clients can customize their bits to meet their needs.
Casing Bits
Boart Longyear offers a large selection of casing bit to serve a wide variety of ground conditions. Casing bits are designed for rotary-percussive or rotation only drilling based on the tungsten carbide inserts utilized as well as the geometry of the bit. In addition to our standard offering, we offer customized tools for unique drilling applications.
Casing bit bodies are constructed of high strength quenched and tempered steel. The high quality tungsten carbide inserts are induction brazed into the steel bodies ensuring a secure fit without overheating issues associated with flame brazing. Strict machining control of the carbide seats prevent premature loss of carbide inserts.
Gauge Protection
Boart Longyear offers tungsten carbide gauge protection on casing bits. Gauge protection will prevent excessive wear on the outer diameter of the bit in abrasive grounds. Additionally, in unconsolidated ground conditions where the ground is caving in on the drill string the gauge protection will assist in freeing the bit and casing by providing another cutting surface.
Shrink Fit Carbides
We can offer, on request, shrink fitting installation of all hemispherical, ballistic, and two-step tungsten carbide inserts instead of the standard induction brazing. This very precise construction method is often utilized when drilling in extremely hard ground conditions and provides both increased button retention and longer overall life.
- Computer controlled inductive brazing of tungsten carbide inserts provides superior process control and prevents overheating common with flame brazing.
- High grade body construction with quenched and tempered steels.
- Optional tungsten carbide gauge protection available to assist in unconsolidated grounds and increase life in abrasive conditions.
- Specialized designs for unique drilling situations such as drilling through reinforced concrete and drilling without inner bits.
Inner String Bits
We offer a selection of bits for the inner drill string of overburden drilling systems to serve the wide variety of ground conditions that drillers face every day. The inner drill string bits are primarily designed for rotary-percussive drilling but in some situations can perform well in mixed drilling or pure rotary drilling. In addition to the common designs, Boart Longyear™ offers several specialty designs for unique drilling situations and can also design custom bits on request.
The bit bodies are constructed of high strength quenched and tempered steel. The high quality tungsten carbide inserts are induction brazed into the steel bodies insuring a permanent fit without overheating issues associated with flame brazing. Strict machining control of the carbide seats prevent premature loss of carbide inserts.
Gauge Protection
We offer tungsten carbide gauge protection on some designs. Gauge protection will prevent excessive wear on the outer diameter of the bit in abrasive grounds.
Shrink Fit Carbides
Boart Longyear can, on request, shrink fitting installation of all hemispherical, ballistic, and two-step tungsten carbide inserts instead of the standard induction brazing. This very precise construction method is often utilized when drilling in extremely hard ground conditions giving the bits enhanced performance.
- Computer controlled inductive brazing of tungsten carbide inserts provides superior process control and prevents overheating common with flame brazing.
- High grade body construction with quenched and tempered steels.
- Optional gauge wear protection tungsten carbides available to assist.
Drive Drilling Bits
Fits into end of casing with no locking mechanism to the casing, designed to leave in the ground not able to be reterived. No flushing holes or cutting surface on this bit.
Bit locks onto the bottom of the casing and allows for the bit to be reterived if desired. No flushing holes or cutting surface on this bit.
Rotation Lock Bit with Flushing Holes and Cutting Blade
Bit locks onto the bottom of the casing and allows for the bit to be retrieved if desired. Designed to utilize a flushing medium and also has carbide surfaces for cutting.
Rotation Lock Bit with Flushing Holes
Bit locks onto the bottom of the casing and allows for the bit to be retrieved if desired. Designed to utilize a flushing medium and also has carbide surfaces for cutting.
Threads onto the drive casing and then mates with the flat collar bit to provide a true drive shoulder and prevents damage to the casing.
Thread onto the drive casing and then locks with the lock bits to provide a locking surface and prevents damage to the drive casing.
Bit Inserts
Boart Longyear offers five unique button inserts to match client's needs. Dependent upon drilling method and formation being encountered specific inserts can be selected to obtain maximum results.
Applicable for hard rock- Best suited for rotary-percussive drilling- Low abrasion
- 25 000 to 45 000 PSI (170 a 300 MPa)
Rotation Lock Bit Ballistic Button
Applicable for medium hard rock (mudstone, marl, sandstone), as well as loose rock- Best suited for rotary-percussive drilling- 10,000 to 20,000 PSI (70 to 140 MPa)
Scraping Button Scraping Button
Applicable for loose rock as well as soft geological formations (mudstone, marl)- Best suited for rotary drilling with temporary percussion
Rotation Lock Bit with Flushing Holes Two Step Button
Applicable for medium hard rock (mudstone, marl, sandstone), as well as loose rock- Best suited for rotary-percussive drilling
Flat Collar Drive Shoes Scalping Button
Applicable for concrete, conditional, loose rock and soft geological formations- Best suited for rotary drilling
Overburden Rods and Casing
Rotary Percussive Rods Friction Welded – TDN
- TDN drill rods are designed for use on the inner drill string of Duplex and rotary-percussive drilling systems. TDN rods are an alternate to the T3 and T45 extension rods used in these systems. Up-hole flushing velocity may be reduced when using T38 and T45 rods due to the large annulus.
- TDN systems are designed to minimize the area between the inner rod and casing so that up-hole flushing velocity is optimized. The bigger inner diameter of the inner rod allows a higher flushing medium flow without creating back-pressure. In addition to improved flushing, TDN systems also utilize the patented TwinDrive rotary percussive thread and the highest grade thread steel to provide longer rod life.
- Friction welded rods have quenched and tempered pin and box ends constructed of high tensile strength steel. The threaded ends are friction welded onto a mid-body manufactured from annealed mid-grade steel.
API Drill Rods
- API DTH drill rods are designed for use in rotary and rotary DT applications. These are commonly used as single rotary rods or as the inner drill string on double head rotary-rotary applications.
- The rod ends of our API rods are constructed of high tensile strength quench and tempered steel. The rod ends are gas nitrated to provide additional life to the drill string. Rod ends are friction welded onto mi grade mid-body material.
- API rods are manufactured in a variety of lengths and wall thickness and include IF designs for additional flushing capacity. Boart Longyear can manufacture alternative rod lengths and spanner flats upon request.
Extension Rods T38/T45
- T38 and T45 extension drill rods are designed for use as the inner drill rod extension for double head rotary percussive drilling systems. The extension drill rod is designed with male threads on both ends with a coupling connection between them.
- The T38 and T45 thread profiles are specially designed to withstand the percussive forces exerted on the inner drill string by the hydraulic drifter.
- The outer diameter of the extension drill steel is relatively small compared to the inner diameter of the casing. This can cause the inner drill string to have movement within the casing. To reduce this movement, Boart Longyear also offers couplings with centralizing guides to keep the rods on center in the casing.
- TDN drill rods are an alternative for T38 and T45 drill steel and feature improved flushing capacities and decreased tolerances between the inside diameter of the casing.
Jet Grouting Rods and Casing
Jet Grouting Rods
- The jet grouting rod ends are constructed from the same high strength steel utilized in all percussive casing. Rod ends are then nitrated and friction welded to an annealed steel mid-body.
- Inner tubes in the dual tube systems are secured inside the outer rod utilizing a circlip or wire fuse connection. This allows for easy removal, repair, or replacement of the inner rod as required.
- The sealing materials in the jet grouting systems are specially designed to resist damage from the abrasive grouts and numerous make and break cycles, which limits the amount of time spent changing rod seals and maximizes time spent grouting.
Ground Freezing Rods and Casing
Boart Longyear manufactures ground freezing drill rods that are installed for refrigerated liquid circulation. Freezing rod applications have some unique challenges that are not found in typical foundation construction drilling application. Boart Longyear has gone through extensive development processes to ensure the freezing rods we provide incorporate our knowledge of construction drilling as well as unique technologies that are special to the ground freezing application.
From wrenches and plugs to fishing tools, Boart Longyear offers a full range of tools and accessories that meet the demands of today's driller.


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Medical Definition of Femara
Femara: Brand name for letrozole, an oral antiestrogen. Femara inhibits the enzyme aromatase in the adrenal glands that produces the estrogens (estradiol and estrone) and thereby lowers their levels. It works by decreasing the amount of estrogen the body makes. This can slow or stop the growth of many types of breast cancer cells that need estrogen to grow.
See also: Aromatase inhibitor; monograph on Femara (letrozole).
Last Editorial Review: 6/9/2016
Back to MedTerms online medical dictionary A-Z List
Need help identifying pills and medications?


text:
Genuine Gene Meyer ties, socks and bow ties have been added at 35% - 75% off. Gene Meyer ties have been a collectable item for many necktie aficionados for decades. Gene Meyer New York has been making also cool socks, silk bow ties, silk/ leather wallets and contemporary rugs and other retro/ modern accessories too. Gene Meyer came out with a new collection of silk neckties, socks and other accessories.
Gene Meyer Ties | Gene Meyer Bow Ties | Gene Meyer Socks | Gene Meyer Sale


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I've mapped out my travel plans for this year and hope to visit some local barbecue places; Woody's Smoke Shack and Smokey D's in particular but I'll take anything I can find between here and northern Wisconsin, northeastern Wisconsin, central Iowa, central Indiana, and southern Ohio. And you can bet I'll report on what I find!
Has anyone else planned some trips that involve barbecue along the way or at the final destination? Let's see if we can get some travelogue-style threads in this forum this year.
Maybe I'll even get a chance to meet some other members; for example, Rogerja can buy me lunch in Dayton, Ohio this August!


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Heat the oil in a medium skillet and sauté the carrots for 2 to 3 minutes. Add the water, cover and bring to a boil. Reduce the flame to medium-low and simmer for about 10 minutes until the carrots are tender. Remove the cover. Add the cherries, nutmeg, ginger, shoyu soy sauce and maple syrup. Mix thoroughly. Turn up the flame and cook several more minutes, stirring occasionally until most of the liquid has evaporated and the carrots have a light glaze.
Per serving - 116 calories, 3 gram fat (21% calories from fat), 1 gram protein, 23 gram carbohydrate, 3 gram fiber, 0 milligram cholesterol, 88 milligram sodium


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Jackson X Series guitars are loaded with pure Jackson DNA—classic Jackson designs, outstanding tone, ultra-fast playability and eminently affordable value for 21st century guitarists. Built with the very latest in Jackson expertise and innovation, X Series models feature hot humbucking pickups that deliver well-balanced tone with tight bass, glassy mids and crunching highs. Their bound compound-radius rosewood fingerboards curve more dramatically at the nut for easy chording and flatten out approaching the neck joint for low-action bends without fretting out.
Jackson X series models feature a selection of EMG® and Duncan Designed™ humbucking pickups for unparalleled tonal versatility from clean to heavily distorted. All tremolo-equipped models feature Floyd Rose® Special bridges.
True neck-through-body construction has been a Jackson hallmark since 1980. For greater playability and sustain, X Series models feature a neck-through design usually reserved for much more expensive instruments. Further, graphite support rods flanking the truss rod provide even more neck stability to help the instrument withstand the rigors of the road.
X Series models feature compound-radius fingerboards. Jackson pioneered the use of this innovative design, in which the fingerboard gradually flattens toward the heel from its more rounded profile at the nut. This makes for comfortable and natural-feeling chording and riffing near the nut, with optimal shred articulation and bending nearer the heel.
The X Series presents a wealth of distinctive Jackson stylistic options from the subdued to the striking. Sharkfin or "piranha" fingerboard inlays. The traditional Jackson six-in-line headstock or an AT headstock with tuners on either side. Deep solid colors or beautifully figured tops. The X Series has something for everyone.


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Topic: NCI sponsored one day workshop on clinical trials in Washington
As most of you know I am one of two research advocates on the North American Hepatobiliary Task Force and a participant on the GI Steering Committee.
Tomorrow I will be heading to Washington DC for a one day NCI sponsored workshop on Clinical Trials.
The information gained should allow me to have a better understanding of the role of advocates in the area of: development of clinical trials; the approval process and the wording of the consent forms. Advocates protect patient


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Garrett Ashley became Vice Chancellor of University Relations and Advancement at the California State University in November, 2008. In his position, Ashley oversees several areas of the country's largest public university system including systemwide fund-raising and development programs, state and federal legislative affairs, community relations, alumni relations, communications and public affairs. In addition, Ashley serves as president of the California State University Foundation, where he leads an 18-member board to increase public and private support for the California State University and oversees systemwide scholarship programs and public/private sector partnerships.
Prior to joining the California State University, Ashley was Undersecretary for International Trade in the Business Transportation and Housing Agency for the State of California. Appointed to the post by Governor Arnold Schwarzenegger in 2006, Ashley led and coordinated the state's efforts related to international trade promotion and policy. In addition, he chaired the statewide California Trade Partnership, a group of local, state and federal trade promotion organizations collectively gathered to advance the state's export efforts. Ashley created and implemented the business delegation program for the Governor's trade missions to Mexico in 2006 and Canada in 2007. He also participated in the U.S. Department of Commerce led trade mission to India in November, 2006. He was a member of the United States Trade Representative's Intergovernmental Policy Advisory Committee (IGPAC), and the Center for International Business Education and Research (CIBER) Advisory Board at the University of Southern California.
From 2003-2006, Ashley was Deputy Chief of Staff for Operations in Governor Arnold Schwarzenegger's Office where he was responsible for managing personnel, scheduling, advance, constituent affairs, field offices, and information technology.
From 2001 to 2003, Ashley served as the first Executive Director of TechNet Orange County. TechNet is a nationwide trade association of high tech CEOs. During his tenure, Ashley increased membership and revenue, established an executive committee, and advised its members on state and federal policy as it related to the high tech industry.
Ashley's public policy and government experience extends to Congress where he served as Chief of Staff to Congressman Steve Kuykendall (CA-36) from 1999 to 2001.
From 1995 to 1999, as Chief Deputy Director at the Governor's Office of Emergency Services (OES), Ashley was second in command and directly responsible for overseeing all strategic communications and day-to-day operations. He also managed legislative issues for the agency and successfully worked to gain legislative approval and budget authority for a new $30 million state-of-the-art emergency operations center.
Ashley's political career began as an advance representative for California Governor Pete Wilson in 1991, and prior to that, as an intern for Senator Pete Domenici (R-NM).
Ashley received a B.A. in Political Science from the University of New Mexico.


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The Miracle in the Seed
Section 1
A person scrutinizing watermelon seeds will be aware of an important fact: It is a miracle of creation that these tiny seeds contain all the information to create a perfect fruit in regard to taste, aroma, and protective skin.
If we were seeing these seeds for the first time with no idea what they were for, could we guess that countless plants, each different from the others, would emerge, and that some would reach meters in height? We would never have thought that countless fragrant flowers of striking shapes and colors – daisies, tulips, azaleas, geraniums, narcissi, roses, violets – would arise out of some shriveled dry thing. We would never have imagined that so many varieties of fruit – peaches, coconuts, pears, quinces, mulberries, apricots – would grow on the trees arising from these seeds; or that blackberries, oranges, mandarins, melons, plums, peppers and tomatoes would form from these little black, brown and yellow objects.
And so, it's worth thinking about that for millions of years, all the characteristics related to plants have been contained in seeds. When you think about this knowledge, it opens unexpected horizons that change the perspective of many events. To consider this subject more closely, begin thinking about the things closest to hand, the vegetables, flowers and fruit in your house.
What knowledge is required for a seed to become a watermelon? Hold a slice of watermelon in your hand, and its regular order is very evident. All the knowledge that creates the taste, fragrance and sweetness of the watermelon is present in the watermelon's seeds. Observe the slender tie by which the seed is attached to the red flesh of the watermelon and the seed's filmy, slippery skin. The knowledge relating to this structure is likewise present in the seeds. And all the patterns on the outer skin, its thickness and waxy texture – to a degree of smoothness that a stonemason could not create – are also coded in its seeds. Watermelons all over the world have the same characteristics stored in their seeds. For this reason, if you gather a quantity of seeds from any number of places and sow them in the earth, after a time small seedling vines will sprout, and in time each of these will bear real watermelons.
|Every species of tree has different structural features. All the information relating to these features is stored in its seeds.
To give another example, compare the characteristics of coniferous trees and those of some plants found in arid habitats.
When the ground freezes in winter, roots are unable to take in water from the earth. In addition, most of the precipitation in winter falls as snow, and for this reason, trees have to be able to withstand conditions of drought that prevail. They owe this resilience to their leaves. For instance, the leaves of many coniferous trees are not shed in autumn and have a tough skin, whose waxy surface reduces moisture loss through evaporation. By maintaining internal water pressure, this resilience prevents the leaves from being shed or the plant from wilting. And moreover, most coniferous trees have needle-shaped leaves that are resistant to frost.
Every spring, these plants gather more energy when new leaves unfurl. The resilience of the leaves is important for these plants, inasmuch as they store nutrients by photosynthesis whenever weather conditions permit. Non-deciduous trees are usually conical in shape, which prevents their branches from breaking under too much accumulation of snow. What snow does settle on them insulates the tree from sub-zero cold and prevents water loss by reducing loss of moisture from the leaves.1
For plants living in the desert, drought is one of the greatest dangers. Negative factors such as sporadic rainfall, sand storms and intense heat would normally mean extinction for desert plants. But species living in arid climates enjoy special features that enable them to withstand their environment. Their seeds' structure and method of reproduction enable these plants to survive under such conditions.
God, the Lord of the heavens and the Earth, makes colorful roses of perfect beauty appear from the dry-looking seeds pictured above.
Many desert seeds contain various substances that prevent or postpone germination. The fruit valves of Sinapis Alba contain blastokoline, which delays germination of the seeds. In Arizona, some arid plants sprout after very long dormant periods due to certain substances they contain. For instance, Lepidium lasiocarpum is ready to germinate only after one year, and Streptanthus arizonicus after 26 months. The importance of these substances is evident in the dry season in particular.2
This means that the germination-prolonging characteristics of these two species must be contained in the embryo of every one of their seeds. These few differences that distinguish arid plants clearly show the extent of detail of the encoded information in their seeds.
A rose's red color, the curl of each of its petals, their number, softness, velvet texture and the proportion of substances that give the rose its perfume each constitute information. The deep purple color of an eggplant or aubergine, its shiny skin, the alignment of its seeds, and the length of the veins in its resilient stem all derive from information embedded in its embryo. Similar information causes sweet, juicy little grapes to grow on dry, contorted vines. The information contained in the seed's embryo makes the skin of a grape different from that of a hazelnut; it is responsible for these two fruits' differing color, taste, smell and the vitamins they contain, as well as the fact that the one is juicy and the other dry.
Desert plants' ability to withstand drought and heat depends on information encoded in their seeds. The One Who packs such varied information into tiny seeds is of course the Almighty God.
This information has been contained in each species since the emergence of seed-producing plants. The absence of such information would spell the plants' immediate extinction. At this point the following question should arise:
Who put this information in the seed?
The answer we have is given in the introduction to this book, but at this point, it is pertinent to remind ourselves that it is God, the Creator of all things, Who embedded this vital information in seeds.
The fact that such important information and other characteristics are implanted in a tiny seed is an example of God's incomparable creative art, and a means by which the faithful are drawn closer to our Lord. We are shown once more, by the way He implants thousands of pages of information in seeds and makes countless plants grow from these tiny objects, that God has power over all things. It is God alone Who causes plants to grow from seeds, a truth made known in the following verses of the Qur'an:
Have you thought about what you cultivate? Is it you who make it germinate or are We the Germinator? If We wished We could have made it broken stubble. You would then be left devoid of crops, distraught. (Qur'an, 56:63-65)
|Sweet juicy grapes grow on the dry branches seen above. No doubt, it is God Who creates kilos of grapes on a slender stalk.
Another verse explains that God, the Creator of the seed, causes the seed that falls to the ground to split open and a new plant to grow:
God is He Who splits the seed and kernel. He brings forth the living from the dead, and produces the dead out of the living. That is God, so how are you perverted? (Qur'an, 6:95)
The truth is evident, but there have always been people who fail to comprehend it. Those who deny the existence of God are disinclined to see the miracle of creation and still try to use coincidence to explain the existence of seeds. But try as they will, the result remains the same.
On examining the perfect structure of the seed and the extraordinary knowledge contained within it, everyone of reason and conscience will comprehend that it could not have come into existence through coincidence, and bear witness to the fact of creation.
As you'll see later in this book, the creation of the seed and the information it contains are too magnificent for them to have come into being of their own accord.
Don't they see how We drive water to barren land and bring forth crops by it which their livestock and they themselves both eat? So will they not see? (Qur'an, 32:27)
1 David Attenborough, The Private Life of Plants, Princeton Univer. Press, Princeton, New Jersey: 1995, pp. 86-89; "Why do leaves change color in the fall?, http://photoscience.la.asu.edu/photosyn/education/colorchange.html
2 "Capparales – Adaptations for pollination," Britannica.com; www.britannica.com/bcom/eb/article/1/0,5716,120821+4+111095,00.html


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One less car in a household can mean one less expense, especially in the days of record-high fuel prices. Collectively, it could mean less traffic congestion and improved air quality if more residents made trips on two wheels instead of four. In April, Valley Metro is encouraging local residents to use a bike for travel or leisurely trips. With more than 14 events being held across the Valley, there's plenty of reason to pedal your way to family fun.
"With our favorable weather and extensive network of paths and trails, bicycling is a great travel option in the Valley" said Steve Banta, Valley Metro CEO. "We'd like to see more people exercise their options when it comes to leaving a car behind."
Valley Metro promotes bicycling events as part of the local Clean Air Campaign, a general public awareness effort to emphasize the importance of air quality and ways to reduce vehicle trips. Bicycling is a non-polluting, low cost form of transportation that is feasible for many types of daily trips and can help extend the transit trip. Riders of all ages should wear a properly fitted helmet, wear brightly colored clothing, and follow the rules of the road. For additional information, go to: valleymetro.org.
Premier events occurring during Valley Bike Month incorporate partnerships with REI, a national outdoor retailer, as well as many cities and towns in Maricopa County. The events focus on activities that families can enjoy, as well as bike safety, maintenance and rules of the road. Two of the most popular bike month events are listed below:
- Great Bike Chase — Downtown Phoenix, Sunday, April 22; 10:30 a.m. Features self-guided bike rides from a location of your choice. A bike expo will be held at Chase Field prior to the game featuring a bike safety rodeo, kids' activities, snacks and prize drawings. Event is free and game ticket discounts are available for riders. Go to registration.valleymetro.org.
Also, free valet bike parking is available at all home Diamondbacks' games in April at the Urban Commons Summit, which is adjacent to the ballpark and supported by the Summit at Copper Square. Local organizations providing staff for the valet bike parking include the Arizona Bicycle Club, the Coalition of Arizona Bicyclists and the Tempe Bike Action Group. Valet bike parking begins with the April 3 exposition game at 6:40 p.m. Be sure to use front and rear lights on bikes during any night time riding.
- Bike to Work & School Day—Gilbert, Mesa, Phoenix/Maricopa County, Scottsdale, and Tempe, Wednesday, April 18; check website for times. Features (varying upon location): food, contests, prize drawings and t-shirts. More information at valleymetro.org/bike_month/bike_work_school_day/


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InDepth InterView: Tommy Tune Talks Feinstein's Gig, Upcoming Projects, Broadway, Hollywood & A Career Retrospective
Today we are thrilled to be talking to a nine-time Tony Award-winning performer/director/choreographer all about his illustrious career onstage and behind the scenes working on classic musicals such as THE BEST LITTLE WHOREHOUSE IN TEXAS, NINE, GRAND HOTEL, MY ONE AND ONLY, THE Will Rogers FOLLIES and many more as well as all about his new solo piece premiering at Feinstein's At Loews Regency this weekend - the one and only Tommy Tune. Taking a look back at his near-peerless legacy as the top director of the 1980s and 1990s on Broadway, Tune imparts his candid insights about show business and reflects upon many aspects of the aforementioned hit shows - from their inception and creation to their critical and public reception and their ultimate legacy - as well as shares stories about his time as a performer, both then and now, with the star-studded tales cumulatively involving such legendary luminaries as Gene Kelly, Barbra Streisand, Michael Bennett, Hal Prince, Maury Yeston, Ken Russell, Jane Krakowski, Sutton Foster and many more. Plus, Tune gives us an enticing glimpse of his new Feintein's At The Regency showcase, TAPS, TUNES AND TALL TALES, playing November 18-26, and casts his sights on the future, near and far, and discusses the types of projects he would like to tackle next - including, first up, finding the perfect NYC location for his environmental new theatre piece, 54. All of that, memories of filming HELLO, DOLLY! and THE BOYFRIEND, his favorite recent shows, plus tons of taps, top hats and tails - and much, much more!
More information on Tommy Tune's TAPS, TUNES AND TALL TALES at Feinstein's At Loews Regency November 18-26 is available here.
It's Not Where You Start (It's Where You Finish)
PC: As someone who started out touring the country in road productions, what are your thoughts on the predominantly non-Equity, scaled-down tours that are so ubiquitous these days?
TT: It's changed a lot, hasn't it? We used to have national companies and we would take the actual Broadway show - not a scaled-down version, the full Broadway show - on the road. Of course, that doesn't happen anymore, barely.
PC: It's very rare.
TT: They are all very scaled-down these days - everything is bus-and-truck now.
PC: When Sutton Foster did this column we discussed you and Jeff Calhoun giving her her first big break in the Will Rogers FOLLIES tour and then her going on to do GREASE with you after that.
TT: Oh, yeah - we discovered Sutton for the Will Rogers tour, we did. Yeah, yeah - that's pretty wild, isn't it? [Sighs. Laughs.]
PC: It really is.
TT: You know, she actually lied about her age at the time - she was underage! [Big Laugh.]
PC: Have you seen her TV series BUNHEADS? It's a fabulous show for dancers, about dancers.
TT: Oh, I haven't seen her show, but she is just so good in everything!
PC: You can say that again!
TT: I recently went to go see her in ANYTHING GOES and she is just remarkable - as she has been in everything I've seen her in. She carries, like, the whole history of musical theatre in her little body - she just knows… she just knows things; everything. It's almost creepy!
PC: She is very special.
TT: I mean, how she knows and feels what it all was and what it is all really supposed to be - she's amazing at making it all come alive again. Yes - I'm a huge, huge fan of hers.
PC: It is rumored that you have considered directing her in the new UNSINKABLE Molly Brown revival being developed. Is there any truth to that rumor?
TT: Yeah. I just wish it was a better show, you know?
PC: Unfortunately, I do.
TT: It's a good idea for a show, but I don't know if it works. I've done Molly Brown in stock, you know - I've directed it in stock.
PC: Oh, really? How was that experience for you?
TT: Oh, sure - it was fine, but, you know, I did everything in stock! That's why revivals really don't hold the passion for me, because to learn to be a director/choreographer I did all of those shows in stock - all of them! And, with stars! Star stock.
PC: Stars such as?
TT: Oh, everybody - Jane Powell, Howard Keel, Betty Hutton; all of these MGM stars, once they stopped making musicals in Hollywood they were available to do shows onstage and they did. I think I did Molly Brown with Jaye P. Morgan - yeah, I did.
PC: That's a name going back a way!
TT: [Laughs.] Oh, it is! It is.
PC: Do you remember any insights anyone gave you in particular?
TT: Oh, well, they all did - they all gave me advice. You know, I was just gaga for them because I had grown up watching all of them in those Technicolor movie musicals that were my inspiration - it wasn't that I wanted to do movies, I wanted to do those shows on a stage. Most of them had backstage stories, and, to me, what was going on backstage was more interesting to me than the actual story most of the time anyway. [Laughs.]
PC: But you certainly made that work in your favor given the content of your shows!
TT: Yeah - I love backstage stories. But, to answer your question, Martha Raye used to have great stories, too - I remember her stories in particular.
PC: What were your favorite productions you directed in that era?
TT: Oh, there were so many! One I remember I really loved doing was GENTLEMEN PREFER BLONDES, with Betty Hutton.
PC: That must have been quite a show!
TT: It was! It was. That was an experience!
PC: They just revived that at Encores!, you know - it's a great show. What do you think of it, especially viewing it now?
TT: Oh, it's a wonderful show - they all are - and, you know, it's a real musical comedy. These are real musical comedies and that's what we called them then - they weren't just musicals. When I came to New York, we did musical comedies - the subtitle for every Broadway show would be, "SUCH AND SUCH, a new musical comedy." Then, it became, "SUCH AND SUCH, a new musical," and, now, it's just, "A musical."
PC: If even that, right?
TT: If that! [Laughs.] Right!
PC: An illuminating progression.
TT: So, for me, it's like: I did all of those shows already, you know? I've done countless productions of SOUTH PACIFIC and OKLAHOMA and SHOW BOAT - all of those shows. So, the thrill of pulling them out and doing them again is not a thrill to me - I think that revivals should be for people who haven't touched them before. Me, I've already done all of them - and what's interesting to me now is doing something new.
PC: No revivals.
TT: No revivals. That's why I'm doing this Feinstein's show - they have asked me for years and years to do it and I always thought, "Oh, I wouldn't want to do that," but, then, I heard that Feinstein's was closing and I thought, "Wait! I want to be a part of that history, too!"
PC: Historic, indeed.
TT: That's why I put together this show, just for Feinstein's.
PC: What can we expect from TAPS, TUNES AND TALL TALES? Is it an updated version of WHITE TIE AND TAILS?
TT: No - not at all. This show is completely new - it's all new.
PC: How exciting.
TT: Well, this is - and I can't even believe it myself - my fiftieth year in show business.
PC: Wow! Congratulations!
TT: Thank you. You know, I arrived here in New York in 1962 and I went to an audition that very day for "boy dancers who sing" and I got the job!
PC: What show was this?
PC: And BAKER STREET came next.
TT: That's right - BAKER STREET was my first legit musical starting on Broadway. My first job, though, was for IRMA LA DOUCE which was a tour of the show from Broadway - so, I don't really count that as my first Broadway show since I wasn't in the Broadway company, I was just a replacement, but we went on the road with it for many, many months. You see, my whole dream was to dance in the chorus of a Broadway show - that was my great dream that I tried getting.
PC: You certainly far succeeded that small feat in your career - right off the bat.
TT: That's all I ever wanted when I came to New York. In the Feinstein's show I recreate that audition - I remember it like it was yesterday! I remember everything that happened and I remember every word that was said and I just remember how it all worked - it was my first Broadway audition and you just never forget your first. It's like your first love - you just never forget it. So, I recreate that scene in the show and then I hopscotch through my career - not really performing too many numbers from shows that I have done, but using Broadway songs to tell my story and tell what was going on in my life and in my touring; as you know, I have done a lot of touring! [Laughs.]
PC: A life on tour!
TT: It really has been. So, that's the basic structure of the show - I would say it is not a retrospective at all. I don't know what you would call it exactly - I mean, it's autobiographical, of course, because anything like this is; if you are going to do it properly, it has got to be attached to your feelings and your heart and your soul and your life and your life experience. But, I tell a lot of stories in it, too - I can tell you that. After all, it is called TAPS, TUNES AND TALL TALES, which is an apt title because that is what we do in it.
PC: So, we cover a lot of material from your sensational autobiography, I presume?
TT: Yes, we do.
PC: Is it time for a fifty-year anniversary celebratory coda to that book since it came out fifteen years ago now, believe it or not?
TT: I think I have plenty more than just a coda! I've done a lot of living since that book. That book came out in '97, and, just look, so much has changed since then!
PC: You have worked on two brand new musicals in that time, as well - TURN OF THE CENTURY and 54. Is there a future for either, do you think?
TT: Well, for 54, definitely - that's still very possible. But, you see, the thing about 54 is that it doesn't belong in a traditional Broadway theater - I created it for the Jerry Herman Ring Theater on the campus of the University of Miami and it came out so well in that specific location that I am looking for a similar location to do it in in New York and in LA. I think I have found one in LA, but I haven't found one in New York yet. I had a possibility downtown, but I am sure it is completely wiped out now due to the weather - it was downtown, on 26th Street.
PC: What a shame.
TT: I have a studio on 26th Street, too, and I had most of my art stored in a basement storage room and it is completely filled with water now, so I lost a lot of my art. So, I don't know - I can't do 54 until I find the right theater for it, but I never say die!
PC: Hurricane Sandy has caused so much damage.
TT: It really has - totally. All of 26th Street was underwater. Our storage unit is totally, totally filled with water - I can't even get to it yet because they are still pumping, pumping, pumping. My assistant was down there and he said that they couldn't even assess the damage yet because they were still pumping it all out. So, yeah - everything there is drowned, ruined; they are just hauling everything out. My studio on one of the higher floors was safe, but the basement was completely flooded. The whole street is all art galleries and there are so many great paintings and so much great artists' work - Andy Warhol's and Jeff Koons's - that are just ruined. It's really devastating - the whole thing. But, as New Yorkers, we venture on!
PC: How would you compare your first Broadway show, BAKER STREET, to Broadway as it is now, fifty years later?
TT: [Sighs.] You know, a show of that size could not be produced nowadays - that was an enormous production! It was a huge cast, huge set, huge orchestra - it was a spectacle. BAKER STREET was a spectacle and we don't have anything quite like that.
PC: That was Hal Prince's first big musical as director. What was he like back then?
TT: Oh, he was just wonderful - Hal has always been just wonderful. I love him. Back then, though, he was still finding himself - we all do. You know, everyone has their first show and then they have their second show and then you move on - up and up and up, if you're lucky. So, BAKER STREET was his first show and he was very kind and he was just wonderful to work with - as you know, too, since you know him. He's just a great guy and I love working with him.
PC: Another great director whom you worked with early in your career was visionary film director Ken Russell, on THE BOYFRIEND…
TT: Oh, my God! A total inspiration!
PC: Tell me everything.
TT: Oh, he was just so totally inspirational to me! Totally! I would never leave the set - I would just run off and change my costume and then come back and watch; I just had to. I wanted to learn from him - and I did. [Pause. Sighs.] He changed my life. He really did.
PC: How so?
TT: He opened my eyes - I didn't know anything about art and he explained to me what surrealism was, in no uncertain terms, and I totally understood it.
PC: How did he explain it to you? He almost reinvented it in his over-the-top films.
TT: He did! He invented it all over again - he did! All of his movies were totally surreal. But, it was just a word he said… I'll set the scene: we were having dinner together at this restaurant, just the two of us; I went to dinner with him a lot. I just loved to be with him. So, I said to him, "Ken, what exactly is surrealism? How do you explain surrealism? How do you define it?" And, he said, [Ken Russell Imitation.] "Well, look: here we are, sitting in our nice suits, and everyone is dining and the wine is being poured and everybody is quietly talking. I mean, just look at this fancy dining room we are in! Now, what if in the middle of this dining room there was this cauldron and there were these three witches stirring it and steam was coming up and green goop was bubbling and green frogs were leaping out from the cauldron - and no one notices any of it! They just calmly sit there, talking quietly and sipping their wine still - having their foie gras, you know? And they sit there absolutely oblivious to these three witches and their cauldron. That would be a surrealistic image." And it stuck with me like glue ever since then.
PC: What an image!
TT: Yeah, I always understood it from then on - I always knew. It's the juxtaposition of two separate realities put together in one place.
PC: That understanding must have been so instructive with NINE, especially, when you did that a decade or so later.
TT: Absolutely! Absolutely. Ken inspired me so much - he just inspired me. And, of course, we live with it, too - all theatre is surrealistic. It's certainly realistic, too. You know, people are sitting there in their finery and what have you and if you are doing TOBACCO ROAD there will be dirt on the stage and tobacco and turnips piled up and there is this place - this line - where the turnips and dirt turn to velvet and purple seats. It's about that conjunction - surrealism is about the meeting place between those two worlds. The real world and the art on the stage - two different worlds; it's all surrealism.
PC: What a deep understanding of it. I also love your definition of nuance in the book THE ART OF THE AMERICAN MUSICAL.
TT: [Laughs.] Well, unfortunately, we are sadly lacking nuance today - I'll tell you that much, Pat!
PC: Indeed. Your story about the Lunts is fantastic - how they would rehearse their scenes every night and even on the night of the closing performance they were adjusting timing and changing things, refining it.
TT: Oh, I love that story! Oh, I love it - [Lynn Fontanne Imitation.] "No, Alfred, do it again!" [Laughs.]
PC: Did you constantly revisit your shows when they were up and running and put new changes and adjustments in - specifically with replacements in the longer-running ones?
TT: Always. Always - I always used to do that, constantly. I never like to freeze a show - I don't like the feeling of that; I don't like to even say that term, you know, "Freeze it." Back then, that was what you would do prior to the last preview, you would say, "OK. Freeze it!" And, so, I would just stop working on it then for the time being if only for the sanity of the actors and then, once it was open, I would go back and fix. You know, you really never attain perfection, you are only constantly striving towards it.
PC: What a provocative point.
TT: When I go back and see a show I think, like, [Sighs.] "Oh, gosh, surely I can come up with something better than what I've got happening right there!"
PC: Always perfecting perfection.
TT: You try - you always try. Also, the actors love it because it keeps them awake and alive - if you just make a little change, it still can be a big change to them; their acting muscles, their dancing muscles, their singing muscles. I mean, I would just go in and change something just to wake it up, you know? It's really important to do that.
PC: There's an infamous tale of Michael Bennett coming in when MY ONE AND ONLY was in previews and creating a whole new opening number for you that was wildly out of place, correct?
TT: Yeah - it was totally unusable.
PC: He put a modern framing device set in the 80s around it, right?
TT: Yeah - he was spinning it in a total other direction. And, as you probably know, we didn't ask him to do it, either - he just came in and did it! [Laughs.]
PC: That's Michael Bennett, right?
TT: That was Michael - he was just so strong and forceful. We had already been through so much on that show that I just said, "OK. Great. Go for it - if you can make it better, do it." Because, as you know, he was a genius - a total genius.
PC: Unquestionably.
TT: But, you know, he wasn't doing genius work on that - and he brought other people in to assist him and do parts of it for him and it all just wasn't very good.
PC: It didn't work.
TT: Our producers were sitting out there watching him and they said, "Don't use this - go back to what you have, it's so much better." So, that story proves that sometimes what we think isn't good enough is better than what somebody else can come up with, so that's why we reverted back to what we had and that's what we opened the show with in that case.
PC: "Being Good Isn't Good Enough" as Barbra Streisand now sings from HALLELUJAH, BABY! A true Broadway motto to live by, no?
TT: Oh, ain't that the truth! You know, that's funny you mention it because I recently heard something so interesting: did you know that the root for the word amateur is amare, which means love, and that is why some of the wonderful theatre that you see around the country is performed by amateurs in local theatre communities and they do it out of love; they work from love. And, that is the magic ingredient - that's the secret; if you can infuse your performance with love, as an amateur would, you can touch people. And, so, you know, sometimes we get so complicated that it's like Brahms - Einstein said that Brahms would always burn too much midnight oil trying to be complicated.
PC: An illustrative point. Do you agree with Einstein?
TT: I think that sometimes we can get so into the technique of it and the smartness of it that we can lose the heart of it - and that is the most important part. That's what we come to the theatre for - to get that wonderful, wonderful feeling. [Pause. Deadpan.] I don't go for the chandeliers.
PC: No offense to Hal or PHANTOM!
TT: Oh, no - that's my favorite musical, actually! [Laughs.]
PC: Who knew?!
TT: That's just a metaphor I use - people talk about the helicopters and the Cadillacs and the chandeliers and all of that; and that's all spectacle and it has its place, but I like theatre, you know? I like theatre. So, as we were saying, what's missing these days really is nuance - people are performing now so, so much without any nuance; everyone has a steroid voice and everybody can kick over their head and do triple pirouettes. But, to me, that doesn't necessarily give it the humanity we are really looking for in the first place - that reflection of life that people performing at their capacity gave give; with truth and beauty and humanity and heart, anything is possible.
PC: It's so emblematic of so many of your greatest musicals - feeling matters most in almost all of your shows; story is secondary to so much of NINE and Will Rogers; even GRAND HOTEL...
TT: Oh, NINE doesn't even have a plot! [Laughs.]
PC: It doesn't.
TT: You're right - it's sensations and mood and feelings. NINE doesn't really have plot - but, then, none of Fellini's work really does. There was quite a lot of plot in GRAND HOTEL, but, still, you hold on dearly to the nuance.
PC: Have you gone and watched GRAND HOTEL again? There are some bootlegs are on YouTube and it was filmed for the archives, of course.
TT: As a matter of fact, I recently did just that - I'll tell you: I swore I would never, ever do it, but a friend of mine came to me - a friend who is quite young - and he said, "I just feel so bad that I missed your shows!" and he told me that he found out about the Lincoln Center Archives and asked me to come with him to see GRAND HOTEL. I told him that I really didn't want to go - because, you know, it makes me sad! People that were in it are dead and time has passed and I don't know. I feel like I have a good heart but being too sentimental… you have to be careful of too much sentiment in your life.
PC: It can strangle you.
TT: It can. But, anyway, I went and… [Big Laugh.] I couldn't believe how good it was!
PC: It is a one-of-a-kind masterpiece! That opening - wow! You may not be aware, but the first Boston preview pops up on YouTube from time to time - the show was so totally different!
TT: Oh, I'm so glad people have seen it somehow, then - but, yes, the show in Boston was totally different; the director was fired!
PC: Maury Yeston was brought in to write half a new score, of course, as well.
TT: I know - I called him up the minute we got it open and he was right there. In one day, he had already written the new opening and we went on from there.
PC: Jane Krakowski told me a fascinating story when she recently did this column about first working with you before GRAND HOTEL, very early on when you were developing NINE. Do you remember that?
TT: Oh, of course! I adore Jane - she was so great in those shows, wasn't she? She was just a little girl then, though - to play that girl in NINE back then. That was interesting, though - I remember working with her on that idea.
PC: Would you consider doing a revival of NINE someday or perhaps christen a recreation of the incredible original production, using your original staging?
TT: Well, as we were talking about before, for me, I'm just not interested in revivals - I feel like if we don't keep creating new musicals, we are just feeding off of our past; we're just eating the past. And, if we don't keep creating new musicals then there won't be anything left to revive in the future - do you know what I mean?!
PC: It's endemic.
TT: It's crazy! But, you know, I'm getting ready to go play Captain Andy in SHOW BOAT at the Houston Grand Opera and the Washington Opera and that's going to be interesting for me as a performer, because it will be my first time playing a grown-up part - at least my first dad role. [Laughs.] It will be interesting. Francesca Zambello is directing it and she is like the premiere opera director of our time so I am excited because it is an opera and it is an opera company and she is an opera director. That will be a new experience for me doing that.
PC: A new challenge!
TT: Yeah - it's all something totally new for me.
PC: How do you take direction being a director yourself?
TT: Oh, well, I know how hard it is to do both - you know, there aren't many directors who still act; directors who are actors tend to be really good because we know how hard the job is. I think I am a director's dream - I'll try anything they want!
PC: "It's Not Where You Start, It's Where You Finish", to cite SEESAW! You are the actual one singular sensation being Michael's muse - you are the only one who made the transition so successfully.
TT: I do think that I am the only who did both sides of the footlights in the way I did - to direct/choreograph to success and to perform to success.
PC: Your protégés Jeff Calhoun and Jerry Mitchell both were performers in their day, but you have excelled in each art in your own way - continually, still.
TT: Yeah, they're not performers anymore, really - but I am so happy for their success and all they are up to.
PC: What have been some of your favorite recent musicals?
TT: Well, I loved ONCE - I have seen ONCE five times. I just love it. I also loved THE LIGHT IN THE PIAZZA - that is my other great favorite. I just adore that musical.
PC: What are your thoughts on GLEE and SMASH?
TT: I don't watch a lot of television, but I know television has been helping theatre lately, so I love it for that. [Laughs.] Lord knows, the theatre is the magnificent invalid, as always…
PC: You can say that again.
TT: Theatre is just so small compared to how many people you can reach on television, but it's not necessarily about scale, anyway, it's about quality - and, with the quality, we just have to try to keep our standards up in the theatre, playing to smaller audiences. I mean, how many seats are there in a Broadway house, a couple thousand? That's nothing - that's a drop in the bucket compared to the audience out there today that you can get by being on television. I think it's most important that we always give the best of ourselves and have the sophistication and the nuance in our entertainment - and stay aware of the enlightenment it is capable of giving!
PC: A powerful message.
TT: You see, I learned in school that the purpose of the theatre is always to entertain and to enlighten and we have fallen mostly into just entertainment at this point, it seems to me. The thing is, when you leave the theatre you should have that feeling of having been entertained, but when you sit down to dinner afterwards there should be things to discuss - things of a deeper nature - about what you've just seen. Things that help you in your life somehow - things that reside in the apartments of your memory forever. That's where you hold theatre - in those apartments of your mind - because, you know, you can't see the performances again. You have to hold them there in your memory - that's what makes theatre so precious.
PC: One of my favorite modern playwrights is Caryl Churchill, yet she does not have the respect she deserves. What are your memories of working on her groundbreaking CLOUD 9?
TT: [Sighs.] Oh, that was my favorite show that I ever worked on.
PC: Why so?
TT: Because she is such an original! She is totally original.
PC: She is so underrated.
TT: She is. You know, I think a lot of that is because she is very almost Socialistic - she is very focused on being just this woman who is creating, creating, creating; original, original, original. She really is something else. I love her - I love working with her.
PC: That play is genius. It reads so well, too.
TT: It's easy to get mixed up, though - especially reading it! When you see it onstage it becomes so clear - all the doublings; and they are all so brilliant. Boy, oh, boy - I just loved working on CLOUD 9. [Pause. Sighs.] That's the best material I've ever been given - CLOUD 9.
PC: The last thing I wanted to touch upon was your work with Gene Kelly on HELLO, DOLLY! What was that experience like for you - particularly now, looking back, as perhaps the only other equally gifted dancer/choreographer/director of the era?
TT: Oh, gosh - Gene was just the greatest. I loved working with him - I absolutely loved everything about it. You know, on that film, I think working with Barbra was difficult for him.
PC: That was filmed right after FUNNY GIRL, under contract, I believe.
TT: It was. She wasn't a movie star at the time - FUNNY GIRL had not been released yet, so she was not known as a screen presence. They really didn't know if it would work with her or not - they only knew her from FUNNY GIRL and from her recordings. So, no one really knew if she was going to take to the screen or not - she was an unknown quantity then; an unknown thing. I know it sounds crazy now - can you even believe it?! [Laughs.]
PC: The greatest voice.
TT: The greatest. So, yeah, it was a little tough for Gene working on that because of that - and I guess she and Walter [Matthau] didn't get along too well, either.
PC: What are your memories of Michael Crawford? Did you two share any time together between takes and so on?
TT: Oh, yeah, yeah, yeah! Michael was just totally hilarious - he is so, so funny in life. Oh, gosh - I remember so many times he would just have all of us screaming with laughter in between takes! [Laughs.]
PC: That sounds about right! What a master storyteller and joker he is.
TT: He really is - he was so much fun. You know, with that movie, it's interesting you ask about it because I have a completely different feeling about it now than I did at the premiere - then, I just didn't think it was that good. And, now, when I look at it, I think it's really good! I guess it really shows you how quality shifts and how it has shifted so much since then. I mean, now, I sit and watch and movie of HELLO, DOLLY! And I say, "Wow, he did a really good job on this film! That was a lot to pull off!"
PC: That's certainly something we will never be saying about the movie of NINE, I don't think…
TT: [Sighs.] That was very grave - you know, movies need to have plots. And, I'll be honest, I warned [Rob Marshall] - I said, "Be careful - there's no plot. Maybe you can figure one out with your writers." And, then, his writer died!
PC: Anthony Minghella.
TT: Right. So, his writer had just put the last note - the last word - on the page and then he died. So, he just didn't get the chance to examine it all with the director and go through the second and third and fourth draft of it, you know? So, I think it would have been much different had he not suffered that loss.
PC: And a great loss it was.
TT: It was tragic. I mean, he had just finished the last word and he never got to take another look at it.
PC: What do you think of Maury Yeston's new material for the film? I thought all the new songs were pretty fabulous myself.
TT: Oh, they are - Maury is just a fountain! He's a fountain.
PC: You famously worked on THE QUEEN OF BASIN STREET with him before LA CAGE AUX FOLLES became a big hit with the same storyline, more or less.
TT: That's right. It had another great score - he can do so much. I hope we can work together again someday.
PC: Indeed! Wow, Tommy - this was absolutely amazing. Thank you so very much.
TT: Thanks, Pat. You're so well-informed and so kind. This was a lot of fun. Bye bye.


text:
Intuitive Surgical
The pioneering maker of surgical robots rolled out a new high-end model that it says will make robots easier to use and suitable for new types of procedures.
Coldwater Creek
Reports said the catalog and mall retailer of women's clothing is preparing to file for bankruptcy, despite 2012 loans from retail-savvy Golden Gate Capital.
Prana Biotechnology
A mid-phase study of the company's experimental treatment for Alzheimer's failed to reduce levels of disease-associated plaque. Brain activity didn't rise.
Vanguard Long-Term Bond ETF
With g...


text:
Cohn Restaurant Group, of Indigo Grill and The Prado fame, plans to open its first South Bay property this summer inside Pier South, a new boutique hotel in Imperial Beach.
President David Cohn said the group signed a deal with San Diego-based Pacifica Companies to join forces in creating what some predict will be a catalyst for business in the South County region.
"I don't want to understate how significant (the restaurant) is," said Allison Rolfe, director of planning for Pacifica Companies. "We think that it will help put the hotel on the map and put Imperial Beach on the map."
The restaurant management company has been looking to open a property in South County for years, Cohn said, but had not found the right location and market conditions until now.
The restaurant in Imperial Beach will be the third the group has opened in what Cohn described as underdeveloped and underserved markets. It is preceded by 333 Pacific in Oceanside and Vintana in Escondido.
"We opened a restaurant in Oceanside almost five years ago, and people thought we were crazy, but it's done very well," Cohn said.
When they opened Vintana last year, he said, they got a similar response from people who didn't recognize that Escondido was a great market that was simply underserved.
"We think that's definitely the situation in Imperial Beach," he said. "We're very excited about going to I.B. and being a part of a beachfront hotel. There aren't many true beachfront hotels in San Diego County."
Cohn expects this new restaurant will be a halfway point for people from downtown San Diego and over the border.
He predicts about 20 percent of the business at the restaurant will come from the hotel, and the other 80 percent will come from outside.
Cohn emphasized that the restaurant will have a distinct identity and name from Pier South. Even though there are many great hotel restaurants, he explained, there is a certain stigma attached to being branded as one.
"We're going to move toward creating a unique and individual identity for the restaurant that will tell people that it's complementary to the hotel, but it's not a hotel restaurant," he said.
The theme will align with the beach chic theme of Pier South, which has been selected to be a member of the Marriott's exclusive Autograph Collection of independent luxury hotels.
Restaurant project manager Ken Irvine, former Chez Loma owner and current Bleu Bohème owner, said this property will be a "three-meal workhorse" with a contemporary tavern theme — but not the stereotypical dark, boozy tavern.
Instead it will be a place for people to gather and socialize. The restaurant will be accessible, the menu will consist mainly of shared plates, and the pricing will be modest to attract locals.
"It's a very exciting, vibrant restaurant with an approachable and affordable menu and a really nice-sized bar and lounge area," Irvine said.
The restaurant, which will seat about 130, will also handle room service for hotel guests and will be responsible for food in the hotel's banquet room, rooftop deck and a small private dining room.
"I've been here 35 years, and (the hotel and restaurant duo) is the most significant project I've ever seen here," said resident Bob Miller, who owns an apartment complex on Seacoast Drive and is an active member of the Seacoasters, an informal group of businesses promoting Imperial Beach and its assets.
The restaurant, he said, is important to the hotel's success, and will help build momentum in Imperial Beach. Filippi's Pizza Grotto was the city's first big-name restaurant when it moved into a location on Palm Avenue in February this year, he said, and it already has a brisk business.
"If you get a good restaurant in, that's going to be a huge draw," he said, but added that Imperial Beach needs to do its part to use this opportunity to entice visitors to come and stay in Imperial Beach.
"This is all the synergy that we were hoping for," said Rolfe. "I.B. needed a hotel project to act as a catalyst to create the energy to have all of these things fall into place."


text:
The Sign Farm "I Didn't Mean To Shoot" Wood Sign
Boot Barn Item #: 2006343
size: Click a button below Size Chartsize
Style(s): 1034SHOOT
- Hanging wood sign
- Sign reads "I didn't mean to shoot him sheriff...He just sorta fell on my bullet"
- Rustic background with flower at corner
- Wire hanger with fabric tie on top
Add a little western humor to your home or office with this, "I Didn't Mean to Shoot" Hanging wood sign. This sign will make a great addition of home decor to your home or office or make a great gift.
Style(s): 1034SHOOT
Lifestyle: Western
Size: 1SZ
Color: Red


text:
P.O. Box 278
New Milford, Connecticut 6776
United States
|Areas of Practice
|1) Personal Injury, 2) Civil Litigation, 3) Municipal Law and 4) Land Use Law
|Western Connecticut State College (B.A., 1975)
|Most recent firm
|Cramer & Anderson LLP
|Relevant Jobs
USA-NY-Staten Island
Crawford Bringslid Vander Neut, LLP is a five-attorney law firm located in the corporate park of Staten Island. We are expanding our practice and are looking for candidates that want to grow with ...
Apply now
Certified Civil Trial Attorney
USA-NJ-Toms River
Career opportunity to join a dynamic team of attorneys with a long-standing reputation of high professionalism, accessibility and effectiveness. Full benefits, profit sharing, modern technology, and s...
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Assistant General Counsel - Litigation
Assistant General Counsel - Litigation The candidate provides litigation support for all business units of the Company. Will be responsible for overseeing large business litigation matters including ...
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|+ View more jobs
A. Harrison Barnes is a well-known attorney throughout the United States. As a member of the Malibu community, Harrison is committed to serving the needs of Malibu residents and businesses in legal matters.
Benjamin P. Smith is a partner in Morgan Lewis's Litigation Practice. He is a trial lawyer with a particular focus on high-stakes disputes in the biotechnology, medical device, and internet industries.


text:
Dog-friendly Rowsley, 3 People & Garden Or Patio
This former rail workers cottage dates back to 1868 and is on the road from Rowsley to Chatsworth House, 3 miles from Bakewell and less than 5 miles from Matlock. Chatsworth House and Haddon Hall are both within 2 miles of the cottage (walking routes displayed in the cottage).
- 1


text:
Travel Porn: The 7 Best Places To See An Epic Rainbow
As much as I can appreciate a grand cathedral or a museum filled with classic paintings, sometimes there's nothing better than a big, beautiful rainbow stretching across the sky. After seeing a particularly stunning specimen appear over the Portland skyline this weekend, I got to wondering about the best places in the world to see rainbows, and I found seven locations where the climate and landscape combine to create epic rainbows on a regular basis. Who wants to join me on a rainbow world tour? Click through the gallery to see where we're going!


text:
Java Collection Framework provides a convenient reverse comparator, to sort List of objects in reverse order. You can obtain reverse Comparator, by calling Collections.reverseOrder(), which by default sort List of Integer in reverse numeric order and List of String in reverse alphabetic order. It actually reverse natural ordering of objects imposed by Comparable interface. Apart from this method, Collections class also provides an overloaded method Collections.reverseOrder(Comparator
cmp), which takes a Comparator,
and sort List on reverse order of that Comparator. So next time if you need to sort
your Collection in reverse order, you don't need to write any extra comparator
by yourself, you can directly leverage reverse comparator provided by java.util.Collections class. It is as simple as calling Collections.sort() method providing comparator wrapped into Collections.reverseOrder() method. By
using these two methods, you can sort any List
implementation e.g. ArrayList,
or Vector
in Java.
Java Program to sort ArrayList in reverse Order
Here is complete code for sorting List in reverse order in Java. In this program we have two list, List<Integer> and List<String> and we are sorting them first in natural order and than in there reverse order by using Collections.reverseOrder() method.
import java.util.ArrayList;
import java.util.Arrays;
import java.util.Collections;
import java.util.List;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;
* Java Program to sort List of object in reverse order. We will see examples of
* sorting Array List in reverse order of both default ordering as well as any
* custom ordering imposed by Compartor.
* @author Javin Paul
public class CollectionSorting {
private static final Logger logger = LoggerFactory.getLogger(CollectionSorting.class);
public static void main(String args[]) {
// Creating and initializing Collection to sort in reverse order
// Integer will be sorted in reverse numeric order
List<Integer> collection = new ArrayList<Integer>();
logger.debug("Current order in Collection : " + collection);
// Sorting Collection in reverse order
Collections.sort(collection, Collections.reverseOrder());
logger.debug("Sorted on Reverse order in Collection : {}", collection);
// Sorting List of String in reverse Order
List<String> alphabets = Arrays.asList("A", "B", "C", "D");
logger.debug("Current order in List of String : {}", alphabets);
// Sorting List in reverse Order
Collections.sort(alphabets, Collections.reverseOrder());
logger.debug("List of String sorted in reverse order {}", alphabets);
[main] DEBUG CollectionSorting - Current order in Collection : [101, 201, 105, 302]
[main] DEBUG CollectionSorting - Sorted on Reverse order in Collection : [302, 201, 105, 101]
[main] DEBUG CollectionSorting - Current order in List of String : [A, B, C, D]
[main] DEBUG CollectionSorting - List of String sorted in reverse order [D, C, B, A]
That's all on How to sort List of Strings or Integers in to revrese order. You can also use same technique to sort any List into reverse order of there natural ordering or custom ordering imposed by any Comparator in Java.


text:
When we think "adding a button to the Acrobat Toolbar or Menu Item" we think: C++ Plugin; There is a far easier and less known alternative via JavaScript. That's what I'd like to write about today. I've finished a project using JavaScript extensions for Acrobat, the customer is very happy because he can and did modify the extension himself. The one caveat is that not all the C++ functions are available in JavaScript but nonetheless still powerful.
I like the traditional "Hello World" examples, that's what I look for when ever I start coding in a new language, framework or library; so I'll give the reader a "Hello World" example.
Check the JavaScript for Acrobat Documentation for the exact use of each library call.
So open up your favorite text editor and the following self-explanatory code to HelloWorld.js
function helloWorld()
//Say Hello World
app.alert("Hello World");
cName: "helloWorldBtn", // A name for your button
cExec: "helloWorld()", //Function to Call
cLabel: "Hello World", //The Text on the Button
cTooltext: "Say Hello World" //The Help Text
Drop the HelloWorld.js to:
- Mac – /Users/<user id>/Library/Application Support/Adobe/Acrobat/9.0_x86/ JavaScripts
- Vista – C:\Users\<user id>\AppData\Roaming\Adobe\Acrobat\9.0\JavaScripts
Restart Acrobat and open-up any PDF and you should see the following button added to the tool-bar.
Clicking on the button you should see your Hello World alert.


text:
For the second consecutive week there has not been enough cash trade to establish a market trend. Market ready supplies remain current and selling pressure has been minimal. Last week dressed bids ranged anywhere from $192.00-196.00/cwt delivered. The majority of last week's cash offering will be rolled into next week's showlist. Light volumes of Alberta and Saskatchewan fed cattle continue to be vented to Guelph, Ontario and this trend will likely continue until the High River plant is processing at full capacity. Canadian fed exports to the US for the week ending June 22nd totaled 5,590 head.
Feeder cattle prices firmed higher last week as auction volumes seasonally dwindle. The Canfax average steer price was $1.50 higher while heifers strengthened $1.00. 400-800 lb steers saw prices firm $1.50-2.00/cwt higher while light weight stocker heifers trended fully steady. 850lb basis levels still remain weaker than the five year (08-12) historical average. Alberta auction volumes totaled 5,400. Canadian feeder exports to the US for the week ending June 22nd totaled 2,475 head.
D1, D2 cows traded fully steady and live trade was reported from $70.00-81.00/cwt. Last week D3 cows averaged $67.00/cwt. Rail bids were reported fully steady. Butcher bulls trended sideways last week, to average 86.00/cwt, live trade was reported from $78.00-98.00/cwt. Canadian non-fed exports to the US for the week ending June 22nd totaled 6,068 head.
- In the US beef complex, with the exception of loins, all other primals traded higher last week
- Spot barley prices have eased over the past couple of weeks
- Eastern Canadian fed prices remain strong
- After recent rains, pen conditions remain less than desirable
- Locally, restricted slaughter and slow cash marketings have added static to the fed pipeline
- Beef demand heading into summer is typically sluggish


text:
Frolicking Frog Pull Toy
Ribbit Ribbit! This friendly froggie playfully "hops" up and down and his eyes wiggle when he is pulled along.
All Melissa & Doug hardwood toys are smooth-sanded and perfectly-designed for little hands! Each toy promotes find motor, tactile, cognitive and hand/eye development. Handcrafted to withstand years of active play!
Measures 6.5 x 7 x 8"
Age: 18 months +
Sold by Baby Earth


text:
quote:Originally posted by Guest7896Youpi...GO HABS GO !
quote:Originally posted by PatchyYou know why he's named Carlton though right? I think it's a cool name anyway...~~Go Leafs Go~~
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