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On Friday, March 25, the U.S. Court of Appeals for the 4th Circuit will hear a day of oral arguments at Washington and Lee University School of Law. Among the cases on the docket is a federal black lung benefits case from the School's Black Lung Legal Clinic.
Arguments will begin promptly at 9:30 a.m. (note updated time) in the Millhiser Moot Court Room, Sydney Lewis Hall. A panel of judges will hear three cases during the two-hour court session. Computers and backpacks are not allowed in the Moot Court Room during the Court's visit. Photography and recording devices are also prohibited. This event is open to the public. Seating is limited.
One of the cases the Court will hear is Sewell Coal v. Dempsey, in which the respondent, William O. Dempsey, is being represented by W&L's Black Lung Legal Clinic. The Clinic represents coal miners diagnosed with pneumoconiosis, also known as black lung disease, in their pursuit of benefits from the Department of Labor. The Clinic has represented about 200 clients since its creation in 1996.
The other cases to be argued are U.S. v. Bullard, involving a Fourth Amendment appeal of a warrantless search that led to charges of possession and intent to distribute cocaine, and Kowalski v. Berkeley County Public Schools, involving First and Fifth Amendment claims in a case where a high school student was suspended from school for creating a MySpace page that school officials believe led to harassment and intimidation of another student. The briefs for the cases are available online.
In the Dempsey case, Sewell Coal Company is appealing the award of benefits to Mr. Dempsey, who was a mine worker for 26 years, on the grounds that his application for benefits was not filed within the required three years of learning that his disability was to due to black lung disease. The company is also arguing, among other issues, that the administrative law judge erred in finding that Mr. Dempsey's pulmonary impairment was in fact due to coal worker's pneumoconiosis.
The Clinic has been handling Dempsey's case since 2001, navigating a series of decisions and reversals by the Office of the Administrative Law Judge and the DOL Benefits Review Board, the two bodies that determine whether federal black lung benefits should be awarded. The case also has come before the 4th Circuit during this period. In 2008, the Court remanded the case back to the administrative law judge for reconsideration on the timeliness issue.
John Eller, a third-year law student from Williamsburg, Va. will argue the case. In addition to working in the Clinic as a student attorney this year, Eller also worked there during the summer between his first and second year of law school.
W&L students in the Black Lung Clinic often have the opportunity to argue appellate cases. In 2009, students argued and won two cases in the 4th Circuit, and in January of this year, 3L Amanda Streff argued a case in front of the 3rd Circuit Court of Appeals in Philadelphia. The Court decided the case in favor of Streff's client in February. (Listen to Streff discuss the case with W&L Law professor Brian Murchison.)
Harkening back to the days when transportation challenges required judges to "ride circuit" from city to city, the 4th Circuit leaves its home Richmond several times each year to hear cases at law schools and other locations. The Court last visited W&L in February of 2007.Email This Page


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Parmelee makes first appearance in two hole
MINNEAPOLIS -- Right fielder Chris Parmelee made his first start as the Twins' No. 2 hitter on Friday against the Red Sox and right-hander Clay Buchholz.
Parmelee took the two-hole behind leadoff hitter Brian Dozier with Joe Mauer being held out of the lineup with back stiffness. Manager Ron Gardenhire said he went with Parmelee because of his ability to see pitches. Parmelee ranks third on the team with 4.19 pitches seen per plate appearance behind Mauer (4.28) and Josh Willingham (4.25).
"He's not the prototype," Gardenhire said. "I'm not going to ask him to bunt or hit and run, but he can take pitches and is not afraid to see pitches. And if Dozier is on base, he can hook a ball through the hole, too."
Parmelee, who is hitting .204 with a .288 on-base percentage in 33 games, said he wasn't sure the last time he batted second, but estimated he hit in that spot twice in the Minors. Parmelee said he didn't plan to change his approach despite the move up in the lineup from his usual spot as the club's No. 7 hitter.
"My job today is to try and get on-base and knock in Dozier if he's on from the leadoff spot or any of the eight, nine guys," Parmelee said. "I'll just try to get on base for [Justin] Morneau and [Ryan] Doumit so they can try and knock me in."
Rhett Bollinger is a reporter for MLB.com. Read his blog, Bollinger Beat, and follow him on Twitter @RhettBollinger. This story was not subject to the approval of Major League Baseball or its clubs.

subset: commoncrawl


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The other day we brought attention to a homophic rant by Dallas radio host Chris Krok of KLIF 570 AM, who ridiculed Fort Worth City Councilman Joel Burns' recent "It Gets Better" speech. According to a report from GLAAD on Monday, Krok has been disciplined for the rant, and the station is working toward an on-air apology:
On behalf of Joel and the many others whose life stories intersect with his, GLAAD made a phone call this afternoon to Jeff Catlin, the operations manager for Cumulus Media Dallas, KLIF's parent company. The conversation was a productive one; Catlin both understands and shares our concern. As the person who oversees KLIF, Catlin acknowledged that he has the "responsibility to be responsible" for what airs on the station.
Without going into detail, Catlin said that he spoke with Krok and that he was disciplined shortly after the segment aired. He also pointed out that Krok has not spoken about this since then.
After speaking with GLAAD, Catlin also realizes the need to issue some sort of on-air apology. He wants Krok (who's out of the office until tomorrow) to be "part of the solution." To that end GLAAD, Catlin and Krok will meet on Wednesday morning to discuss what such a solution will look like. We'll be certain to let you know in advance so you can be sure to tune-in.


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Don't miss out on a lower price on this hotel
Get an overview of this hotelFamily-friendly Cairo hotel in Downtown Cairo, near Coptic Museum
Popular property highlights
This family-friendly Cairo hotel is located on a river, within 2 mi (3 km) of Coptic Museum and Egyptian Museum. Cairo Tower and Khan el-Khalili are also within 3 mi (5 km).
Hotel Features
Along with 4 restaurants, this hotel has a casino and an outdoor pool. WiFi in public areas is free. Additionally, a nightclub, 4 bars/lounges, and a 24-hour fitness center are onsite.
Room Amenities
All 614 rooms boast deep soaking tubs and offer free WiFi and furnished balconies. Free wired Internet and MP3 docks are standard, as are LCD TVs with satellite channels.
Guest Highlights
- Good location
- Breakfast
- Pool
- Overall property condition
- Helpful staff
Conrad Cairo
Hotel Amenities
Hotel Amenities
In addition to an outdoor pool and a children's pool, Conrad Cairo provides a lazy river and a sauna. Dining is available at one of the hotel's 4 restaurants and guests can grab coffee at the coffee shop/café. The property also has a snack bar/deli. Guests can unwind with a drink at one of the hotel's bars, which include 4 bars/lounges and a poolside bar. Public areas are equipped with complimentary wired and wireless Internet access.
Business amenities at this 5-star property consist of a business center, limo/town car service, and meeting rooms. Event facilities measuring 21840 square feet (2029 square meters) include conference space. This luxury hotel also offers a casino, a nightclub, and a 24-hour fitness center. For a surcharge, a roundtrip airport shuttle (available 24 hours) is offered to guests. Onsite parking is available (surcharge).
- Outdoor pool
- Children's pool
- Babysitting or childcare (surcharge)
- Supervised childcare/activities (surcharge)
- Airport transportation (surcharge)
- Business center
- Conference space
- Safe-deposit box at front desk
- Multilingual staff
- 24-hour front desk
- Shopping on site
- ATM/banking
- Laundry facilities
- Dry cleaning/laundry service
- Number of bars/lounges - 4
- Breakfast available (surcharge)
- Coffee/tea in common areas
- Coffee shop or café
- Free newspapers in lobby
- Concierge services
- Elevator/lift
- 24-hour fitness facilities
- Gift shops or newsstand
- Hair salon
- Pool umbrellas
- Tours/ticket assistance
- Free WiFi
- Free wired Internet
- Lazy river
- Total number of rooms - 614
- Limo or Town Car service available
- Number of floors - 24
- Meeting rooms 10
- Nightclub
- Valet parking (surcharge)
- RV, bus, truck parking
- Garden
- Terrace
- Poolside bar
- Luggage storage
- Pool sun loungers
- Snack bar/deli
- Year Built 1999
- Number of restaurants - 4
- Conference space size (feet) - 21840
- Self parking (surcharge)
- Conference space size (meters) - 2029
- Casino
- Wedding services
- Spa treatment room(s)
- Number of meeting rooms - 11
- Sauna
- Number of buildings/towers - 1
- Steam room
Available in all rooms: Free WiFi , Free wired Internet
Available in some public areas: Free WiFi , Free wired Internet
Self parking (surcharge), Valet parking (surcharge), RV, bus, truck parking
Room Amenities
- Premium bedding
- Separate sitting area
- Furnished balcony
- Access via exterior corridors
- In-room climate control (air conditioning)
- Air conditioning
- Free newspaper
- Phone
- Minibar
- Coffee/tea maker
- Free bottled water
- DVD player
- Daily housekeeping
- Private bathroom
- Designer toiletries
- Bidet
- Deep soaking bathtub
- Bathrobes
- Free toiletries
- Hair dryer
- Slippers
- Separate bathtub and shower
- Iron/ironing board
- In-room safe
- Desk
- Blackout drapes/curtains
- Satellite TV service
- Free WiFi
- Free wired Internet
- MP3 docking station
- Room service (24 hours)
- Egyptian-cotton sheets
- Pillow menu
- Connecting/adjoining rooms available
- Free cribs/infant beds
- Rollaway/extra beds (surcharge)
Where to Eat
Buffet breakfasts are available for a surcharge and are served each morning between 6 AM and 11 AM.
Solana Restaurant - This restaurant specializes in Mediterranean cuisine and serves breakfast, lunch, and dinner. A children's menu is available. Open daily.
Oak Grill - This restaurant specializes in Middle Eastern cuisine and serves dinner only. Open daily.
Stage One Lounge & Bar - This pub specializes in Asian cuisine and serves dinner and light fare. Reservations are required. Open daily.
Kamala Restaurant - This restaurant specializes in Asian cuisine and serves dinner only. Guests can enjoy drinks at the bar. Open daily.
Jayda Nile Terrace - This poolside restaurant specializes in Middle Eastern cuisine and serves lunch and dinner. Guests can enjoy drinks at the bar. Open daily.
Late night fare is available from 24-hour room service.
Nearby Things to Do
An outdoor pool and a children's pool are on site. Other recreational amenities include a lazy river, a sauna, and a 24-hour fitness center.
The recreational activities listed below are available either on site or nearby; fees may apply.
- Golfing nearby
- Golf lessons available nearby
- Fitness classes on site
- Boat tours nearby
Spa Services
- Swedish massage
- Thai massage
- Sports massage
- Number of treatment rooms 2
- Manicures and pedicures
- Aromatherapy treatments
- Massages
If you have requests for specific accessibility needs, please note them at check-out when you book your room.
- Accessible bathroom
- In-room accessibility
- Roll-in shower
Hotel Policies
Check-in time ends at midnight
Minimum check-in age is 18
Check-in time starts at 3 PM
Special check-in instructions:
Check-out time is noon
Payment types
Children and extra beds
- Children are welcome.
- Kids stay free! Up to 2 children 18 years old and younger stay free when using existing bedding.
- Rollaway/extra beds are available for USD 25.0 per night.
- Free cribs (infant beds)!
- Pets stay free
- 1 per room (up to 5 kg)
You need to know
Extra-person charges may apply and vary depending on property policy.
- The name on the credit card used at check-in to pay for incidentals must be the primary name on the guestroom reservation.
- Cash deposit: USD 100.00 per night
Optional extras
- Fee for buffet breakfast: USD 12.00 per person (approximately)
- Airport shuttle fee: USD 120.00 per vehicle (one-way)
- Self parking fee: USD 10.00 per day
- Valet parking fee: USD 10.00 per day
- Rollaway bed fee: USD 25.0 per night
Hotel Name
- Cairo Conrad
- Conrad Cairo
- Conrad Hotel Cairo
- Conrad Cairo Hotel Cairo
- Conrad Cairo Hotel
We should mention
Local laws may restrict unmarried guests from sharing rooms. Guests are responsible for providing proof of marriage, if requested by the property. This property offers transfers from the airport (surcharges may apply). Guests must contact the property with arrival details 24 hours prior to arrival, using the contact information on the booking confirmation. Reservations are required for massage services and spa treatments. Reservations can be made by contacting the hotel prior to arrival, using the contact information on the booking confirmation. Up to 2 children 18 years old and younger stay free when occupying the parent or guardian's room, using existing bedding. Only registered guests are allowed in the guestrooms. The property has connecting/adjoining rooms, which are subject to availability and can be requested by contacting the property using the number on the booking confirmation. Some facilities may have restricted access. Guests can contact the property for details using the contact information on the booking confirmation.
Kids stay and eat free at Hilton hotels
Time spent together as a family is very precious. And Hilton knows how important it is for everyone to be happy. Hilton takes care of the little things which make all the difference, so everyone has an enjoyable, relaxing stay.
Hilton offers a whole host of benefits for you and your little ones in the UK and Europe:
- Children up to and including the age of 10 can eat and drink for free from the children's menu, which features a range of freshly prepared treats for little ones
- Children under the age of 18 can stay for free when sharing your room
Half Board!
Book a stay in a Half Board rate plan and receive dinner and breakfast for each night of stay per registered adult.
Must book a Half Board rate plan to qualify. Not valid with any other offer. Gratuity may not be included. Offer subject to availability. Restrictions may apply.


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Cook's at it again with more raunchy, disgusting humor...
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Dane Cook is no stranger to ridicule. In fact, he's faced critics since hitting the big time back in the late 1990s. Thankfully, he's trudged through rough patches in order to become one of the best selling comedians of all time.
Now, thanks to Cook's continued sick sense of humor and the continued support of millions of fans the world over, hit latest DVD - ISolated INcident - hits hard, fast, and with little remorse. With disgusting, disgraceful, and down right dirty jokes, stories and some of the most outlandish experiences ever recorded on film.
The DVD includes 20 separate tracks, including Cook's ideas on Obama, suicide (or, as Cook calls it, "self assassination"), adoption, remote location (and he's not talking about a place far far away!), role playing, and one very interesting story about peanut butter smack (I'll leave that up to you to see!)
For those who saw this originally on Comedy Central, the benefits of picking up the home video are the bonus features, which here includes a never before seen interview with Cook as well as a special bonus called "30 Premeditated Acts," which follows Cook and a few of his jokes (some used, some not) through their evolution and delivery.
Overall, Dane Cook's ISolated INcident is one for die-hard Cook fans and those who don't mind raunchy humor. The DVD is available now wherever fine home video is sold.
- Jess C. Horsley


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Bring the entire family to relive the cherished fairy tale of an impoverished girl tormented by two stepsisters in her stepfather's dilapidated house. Mistaken identities and a glamorous ball give the kindhearted Cinderella the opportunity to transform her life. This story, full of humor and love, is told through some of Rossini's finest writing and a coloful, whimsical production.
Led by a world-renowned international creative team, this colorful and comedic production of Cinderella has graced some of the world's finest opera stages including Houston, Los Angeles, Seattle, and Toronto. Praised by critics and loved by audiences of all ages, this is your opportunity to see several returning Opera Omaha audience favorites in a phenomenal cast, in a larger-than-life production.
The Timelessness of Cinderella
By Director, Joan Font
There is a mix of different themes in this delightful opera: the grey, sad reality of the characters' everyday lives at home; the opulence and magnificence of the "royals"; the clash of these two worlds colliding; the comic quality of these realities given their exaggerated nature, becoming grotesque and ironic; the romanticism, as love enters through the door of the true emotions and feelings between Prince Ramiro and La Cenerentola, and the dream struggling to come true.
We have wanted to take a new look at the dramatic narration of the tale and to accentuate the concept of timelessness. This isn't something that happened purely in the past: it is still valid today and is not the legacy of a single culture but of all humanity. We all dream of escaping poverty and misery, of living full and happy lives, and it's better if love brings about or acts as a catalyst for this change. But this love arrives from the outside as if by magic, and it's from another social class: the highest.
That's why the story is set in an empty, clean space and it's here where the transformations are experienced. In our interpretation of the work everything is a dream, the space is constantly changing and the transformation of each situation in the story is through light. Moreover, there is no specific architecture, not in a defined or temporal sense, but rather there's room for everything. Our aim has been to preserve the basic concept of the original tale as well as respecting the opera version, where Rossini's music adds a real dimension to the feelings, sensations and emotions of the work. This composer takes us along different paths: the comic path with characters and situations distorted from the "real" characters; the romantic path when there are love scenes between the couple, because this is a proper love with passion and desire and it's eager to be revealed; the clash of the characters' contradictory feelings and the conflictive narrative between the plot and the characters, creating different musical moments of great beauty and complexity. The characters are created under the gaze of a Mediterranean light with pure, highly exaggerated colors, a deformation that accentuates the personalities of each of the singer-actors and how they evolve within the tale. A constant metamorphosis occurs in this apparently simple and empty space and one that follows the plot since, in our interpretation, it's all a story imagined by the main character in order to escape from her dramatic situation. We enter a world of dreams-reality-fiction-imagination, combined in such a way that we're not sure where or when we are actually living. Spatial concepts appear within this empty world to bring the scenes to life, from the home of Don Magnifico, to the palace, the gardens and the cellar, with the appearance of symbolic elements, essential for giving meaning to the dramatic evolution of the opera: the coaches, the tables laid with food, the throne, the costumes... and so each of the settings, situations and actions of this voyage gradually transmute, going from the particular true reality of the beginning to another new reality, of which we have always dreamed and which might be as real as the authentic reality. The aim of our staging is to show the indefinite nature of a reality that clashes with fantasy and that perhaps, when all is said and done, was only a dream like life itself... Because dreams are but dreams.
In the home of her stepfather, Don Magnifico, Angelina (known as Cinderella) works while her two stepsisters, Clorinda and Tisbe, admire themselves. A beggar arrives at the door and while the stepsisters spurn him, Cinderella offers him food and drink. The beggar is actually the court astronomer and tutor to the prince, Alidoro, in disguise and on a secret mission to help the prince find a worthy bride.
Prince Ramiro himself arrives but also in disguise as his own valet. He is immediately taken with Cinderella and tells the family that the Prince will arrive shortly to make an important announcement. Ramiro's valet Dandini arrives with the palace courtiers and presents himself as the Prince. Deceived by this reversal of roles, Don Magnifico presents Clorinda and Tisbe to Dandini who tells them he will be hosting a ball in order to select a bride. He invites all of the eligible young women in the house to his palace. Don Magnifico dismisses Cinderella's request to attend the ball and together with Clorinda and Tisbe leaves for the palace. Alidoro returns, removes his disguise, and provides the astonished Cinderella with a gown and a carriage.
At the royal palace Prince Ramiro and Dandini, still disguised as each other, entertain Don Magnifico who is now appointed Royal Wine Steward. Dandini tells Clorinda and Tisbe that he can marry only one of them but the other may marry his valet, an offer that neither sister finds palatable. The arrival of a beautiful woman – who bears an amazing resemblance to Cinderella – heightens everyone's anxiety.
Don Magnifico and his daughters discuss the mysterious woman at the ball. Prince Ramiro hides when Cenerentola rushes in pursued by Dandini (still disguised as the Prince). Dandini professes his love for her but Cenerentola confesses to loving his valet. Ramiro emerges and asks her to marry him. She gives him one of her matching bracelets and tells him to search for the woman wearing its companion; if he still wishes to marry her when he discovers her true identity, she will agree to marry. Upon this she rushes out of the palace. Ramiro and Dandini assume their true identities and an outraged Don Magnifico returns home with Clorinda and Tisbe.
Cinderella is tending to the fireplace when her stepsisters and Don Magnifico dejectedly return from the ball. The prince is in search of Cenerentola when a fortuitous storm waylays his carriage outside Don Magnifico's house. Ramiro and Dandini take shelter inside, and Ramiro immediately recognizes his beloved. Cinderella is surprised to learn that Ramiro, whom she believed to be the valet, is in fact the prince.
Prince Ramiro recognizes the bracelet that Cinderella is wearing and chooses her for his bride, denouncing Don Magnifico and the stepsisters for their ill treatment of her. Cinderella pardons her stepfather and stepsisters and asks for reconciliation. All hail her goodness and majesty.
Leonardo Vordoni, Conductor*
Originally from Trieste, Italy, the fast-rising conductor Leonardo Vordoni studied conducting at the Accademia Pescarese with Gilberto Serembe, and earned a diploma in opera conducting at Bologna's Reale Accademia Filarmonica.
Last season Mr. Vordoni made his debut with Houston Grand Opera conducting Il Barbiere di Siviglia followed by a return to Minnesota Opera for Lucia di Lammermoor and La Bohème with the Green Mountain Opera Festival. Current projects include La Bohème with the Minnesota Opera and Don Giovanni with the Peabody Institute. Future engagements include a return to Opera Colorado in Rigoletto as well as debuts with the Michigan Opera Theatre in La Traviata, Opera Omaha in La Cenerentola and the Opéra National de Bordeaux in Donizetti's Anna Bolena.
Mr. Vordoni's recent engagements featured three of Puccini's greatest works: La Bohème with Santa Fe Opera and Utah Opera, Tosca at Opera on the James, and Turandot at Portland Opera. He made an important debut with the Canadian Opera Company with La Cenerentola.
Leonardo Vordoni began the 2009-10 season conducting Les Pêcheurs de Perles at Minnesota Opera, followed by a revival of Dominick Argento's Casanova's Homecoming. Later in the season, he made two consecutive debuts in Chicago; first conducting Le Nozze di Figaro at Lyric Opera of Chicago, followed by Rossini's Mosè in Egitto at Chicago Opera Theatre. Of his performances in Le Nozze di Figaro, John van Rhein at the Chicago Tribune wrote: "Mindful of the singers' needs, he infused the orchestral playing with crisp vitality and shapely phrasing." Regarding Mosè in Egitto, Opera News raved: "Maestro Leonardo Vordoni led a splendidly nuanced reading of verve and melting grace." Additional engagements included Il Barbiere di Siviglia at Opera Colorado and Lucia di Lammermoor at Green Mountain Opera Festival.
In recent seasons, Mr. Vordoni debuted at the prestigious Wexford Opera Festival in Pedrotti's Tutti in Maschera giving what critics called a "scintillating performance." Other productions include: Don Pasquale at Teatro Comunale di Bologna, Madama Butterfly with Madison Opera and La Cenerentola at Orlando Opera. In the summer of 2008, Mr. Vordoni conducted at the internationally renowned Rossini Opera Festival in Pesaro; in a concert of music associated with Maria Malibran, with mezzo-soprano Joyce DiDonato.
Leonardo Vordoni was a member of the music staff at the Metropolitan Opera and worked on productions including: L'Elisir d'Amore (cover conductor), Macbeth, La Traviata, Aida, La Clemenza di Tito, La Bohème, Un Ballo in Maschera, Norma and Madama Butterfly.
Collaborations with Edoardo Müller include L'Italiana in Algeri with Seattle Opera, La Cenerentola for Houston Grand Opera, as well as Il Trovatore and Le Nozze di Figaro for San Diego Opera.
Leonardo Vordoni has given master classes in Italian repertoire for Young Artist Programs across the United States including: San Francisco Opera, Seattle Opera, Utah Opera, Santa Fe Opera, Kansas University, UMKC Conservatory, University of North Texas in conjunction with La Fenice in Castelfranco Veneto as well as coaching for the Accademia Rossiniana in Pesaro. Additional studies include: piano at the Conservatorio Tartini with Neva Merlak, and composition at the Accademia Musicale in Portogruaro with Mario Pagotto.
Levi Hernandez, Don Magnifico
Baritone Levi Hernandez returns to Opera Omaha after performing the role of Tobias Mill in Rossini's The Marriage Contract in 2012. He recently made his Houston Grand Opera debut as Sharpless in Madama Butterfly and joined the rosters of San Francisco Opera and the Metropolitan Opera for their productions of Puccini's Il trittico and La fanciulla del West. This season included a return to the Metropolitan Opera for Die Frau ohne Schatten, having performed in Carmen with the Met last season. Mr. Hernandez has performed extensively with Opera Company of Philadelphia, Los Angeles Opera, Opera Theatre St. Louis, Nashville Opera, Madison Opera, Opera Memphis, the Spoleto Festival, Minnesota Opera, Virginia Opera, Lake George Opera, Cedar Rapids Opera, Opera North, and Boston Lyric Opera. He made his European debut in the Komische Oper Berlin production of Pique Dame in the role of Tomski. Mr. Hernandez is a graduate of the Ryan Opera Center at Lyric Opera of Chicago where he performed in Rigoletto, Tosca, Manon Lescaut, La bohème, and William Bolcom's new opera, A Wedding; he made his principal debut there as Dandini in Cinderella. This summer he can be heard as Papageno in the Opera Theatre of St. Louis production of The Magic Flute.
Joan Font, Director*
Joan Font has participated in the creation of more than 30 stage productions over five continents. Much of his work has been in association with his company the Centre de Creació de Comediants, for whom Mr. Font serves as Artistic Director and founder. He has worked on special projects for the Festival d'Avignon, and Vennice's Biennale, as well as other projects in Paris, New York, Chicago, Bogotá, Sydney, Tokyo, Dublin, Edimburgh, London, Hannover and Beijing, amongst other cities. Mr. Font worked as a consultant and director for the designing process of Barcelona's candidature as an Olympic site as well as the closing ceremony of the Barcelona '92 Olympic games. He has worked in the film, television, and publishing. His opera directorial credits include The Magic Flute (Gran Teatre del Liceu), Orfeo ed Euridice (Peralada's Festival), Verbena de la Paloma (Granada's Festival), and this production of Cinderella, a co-production between the Welsh National Opera, Houston Grand Opera, Barcelona's Gran Teatre del Liceu and the Grand Théatre de Genève. In 2009 he premiered the original opera, Faust-Bal, in Madrid's Teatro Real, as well as the première of Allegro Vivace in Barcelona's Petit Liceu. With his company, The Comediants, he created new performance events for Shanghai's World Expo as well as the Hanoi's Millenium celebrations. In 2011 he premiered the original play Persephone at Moscow's Chekhov Festival, which was then presented at Madrid's Centro Dramático Nacional and Barcelona's Teatre Lliure.
Andrew Gangestad, Alidoro
Accomplished bass Andrew Gangestad has been applauded for his dark rich sound and strong musicality by audiences throughout the United States and the world. Of his performance of Il barbiere di Siviglia, the Kansas City Star wrote "Andrew Gangestad (Don Basilio) … demonstrated a glorious bass voice," and, of his performance of Leporello in Don Giovanni with Opera Pacific, the Orange County Register wrote "Andrew Gangestad portrays the long-suffering Leporello with aplomb, crisp in accent, dark of voice and understated in comedy."
This season, Andrew returns to the roster of the Metropolitan Opera for its production of Les Troyens as well as Sarasota Opera as Nourabad in Les Pêcheurs de perles and as Candy in Of Mice and Men. His 2011-12 season included his debut with Pittsburgh Opera as Nourabad in Les Pêcheurs de perles, his debut with Hawaii Opera Theater as Ramfis in Aida, and performances of Sparafucile in Rigoletto with Sacramento Opera. He also performed with the Berkshire Choral Festival in selections from Les Pêcheurs de perles, La Rondine, and Aida.
Recent and overall career highlights include Colline in La boheme with New York City Opera, Kentucky Opera, Arizona Opera, and Opera Pacific; Ferrando in Il trovatore with Minnesota Opera and Toledo Opera; the title role in Le nozze di Figaro with Lyric Opera of Kansas City and Bellingham Music Festival; Commendatore in Don Giovanni in his debut with Opera Theatre of Saint Louis; Death in Der Kaiser von Atlantis with Cincinnati Opera; Rodolfo in La sonnambula with Michigan Opera Theatre; Timur in Turandot with Kentucky Opera; First Nazarene in Salome with Glimmerglass Opera; Banquo in Macbeth for Sarasota Opera; and Ramfis in Aida, and Angelotti in Tosca with Opera Pacific. Andrew is widely known for his interpretation of Leporello in Don Giovanni, which he has performed with such companies as the Lyric Opera of Kansas City, Sarasota Opera, Opera Pacific, and in his debut with Arizona Opera. He has also performed Basilio in Il Barbiere di Siviglia with several companies such as Lyric Opera of Kansas City, Opera Omaha, and Opera Cleveland, to name a few. Mr. Gangestad's recent international highlights include Ramfis in Aida with the Bregenz Festival in Austria; the title role in Le nozze di Figaro at the Macau International Music Festival; and his Welsh National Opera debut as Ramfis in Aida.
Since his Metropolitan Opera debut in 2000 in Berg's Lulu, Mr. Gangestad has returned to the coveted house each season having performed as Brander in La Damnation de Faust, Tom in Un ballo in maschera, Colline in La bohème, Truffaldino in Ariadne auf Naxos, Count Ceprano in Rigoletto, Lignière in the company premiere of Cyrano de Bergerac, Vaudemont in I vespri siciliani, Cappadocian in Salome, the Commissioner in Madama Butterfly, Timur in Turandot, as well as in their productions of La Fanciulla del West, Don Carlo, Idomeneo, and Dialogues des Carmélites. Also a company favorite with Seattle Opera, he has appeared there in such roles as Zuniga in Carmen, Tom in Un ballo in maschera, Alidoro in La Cenerentola, and Leporello in Don Giovanni.
Andrew's extensive list of concert engagements include Handel's Messiah with the Charleston Symphony Orchestra and Pacific Symphony; Mozart's Coronation Mass and Haydn's The Creation with the State College Chorale Society (Pennsylvania); Beethoven's Missa Solemnis with the Berkshire Choral Festival; Beethoven's Ninth Symphony with the Columbus Symphony Orchestra and Duluth Superior Symphony Orchestra; Verdi's Requiem with the Kalamazoo Symphony Orchestra; soloist in Honegger's Jeanne d'Arc au bûcher with Oregon Bach Festival under Marin Alsop; and Tan Dun's Theatre Orchestral II: Re with the Duluth Symphony Orchestra.
Mr. Gangestad has also performed several opera roles in concert, such as Brander in La Damnation de Faust in his debut with the Boston Symphony Orchestra under James Levine, singing in Boston and at Carnegie Hall; The Monk in La Gioconda and as The Hermit in Der Freischütz with Opera Orchestra of New York at Carnegie Hall; Méphistophélès in Scenes from Goethe's Faust with the Warsaw Philharmonic Orchestra; Lodovico in excerpts from Otello for the 2006 Richard Tucker Gala; various Opera Gala Concerts with the Yakima Symphony Orchestra; and in L'Enfant et les sortilèges with the Minnesota Orchestra. Mr. Gangestad is also the First Place Winner of the 2005 Fritz and Lavinia Jensen Foundation Voice Competition and the recipient of the Robert Lauch Memorial Grant from the Wagner Society of New York.
Lauren McNeese, Angelina*
Mezzo soprano Lauren McNeese makes her Opera Omaha debut in the title role of Cinderella. She recently made her Metropolitan Opera debut in Parsifal and sang her first Giovanna Seymour in Anna Bolena with Minnesota Opera having performed the roles of Donna Elvira (Don Giovanni), Cherubino (Le nozze di Figaro), and Bellino/Teresa (Casanova's Homecoming by Dominick Argento) with the company in previous seasons. She has also appeared with the LA Opera as Zerlina (Don Giovanni), Wellgunde in Das Rheingold (a role she has also performed with San Francisco Opera), Karolka (Jenufa), and La Ciesca in Gianni Schicchi directed by Woody Allen. She has performed Dorabella (Così fan tutte) with Arizona Opera, the title role in L'enfant et les sortilèges with Opera Company of Philadelphia, Stéphano (Roméo et Juliette) with Michigan Opera, Hansel (Hansel and Gretel) with Intermountain Opera, and Second Lady (The Magic Flute) with Dallas Opera. A graduate of the Ryan Opera Center, Ms. McNeese has been seen on the Lyric Opera of Chicago stage in numerous roles including Dorabella, Cherubino, Siebel (Faust), Flora (La traviata) and Myrtale (Thaïs) to name only a few. She has performed with conductors including Sir Andrew Davis, James Conlon, Donald Runnicles, Charles Dutoit, and Placido Domingo.
Angela Mannino, Clorinda*
Soprano Angela Mannino made her Metropolitan Opera debut as the 15 Year Old Girl in Lulu and is an alumna of Lyric Opera of Chicago's Patrick G. and Shirley W. Ryan Opera Center. Most recently Angela sang Oscar in Un Ballo in Maschera with New Orleans Opera and Papagena in The Magic Flute with Dallas Opera. Recent engagements include Juliet in Romeo and Juliet at the Bar Harbor Music Festival, the Fairy Godmother in Cendrillon with Kentucky Opera and a return to the Metropolitan Opera for a second season.
Angela will return to Lyric Opera of Chicago for Parsifal. Previously at Lyric Opera of Chicago, Angela sang Blonde in The Abduction from the Seraglio including a last minute debut on opening night. Many other roles at Lyric include the 15 Year Old Girl in Lulu, Giannetta in L'Elisir d'Amore and Barbarina in Le Nozze di Figaro.
At Wolf Trap Opera she sang Colombina in Le Donne Curiose and Fiorilla in Il Turco in Italia as well as performed in recital with Steven Blier. She sang the role of Agrippa in the world premier of John Musto's opera, The Inspector, commissioned by the Wolf Trap Foundation.
Other operatic roles include Gilda in Rigoletto with Opera Grand Rapids, Zerlina in Don Giovanni with Cincinnati Chamber Orchestra, Lauretta in Gianni Schicchi with New Orleans Opera and DuPage Opera, Fido in Paul Bunyan with Central City Opera and the First Maid in Daphne with Santa Fe Opera.
Angela received a Bachelor of Music from Loyola University and a Master of Music from Indiana University. A Sullivan Foundation Career Grant Winner, Angela has received awards from the Shoshana Foundation, American Opera Society, Musician's Club of Women, Metropolitan Opera National Council Regional Auditions, Mobile Opera Vocal Competition and the Orpheus National Vocal Competition.
A native of New Orleans, Angela has been seen in a variety of performances with the New Orleans Opera, Tulane University Summer Lyric Theatre, Jefferson Performing Arts Society and the Louisiana Philharmonic Orchestra including Adele in Die Fledermaus, Yum-Yum in The Mikado, Josephine in H.M.S. Pinafore as well as various musical theatre roles.
Andrew Bidlack, Ramiro*
Tenor Andrew Bidlack, a graduate of San Francisco Opera's prestigious Adler Fellowship, begins the 2012-2013 Season with his role debut as Rodrigo in Rossini's Otello at Opera Southwest. He sings the tenor solos in Händel's Messiah with Lexington Philharmonic and returns to Florida Grand Opera as Tamino in Die Zauberflöte. He travels to Carnegie Hall for his debut with Lyric Opera of Chicago as The Young Collector in their production of A Streetcar Named Desire with Renée Fleming, a role he also sings in Chicago, followed by performances as Peppe Rita at Rochester Lyric Opera.
Recent successes include Tonio in La fille du régiment with PORTopera, and Damon in Acis and Galatea at the Macau International Music Festival. He appeared at Lyric Opera of Chicago in their production of Ariadne auf Naxos, and was featured as the tenor soloist in Carmina Burana with the Milwaukee Symphony Orchestra under the baton of Andreas Delfs. He finished the season with performances of Sandy in The Lighthouse at Dallas Opera for the inception of their Chamber Opera Series.
Highlights of previous seasons include his New York City Opera debut as Baron Lummer in Intermezzo, followed by his return to Florida Grand Opera as Don Ottavio in Don Giovanni. He sang Count Almaviva in Il barbiere di Siviglia at Florida Grand Opera, covers of Emilio in Partenope at New York City Opera, and Nemorino in L'elisir d'amore with Empire State Lyric Theater. In 2010, he made his South American debut as Oronte in Alcina at Teatro Municipal de Santiago in Chile. At the Spoleto Festival in Italy, he appeared as A Guest in The Saint of Bleecker Street, which was recorded and released under the Chandos label.
A 2007, Merola Opera Program participant, Mr. Bidlack created the role of Charles Carter in the world premiere of Thomas Pasatieri's The Hotel Casablanca. Later as an Adler Fellow, Mr. Bidlack made his San Francisco Opera debut in The Little Prince and went on to appear as Odoardo in Ariodante, Arturo in Lucia di Lammermoor, Count Albert in Die Tote Stadt, Simpleton in Boris Godunov, Pedrillo in Die Entführung aus dem Serail, Gastonein La traviata, and Ruiz in Il trovatore.
Other roles include Rodolfo in La bohème, Tamino in The Magic Flute, Rolla in I masnadieri, the title role in Candide,Tom Snout in A Midsummer Night's Dream, Gomatz in Zaide, Ferrando (cover) in Cosi fan tutte; Bastien in Mozart's Bastien and Bastienna and Tom Rakewell (cover) in The Rake's Progress. A frequent interpreter of contemporary works by some of today's most significant composers, Mr. Bidlack sang Ishmael in the workshop production of Jake Heggie's Moby Dick, and later workshopped the role of Tancredi in John Musto's new opera The Inspector at Wolf Trap.
Concert performances include the tenor solos in Handel's Messiah, Mendelssohn's Elijah, and Mozart's Requiem; he made his Carnegie Hall debut singing the solos in Bach's Weihnachts Oratorium.
Elizabeth Pojanowski, Tisbe*
Mezzo soprano Elizabeth Pojanowski makes her Opera Omaha debut in the role of Tisbe. Most recently she sang the role of Shelly in the U.S. premiere of Anna Nicole with New York City Opera. She has performed frequently with Cincinnati Opera including the roles of Sadie in the world premiere of Ricky Ian Gordon's opera Morning Star, Nancy T'ang in Nixon in China, Tebaldo in Don Carlo, and Mercedes in Carmen, a role she will sing again with Cincinnati Opera this summer. As a member of the Young Artist Program with the Seattle Opera, Ms. Pojanowski performed the roles of Dinah in Trouble in Tahiti, Hansel in Hansel and Gretel, Hermia in A Midsummer Night's Dream, and the title role in L'Enfant et les Sortileges. With Saratoga opera she sang Prince Orlofsky in Die Fledermaus and joined San Antonio Opera as Stephano in Roméo et Juliette. She made her professional debut singing Cousin Hebe in H.M.S. Pinafore with Dayton Opera. Other credits include Popova in William Walton's The Bear, Nancy in Albert Herring with Aspen Opera Theater, Mrs. Olsen in Street Scene with Chautauqua Opera, and La Maestra delle Novizie in Suor Angelica with the Music and Opera Festival of Lucca.
Daniel Belcher, Dandini
Winner of a 2010 Grammy Award, baritone Daniel Belcher has performed in many of the world's music capitals, including Paris, London, New York, San Francisco, Berlin, Stuttgart, Amsterdam, Geneva, Toronto, Tokyo, Seoul and Houston. With a 50-role repertoire, Belcher has championed roles from the Baroque to those composed expressly for him. He came to international attention in 2004 creating the role of Prior Walter in Peter Eötvös'Angels in America for the Théâtre du Châtelet in Paris for which he was hailed by London'sThe Guardian as "possessing the kind of powerhouse stuff that indicates a star in the making." Belcher most recently created the role of Robert Kennedy in Robin de Raaff'sWaiting for Miss Monroe for his debut at The Netherlands Opera and Holland Festival. Other world premiere roles include John Brooke in Mark Adamo's Little Women (released on the Ondine label and recorded by PBS' Great Performances), Andy Warhol in Michael Daugherty's Jackie O (released by Decca on the Argo label) and multiple roles in Tod Machover's Resurrection (released on the Ondine label), all with Houston Grand Opera. World premieres in development include Robert Aldridge's Sister Carrie, Thomas Morse and Ken Cazan's Frau Schindler, and Jeremy Howard Beck and Stephanie Fleischmann's The Long Walk.
In the 2013-14 season, Belcher makes his debut in Sweden at Stockholm's Baltic Sea Festival with Kaija Saariaho's chamber piece Sombre, returns to the Lyric Opera of Kansas City for Papageno in The Magic Flute, Opera Omaha as Dandini in La Cenerentola, makes his role debut as Ping in Turandot with Utah Opera and performs in recital at Houston's Zilkha Hall, among other venues. He will also appear in developmental workshop performances for Sister Carrie with the Florentine Opera and The Long Walk with American Lyric Theatre.
Last season, he returned to Houston Grand Opera as Taddeo in L'Italiana in Algeri, Opera Colorado as Mercutio in Roméo et Juliette, Utah Opera as Papageno in Die Zauberflöte, Florentine Opera for Figaro in Le Nozze di Figaro and Central City Opera as Figaro in Il Barbiere di Siviglia. On the concert stage, he debuted with Lyric Opera Baltimore for a Bel Canto concert and sang and recorded the world premiere of Kaija Saariaho's chamber piece Sombre for Rothko Chapel with Da Camera of Houston. This was his second collaboration with Saariaho after recording the leading role of Jaufré Rudel in her first opera, L'Amour de Loin with Kent Nagano and Harmonia Mundi. Opera News said "Belcher gives a powerful, convincing portrayal of Jaufré, capturing expertly the troubadour's mercurial disposition." This recording received the 2010 Grammy Award for Best Opera Recording, the Diapason d'Or by Diapason in France, and a nomination for Best Opera Recording by Gramophone.
Recently, he debuted with ABAO-OLBE, Bilbao, Spain as Mercutio in Romeo et Juliette, made his role debut as Chou En-Lai in Nixon in China with the Lyric Opera of Kansas City for which he was declared a "revelation" by KCMetropolis.org, and debuted with the Madison Opera as Dandini inLa Cenerentola: "If there was a surprise show-stealer, it was Daniel Belcher in the role of Dandini...Belcher displayed some spot-on comic contributions." (Madison Magazine)
As a graduate of the Houston Grand Opera Studio, he has returned for numerous roles including his role debut as Billy Budd, Papageno, Schaunard in La Bohème, Monteverdi's Orfeo and Mercutio. At HGO, he also performed roles in A Little Night Music, Carmen, Madama Butterfly, and Arabella.
He made his highly acclaimed European debut with the Staatstheater Stuttgart in Reinhard Keiser's Masaniello Furioso. Other European engagements have included Ned Keene in Peter Grimeswith the Grand Théâtre de Genève, Jaufré Rudel in L'Amour de Loinat the Théâtre du Châtelet and Berlin's Maerzmusik Festival with the Deutsche Symphonie-Orchester, Gunther in Sacré Siegfriedat the Opéra National de Montpellier, Guglielmo in Così fan tuttefor Garsington Opera and London's Barbican Center, staged performances of Carmina Buranawith the St. Gallen Festspiele, Gluck's Orfeo and Securo in the world premiere of Cherubini's Koukourgiwith the Stadttheater Klagenfurt, Austria (released on ArtHaus DVD), and the title role of Handel's Imeneo with Opera Ireland.
Mr. Belcher has portrayed Figaro in Il Barbiere di Sivigliain Tokyo with Japan's New National Theater and the Fauré Requiemfor Seiji Ozawa's Saito Kinen Festival to commemorate the 60th anniversary of Hiroshima. He performed John Brooke in Little Women with New York City Opera in Japan and New York, as well as with Fort Worth Opera, Kentucky Opera and Central City Opera. He was also heard throughout Japan and in Seoul, Korea as the title role in Don Giovanni with Toronto's Opera Atelier. Other roles with Opera Atelier include the title role in Monteverdi'sL'Orfeo, Mozart's Figaro, Papageno and the role of Orestes in Gluck's Iphigénie en Tauride.
Mr. Belcher is one of the premiere interpreters of Rossini performing today, and he is closely associated with the roles of Dandini in La Cenerentola, Figaro in Il Barbiere di Siviglia, and Taddeo in L'Italiana in Algeri. He has performed Dandini with San Francisco Opera, Opera Colorado, Lyric Opera of Kansas City, Opera Company of Philadelphia, and Utah Opera; Figaro with Arizona Opera, Portland Opera, Lake George Opera, Wolf Trap Opera, Opera Festival of New Jersey, Lyric Opera of Kansas City, Florentine Opera, and Utah Opera; Taddeo with Opera Company of Philadelphia, Florentine Opera, and Utah Opera.
In addition to these Rossini performances, he has performed a wide repertoire including the roles of Gianni Schicchi, the Husband in Poulenc'sLes Mamelles de Tirésias, and Henry Cuffe in the American premiere of Britten's Glorianawith Central City Opera, Papageno and Harlekin inAriadne auf Naxos for his debut with San Francisco Opera, Prince Paul in La Grande-Duchesse de Gérolsteinwith Opera Company of Philadelphia, Guglielmo, Marcello in La Bohème, and Captain Corcoran in HMS Pinaforewith Lyric Opera of Kansas City, and Eisenstein in Die Fledermaus at Opera Columbus.
Mr. Belcher made his Carnegie Hall debut as a soloist in Vaughan Williams' Dona Nobis Pacem with the New York Choral Society. Active in concert work, he has performed Carmina Burana and Copland's Old American Songs with the Pacific Symphony, Gounod's St. Cecelia Mass and Vaughan Williams' Hodie for performances in New York City, a concert of Opera Favorites with the Houston Symphony Orchestra, an all-Bernstein concert and "A Night in Vienna" with the National Symphony Orchestra, and Beethoven's Missa Solemnis with the Brazos Valley Symphony Orchestra.
Mr. Belcher is a recipient of Le Cercle International des Amis et Mécènes du Châtelet Award (International Circle of Friends and Patrons of Théâtre du Châtelet, CIAM) for his acclaimed performance of Prior Walter in Angels in America. He also received a Robert Jacobson Study Grant from the Richard Tucker Foundation, a Richard F. Gold Career Grant from the Shoshana Foundation for his work with Wolf Trap Opera and the Sullivan Foundation Award. He received the Apprentice Artist Award from the Santa Fe Opera and the Young Artist Award and Outstanding Studio Artist Award from the Central City Opera.
Derek Anderson
Matthew Brown
Brian-Mark Conover
Ryan Daly
Dillon Edwards
Elmer Ellefson
Jonathan Fischer
Brian Jay
Trevor Kern
Marc Laferla
James C. Little
Dryden Meints
Eric Micks
Eduardo Millán
Ed Perini
Andrew Pratt
Kyle Sandall
Dave Schaefer II
David Shellenberger
Brandon Shostak
Sean Stephenson
Michael Thorfinnson
Matthew Uehling
Gary Weddel
Erika Overturff, Founder & Artistic Director
Bridget Carpenter
Ryan Christopher
Vivi DiMarco
Jessica Mariner
Danielle Pite
Anna Swenson
Katie Van der Mars
Chloe Watson
Friday, April 25, 2014, 7:30PM
Sunday, April 27, 2014, 2:00PM
Orpheum Theater
Map Location
Asst. Director: Tanya Kane-Parry*
Principal Accompanist/Harpsichord: Wilson Southerland*
Choreographer: Xevi Dorca*
Set & Costume Designer: Joan Guillen*
Lighting Designer Kiko Planas*
Wigs & Makeup: Dennis Bergevin, Elsen & Associates Inc.
Chorus Master: J. Gawf
Stage Manager: Angela Turner
* Opera Omaha Debut
Thank you to our Cinderella Tweet Seats sponsor - First National Bank of Omaha!


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I've learned almost every life lesson the hard way. The "hard way" usual means you don't listen to what anyone tells you and therefore you experience life's pains first hand. I do admit when I am wrong and today I'll make a minor confession. Basically, I thought if I took a full time job I would make music just as easily and with the same fluency and frequency. So yeah I was pretty much wrong.
However, it's not actually time management that's the issue. It's more that well, I love my new day job! It seems after almost 40 years on this planet the left (analytical) side of my brain grew as large as my right brain (creative side). Don't get me wrong, I've been freaking out waiting to get dirty with Ableton Live 8 but I'm finding organizing my audits also tantalizing. My official job title is "Field Energy Auditor". I enter commercial buildings in a certain section of Manhattan that ConEd is having problems delivering power to. I help stores and buildings reduce their current demand by recommending various conservation (lighting retrofits, new HVAC systems, etc..) and generation (solar, geo-thermal, hydro, wind) methods. Often I meet with building managers and companies with more money than the entire music industry (just sitting in the top drawer of their desks!). You would be amazed how open they are to the green revolution. Then again, they save tons of money by implementing the plans we offer. Did you know an underwater turbine now sits in the east river and powers a Gristedes supermarket? Amazing.
I wanted to post this to put my feelings on the record. It should be interesting in a year or two to read this again (for me anyway). So to those of you who work full time how does your music making life fit in? Whenever you get the urge? Weekends only? What's your stradgey? One thing I am sure of is I put 20+ years into the music business, learning the craft of song-writing and I am finally good at it… so expect many more albums to come. The best thing is I can afford more toys with keys and knobs on them! Here's where I work: Energy Management Solutions
photo: They found my secret life as The Horrorist.


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University of California, San Francisco | About UCSF | Search UCSF | UCSF Medical Center
There is a huge need for improved treatments for hepatitis C, particularly in patients with HIV/HCV coinfection and subgroups thereof (eg, African Americans, those with genotype 1 virus), in whom rates of HCV cure are particularly low with standard therapies. Investigational drugs in new classes, so-called direct antiviral agents (DAAs), given in combination with pegylated interferon and ribavirin, have been shown to improve rates of sustained virologic response (SVR) in HCV-monoinfected patients, and several studies presented at CROI this year provided data on efficacy of new agents (in particular the HCV protease inhibitors telaprevir and boceprevir) in HCV-monoinfected patients.(1),(2) And, importantly, the researchers offered a first glimpse of data on efficacy and safety of telaprevir in HIV/HCV-coinfected persons.(3) This was an interim analysis, examining data only through week 12 (of a planned 48-week treatment course) on 41 patients undergoing treatment in a Phase IIA double-blind study of telaprevir vs placebo, each in combination with peginterferon alfa-2a and ribavirin. Patients had genotype 1 HCV, no previous HCV treatment, and were either a) on no ART with CD4 counts of ≥500 cells/µL and HIV RNA levels of <100,000 copies/mL; or, b) on ART with CD4 counts of ≥300 cells/µL and suppressed HIV. Subjects receiving ART were on either atazanavir/ritonavir or efavirenz with tenofovir/emtricitabine (or lamivudine). Patients within each group were randomized to telaprevir or placebo for the first 12 weeks of therapy, and all were treated with peginterferon alfa-2a and ribavirin (for a planned total of 48 weeks). (In the efavirenz group, the telaprevir dosage was increased to compensate for a known interaction with efavirenz.) The treatment groups were generally well matched at baseline for HCV and HIV factors; the median CD4 count was >500 cells/µL.
By intention-to-treat (ITT) analysis, virologic response rates at weeks 4 and 12 were substantially higher in telaprevir recipients than in controls. At week 4, 70% in the telaprevir groups combined and 5% in the placebo groups combined achieved undetectable HCV RNA levels (rapid virologic response, RVR). At week 12, 68% of telaprevir recipients and 14% of controls had undetectable HCV RNA levels (complete early virologic response, EVR). Of the telaprevir groups, response rates were lower in the atazanavir/ritonavir subgroup at each time point than in either the no-ART or the efavirenz subgroup, though the sample size was small, and conclusions about relative efficacy cannot be made.
HCV virologic failure was seen in 3 telaprevir recipients and 3 placebo recipients (no resistance data were available), and no loss of HIV control was seen in ART recipients. In the no-ART group, a decrease in HIV RNA was seen, consistent with the interferon effect seen in other studies. Median trough concentrations of telaprevir were similar in each ART group and the no-ART group, whereas median trough concentrations of atazanavir, efavirenz, and tenofovir decreased up to 20% in the telaprevir groups, a result that reportedly was similar in placebo groups (data not shown). Telaprevir recipients had higher rates of certain adverse events, including nausea, vomiting, anorexia, fever, pruritus, and rash, compared with controls, but few patients discontinued treatment because of adverse events.
Clinical Bottom LineRVR and EVR are important predictors of successful HCV treatment (SVR), so it is very promising to see that treatment with telaprevir + peginterferon alfa-2a and ribavirin yields impressively high EVR rates in coinfected genotype 1 patients. SVR results from this study should be presented later this year, and Phase III studies of both telaprevir and boceprevir in HIV/HCV-coinfected patients are under way. These agents are expected to be approved by the U.S. Food and Drug Administration in 2011, and studies of other DAA drugs are in clinical trials.
The availability of these new DAA agents is expected to significantly advance the treatment of HCV in both monoinfected and HIV/HCV-coinfected patients, but many complex treatment issues require study, including basic issues such as length of therapy, the timing and duration of DAA therapy, optimizing outcomes in hard-to-treat patient groups, management of HCV resistance to these agents, and drug-drug interactions. Importantly, both telaprevir and boceprevir appear to have significant interactions with PIs and NNRTIs, via CYP P450 effects, and these have not been well studied. An excellent overview of HCV therapy, titled "New Antiviral Therapies in the Management of HCV Infection," was given by Stefan Zeuzem at the conference, and a webcast of this presentation is available via the CROI website.
1. Sulkowski M, Poordad F, McCone J, et al. BOC combined with P/R for treatment-naive patients with HCV genotype-1: SPRINT-2 Final Results. In: Program and abstracts of the 18th Conference on Retroviruses and Opportunistic Infections; February 27-March 2, 2011; Boston. Abstract 115.
2. Gordon S, Bacon B, Lawitz E, et al. HCV RESPOND-2 final results: High sustained virologic response among genotype-1 previous non-responders and relapsers to pegIFN/RBV when re-treated with BOC + PEGINTRON/RBV. In: Program and abstracts of the 18th Conference on Retroviruses and Opportunistic Infections; February 27-March 2, 2011; Boston. Abstract 116.
3. Sulkowski M, Dieterich D, Sherman K, et al. Interim analysis of a phase 2a double-blind study of TVR in combination with pegIFN-alfa2a and RBV in HIV/HCV co-infected patients. In: Program and abstracts of the 18th Conference on Retroviruses and Opportunistic Infections; February 27-March 2, 2011; Boston. Abstract 146LB.
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Would you like to see some real television programming? You know, with actors, scripts, solid production values, as opposed to something like American Idol, 1,000 Ways to Die or Hoarders? Well, you may be in luck. A new cable television channel, MeTV (short for Memorable Entertainment Television) may be able to help you, assuming it's available in your area. What do they run?
How about 12 O'Clock High, Batman, The Big Valley, The Bob Newhart Show, Bonanza, Cannon, Car 54 Where Are You?, Cheers, Columbo, Combat, Daniel Boone, The Dick Van Dyke Show, Dobie Gillis, Family Affair, The Fugitive, Get Smart, The Twilight Zone, Gunsmoke, Hawaii Five-O, Honey West, I Love Lucy, Kojak, Laurel and Hardy shorts from the 1930s, the British teleseries The Invisible Man,The Mary Tyler Moore Show, The Odd Couple, The Phil Silvers Show, The Rockford Files, The Rogues, The Untouchables, The Wild Wild West, Thriller and a whole lot more?
The best way to use MeTV is to simply set it up to record any of the series above that you wish on your DVR, and then save them up for a night when you can't sleep, and can thus fast forward through the commercials, which are not, by the way, excessive. I flip on the television, and voila, there are about twenty or so programs saved up for me, and I can skip around as I choose, and enjoy the best of it.
The quality of these programs just leaps out at you, both in the dedication of actors and directors, but also the scripts, and the care of production. They're television from the Golden Era of the late 50s through the late 1970s, and my only suggestion is that they add Topper and The Alfred Hitchcock Hour to the mix. So, if this is an option for you, by all means take advantage of it; the series above might remind older viewers of the excellence of these programs; younger viewers may be surprised at just how thoughtful and intelligent television once was.


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MicroMoog and Freqbox from Rhythmicons on Vimeo.
"Good evening ladies and gentleman my name is Eric from the Rhythmicons demonstrain' some Moog products." Specifically Eric uses the FreqBox as a second Oscillator for a old Micromoog. Things get fun at about 3:33 in. The USA flag surely fits in this Arkansas Moog kitchen!
Here's how Eric did it:
MicroMoog Kbd out to Cp251 Attenuator
Attenuator out to Freqbox Frequency input
Freq Out to Audio Input of Freqbox.
Audio output to MicroMoog Audio Input.
Definitely check out some of Gabe Carlisle and Eric Kriner's music: www.myspace.com/rhythmicons


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Any retail business with a high volume of customer contacts (e.g. concert halls and department stores) struggles to meet customer safety and loss-prevention objectives without imposing security that is so intrusive that it harms the customer experience.
Much of the litigation risk posed by retail security is rooted in the need for subjective analysis and discretionary intervention (e.g. who to watch, and when and how to intervene). Your employees confront these questions every day, and even honest mistakes can lead a perception of discrimination. The resulting lawsuit can be costly and do serious harm to your brand.
The challenge for inside counsel is to develop security programs that balance these competing interests. The easy answer is to remove all subjectivity and discretion from retail security practices, but that is a poor solution.
Keeping in mind that applicable laws vary state-by-state and there is no "one-size-fits-all" solution, here are some suggestions:
Comprehensive policies
Your policies are the core of your security program, but they also will be the first place a plaintiff's attorney looks for evidence that your company targets specific groups for disparate treatment or acquiesces in bad behavior by employees. Thus, your security policies should articulate the purpose of the program, explain how it will be implemented and set minimum and maximum parameters for employee conduct.
Policies that are developed by outside experts based on best practices and industry standards are more likely to withstand scrutiny than are programs developed by company insiders who lack requisite expertise. Regardless, they must periodically be reviewed to ensure that they remain consistent with prevailing law, evolving best practices and changed retail conditions.
It is equally important that your policies are adhered to in practice and consistently enforced. Surprise audits can be effective tools to ensure compliance, identify gaps in training, weed out problem employees and defend against charges of acquiescence.
Effective training
The best programs are developed and implemented by professional trainers, and they involve scenario-based training, role-playing exercises and specific instruction on profiling and the bounds of appropriate physical contact. Initial and refresher training should be provided to all staff who interact with customers, and there should be defined standards for graduation. Like policies, training programs must periodically be reviewed and updated.
The constitution of your staff can be a source of litigation risk. A staff that is homogenous although the community is diverse may suggest inappropriate hiring and promotion practices, and a plaintiff's attorney will use any disparity to argue that security practices are tainted by discrimination. Take care to ensure that hiring and promotion practices are non-discriminatory and result in a diverse workplace.
Surveillance, apprehension & detention
There is a subjective element to retail security that cannot be avoided, though it invites litigation risk.
Consider carefully the criteria that will be used to determine whether to monitor a particular person or location, and whether to focus surveillance on particular days or times or at particular events. Where possible, deploy security resources based on objective data rather than hunches, and initiate surveillance and detention based on non-discriminatory criteria and uninterrupted observation. Apprehensions should be affected onsite, but away from large crowds, and the use of force should be minimized.
Customer service
How a person is treated when he interacts with your employees will influence what he does next. Thus, detention processing should be "humane" and efficient, while still being safe and secure. Particular care should be given to the treatment of juveniles. Where bag and body searches are absolutely necessary, they should be "same sex" and witnessed. And when customers complain about mistreatment, take their complaints seriously.
Record keeping
Adequate record keeping is a powerful tool to reduce litigation risk. Generally, staff should be required to make a contemporaneous written record of any customer detention, including a narrative description of the process by which they came to observe, interact with and detain the customer. These reports should be stored in a central location, and be reviewed by supervisors for sufficiency and identification of possible employee misconduct.
There is no silver bullet to ward off frivolous litigation, but careful attention to the preparation and implementation of your retail security program can be an effective way to reduce your litigation risk.


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The rescue package
for your records & tapes.
Transfer your analog sound carriers to your PC in just a few steps using the Premium USB preamp. Optimize sound afterwards using MAGIX Audio Cleaning Lab 2016. This can be done in a flash thanks to intelligent automatic functions and the clear program interface.
Transferring made easy
Digitize your favorite music easily using the accessories included to connect your record player, cassette deck, and tape recorder to your computer.
Crystal clear sound
Experience your music digitally remastered to an outstanding quality level. Easily remove noise thanks to tons of presets and Auto Cleaning.
Individual tracks with full information
With MAGIX Audio Cleaning Lab 2016 you can automatically split up your recordings (e.g. from CD) into tracks and add album information such as title and cover.
Long-playing guarantee
Superior quality in compact storage: Store your records on your hard drive in all standard formats such as WAV or MP3.
The rescue package contains:
- MAGIX Audio Cleaning Lab 2016 software
- Premium USB preamp with ground connection & MM/MC switch
- USB cable for PC connection
- High-quality stereo RCA cable
- Y-audio adapter RCA to 6.35 mm mini audio jack
The right voltage for all devices
Switch simply between record players (phono) and tape recorders (line).
A clean start
Remove humming, crackling, and popping in just a few seconds with Auto Cleaning. Further presets are available for removing persistent noise.
The free tutorial videos from MAGIX provide you with an initial look at various MAGIX programs.
You'll learn quickly and easily how to use the most important features in order to bring your own projects to life.
All MAGIX programs are developed with user-friendliness in mind so that all the basic features run smoothly and can be fully controlled, even on low-performance computers. The technical data for your computer can be found in the control panel of your operating system.
Minimum system requirements:
1 GHz
Onboard, minimum resolution 1024 x 768
1 GB for program installation
CD/DVD drive (only required for installation of the box version)
Internet connection: Required for activating and validating the program. Software can also be used offline.
Optional: Burn CDs/DVDs with a CD/DVD±R(W) burner
¹ Requires Microsoft Media Player
² Fee-based activation
MX stands for Media-X-change – the fast exchange of media with other MAGIX programs, online services and mobile devices.
Share your audio data effortlessly with the following programs and services from MAGIX:
Add the optimized audio files to your digital music collection in MAGIX MP3 deluxe with just one click.
Here, you can also:
- Create playlists
- Add search filters
- Design CD covers
With just one click, use your optimized music tracks as background music for your videos in MAGIX Movie Edit Pro, Video Pro X, MAGIX Photostory or Fastcut.
- Set videos to music
- Create soundtracks
- Record voice-overs
Share your audio files with just a few clicks on the Internet on showfy or on MAGIX Online World.
- Share slideshows with music privately
- Get music on your Smart TV
- Voice recordings for your homepage


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Ysatis Iris Perfume
By Givenchy for Women
Ysatis Iris Perfume by Givenchy, Ysatis iris by the design house of givenchy introduced this exquisite perfume in 2004 . A sensational blend of mandarin, jasmine, rose, violet, tuberose, patchouli, vanilla, and of course iris. Ysatis iris is a beautiful floral aroma for daytime wear. All products are original, authentic name brands. We do not sell knockoffs or imitations. ... Read More
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About Givenchy
History and background of Givenchy. 1927, the year the Musketeers triumphed at the Davis Cup, the year Charles Lindbergh flew nonstop across the Atlantic Ocean and the year Hubert deGivenchy was born at No 24, rue Saint-Louis in Beauvais (France). Read more about Givenchy
More Givenchy fragrancesfor Women: Amarige , Organza , Very Irresistible , Ysatis , Dahlia Divin , more
for Men: Pi Cologne , Gentlemen Only , Gentleman , Givenchy Blue Label , Xeryus Rouge , more
See all Givenchy products
Customer Comments
Quick responsive service and good prices
J. Tillman (Los Alamos, CA)


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Email firstname.lastname@example.com: 1-856-461-8883
Free Shippingon all orders $60 or more!*
You have 0 item(s) in your cart worth $0.00
A watercolor painting of the scenic Holland countryside is seen in this 1000-piece jigsaw puzzle by Castorland. Finished puzzle 27"x18.5".
Castorland is based out of Poland, and exports their puzzles to more than 40 countries around the world. They have over two decades of experience and as a result have built a brand that continues to live up to a high standard of aesthetics and image quality across their widely varied selection of themes.


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Here is our 2011-2012 Winter Collection. Maintaining our signature style, the offerings consist of graphic tees with fun yet darker undertones, comfortable fleeces, and duffel bag. Themed around a status of unity and rebellion, messages rallying against "Big Brother" are featured throughout the assortment.
Check out our full line here http://www.shop.bloodbathproject.com


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The Satin Collection from MalePower combines ultra sexy silhouettes with soft stretch nylon to create a comfortable and alluring collection of men's underwear. The stretch nylon fabric creates a close, comfortable fit that will maintain its shape through all day wear, without sacrificing sex appeal.
85% Nylon, 15% Spandex.
Machine wash cold, do not bleach. Lay flat to dry, do not iron. Wash dark colors separately.
|28-34 in 71-86 cm
|Large/Extra Large
|36-40 in 91-102 cm


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6th July 2010 Westside King's mold making started
The computer generated picture below shows our next disc, the Westside King. The speed class of this wide-rim driver is supposed to be 14, which would make Westside King the fastest disc in the market.
Allright, I like Destroyer and Boss but really? Speed 14 driver.


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Win prime tickets to see Randy Bachman and his Vinyl Tap Tour, April 3, Pantages Playhouse Theatre.No purchase necessary. Deadline for entries is noon on March 28, 2013. Only one entry per person per day (24 hours) is allowed. Only the winner(s) will be contacted and must correctly answer a time–limited, skill–testing question in order to claim their prize. Prize must be claimed no later than 12 noon before the start time of the event. If prize is not claimed, another winner will be drawn. Entrants 17 years of age or younger must have parental consent to enter. Full contest rules available by contacting the Winnipeg Free Press. General Contest Rules
Simply fill out the form below to enter. Fields marked with an (*) are mandatory.


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TWU to host 11th annual Well Wednesday Community Health Fair
The health fair is scheduled from 9 a.m. until 3 p.m. in Pioneer Hall, located on Bell Avenue. The event is free and open to the public. Those attending are encouraged to stop at the information booth at Administration Drive and Bell Avenue for a free parking permit. For a map of the campus, visit www.twu.edu/maps.asp. For more information about the health fair, call (940) 898-3833.
The TWU Well Wednesday Community Health Fair will provide many services free of charge, including blood pressure and blood sugar checks, spinal screenings, chair massges and more. Lab screenings will be available by appointment at a reduced cost. Blood profiles — which include a complete metabolic panel, a complete blood count and lipid and thyroid profiles — are $55. Males over the age of 50 have the option of receiving a blood profile that includes a complete metabolic panel, CBC, lipid panel and PSA (prostate specific antigen) for $55. Payment by cash or check will be accepted. Fasting for up to eight hours prior to the screening is recommended. To schedule an appointment for these screenings, call (940) 898-3833.
Door prizes to be awarded include an Amazon Kindle Fire, an Xbox Kinect, AppleiPods and more.
The health fair will feature information from 45 vendors including Denton County Friends of the Family, Seniors in Motion, the Denton County Health Department, Denton County WIC, American Cancer Society, Department of Veterans Affairs and more. TWU components providing information include the TWU Libraries, Institute of Women's Health Exercise and Sports Nutrition Clinic, Fitness and Recreation, Department of Public Safety, Wellness Connections and TWU Student Health Services, which also sponsors the health fair.
"The health fair will combine health and wellness information with fun, interactive activities," said Sonia Redwine, assistant director of health education at TWU. "We hope this health fair will help our TWU community and Denton community members identify valuable health resources and services available to them and inspire them to adopt healthy lifestyle choices."
Media Contact:
Karen Garcia
Senior Writer
page updated 10/2/2014 10:59 AM


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Rasmus day to day with sore right wrist
OAKLAND -- Colby Rasmus was held out of Thursday night's game vs. the Athletics because of a sore right wrist.
Rasmus suffered the injury during Wednesday afternoon's series finale against the Brewers. He played all nine innings during that game but the discomfort lingered and he was scheduled for further medical evaluations on Thursday.
The Blue Jays are optimistic the injury isn't serious, but a timetable for his return won't be known until the medical staff takes a closer look. For now, Rasmus is considered day to day.
"He jammed his wrist into the fence," Blue Jays manager John Gibbons said. "The trainers are checking with him. He didn't think it was too bad yesterday, but we've been wrong on those before."
Jose Bautista got the start at designated hitter for the third consecutive game on Thursday. He has yet to play the outfield since he sustained a minor left hamstring injury, but that is expected to change in the relatively near future.
The hope is that Bautista will be ready to play the field at some point during the four-game series in Oakland and could be cleared as soon as Friday. In the meantime, Toronto has used a temporary solution of putting Edwin Encarnacion in left field so the club can get both Bautista and Adam Lind into the lineup.
"He's not quite ready, we want to make sure he's good and ready," Gibbons said of Bautista. "Hopefully in the next couple of days."
Gregor Chisholm is a reporter for MLB.com. Read his blog, North of the Border, and follow him on Twitter @gregorMLB. This story was not subject to the approval of Major League Baseball or its clubs.


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Often it's tempting to just jump in and do what's right there in front of you. But is that really the best way to get things done? Deciding what to do first, what to put first, when to save time and when to spend time are all central to the art of prioritizing.
To get some advice on the matter, we turned to an expert. Dennis Hoppe of CMI Resources has been a business advisor to owners of hundreds of companies for over 11 years.
Dennis constantly looks for common traits that distinguish the winners from the rest. "The ability to prioritize is very near the top in traits all winners have," says Dennis. "Winners prioritize what needs to be done, and do it, irrelevant of their desire to do it, or the ease or magnitude of the particular task."
The million-dollar question, of course, is how to recognize and set those priorities.
Dennis advises prioritizing every day into A-B-C categories, with "A's" being must do's, "B's" being good value and important, but not critical (big difference) and "C's", once classified as such, probably not getting done at all, or perhaps delegated to another capable person. "By the way, this process should take less than five minutes of your morning. Better yet, do it the night before. You will sleep better," says Dennis.
Only after you have done this simple task can you be certain that you're spending your time and energy on the most important things at any given moment.
Start with the "A's." The "B's" should be tackled only after the "A's" are done. When you finish with the "B's," and only if you've got the time, can you move on to the "C's."
But here's the golden rule—no matter how tempting it may seem to knock off an easy "C" task before you attempt the harder stuff, don't do it. Start with the priorities and work your way down.
According to Dennis, "A" items are best done early in the day, while your energy levels are high. Finishing these will relieve big burdens from the rest of your day, plus free up valuable energy for even more "A" items. "It's a catch-22," says Dennis. "If you do not do them early, you will worry about them anyway, so get them done."
Learn to prioritize at work and you'll surely be more efficient. Learn to prioritize in life and you will like be more at peace. That's because whether you examine your time at the office, your time with family and friends or your own long-term goals, there's seldom enough time. And everyone feels better and more productive when we know we're spending that time on the things that really matter, right?
Dennis Hoppe is President of Change Management Implementation in Pittsford, NY.


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Directions & Parking
Music Hall
1241 Elm St.
Cincinnati OH 45202
- Tickets and Information: (513) 621-2787 [ARTS]
- Administrative Offices: (513) 744-3344
From I-75 southbound
Exit at Ezzard Charles Drive. Turn left onto Ezzard Charles, which ends at Central Parkway. Music Hall is the building on Central Parkway directly across from Ezzard Charles Drive.
From I-71 southbound
Exit at Reading Road. Bear right onto Reading Road and turn right onto Liberty Street (second light). Turn left onto Central Parkway. Music Hall will be on you left at 14th Street.
From I-71/I-75 northbound
Crossing the Ohio River, move into the center right-hand lane. Bear right at the end of the bridge; take the first exit onto 5th Street. Take the first left just past the Duke Energy Convention Center onto Elm Street and continue to Music Hall, which is between 12th and 14th Streets.
From I-471 northbound
From I-471, take the 6th Street exit. Continue west along 6th Street to Elm Street. Turn right on Elm and continue to Music Hall, which is between 12th and 14th Streets.
Several parking options surround Music Hall. A 450-space underground parking garage at Washington Park is located directly across Elm Street from the front doors of venue. This convenient parking garage also has handicapped parking and elevators. A surface parking lot between Music Hall and Memorial Hall is accessible from Elm Street and Central Parkway. Convenient parking is also available at the Town Center Parking (CET) Garage on Central Parkway. A well-lit, security-monitored pedestrian bridge links the garage to Music Hall (direct entry into the Music Hall Ballroom is possible from the skywalk, but stairs are necessary to enter the auditorium from this garage). Pay-on-entry parking is $5-$10 for special events at all nearby lots. For more information about parking at Music Hall, call (513) 744-3344.
Handicapped-Accessible Parking: There are several handicap-designated spots at the Washington Park Garage across the street from Music Hall, as well as at the surface parking lot located between Music Hall and Memorial Hall and in the Town Center (CET) Garage on Central Parkway (direct entry into the Music Hall Ballroom is possible from the skywalk linking the CET garage and Music Hall, but stairs are necessary to enter the auditorium). We recommend arriving early for the best parking. You may also drop off patrons in front of Music Hall on Elm Street and then park. If you require wheelchair assistance, please alert a security officer and they will contact a staff member to bring a wheelchair out to the curb and assist you to your seats.
Please note that Music Hall does not own or manage the parking facilities listed below. Parking rates are subject to change, and are posted at each lot.
Washington Park Garage1230 Elm St
Cincinnati, Ohio 45202
Town Center Garage1251 Central Parkway
Cincinnati, Ohio 45214
Central Parking Lot (uncovered)1225 Elm Street
Cincinnati, Ohio 45202


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Don't tell me you never had this question asked to you, subsequently to your, usually politely, explaining to whoever asks about your religion, that you're an atheist and do not believe in any god; you're an atheist and do not believe that a god exists; or whatever combination of words you choose.
That's pretty much how it goes.
Even people who know that atheists do not believe in a god will sometimes still assume they share a common set of beliefs or principles, and have common political tendencies.
"So, what do atheists believe?", is their question.
If you ask me, I've had a wide variety of comebacks, depending on my mood at the moment, most of them facetious, but most likely, after explaining that atheists (as a group) do not have a common set of beliefs, I say that *I* believe in love, in humanity and our good faith... just to keep it simple... because, quite frankly, we don't "believe" in science - we find it verifiable. We don't "believe" in the universe and its wonders, we have seen them through amazing telescopes. I guess you get my point.
So what do you, fellow atheist, believe in, or what do you think is the best answer to this question?
Side note: This discussion is focused rather on the best comeback to the question in it, which in this specific context, is always asked as "opposed to your non-belief in god, what do atheists believe?"
Views: 6301
And to make the assertion that the bible is the word of god is wishful thinking, period.
Don't believe everything that scientists say.....
Yes, believe in dusty old books written by bronze age idiots. That's a much much better than believing in what scientists have to say about their field of study. Great idea!
How are you & morons like you not extinct yet? In the animal kingdom you surely would have been extinct.
Er ... yeah, we do! They invented the [expletive deleted] classification system. It doesn't exist to suit your (or anyone else's) self-conceit, it exists to aid the classification of animals (of which we are merely another species). Those who have done so have classified us (based on the available evidence) as one of the five known species of Great Ape ... if you disagree I strongly suggest you write to "Nature" or some other reputable evolutionary journal of your concerns. I'm absolutely sure they give them exactly as much time as they deserve.
Astrology is a good substitute for religion but education is best.
As always, you're wrong
Human chromosome 2. QED
really ?
Oh please ... try and post your own material instead of referring to some BS religious forum! Following over a decade of debating fundy's I won't even check URL's supplied by people like you ... they are invariably irrelevant or in some other way disappointing.
Yeah, just like most of the theists I've ever debated ... they don't deal with the real world just weird interpretations of otherwise rationally explainable data or their imaginary rubbish.
An aside ... why is he even allowed here? This is an atheist community isn't it? I mean relatively (!!) rational theists sure but don't we have enough to talk about without his idiotic contributions?
before you demand that i post my material, how about you doing it, showing , what convinces you that chromosome 2 is proof of common ancestry ? please show that your explanation is relevant , and worth of consideration.
Unfortunately (for you) the world doesn't work like that ... person A does not get to make an unsupported assertion and then, when called on it by person B, demand that person B prove them wrong. No, person A (that's YOU in this instance), when making said assumption and getting called on it is required to demonstrate that their assertion is actually reasonable BEFORE person B (that's me) is required to disprove their claim :)
As such I can simply sit here feeling superior in the knowledge that you're full of ... sorry, that you are in error :)
Based on over a decade of "debating" fundy's like you I look forward to you not being able to do so .... somehow I'm sure you'll find a way to avoid it, your kind usually do.
... person A does not get to make an unsupported assertion and then, when called on it by person B, demand that person B prove them wrong.
Well, YOU came up with chromosome2, making a unsupported claim with it. So if you want to hold to your assertion, that it is a proof for common ancestry, its up to you to show how.
I never mentioned chromosome 2 ... if you are going to make an assertion then at least do it right you idiot!
ok, it was Steve who mentioned it. I guess however who should be banned here, is YOU, since you are name calling others........
who has brain, does not need to use such artifacts.....
last post to u , btw.....


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Im just about to make a terrain, and i got the idea i could stream it all uniquely and detailed, so that means i just have one giant unique height map + colours, if there was information on the net of a land scan (colours+heights) i could just wham it all in straight away... is there any resources on the net such as this?
Search for DEM I think it is, Digital Elevation Maps
There are areas of the world that are radar scanned down to very high resolutions.
Combining that with a satellite picture should be easy
NASA will most likely have what you're looking for and for free (although it's a pain to find and download). I've downloaded maps for Mars (500KM / pixel) and the moon (60m / pixel) from their MOLA and LOLA projects (they use radar instead of optical analysis). You will have to use optical satellite data in order to produce colour however. I don't think I've ever seen that data freely distributed.
Look up "Blue Marble" from NASA, it's relatively high-res imagery of the entire planet earth.
www.outerra.com -> This engine is using that data to render the entire planet, refined with fractal algorithms.


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To my understanding, N8P is the Buddha's middle way to liberation, which is a path without going to the extremes (e.g. of self torture or self indulgence). We are so fortunate to have the Buddha's middle way for our practice; however, "middle way" is easy to understand intellectually but difficult to put into actual practice. Thanks to Retro's very helpful advice on establishing "Right View" as the first step of the path and Bhante Piyadhammo's guidance on reading MN suttas without being distracted by other teachings, the first year of my practice was mainly focused on reading and pondering about the Dhamma. At the middle and end of this year, I got virtually the same advice from several highly respected teachers to close the books and meditate/practice/study my body and mind instead. At the moment that I had decided to follow this advice and put the books away, I "accidentally" met another monk at the Buddhist reception room in Bangkok airport due to an unexpected mistake about the flight time, who emphasized the importance of studying the suttas and taught me to reflect on the teachings that are difficult to understand during Samadhi. All these finally made me realize that I need to find/apply the middle way to the Dhamma study and practice. So from then on I spent the second year of my practice on both, trying to walk in the middle.
Another example is concerning how to avoid too much investigation. Again almost all masters I've consulted advised me to restrain or stop thinking/questioning but to meditate. While appreciating their advice and realizing the habitual thinking/questioning are indeed hindrances (restlessness/agitation/doubt) and a mind with hindrance can't see the truth, I also wondered if we should use thinking/questioning for wise reflection and investigation while mind is calm. This morning I happened to listen to a talk (http://www.dharmaseed.org/teacher/96/?s ... nunciation by Joseph Goldstein), in which Joseph mentioned the need to balance investigation without going to an extreme. Again there it is -- balance ("balance" here means not going to the two extremes).
While it's so easy to get lost in the extremes on our path, we really need to remind ourselves and each other again and again of the Buddha's middle way, in order to practice rightly. I'd highly appreciate the fellow companions' reminding if you see me lost in extremes.
Thanks and metta,


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BioMicroCenter:Tecan Freedom Evo
From OpenWetWare
** All users must be trained before being allowed to use the Tecans **
The BioMicro Center currently hosts two Tecan Freedom EVO 150s named Johnny5 and B9. Johnny5 is optimized for cherry picking applications while B9 is optimized for screening. The Tecan's in the BioMicro Center are available to MIT researchers for use in their research. The Tecans may be used for BL1 work but are not set up for doing work on tissue culture or other samples requiring sterile environments. For users requiring higher throughput or BL2/BL2+ a new High-Throughput core is being developed by the Koch Institute.
"Johnny5" is the BioMicro Center robot optimized for cherry picking. It is a highly-versatile device equipped with a four-channel liquid handling arm (LiHa) and a 96-channel pipette arm (MCA96). The instrument supports a wide variety of fluid transfer operations for all sizes of microplates as well as 150mm dishes and can perform operations including reagent addition, continuous reagent dispensing, sample transfer, plate replication, plate-to-plate transfer, serial dilutions, and within-well mixing. The EVO can accurately handle volumes between 1 and 500 µl and has the ability to perform virtually any routine liquid transfer, replacing manual pipetting.
Johnny 5 has the following arms:
- LiHa (Liquid handler): 4 fixed conductivity sensing tips. 1-500 µl
- MCA (Multichannel Arm): 96 Tip head uses disposable tips (50 or 200 µl)
Johnny 5's deck is configured with the following carriers.
- 1 fixed tip washer.
- 3 15ml tube carriers.
- 2 temperature controlled SBS carriers (holds 6 plates)
- 3 non-temperature controlled SBS carriers (hold 10 plates)
- 3 spots for tips.
- 4 racks for 1.5ml tubes (24 each)
SCHEDULE TIME ON JOHNNY 5 Note, time must be booked in 2 hour increments.
"B9" is the BioMicro Center EVO150 optimized for high throughput screening. B9 has a 96 tip head for rapid pipetting and a robotic arm for moving plates around the deck. The robot has 4 plate stackers which can be used to add or remove plates during a run. B9 was donated to the BioMicro Center by Dr. Wendy Gilbert through a small instrumentation grant from the NIH.
B9 has the following arms:
- MCA (Multichannel Arm): 96 Tip head uses disposable tips (50 or 200 µl)
- RoMa (Remote Manipulator): Robotic are to move plates around.
B9 has the following Carriers:
- 1 rack for 3 non-SBS tip racks
- 1 rack for 2 stacks of nested tips with chute
- 3 racks for SBS tips (12 spots total)
- TeVac vacuum manifold
- Vortexer (Te-Shake)
- 2 on deck racks for short plates
- Shaking Incubator
- 4 Stackers (TeStack)
Schedule time on B9 Note, time must be booked in 2 hour increments.
| The Tecan EVO currently runs using the EVOware software package. EVOware can be run in either of two modes: directly connected to the Tecan EVO to allow control of the robot, or on your desktop computer in a simulation mode. Simulation mode is extremely useful in that it allows the user to pre-design the steps in their program. All users must download EVOware and design their protocols to be brought to the EVO.
Labware refers to the plastic consumables used by the robot. These include the tips, tubes, plates, etc. Each piece of labware must be individually prepared for the EVO and each program must refer to specific pieces of labware. Failure to properly set up labware can cause expensive damage to the machine and significant down time. The BioMicro Center stocks several types of labware which are available to users:
Use of the BioMicro Center Tecans can either be supervised or full-service.
In supervised use, the BioMicro Center will provide training for a new user. The user is then approved to work on the Tecans on their own. Newer users should work when BioMicro Center staff are available to answer questions. Usage of the robots for practice is *not* charged but has lowest priority. Practice time must be booked on the calender and indicated as practice. Practice time must also be logged on the time sheet next to the robot. A valid cost object number must be on record in the BioMicro Center and consumables are still charged. Once the user is using real samples, time is charged at our current rate found on the pricing page.
Full Service
In Full Service use, the BioMicro Center will be responsible for creating scripts, labware, and liquid classes to handle a user's protocol. Once completed, the user will be trained to run the protocol. Setup time will be estimated at a preliminary meeting and a cost and timeline will be estimated for the project. Once the protocol is set up, standard usage rates apply. Rates are on the pricing page.


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The TripLogic puzzles require you to think. You will have to be logical in your reasoning.
A family took a trip to a city. The trip was to be one hour long. They left at 6:00 and got there at 6:00. What happened?
AnswerThe city was an hour behind them.
What Next?
See another brain teaser just like this one...
Or, just get a random brain teaser
If you become a registered user you can vote on this brain teaser, keep track of
which ones you have seen, and even make your own.
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Business Centre
The latest business news, reviews, features and whitepapers
We've been using OpenOffice for years now. With these performance and appearance improvements, we can see more users moving to this free office suite. In particular, we think anyone who does spreadsheets every day owes it to themselves to compare Calc and Excel. You'll be impressed.
While some of the improvements to OpenOffice 3.1 are visible to the naked eye, we found that the most important changes were hidden under the hood.
What is it? OpenOffice.org 3.1 is a set of office productivity applications: Writer (word processor), Calc (spreadsheet), Impress (presentation manager) and Base (database manager). It's missing an Outlook substitute, but otherwise it's a complete replacement for Microsoft Office. The suite is available as a free download for Linux, Mac OS X, Solaris, and Windows; there are versions for most major languages.
The first thing you'll notice about the new OpenOffice 3.1 is that it just looks better. Thanks to its use of anti-aliasing, the program menus, letters and images it displays are sharper and clearer. (You can see examples at Sun's OpenOffice.org engineering blog.)
We tested the OpenOffice 3.1 suite on a Windows XP system and one running MEPIS 8, a Debian-based Linux distribution. What really caught our attention after a few minutes of using the various OpenOffice.org apps was how much faster this version is than version 3.0.
This was especially clear on when we ran it on a Windows XP system. It used to take about 12 seconds to launch Writer; now it takes just over 6 seconds. We saw similar performance boosts when running the various other applications of OpenOffice 3.1. It's almost like running OpenOffice.org on a brand new machine.
Another good feature, if you're considering OpenOffice 3.1 for office use, is that it now has its own OS-independent file-locking system. Now Jack in marketing, who uses a Mac, can't overwrite a change that was just made by Jill in the (Windows-based) comptroller's office.
We tried to mangle a shared document (that existed on a Windows Server 2008 file server) by editing it from our Linux desktop and also from the XP desktop. We couldn't do it. The file-locking mechanism preserved the document from our best attempts to make a complete mess of it.
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Brother QL-820NWB Professional Label Printer
The print quality also does not disappoint, it's clear, bold, doesn't smudge and the text is perfectly sized.
Sharp PN-40TC1 Huddle Board
The Huddle Board's built in program; Sharp Touch Viewing software allows us to easily manipulate and edit our documents (jpegs and PDFs) all at the same time on the dashboard.
Sharp PN-40TC1 Huddle Board
The biggest perks for me would be that it comes with easy to use and comprehensive programs that make the collaboration process a whole lot more intuitive and organic
Brother PocketJet PJ-773 A4 Portable Thermal Printer
I rate the printer as a 5 out of 5 stars as it has been able to fit seamlessly into my busy and mobile lifestyle.
Brother PocketJet PJ-773 A4 Portable Thermal Printer
It's perfect for mobile workers. Just take it out — it's small enough to sit anywhere — turn it on, load a sheet of paper, and start printing.
HP OfficeJet 250 Mobile Printer
The HP OfficeJet 250 Mobile Printer is a great device that fits perfectly into my fast paced and mobile lifestyle. My first impression of the printer itself was how incredibly compact and sleek the device was.