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Fairfax County Board of Supervisors To Recognize Citizens and Staff
Office of Public Affairs
12000 Government Center Parkway, Suite 551
Fairfax, VA 22035-0065
July 17, 2003
Fairfax County Board of Supervisors
To Recognize Citizens and Staff
The Fairfax County Board of Supervisors, at their meeting on Monday, July 21, beginning at 9:30 a.m., will recognize the following citizens and staff for their achievements and contributions to the community. A proclamation will be issued and a resolution adopted as listed below. For more information, call 703-324-3187, TTY 703-324-2935.
Two Time Championships
The Board of Supervisors will recognize the Madison High School baseball and softball teams. The Madison baseball team captured back-to-back Liberty District and Northern Region championships and ended the 2003 season with a 24-4 record, which resulted in a berth in the Virginia AAA state semifinals. The Madison softball team gained back-to-back Liberty District and Northern Region championships in 2003 with a 25-2 record, also resulting in a berth in the Virginia AAA state semifinals.
Community Dialogue
The Braddock District Community Dialogue on Transportation and Land Use will be recognized by the Board of Supervisors for their noteworthy dedication and resolute spirit. During a 4 month period, participants weathered substantial snowfalls to explore and recommend strategies for addressing the transportation and land use issues in the Northern Virginia region.
Black Engineer of the Year
The Board of Supervisors will recognize Lydia Thomas for her leadership and dedication to the Fairfax County community through her professional and personal commitment as a respected business leader and a mentor. Thomas' accomplishments resulted in her selection as recipient of the 2003 Black Engineer of the Year Award, sponsored by Career Communications Group, Inc., Council of Engineering Deans of the Historically Black Colleges and Universities, Lockheed Martin, Daimler Chrysler Corp., and US Black Engineer and Information Technology magazine, at the Black Engineer of the Year Awards Conference held in Baltimore, Md.
Ensuring Technology Access
The Board of Supervisors will recognize members of the Lorton Computer Learning Centers Partnership for ensuring access to technology for underserved children in the Lorton area. The Office of Partnerships celebrated the opening of its 13th Computer Learning Center at the LCAC Community Center in Lorton.
First Anniversary Celebration
Members of the Herndon Free Clinic will be recognized by the Board of Supervisors on its first anniversary. The Herndon Free Clinic serves Herndon and surrounding communities by providing health screenings to more than 356 uninsured, low-income children, representing 15 nationalities. These services have been expanded to include free school admission health screens, physical examinations for babies and toddlers enrolling in Early Head Start and Head Start, as well as physical examinations for Girl Scout and Boy Scout summer camp participants.


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The Atos Scientific Community – co-chaired by Thierry Breton and Hubert Tardieu, Advisor Atos CEO – brings together more than 135 of the best business technologists from all Atos geographies and businesses. With their rich mix of skills and backgrounds, community members work together to anticipate upcoming technology disruptions and craft Atos' vision of the future business challenges our clients will face.
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Atos Scientific Community Members
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Read the Ascent blog where Atos experts and thought leaders share insights and their personal views on a wide range of business and technology topics.
Explore our Vision
Atos Vision in Journey 2020 – Digital Shockwaves in Business
Through the latest edition of its Journey series, the Atos Scientific Community has sought to identify, define and research the most disruptive technologies & business trends that are impacting our world.
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subset: commoncrawl


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Kitchen twerkout in "And The Piece of Sheet" Episode 6 of Season 3
Feeling guilty for buying hair extensions with their joint funds, Caroline splurges on a new bedding set for Max but gives the old one to charity, not realizing her old pillowcase has sentimental value, on 2 BROKE GIRLS, Monday, Oct. 28 (8:30-9:00 PM, ET/PT) on the CBS Television Network. Oleg (Jonathan Kite), from left, Caroline Channing (Beth Behrs) and Max Black (Kat Dennings), shown. Photo: Darren Michaels/Warner Bros. Entertainment Inc. © 2013 WBEI. All rights reserved.


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|OCZ Vertex EX SLC SSD OCZSSD2-1VTXEX120G
|Reviews - Featured Reviews: Storage
|Written by Olin Coles
|Wednesday, 06 May 2009
Page 6 of 16
System Speed Test
I doubt that when DOS was put to rest, Vladimir Afanasiev ever thought he would see his System Speed Test software used again in professional reviews. This program offers comprehensive system information, but it also has a powerful benchmarking tool for memory, processor, and disks. In terms of disk performance, it measures interface and physical transfer rates, seek and access times at the hardware level, and it does so without delay or interference from Operating System software or running processes. This is why Benchmark Reviews will continue to use this test: it polls its results directly from the hardware without the need for Windows!
To detect the Random Access Time, each device runs the full test routine a total of five times. The highest and lowest scores were ignored, and the remainder was averaged. This would be prove pointless however, because the access time benchmark for every single SSD recorded identical test results between runs.
Using the System Speed Test software, the top Random Access Time benchmarks places the OCZ Vertex EX, Mtron Pro 7500, and ACARD ANS-9010 at the very top of our results. With a lightning-fast 0.08 ms access time, every other SSD is forced to live in the shadow that these products have just created. The other sub-0.1ms top performers include: MemoRight GT, Mtron Pro 7000, Mtron MOBI 3500, Intel 80GB X25-M, OCZ Vertex and Mtron MOBI 3000.
The mid-level Random Access Times fall between 0.14ms and 0.23ms, and include: OCZ SATA-II OCZSSD2-1S64G, Samsung MCCOE64G5MPP, Silicon Power SP032GBSSD750S25, OCZ Apex OCZSSD2-1APX120G, G.Skill FM-25S2S-64GB, Patriot Warp PE128GS25SSDR and the original OCZ OCZSSD64GB.
At the slower end of our SSD Response Time chart is the original SATA Silicon Power SP064GBSSD25SV10, OCZ Core Series, Crucial's CT32GBFAB0, and the Super Talent MasterDrive MX finishing out the list. In reality you couldn't begin to perceive these subtle differences, and MLC or SLC construction has a lot to do with Random Access Time. It is understandable then, that the newer SSD products do not maintain the lightning fast response time that much more expensive SLC products do. Still, the slowest SSD product (0.51ms) is 14x more responsive than the fastest desktop hard drive.
It's also worth keeping in mind that Hard Disk Drive alternatives are much slower to react. Even the very best of the desktop hard drive products, Western Digital's VelociRaptor 150GB WD1500HLFS, could produce 7.15ms at its best. The Western Digital Raptor took 8.53ms to respond, followed by 12.99ms for the Seagate 7200.11, and 15.39ms for the 7200 RPM Hitachi Travelstar 7K100 notebook drive. The worst performer was the standard 5400 RPM notebook drive (Hitachi Travelstar 5K160 HTS541640J9SA00), which recorded a painfully slow 17.41ms Random Access Time.
Drive Hardware


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Giuseppe Verdi's immensely popular opera, a classic and touching tale of love and sacrifice between a beautiful courtesan and her young lover from a respectable provincial family. This production will evoke the world of 19th century Paris in all of its grandeur.
By Conductor, Joseph Rescigno
In many ways, Giuseppe Verdi is to opera what Ludwig van Beethoven is to symphonic literature: their works are mainstays of their repertories; both composers continued to grow and develop musically throughout their lives; and their numerous works may be divided into three distinct periods. Also, Verdi's style is not unlike Beethoven's, characterized as it is by rhythmic drive, sophisticated development and counterpoint, and rock-solid architecture.
La traviata is the last of three enduring Verdi works premiered in just the three years 1851 to 1853 (the other two being Rigoletto and Il trovatore). While some people may disagree as to whether La traviata is forward-looking enough to be called the first verismo opera, it is a break from classic bel canto opera. First, the plot is modern; indeed, its heroine's lifestyle was considered too racy for a contemporary setting, and for about four decades after its premiere it was set in the eighteenth century. The other modern aspect of the opera is its extensive through-composition; there are long stretches of music where the bel canto composers would have presented separate numbers and left room for applause. Moreover, the vocal ornamentation is supplied by the composer and more restrained than we hear in bel canto operas; singers bring few, if any, personalized variations and embellishments to La traviata.
Dabs of orchestral color are added by a banda in both Acts I and III. This is a group of musicians who play contrasting music that is part of the story, sometimes outside the pit (backstage, for example). In La traviata, the banda plays during the party of the first act and outside Violetta's window in the last act. Listen, too, for the beautiful clarinet solo of Act II, Scene 1, where Violetta writes her farewell letter to Alfredo; it is almost certain that this clarinet solo and the cello quartet of Verdi's later opera, Otello, served as inspiration for Giacomo Puccini when he composed the opening sections of Tosca's Act III.
While using the same size orchestra as Verdi's other operas of that time, this opera has a particularly light orchestration and feeling. Not until his last opera, Falstaff, would Verdi again serve musical champagne in quite this manner. After the entire orchestra bubbles with the opening tune (allegro brillantissimo e molto vivace, a most brilliant allegro and very lively), the composer reduces the orchestra to just a few strings. In fact, depending on the size and acoustics of the theater, this passage can sound exquisite with just a string quartet, which reasonably could be playing at this kind of party.
The challenges in conducting La traviata, include cultivating this spirit of beauty and delicacy. Even in the opera's most dramatic moments, it is imperative to avoid heaviness. In the Act II, Scene 2 confrontation between Alfredo and Violetta, for example, we can sustain the drama but avoid excess by having the strings play some of their repeated notes using a light, bouncing, bowing technique (such as the picturesquely named "ricochet" technique).
Those repeated rhythmic figures in the accompaniments, which are part of why the orchestra can get heavy in this scene, are more common in La traviata than in Verdi's other works of this period. They are not like the repeated arpeggios in the introduction to "Casta Diva" in Vincenzo Bellini's Norma, which sound delicate and even ethereal. The figures used here play a more percussive role, like the chords in the rock and roll pianos of Chubby Checker or Jerry Lee Lewis, or the bass instruments in jazz and rock combos. When used by today's concert and opera composers, these repeated figures are generally referred to as ostinati (plural of ostinato, the Italian for "stubborn"). In addition to hearing these in the Violetta-Alfredo confrontation, we encounter them when Germont sings of his daughter in Act II, Scene 1; as Violetta writes her farewell letter to Alfredo later in that scene; during her final aria, "Addio del passato" (Goodbye to the past); and at the conclusion of the opera.
In La traviata, Verdi supplies indications more liberally than earlier composers did, a practice that would grow throughout the romantic era and into our own day. As is true in all music, however, performing it requires thought about dramatic purpose and imagination in execution. For the conductor, the preludes to Act I and the final act, comprise a particularly apt example. They look very similar on the page. There is room to treat them differently, however, without any fundamental change in the music. In the first prelude, the orchestra can portray a struggle: Violetta's refusal to accept any limitations as expressed in the aria "Sempre libera" that closes the act. In the last act prelude. the same music played a bit slower and softer and even calmer can preview her acceptance of inevitable death as expressed in that act.
The Act II finale is a model of its type, masterfully portraying a complex tapestry of emotion. It is constructed from basic building blocks, and it is plain but elegant in the manner of a square-cut diamond. First, the three lead singers have similar musical lines, differentiated in large measure by articulation. Violetta's music is written almost entirely legato, in long lines of connected notes. Germont has some staccato marks, indicating that the syllables should be clipped and disconnected. Alfredo, remorseful after his outburst, has many more staccato marks than Germont over his notes, probably to suggest sobbing. Where he does not have staccato marks, he has a great many notes of very short duration.
Second, this Act II finale is marked largo, a slow tempo, with no changes indicated for the remainder of the act. This means no change in the tempo of a long sequence that begins with the entrance of Germont with "Di sprezzo degno" (Worthy of scorn), continuing through Alfredo's remorse, "Ah si che feci?" (What have I done?) and Violetta's aside, "Alfredo, Alfredo, di questo core" (Alfredo, Alfredo, from this heart) and all of the onlookers' comments. It requires a lot of discipline to portray contrasting emotions for some ten minutes with only the modest tempo flexibility typical of nineteenth century music, but without any fundamental change in the beating pattern. If we trust Verdi, however, this consistency lends a unity to the whole and produces a tremendous cumulative impact.
In La traviata, Verdi told a story through music that has captivated audiences for more than 150 years, and even though it no longer seems likely to provoke any public debates about morality, it still draws us in. The hardest part for modern audiences to swallow may be the success Germont has in bullying his son and, even more, Violetta. However, prior to World War I, conventions were very different from today. If we imagine Germont as a member of a strict religious community, we can perhaps come closer to understanding how his argument is possible and see that the story is rooted in truth.
The opera's greatest truths—love, loss, and unintended consequences—are timeless, of course. Great music, by speaking directly to our hearts and even our guts in addition to our brains, can lift a story's characters out of their specific place and time and make them as real as our neighbors.
By Director, James de Blasis
When the young Alexandre Dumas, fils created the Lady of the Camellias, he gave literature one of the most fascinating women – a woman of indolence and heedless gaiety; yet her beauty and fame masked a spirit of selfless generosity. Her life was like that of other kept women who lived in the demi-monde and enchantment of 19th century Paris.They were rich, collected men unabashedly, and lived only for pleasure and intrigue, but Marguerite Gautier, as depicted by Dumas, was capable of giving more; her love – and her love affair with Armand Duval became immortal.
Dumas' novel. La Dame aux Camellias published in 1845; was an immense success in Paris and in 1852 he transformed it into a play, of which the critic, Andre Maurois, wrote: "What formed his constant subject was love; love between men and women, parents and children. The love he felt for his mother had taught him to feel pity for all women unjustly outlawed by society." Dumas knew that suffering because he was born out of wedlock.
While Verdi was working on Il Trovatore in Paris where he was living at the time, he saw La Dame aux Camellias. He may have been drawn to the play because it corresponded to his own situation, for at the time he was living and travelling with the soprano, Giuseppina Strepponi (whom he later married). His family and friends had not accepted this double standard. Even though he had not completed Il Trovatore, Verdi, feeling the same compassion as did Dumas for the Lady who announced her availability by the color of the camellias she wore, decided to lay out his plan for La Traviata.
One notes that the titles of Verdi's usually meant very little to him, he was satisfied by using the name of the main character: Aida, Macbeth, Otello, Rigoletto. But with La Traviata he insisted that the work not be called Violetta. Seven weeks after Trovatore premiered in Rome, 1853, La Traviata was produced at La Fenice Theater in Venice. Eighteen operas from Verdi's pen had preceded this composition.
This Opera contains much of the warm, emotional melodic profuseness which the public likes. It gives pleasure through its sadness. It is important to note that this opera is the most domestic of all his works. Lyricism is Verdi's chief power as a dramatist; not only his power but a greatness that sets him apart decisively from other composers. His tunes and melodic phrases are romantic, never sentimental. This might be contributed to his changing the musical form, the cabaletta. In the early 19th century this device was used in an aria or duet of sentimental form which always came after a slower, quieter section of writing and served to guarantee rousing applause or ending to a scene.
In Traviata the cabaletta for Violetta is much more imaginatively arranged. At the end of Act I, touched by Alfredo's declaration of his love, Violetta ponders whether she can find lasting love, in the aria, "Ah fors' e lui". Then quite abruptly, she pushes the self-indulgent thoughts out of her mind, and sings the slightly hysterical cabaletta, "Sempre libera". She must be free and live only for day-to-day pleasure, which may be the core of the entire opera. Violetta has a tremendous inner struggle; the yearning to let go of the high life but fear of giving it up.
Alfredo is a poetic soul in love with love; she submits to that love and it is her destruction. This opera, in whatever era, is not three acts of romanticism with a waltz tempo. La Traviata is the musical depiction of the inner struggle of one who is not always to be admired but always to be pitied.
by Ruth and James de Blasis
Act I
After an intense siege of tuberculosis which prevented Violetta Valery from any social activity she is giving her first intimate soiree. Because she was unable to have visitors while she was ill, her friends are quite eager to see her. Flora, a friendly rival, and her escort the Marquis d'Obigny cannot help but notice, however, that the Baron Duphol, Violetta's current lover, is very uncomfortable. The Baron takes special note when Gastone, Violetta's very good friend, introduces Alfredo Germont, the unknown admirer who sent flowers and bon-bons to her during her illness. Having not known the young man previously, Violetta graciously greets him, then charmingly mingles and invites all to celebrate the evening with champagne. Alfredo is unanimously nominated to make the toast.
The romantic youth sings a tribute to love - actually meaning Violetta, who answers that love is like a flower that ultimately fades.
An orchestra is heard in an adjoining room which prompts Violetta to invite everyone to dance. The hostess has a sudden pain and excuses herself, but her friend and confidante, Annina recognizes Violetta has had a slight spasm. Annina rushes to her aid, with a shawl and medication. Violetta knows her color has drained, but sees Alfredo, who has not joined the other guests. Nonchalantly Violetta dismisses her attack while Alfredo declares his sincere desire to take care of her, his longing admiration and his love. She pleads that she can only offer her friendship in return and asks that he speak no longer of his love. Rebuked, he starts to leave, but she beckons him to wait. Affected by his sincerity, Violetta offers him a camellia and asks that he return when it has faded.
As dawn approaches, the drunk and giddy party-goers depart. Alone, she ponders her life, her freedom, and this new attraction for a young man. But she resolves to continue to be free and carefree…until she recalls his voice and his vow of unending love.
Act II, scene 1
Three months have passed since Alfredo and Violetta left the mad-cap life of Paris for a country house, just outside the city. She has offered him deep love, and he has given her the only true happiness she has known. Under his daily care, she has gained strength, and he, great joy. But this idyllic existence is interrupted when Alfredo learns from Annina that Violetta has been selling her jewels and other possessions to meet their expenses. He leaves immediately for Paris to seek financial aid of his own. Alfredo consequently misses the unexpected arrival of his father.
Giorgio Germont's distress over his son's liaison with Violetta has prompted his coming. His harshness toward Violetta, in persisting that she leaves Alfredo, turns to tenderness as he realizes the depth and honesty of her love. Knowing that she does not have long to live and desiring to insure Alfredo's future, Violetta makes the sacrifice.
In deciding to return to Paris, she sends a white camellia to the Baron and then fighting her broken heart, she begins writing a farewell to Alfredo.
When Alfredo returns, Violetta emotionally bids him a loving goodbye, which he does not understand until a servant brings him her letter. He is shocked and overwhelmed that she deserted him. His father reappears and tries to console him by appealing that he return home. When Alfredo discovers the invitation from Flora, he then realizes Violetta is returning to her former life and vows to have his revenge.
Act II, scene 2
During a very colorful masquerade, Violetta's "friends" gossip about her abandonment of Alfredo and her return to the Baron. Having heard the rumors about himself, Alfredo, to the astonishment of them all, appears. Moments later Violetta reluctantly enters with the Baron who, upon seeing Alfredo, threatens her and forces her to remain.
Tension rises as the Baron tries to outdo Alfredo at cards, but the brash young man's luck continues and it is only the announcement of supper that delays an impending confrontation. As soon as the two men depart Violetta sends Gastone to bring Alfredo to her.
Sensing that Alfredo will stop at nothing, she begs him to leave because of the Baron's jealous wrath. Alfredo is hell-bent to win her back and pressures her to admit that the "someone", who had the right; and forced her to return was Baron Duphol and that she loves him. At her wits end, she lies and says "Yes, I love him!" Hurt and enraged he calls back the guests and defiantly throws his winnings at the feet in payment to a woman of her kind.
Amid general indignation the elder Germont appears and publicly denounces his son's conduct toward a "lady". The music weaves the texture of Violetta's love, Alfredo's remorse and Germont's secret. When it seems, for one brief instant, that the lovers might reconcile, the Baron suddenly slaps Alfredo with his glove, signifying an upcoming duel. Violetta, completely overwhelmed, swoons.
Act III
Now in the final throes of the disease, as so often happened in its later stages, Violetta is trapped in a "half world" - a world torturing and tormenting her – as she suffers through periods of deep delirium and then lucidity. It is an ambiguous "someplace" where she is unable to distinguish reality from the people and incidents trapped inside her fevered delirium. Violetta drowns in a deep morass of fleeting images; which confuse her troubled mind and sap the little strength remaining in her exhausted body.
Is what she has re-lived, in her tortured mind these last few months, real? Is what's around her this very moment, real? She struggles, but cannot swim through the blur and fog in which she is submerged.
An instrumental prelude is dominated by reminiscent melodies and themes reflecting what Violetta has been re-living.
Thus we discover the forsaken and destitute Violetta with her beloved Annina. Annina brings her a sip
of water, then lets in a little light and sees the Doctor on his way. When he enters he brings more medicine, reassuring Violetta that she will soon be well again; but to Annina confides that the end may be only a few hours away.
Violetta does not know what time or day it is. Annina tells her it is Carnival Time; that all Paris has gone mad. Violetta sends her companion to give half her money to the poor, who also suffer, and to bring any mail that may have come.
Alone, Violetta unfolds a crumpled letter, which she knows by heart. It is from Giorgio Germont who writes that 'Alfredo knows everything, that he is on his way to seek her forgiveness, and sends hope that she will soon be well.' Violetta knows it is too late, that she is dying. Again, she succumbs to sorrow and delirium; relives pieces of her life and implores Heaven's pardon for her past.
A raucous festival tune invades her mind - then Annina tries to revive her - then suddenly Alfredo is in the room. What is real? Could this be Alfredo, himself? Dear God, let it be true!!
Reconciliation, with eternal vows, gives Violetta new strength, but only for a short time. Weakness and frailty again overtake her body. She pleads to go to church, but is too weak. A sudden delirium possesses her. She rejects Alfredo and God, and finally falls fainting. Germont arrives and yet again she gathers hope, but very soon becomes feverish. In her weakness Violetta beckons Alfredo beside her, places a miniature of herself in his hand, asking him to promise that one day he will marry. Suddenly a surge of energy causes her to rise and she calls out from her "half world"...
"Oh, Joy", reaches Alfredo, wanting to kiss him….and collapses in his arms.
Joseph Rescigno, Conductor
Joseph Rescigno has conducted symphonies, concertos, operas and oratorios for more than fifty companies on four continents. Since 1981, he has served as Artistic Advisor and Principal Conductor of the Florentine Opera Company of Milwaukee, Wisconsin where he has conducted some of the company's most challenging repertory including the Florentine Opera's first world premiere, Don Davis' Rio de Sangre in 2010 (recorded by Albany Records, 2011). This season he conducts the company's productions of Turandot and Idomeneo as well as Madama Butterfly for Arizona Opera and Le nozze di Figaro for Lyric Opera Baltimore. Next season he conducts La Traviata for Opera Omaha and Atlanta Opera as well as his company's productions of Carmen and Le nozze di Figaro. Rescigno also served as Artistic Director of l'Orchestre Métropolitain of Montreal and, in that capacity over four years, made four recordings of works by Beethoven, Brahms, Mendelssohn, and Mozart on the Analekta label.
James Benjamin Rodgers, Gastone*
Place of birth: Wellington, New Zealand
Versatile throughout a number of genre, James Benjamin Rodgers has been the recipient of numerous performance awards and scholarships. He is a consummate crossover singer who is comfortable in opera, art song, oratorio, musical theater, popular song and has championed many contemporary works through their debut.
He recently returned to Mac-Haydn Theater in summer stock as Tommy in Brigadoon and will be presented in a series of recitals throughout the fall in New Zealand. He makes his European debut in a Kurt Weill concert with the MDR Symphonie Orchestra in Dessau and Leipzig in 2013.
In past seasons he debuted the world-premieres Christopher Cerrone's Invisible Cities as Marco Polo, the title role of The Kinsman Major Molineux by Bruce Saylor both in New York City; and was invited to the The Banff Center to sing the role of Bobby in Lillian Alling by John Estacio. He performed the role of Aeneas in Dido and Aeneas with Opera on the Avalon in Newfoundland, Tamino in Die Zauberflöte with New Zealand Opera and has sung the title role in the musical Jekyll and Hyde.
He made his Lincoln Center debut with the Little Orchestra Society in Der Lindenbergflug by Kurt Weill with Sigourney Weaver as narrator and sang with the Ravinia Festival in Weill's Mahagonny Songspiel, James Conlon conducting. Other roles include; Baker in Stephen Sondheim's Into The Woods, Nadir in Les pêcheurs de perles, the title role of Monteverdi's L'orfeo, Pluto in Offenbach's Orphée aux enfers and Borsa in Boris Godunov.
James de Blasis, Stage Director
James de Blasis has been an active Producer, Stage Director and Dramatic Operatic Role Coach all over the United States. After a professional debut starring Richard Tucker in La Boheme his career flourished with a New York City Opera debut in Carmen, starring Placido Domingo and Beverly Wolff. After that came debuts in San Francisco, Houston, Philadelphia, Hawaii, Pittsburgh, Palm Beach, Tulsa, San Diego, Portland, Memphis, Harford, The Schubert Opera and Opera Canada.
Jim took over the Cincinnati Opera as both General and Artistic Director leading that company to international acclaim with productions of rarities like Zaza and Risurrezione, a US premiere, repertoire of vast diversity and discovery of young artists who made major international careers. He received the Post Corbett Award in Cincinnati as Artist of the Year, The Ohio Governors award for Artistic Administration, served on both the Opera and National Panels for the National Arts Endowment and received the Opera America Citation for 25 years of Outstanding Leadership of Cincinnati Opera.
Recommended by Beverly Sills and Norman Treigle, Jim became National Consultant to The Corbett Foundation giving financial assistance to 28 Opera Companies in America, including the first grants to the then OMAHA OPERA in the early 70's. He is also remembered locally having directed Beverly Sills in Lucia di Lammermoor which opened the restored Orpheum Theater in 1975.
His operatic repertoire consists of 64 differing operas from L'Incoronazione di Poppea to Boris Godonov. Jim has a special affinity for French repertoire scoring huge successes in Faust, Manon, Romeo et Juliette, Werther, Carmen and Pearl Fishers.
His famous "Wild West Elixir" has been seen all over the U.S. to great acclaim, and shown on National Television along with his Hansel & Gretel.
Jim says his favorite work is the "one-on-one" coaching of artists with special emphasis on character discovery thru the score and constant work on meaning of the music thru the bel-canto emphasis on text.
Patricia Soria Urbano, Annina*
Patricia Soria Urbano, Mexican Soprano, has been lauded as having …'rich, powerful vocals and feisty acting…' (SF Weekly). Ms. Urbano is an alumnus of the New England Conservatory of Music where she studied under Metropolitan Opera Soprano Ms. Patricia Craig. Some of Ms. Urbano's roles include Susannah in Susannah, Antonia, Giulietta, and Stella in Les Contes d'Hoffmann, Tosca in Tosca , Donna Elvira in Don Giovanni, Thais in Thais, Marguerite in Faust, Fiordiligi in Cosi Fan Tutte, Susanna in Le nozze di Figaro, and Pamina in The Magic Flute . Ms. Urbano has worked with distinguished opera companies in California which include West Bay Opera covering the leading soprano role, Euridice in Orfeo ed Euridice and Pocket Opera's Emperor Norton as Diana. Ms. Urbano was the recipient of the Mim Babin Scholarship Award from the American Musical Theatre as well as Redwood City's Concerto Competition Winner. She is delighted to be joining Opera Omaha this season.
Inna Dukach, Violetta*
Russian-American soprano Inna Dukach has been praised for "an immediately appealing, youthfully rich and velvety voice."
The artist's 2011-2012 season includes debuts with the Israeli Opera, as Nedda in Pagliacci; Dayton Opera and the Jacksonville Symphony Orchestra, as Mimì in La Bohème; Pensacola Opera, in a role debut as Cio-Cio-San in Madama Butterfly; and New Orleans Opera, as Nedda in Pagliacci and the soprano soloist in Carmina Burana. She also returns to Opera Colorado as Rosalba in Daniel Catán's Florencia en el Amazonas.
Next season she will sing the role of Violetta in La traviata with Opera Omaha, Donna Anna in Toledo Opera's production of Don Giovanni and Violetta in concert with the Harrisburg Symphony Orchestra.
Recent performances of note include her debut at Royal Opera House, Covent Garden as Musetta in La Bohème; a highly acclaimed Mimì in La Bohème with New York City Opera; the Countess in Le nozze di Figaro with Hawaii Opera Theatre, Walter in La Wally with the Netherlands Radio Philharmonic Orchestra at the Concertgebouw in Amsterdam, Pamina in Die Zauberflöte with Opera Hong Kong, Liù in Turandot with the Savonlinna Opera Festival, Tatiana in Eugene Onegin with Opéra Lyra Ottawa, Violetta in La traviata with Zagreb Opera in Croatia, Marguerite in Faust with Opera New Jersey, Donna Anna in Don Giovanni with Orlando Opera and Opera Carolina, and Xenia in Boris Godunov with San Diego Opera.
Kirk Vaughn Robinson, Baron
As a recent transplant, Kirk was thrilled to make his debut with Opera Omaha in their 2011 production of Hansel & Gretel as the Sandman and Pish-Tush in the 2012 production of The Mikado. Other local credits include The Rose Theater's 2011 production of The Sound of Music, (Captain von Trapp- OEA Award nominee) He was the baritone soloist in the world premiere of Mark Kurtz's With you Always (2011) and Moses in the premiere of Paul Boesing's oratorio Journey to Canaan (2012).
He recently completed more than 12 years as a cast member of the National Broadway tour of Andrew Lloyd Webber's The Phantom of the Opera (Lefevre & Fire Chief) touring the US and Canada. Other favorite musical/theater roles include National: Monsieur Firmin, Don Attilio, Auctioneer (The Phantom of the Opera), Regional: Don Quixote (Man of La Mancha), El Gallo (The Fantasticks) and Freddy Eynsford-Hill (My Fair Lady).
Operatic performances include roles with the Cincinnati Opera, Dayton Opera, Sorg & Whitewater Opera companies and the Cincinnati Pops. A few favorite roles include Regional: Papageno (Magic Flute), Father (Hansel & Gretel), Fiorello (Barber of Seville), Mattieu (Andrea Chenier).
He was awarded a full scholarship to the American Institute of Musical Studies in Graz, Austria and also performed as an Apprentice Artist with the Santa Fe Opera Company understudying the roles of MacHeath (Beggars Opera) and Falke (Die Fledermaus). An accomplished bronze sculptor, Kirk was recently named Omaha's AC Gallery- Emerging Artist for 2011. His work can be seen in galleries throughout North America, as well as noted publications and magazines. Visit him at www.kirkvaughn.com as well as BullyingHurtsArtHeals.com
Joshua Kohl, Alfredo*
American tenor Joshua Kohl has been called a "tenor to watch" by The Boston Herald and was recently singled out for his "glorious, relaxed performance" by Opera News. The Salt Lake Tribune said of his Macbeth that he "nearly steals the show with his impassioned portrayal of Macduff. The young tenor brings a jolt of urgency to every scene he's in, and the aria in which Macduff expresses his grief over his family's murder is arguably the emotional high point of the evening."
Mr. Kohl begins the 2011- 12 season at Nashville Opera portraying Alfredo in their production of La Traviata. He follows that engagement with the role of Edgardo in Lucia di Lammermoor with the Sarasota Opera and the Duke in Rigoletto with Lake George Opera. Concert engagements during the season include Carmina Burana with the Hartford Symphony, among others. During the 2010-11 season Mr. Kohl sang Alfredo in La Traviata with Tulsa Opera, Don Ottavio in Don Giovanni with Sarasota Opera, West Side Story Suite in concert with the Lexington Philharmonic, and Mendelssohn's Symphony No. 2 with the New Jersey Symphony.
During the previous season, he joined the Dallas Opera as Pinkerton in Madama Butterfly for student matinee performances, Sarasota Opera as Tamino in Die Zauberflöte which was "sung suavely" (Herald Tribune), Lake George Opera as Don José in Carmen, the Commonwealth Opera as Ferrando in Cosi fan Tutte and Utah Opera as Macduff in Macbeth. On the concert stage he was an Artist-in-Residence with Opera Theatre of St. Louis and sang Handel's Messiah with the New Haven Symphony.
During the 2008 - 09 season, the tenor sang Rodolfo in La Boheme with the Pittsburgh Opera, and made debuts with Opera Theatre of St. Louis as First Jew in Salome and with the Virginia Opera as Nemorino in L'elisir d'amore. His Nemorino was praised for his "sincere and touching performance. The young tenor displayed a bright voice of great size, yet capable of movement and nuance." (Portfolio Weekly) On the concert stage he presented a recital under the auspices of the Upper Ohio Valley Opera Guild, joined Yale University for a performance of Stravinsky's In Memoriam with Dylan Thomas, and appeared with both Opera Providence and Connecticut Concert Opera.
During the 2007-2008 season, Mr. Kohl joined Opera North for performances of Tamino in Die Zauberflöte, sang Al Joad in The Grapes of Wrath with Utah Opera, and covered the title roles in both Troilus and Cressida and The Tales of Hoffmann with Opera Theatre of Saint Louis. While an Artist Diploma candidate in Opera at Yale University, he appeared as Torquemada in L'Heure Espagnole, Alfred in Die Fledermaus, and Dr. Ucitelli in Comedy on a Bridge. Concert engagements included Carmina Burana with the Yale Camerata, Les Noces with the Yale Symphony Orchestra, and Gounod's St. Cecilia Mass with the Connecticut Master Chorale, for which the Danbury News-Times said his rendition of the Sanctus was the "high point" of the afternoon. He represented the city of San Francisco at the Nakanoshima International Music Festival in Osaka, Japan, and offered a recital for the Albright College Concert Series for which The Reading Eagle praised him for his "ambitious program that showed his versatility, his acting ability and, above all, his glorious voice."
Operatic highlights from recent seasons include performances as Al Joad in the world premiere of Ricky Ian Gordon's The Grapes of Wrath, Serano in La Donna del Lago, Nathaniël/Spalanzani in Les contes d'Hoffmann, and the cover role of Gérald in Lakmé – all at the Minnesota Opera while he was a Resident Artist. In addition, he has performed in principal and comprimario roles with Boston Lyric Opera, Minnesota Opera, Utah Opera, Virginia Opera, San Francisco's Merola Opera Program, Atlanta Lyric Theatre, The Ohio Light Opera, Yale Opera, Boston University's Opera Institute, and at the University of Cincinnati's College-Conservatory of Music. On the concert stage he has performed with composer Richard Wargo in From the Bards of Ireland, a concert of Irish-inspired music, in addition to appearances in Los Angeles with Operetta Foundation. He appears as the title character in Albany Records' recently released album The Birdseller.
A National Semi-Finalist in the Metropolitan Opera National Council Auditions in 2007, he also received Honorable Mention in the 2008 Irma Cooper International Vocal Competition, and placed 7th in the 40th Annual Palm Beach Opera Vocal Competition in 2009. Mr. Kohl earned a Bachelor of Music degree from the University of Cincinnati, and a Master of Music degree from Boston University.
Terry Hodges, Marquis
American-trained bass baritone Terry Hodges' stagecraft and vocal technique have assured him a busy career in opera and music theatre in the United States and Canada. His musicianship coupled with programmes at Santa Fe and Lake George Opera Festival led to engagements at Carnegie Hall and for the Opera Theatre of St. Louis, among others. Mr. Hodges' is renowned for his portrayal of Dr. Bartolo in IL BARBIERE DI SIVIGLIA and he has been engaged for this role by companies in both the United States and Canada including Boston Lyric Opera, Pacific Opera Victoria, Opera Columbus and the Tulsa Opera.
Recent and upcoming engagements have Mr. Hodges engaged as Dick Deadeye in HMS PINAFORE for Nashville Opera, as Benoit/Alcindoro in LA BOHEME for Vancouver Opera, and the role of Dulcamara in L'ELISIR D'AMORE for Tulsa Opera. In 2006-2007, he returned to Manitoba Opera for Frank in DIE FLEDERMAUS, Opera Tulsa for THE LITTLE PRINCE, and took on the role of Leporello in DON GIOVANNI for Pacific Opera Victoria and Orchestra London.
Past Productions
In 2005/2006 he was in Utah for KISMET and ANNIE GET YOU GUN, at Virginia Opera for Dr. Bartolo in LE NOZZE DI FIGARO and in Milwaukee for LITTLE WOMEN at Skylight Opera Theatre. The remainder of that season was filled with performances of KISMET for Toronto Operetta Theatre and MAN OF LA MANCHA back in Milwaukee.
He was heard in Thea Musgrave's CHRISTMAS CAROL for Virginia Opera, in WOZZECK as the Doctor for Pacific Opera Victoria and as Dick Deadeye in Opera Omaha's HMS PINAFORE. Puccini's comic Sacristan in TOSCA took him back to the Opera Theater of St. Louis and he was in Philadelphia for Elder McLean in Floyd's SUSANNAH.
Mr. Hodges appeared for Piedmont Opera as Luther/Crespel in Offenbach's LES CONTES D'HOFFMANN and was Trulove in THE RAKE'S PROGRESS for Vancouver Opera. After concert performances as Dulcamara in L'ELISIR D'AMORE for Orchestra London, he returned to Piedmont Opera as the Pirate King in THE PIRATES OF PENZANCE and was in Omaha for MAN OF LA MANCHA and Benoit/Alcindoro in LA BOHÈME for Opera Theatre of St. Louis. Mr. Hodges has been featured by Virginia Opera as Angelotti in TOSCA, Opera Saskatchewan as Frank in DIE FLEDERMAUS, Toronto Operetta Theatre as Pali Racz in ZIGEUNER PRIMAS and the Opera Company of Philadelphia as Don Pedro in LA PÉRICHOLE.
Further roles in Mr. Hodges' repertoire include Don Alfonso in COSÌ FAN TUTTE, Colline in LA BOHEME, Henry Higgins in MY FAIR LADY, Dr. Engel in STUDENT PRINCEand Tevye in FIDDLER ON THE ROOF. He also has more than 2,000 performances of PHANTOM OF THE OPERA among his list of credits.
With a degree in Vocal Performance from the University of Southern Colorado, this Chicago-born bass baritone also has the oratorio works of Mendelssohn, Fauré, Haydn, Brahms and Handel at his command.
Jake Gardner, Germont*
Boasting a career which includes performances with major opera companies and orchestras throughout North America, Europe, Asia, and Australia, bass-baritone Jake Gardner remains one of the opera world's most sought-after singing actors. Noted North American engagements from the past few seasons include Doc in Bernstein's A Quiet Place with New York City Opera, Betto in Gianni Schicchi and Hortensio in La Fille du Régiment with San Francisco Opera, DeBritigny in Manon for Lyric Opera of Chicago, Sharpless in Madama Butterfly for Florida Grand Opera, Baron Zehta in The Merry Widow with Los Angeles Opera, his debut as Wotan in Die Walküre with Hawaii Opera Theatre, Buffalo Bill Cody in Annie Get Your Gun, Ronaldo Cabral in Later That Same Evening, and Jupiter in Offenbach's Orpheus in the Underworld at Glimmerglass Opera, as well as Horace Tabor in Central City Opera's The Ballad of Baby Doe. In the current 2011-2012 season and beyond, engagements include Sharpless in Madama Butterfly at the Arizona Opera, The Mayor in John Musto's The Inspector at Boston Lyric Opera, Ariadne auf Naxos at Lyric Opera of Chicago, Mayor Shinn in The Music Man and The Judge in Lost in the Stars at Glimmerglass Opera, Germont in La Traviata with Opera Omaha and a return to Houston Grand Opera in 2015.
Liam Moran, Dr. Grenvil
Bass Liam Moran recently performed the role of Dottore Grenvil in Pittsburgh Opera's production of La traviata and was last seen at Opera Omaha as Norton in Rossini's The Marriage Contract. Additionally last season he returned to Annapolis Opera for Frère Laurent in Gounod's Roméo et Juliette, and sang the Old Hebrew in Samson et Dalila with Washington Concert Opera. The 2012-2013 season brings his return to Annapolis as Sparafucile in Rigoletto, the Commendatore in Kentucky Opera's Don Giovanni, and appearances in Handel's Messiah with the Distinguished Concerts International New York, and St. Thomas in New York city. Other recent highlights include Snug in Britten's A Midsummer Night's Dream with Boston Lyric Opera, the title role in Le nozze di Figaro for Annapolis Opera, and excerpts of the same at the Virginia Arts Festival for Amadeus – a co-production of the Virginia Symphony Orchestra and Chautauqua Theater Company.
Leah Wool, Flora*
In June of 2011, Leah Wool sang the roles of Dido and also the Sorceress in concert performances of Dido and Aeneas with the Portland Baroque Orchestra and the Oregon Bach Festival. The 2011-2012 season finds the artist in returns to the San Francisco Symphony, as the second mezzo-soprano in Debussy's The Martyrdom of St. Sebastien, Spoleto Festival USA, for Glass' Kepler and in a duo recital, and Gloria Musicae for Haydn's Seven Last Words of Christ. She will also sing Handel's Messiah with both the Kansas City Symphony and the Cincinnati Symphony. Future seasons include appearances with Nashville Opera and Knoxville Opera, as the title role in La cenerentola.
Her 2010-2011 season included returns to Gotham Chamber Opera as the title role in Montsalvatge's El gato con botas and Utah Opera as Hänsel in Hänsel und Gretel, Rosina in Il barbiere di Siviglia with Opéra Louisiane, and the Mother in Amahl and the Night Visitors with The Little Orchestra Society at Avery Fisher Hall. On the concert stage, she returned to Avery Fisher Hall in Copland's In the Beginning and Beethoven's Ninth Symphony, and debuted with the San Francisco Symphony for the Duruflé Requiem.
In previous seasons, Ms. Wool appeared at the Metropolitan Opera in performances of the Second Bridesmaid in Le nozze di Figaro, Marshal Murat's Adjutant in War and Peace, and the Second Novice in Suor Angelica for her debut. She has bowed as the Secretary in Menotti's The Consul with Glimmerglass Opera, Angelina in La Cenerentola with Orlando Opera, the title role in Massenet's Cendrillon and Erika in Vanessa with Central City Opera, Hansel in Hansel and Gretel at Opera Theatre of St. Louis, Delia in Il Viaggio a Reims at New York City Opera, Hermia in A Midsummer Night's Dream at Utah Opera, and Léoena in La Belle Hélène with Santa Fe Opera.
Ms. Wool is the recipient of a 2008 Sullivan Foundation Award.
Derek Anderson
Darin Anderson
Karina Brazas
Colin Brown
Nicole Chapman
Tara Cowherd
John Dart
Elmer Ellefson
Lauren Hackenmiller
James C. Little
Judy Louise
Becky Lowe
Laini Matthews
Megan McGuire
Eric Micks
Eduardo Millan
William A. Miller
Sharon North Jones
Edward Perini
Nora Ryan
Jon Ryba
David Shellenberger
Kevin Smith
Andrew Spady
Judi Torneten
Jennifer Tritz
Lauren Henderson Turner
Colby Walker
Heather Wheeler
Stage Director Jim de Blasis, Conductor Joe Rescigno, and the two stars of La Traviata talk with KVNO's Ben Rasmussen about the story, the music, and more. Click here for the story...
Friday, October 5, 2012, 7:30PM
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Sunday, October 7, 2012, 2:00PM
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Orpheum Theater | Slosburg Hall
Map Location
Asst. Director: Joel Atella
Principal Accompanist: Marcie Richardson*
Choreographer: Erika Overturff*
Set Design: Peter Dean Beck
Costume Design: Dwayne Ibsen
Light Design: Donald Edmund Thomas
Makeup & Hair Design: Elsen & Associates Inc.
Chorus Master: J. Gawf
Stage Manager: Brad A. Watkins
* Opera Omaha Debut


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Give me a bad hair day anytime
There are changes that come with a breast cancer diagnosis. Losing a breast or part of a breast is a big thing. For me, losing my hair turned out to have just as big an effect. I didn't realize how much a part of my identity my hair was until it suddenly fell out one Sunday, two weeks after I started chemo.
With my sister's urging, I decided to have fun with choosing and wearing wigs. I had three; a long sultry brunette, a shorter sandy colored sassy cut and a longer light blonde one that was similar to how I had worn my hair for the past 20 years. I had mixed feelings when I showed up to work on the following Monday wearing my new sassy one. Everyone, especially those who did not know that I had cancer, was thrilled with my new look, calling it an "extreme makeover." So much for the great hairdo I thought I had lost. When it began to grow back, I treasured every millimeter even though it was a dark mousey color. Several women I knew in their early 40s had their hair grow back completely grey and still thought it was beautiful!
Recently, I went into a hair salon for a cut but wouldn't allow the stylist to do more than trim the bangs. It may take a while before I'll part with any of my new hair. So I've been walking around with an unkempt shaggy hairdo. I have a new philosophy: "A bad hair day is better than a no hair day."
How are you coping with hair loss? If your hair has begun to grow back, let me know how it looks.


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City Running Tours Minneapolis - 5k Cherry & Spoon Group Run
Mary Taylor Moore statue in Downtown Minneapolis
Sat 04/19/2014
5 mile, 5K, 8K, 10 mile, 10K
100 Participants
|Sat 04/19/2014
|Group Run
Join us for a 3 mile guided running tour to the famous Cherry & Spoon sculpture in the Minneapolis Sculpture Garden. You will experience downtown Minneapolis, Nicollet Mall, a few of the many beautiful parks, the Downtown theatre district, and of course the Minneapolis Sculpture Gardens - home of the Cherry & Spoon!
- Name:nate herrington
- Email:
- Phone:612-532-0250
- Address:Corner of Nicollet Mall & 7th St S
Minneapolis, MN 55403


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It occurred to me that it would be useful to have a separate sub-forum in which people can post retreat information. IMS and Goenka have very well-organized websites that show the scheduled retreats. But I find retreats all the time that that are scattered and infrequent, but would be useful for people to know about. It would also be useful to have a list of different centers to check with for retreat schedules.
Like this one by Richard Shankman, for example:
http://www.mettadharma.org/SamadhiandWi ... il2011.htm
What do you think?


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For Wednesday's announcement … we'll be in the Holiday Theater (not the Hoosier Celebration Theater). It's indoors … it's air-conditioned … and the roof doesn't leak!
The Holiday Theater is in the Christmas section, walk up to the fountain, look to your right and there it is.
Doors open at 10:45 am CDT/EST. The best seats should be in the middle section of the theater.
If you can't make it here for the announcement, we'll have everything up on our website by 11:30 am.
We're almost there!


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Slouchy yet sophisticated, the Vintage Louis Vuitton Epi Leather Petit Noe Shoulder Bag is a smaller version of the famous Champagne bag produced in 1932, and comes exclusively from Rewind's handpicked collection. Crafted from the highest quality Epi leather, the dyed shoulder bag has a textured feel and is discreetly embossed with the French designer's signature 'LV' initials.
The spacious main compartment fastens securely with a leather drawstring which is threaded through decorative brass eyelets. A soft leather, adjustable shoulder strap ensures comfortable carrying whilst a sumptuous tone-on-tone microfibre lining exudes luxury and complements its timeless design.
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I was standing in line at the grocery store the other day, loyalty card in-hand, when I saw an image of a mobile phone on a nearby display. On it was printed, "Access Your Gift Cards – anytime, anywhere" (I'm really tired of companies who have anything at all to do with mobile using 'anytime, anywhere'. In this case, there's a picture of a mobile phone. I get it.) Then there was a picture of a phone with a few logos on the screen such as Best Buy and Safeway (the store in which I was standing). At first I thought it was suggesting I could load my Safeway card onto the phone, probably because I was actually holding my card.
I was going to try it (or at least get the app – I didn't have any gift cards at the time) and impulsively reached for my phone to scan the QR code. But in a brief moment of disbelief that quickly turned into disappointment I found no code to scan. There was a URL for gowallet.com but it was my turn in line and I had to pay for my things. I had enough time to scan a code and that was it.
After checking out I looked for an empty check-out isle and found the same sign. I opened the browser on my phone and tapped in gowallet.com. After several seconds and a bit of forced patience (is it that hard to make a mobile site that loads fast?) I was offered the following on my screen:
Eh? This can't be happening. This is a full web site! What am I supposed to do with this? Arrrgh..
What could have saved this experience/campaign?
This multi-level fail needs a lot of work to make it a good mobile experience. It's surprising that a service that has mobile at its heart is so un-friendly to the mobile user. Let's start at the top.
1) Call-to-Action – Even with the questions about the long-term viability of QR codes this would have been the place to have one. For those who know what to do with a QR code it is simply the fastest way to create a connection with the mobile user. Just putting the URL is not enough. Opening a browser and tapping in URL – even a relatively simple one – is not as fast as scanning a 2D barcode.
2) Mobile Web – The GoWallet web site, whether someone tapped or scanned to get there, MUST be made mobile-friendly. If for some reason the site can't be made friendly at least create a landing page that briefly describes the service and allows the mobile user to easily show some initial interest (no-one will complete registration from their phone) by entering their email address or linking to a download of the mobile app.
3) Promote the App – Using basic device detection it is relatively simple to re-direct mobile phones to the mobile app in the appropriate app store. Then, tell them more about the app and the overall service once they are there and only one tap away from a download. Don't make mobile users read a detailed web site and then hunt around for the link to get the app. Take them to the app, get them to download and walk them through the process.


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One workhouse, veteran goaltender is back in action. Another may take a bit longer.
Miikka Kiprusoff played Wednesday night after missing the Calgary Flames' previous 13 games with a Grade 2 MCL sprain. He made 32 saves in the Flames' 4-1 victory over the San Jose Sharks.
The New Jersey Devils' Martin Brodeur, though, is no longer day-to-day with a back injury.
"(Brodeur is) feeling better, I wouldn't classify it as day-to-day," coach Peter DeBoer said Wednesday. "I mean he's not going to play Thursday. I don't mean it's going to be a month. Sometime in between day-to-day and a month."
New Jersey is 1-7-1 in its last nine games, and backup Johan Hedberg has allowed 24 goals in his six starts subbing for the 40-year-old Brodeur. New Jersey's offense has been bad, too, averaging less than two goals per game during that stretch, but DeBoer said the team isn't playing differently for Hedberg.
"Not to minimize (Brodeur's) contributions to what we do, but there is no excuse (for the team) this time of year. Everyone is missing good players, great players, key players. You have to persevere," DeBoer said.
The Flames know how that works. They went 6-5-2 using a combo of Leland Irving, Danny Taylor and Joey MacDonald in net. Kiprusoff, at 36, remains an above-average goaltender. If Calgary, for better or worse, manages a playoff push, he'll have to play a big role.
"When you get the most valuable player on your hockey club back," winger Curtis Glencross told the Calgary Herald, "it's a huge boost for everyone."


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There is not one individual who would support a tax increase.
At the same time, few would want to see their government services cut.
Local government agencies are not as privileged as the federal government. Simply printing more money is not an option.
Bullitt Fiscal Court members will have an opportunity on Sept. 1 to determine its real property tax rate.
In just brief conversations on Tuesday, it appeared there might be a possibility that court members could support a slight increase in the rate.
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NetWellness is a global, community service providing quality, unbiased health information from our partner university faculty. NetWellness is commercial-free and does not accept advertising.
Tuesday, September 26, 2017
Women's Health
Sr Citizen & Sexuality
I am a sr citizen who has not been sexually active in over 2 decades, since my divorce. I have absolutely no desire to become sexually active again. To be totally honest, I never really liked sex even when I was married. I do kind of miss the companionship of living as part of a family (I live alone) but I know if I were to get involved with anybody they would expect sex to be part of it, and I just plain am not interested. Is there something wrong with me?
There is nothing wrong with you. Although many people are sexually active well into late life, there are also many who are not. If you wish to become "involved" with someone, you should go for it. But you may also want to be candid about your desire for companionship and not sex. Other people are lonely too, and may want companionship without sex. You may want to start by becoming involved (socially) at a senior center, and see what happens. Good luck!
Linda A Bernhard, PhD, RN
Professor Emeritus
College of Nursing
The Ohio State University


text: Wallace & Barnes heavyweight flannel shirt in blue plaid Item F8091 Size: Size Charts Quantity: 1 2 3 4 5 6 7 8 9 Add to Bag Wishlist Add to Bag Add To Wishlist share: Find In Store Please select a size above. size & fit Classic fit. Product Details We make our heavyweight flannel shirts the old-fashioned way by using heavy-duty cotton that's warm, durable and brushed for a softer texture. In keeping with that traditional spirit, we cut them in our classic fit, which includes a little extra length and room in the waist. As an added bonus, we used heathered yarns (created by twisting different threads together) to give this plaid shirt a unique look. Cotton. Point collar. Patch pockets. Machine wash. Import. Item F8091.


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I have been interested in Buddhism for 2 decades but only began seriously incorporating it into my life about 9 months ago.
I feel my vipassana practice has allowed me to appreciate more of the joy in my life, except for one aspect...
Whenever something silly or acutely funny happens (the dog does something goofy and I break out laughing, I get 'tickle ambushed' by my niece, etc) I find that within seconds, my mind steps back and becomes aware that, for a moment, I was lost in the moment. And suddenly it's not as funny or enjoyable anymore.
Part of me definitely enjoys being immersed in the experience, but I know I am less aware while it is happening. Unfortunately, I find myself being resentful that my practice seems to be taking a fraction of the silliness out of my life.
Anyone have any words of guidance or experienced similar issues? -Tj


text: +-------------------------------------------------------------------------+ | TPWD News Release 20101130b | +-------------------------------------------------------------------------+ | This page contains only plain text, no HTML formatting codes. | | It is not designed for display in a browser but for copying | | and editing in whatever software you use to lay out pages. | | To copy the text into an editing program: | | --Display this page in your browser. | | --Select all. | | --Copy. | | --Paste in a document in your editing program. | | If you have any suggestions for improving these pages, send | | an e-mail to email@example.com and mention Plain Text Pages. | +-------------------------------------------------------------------------+ [ Note: This item is more than six years old. Please take the publication date into consideration for any date references. ] [ Media Contact: TPWD News, firstname.lastname@example.com, 512-389-8030 ] [ Additional Contacts: Rob McCorkle, TPWD, (830) 866-3533 or firstname.lastname@example.com; Tony Bettis, TPWD project manager (512) 389-8382 or firstname.lastname@example.com ] Nov. 30, 2010 Galveston Island State Park Redevelopment Public Meeting Set AUSTIN - The second of three scheduled public meetings on the master plan design for redeveloping hurricane-damaged Galveston Island State Park will be held Tuesday, Dec. 7 on the Texas A&M Galveston campus. The meeting will take place from 6:30 p.m. to 8:30 p.m. in the Lecture Theater & Foyer of the Ocean and Coastal Studies Building #3029 on the university campus at 200 Seawolf Parkway. For more information about the meeting, contact Galveston Island State Park superintendent Trey Goodman at (409) 737-1222. The Texas Parks and Wildlife Department will be presenting the initial master plan design concept for Galveston Island State Park and will provide an update on how public input was received and incorporated into the plan. At the public meeting, members of the community will have an opportunity to view aerial maps and review preliminary design concepts developed by MESA Design Group and the Dallas firm's partners, and provide additional input. All Galveston area residents, business owners and anyone else with an interest in one of Texas' most popular state parks are invited to attend. MESA and its team of consultants have been charged with creating a design that will transform the island park severely damaged in 2008 by Hurricane Ike into a premiere destination within the Texas state park system, in part by utilizing such sustainable elements as alternative energy sources and rainwater harvesting. The public was given an opportunity recently to provide input into the redevelopment design plan through an online survey that ended Oct. 4. It was the first time TPWD had surveyed the public to gather input about what users would like to see included in state park design and development. Barring any environmental or cultural resource issues, the Galveston Island State Park master plan is expected to be completed by next spring. The park development timetable calls for the submission of architectural drawings and the design plan by January of 2012. Depending on the availability of funds, the earliest construction would begin is spring of 2012, according to Tony Bettis, regional project manager for TPWD's Infrastructure Division. Galveston Island State Park is open seven days a week and offers full services on the bay side and limited camping and day use facilities on the beach side until a master plan is developed, environmental assessment completed and permanent facilities rebuilt. To facilitate the reopening of the beach side, electrical power and water have been restored, and a structure has been moved in to serve as temporary headquarters. The original headquarters building and all other beachside facilities were destroyed by Hurricane Ike. Dozens of volunteers from The Friends of Galveston Island State Park and other interested individuals pitched in after the storm to clean up the park to help it reopen way ahead of schedule. Galveston Island State Park occupies a sliver of land at the midway point of the barrier island about six miles southwest of the western tip of the popular sea wall. The bay side provides public access to about 600 acres of grasslands with coastal scrub and scattered oak mottes, as well as hundreds of additional acres of saltwater sloughs, wildlife-rich wetlands and tidal bayous. Galveston Island State Park hours are from 7 a.m. to 10 p.m. The park office is open from 8 a.m. to 5 p.m. seven days a week. The park entry fee for persons 13 and older is $5. Visitors can reach Galveston Island State Park from FM 3005 (Seawall Boulevard). For more information, call the park at (409) 737-1222. -30-


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Southwestern offers students a comprehensive academic support program at every stage of a student's law school career.
Programs for Entering Students
Southwestern offers academic support workshops in the summer which are specifically geared toward entering students, providing an introduction to legal writing, course review techniques, briefing cases and other concerns prior to the start of Fall classes. Click here for more information.
Programs for First-Year Students
First-year students can take advantage of a number of academic support opportunities in the fall semester.
The First-Year Academic Skills Program (FYASP) - a series of workshops led by Academic Support faculty - covers the four general skills areas that first-year students must grasp in order to be successful in their studies:
- time management
- reading and briefing
- outlining
- exam-writing
Dean's Fellows - upper division students with strong academic skills who have gone through a rigorous application and training process - are an integral part of the FYASP program. They are carefully selected from among the best in their first-year classes based on their academic success and ability to teach other students those study methods that will help them become acclimated to the study of law, and they are available to meet one-on-one with students.
The Dean's Fellows also teach Peer Assisted Skills Sessions (PASS). PASS sessions use a particular doctrinal course as a vehicle for students to get hands-on practice and enhance core academic skills.
In addition, various courses are offered in the Spring Semester designed to help students improve their overall academic performance as well as critical thinking and analysis.
Programs for Continuing Students
Southwestern offers many courses specifically designed to further develop an upper division student's critical thinking, analysis and exam-writing skills, as well as improve their overall academic performance. These courses also provide students with an early start on bar preparation.
Bar Preparation Programs
The Academic Support and Bar-Related Programs Office switches focus to success on the bar examination during the final year in law school and into bar preparation. Detailed information is provided as students progress toward completing their degree.
For more information on any of these topics, contact the Academic Support and Bar-Related Programs Office. Current students can also find additional details and resources on MySouthwestern (log-in required).
Note: For information about academic support programs for SCALE® students, please contact the SCALE Office.
Westmoreland Building, 6th Floor
Professor John Heilman and Professor Natalie Rodriguez
Co-Directors of Academic Support and Bar-Related Programs
(213) 738-6813 / firstname.lastname@example.com


text: Published with a digital code that may no longer be redeemable from the publisher. Do not purchase with the expectation that the code is still valid. Dormammu's machinations have pulled all of the UNCANNY X-MEN into the hellish dimension LIMBO! Can Magik match the evil demon's lord's sorcery? Is she even on the X-Men's side anymore? Cover price $3.99.


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Country of Origin: South Korea
Locations Worldwide: Over 1,850 in Australia, China, Japan, Malaysia, Singapore, South Korea, Spain, the US and Vietnam.
NYC Locations: Two in Flushing, one in Little Neck and one in Sheepshead Bay
When South Korean 'BBQ Chicken' came to NYC in 2007, it took a familiar path and set up on the international fast food row of St. Marks Place, and Chelsea; the chain followed this typical trajectory and eventually shuttered both Manhattan locations. Now, there are two remaining branches walking distance from each other in Flushing, a logical location, and one that makes no sense geographically in Sheepshead Bay.
It's difficult think of a more generic name for a restaurant than BBQ Chicken (supposedly the acronym stands for "Best of the Best Quality Chicken") and maybe that works to its advantage in neighborhoods lacking a substantial Korean population. The clean and modern takeout joint certainly doesn't scream "Korean," even after a quick scan of the menu. There is chicken, all right, in 14 fried and grilled varieties including Cajun, buffalo, and herb-marinated. And don't forget the Col-Pop, a chicken nugget and soda all-in-one takeout contraption.
The restaurant's signature olive chicken ($8.95 for five drumsticks), deep-fried unusually in olive oil and touted as being healthier, is the best place to start. These tender dark meat vehicles may be all you need. The substantial, nubby crust is flaky and greaseless with a barely perceptible hint of chile heat. Though olive oil has a distinct flavor, you wouldn't necessarily guess that the poultry had been been bathed in it.
Those looking for the spicy, Korean-style fried chicken that's become so popular in NYC will prefer the sticky drumsticks of fire ($9.95 for five).
The American sides aren't any more compelling than what you'd find at a KFC; a sweet corn salad ($2.95) dressed in mayonnaise is a step up from standard coleslaw, but not a must-try. The spicy rice sticks ($3.95), though, are different in a good way. The fat tubular noodles are mixed with kimchi and thin flaps of fish cake and coated in a thick chile paste. You will not miss mashed potatoes or mac and cheese.
It's not clear if the number of locations in NYC will continue to shrink or if the restaurant will branch out to more unexpected neighborhoods to compete with Kennedy Fried Chicken, but BBQ Chicken has great potential for crossover appeal.
BBQ Chicken
35-22 150th Place, Flushing NY 11358 (map)
158-23 Northern Boulevard, Flushing NY 11358 (map)
251-16 Northern Boulevard, Little Neck, NY 11362 (map)
3512 Nostrand Avenue, Brooklyn NY 11229 (map)
About the author: Krista Garcia is a freelance writer and librarian (who does not work with books). Being obsessed with chain restaurants and Southeast Asian food, she would have no problem eating laska in Elmhurst and P.F. Chang's crab rangoon in New Jersey on the same day. She blogs at Goodies First.


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TEMECULA — The City Council this week postponed action on the plans for a 120-unit apartment complex proposed for land near Vail Elementary School to address concerns about the environmental documentation for the project.
The council could revisit the application, which includes a zone change to allow for the construction of eight, three-story buildings on 7 acres of land near the intersection of Mira Loma Drive and Rancho Vista Road, in January, according to city officials.
The concerns, which included the traffic that would be generated by the development and drainage issues with the property, were raised during Tuesday's council meeting by residents and the owners of a neighboring apartment complex.
There also were residents who praised the project, saying it will be a great fit for the neighborhood that will transform an area now known mainly for a "smelly" creek.
The neighboring complex is called the Mira Loma Apartments, the same name that the developers of the 120-unit development, Inland Communities Corp. of San Bernardino, had proposed for their project.
After hearing that the name is already in use, Richard Valdez, the civil engineer for the project, said the project will be rebranded.
"It was inadvertent. We'll rename it," he said.
During the public hearing, environmental law attorney Tamar Stein ---- who was representing the owner of the existing Mira Loma Apartments, Robert Oder ---- told the council that the documentation for the project was "skimpy" and that more studies needed to be done.
Stein's comments were taken seriously by the council, with Councilman Mike Naggar saying it seemed as if they served as a preamble to a lawsuit if the city were to approve the project.
Residents who spoke said they were worried about traffic, declining property values having another apartment complex nearby and the already tricky parking and pedestrian issues associated with students walking to the nearby school.
Andrea Carr said she was especially "leery" about the additional traffic and said there could be a greater risk of accidents.
The acreage had been zoned for a 62-unit condominium complex about five years ago, but that project was abandoned during the banking crisis.
The map for that project had condos of 2,400 to 2,500 square feet bunched together on the site and separated by retaining walls.
Valdez said his team tried to improve the design, but it soon became clear that condos weren't a good fit for the land and they drew up the plans for the apartment complex: eight, three-story buildings set in the midst of vegetation and landscaping.
Jim Ahmad, founder of Inland Communities, said last month, before the project was approved by the city Planning Commission, that he was going for a "resort-style" complex that would feature a number of amenities such as a lap pool, lounge and tree-lined walking paths.
That list of amenities was questioned Tuesday by the council and members said they felt more needed to be done to justify the zone change.
One suggestion by Naggar, which likely will be included in the new plans, called for the developers to dedicate a multi-use trail on the edge of the property that could be used by the public and linked with other nearby trails.


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Mohawk Industries said it will acquire leading laminate flooring brand Pergo for $150 million.
The deal is expected to close during the first quarter of 2013 and gives Mohawk access to a brand that has become synonymous with laminate flooring over the years. Pergo's 2011 sales in the U.S. and Europe were roughly $320 million according to Mohawk, who acknowledged the company as a leader in laminate flooring technology with unique patents on design and installation methods.
"Pergo is a leader in laminate flooring in the U.S. and Nordic countries with premium value added strategies. This acquisition complements our specialty distribution network with Pergo's strength in the U.S. DIY channel," said Jeffrey S. Lorberbaum, Mohawk's chairman and CEO. "In addition, Pergo leverages our geographic position and provides opportunities to enhance Unilin's patent portfolio. The combination of the entities offers significant opportunities to optimize the assets of both companies while enhancing the design and product performance of both brands."
Mohawk is a leading supplier of flooring for both residential and commercial applications with some of the most recognizable brands in the industry including, Mohawk, Karastan, Lees, Bigelow, Durkan, Mohawk Home, Daltile, American Olean, Unilin and Quick-Step. Mohawk provides a premium level of service with its own trucking fleet and local distribution in the U.S. and maintains an international presence in Australia, Brazil, China, Europe, Malaysia, Mexico and Russia.


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The Carmel Bach Festival offers so many pleasures; it is almost impossible to keep up with them.
The beauty of the singing by the chorale and chorus during the first open rehearsal last week brought tears of sweetness as conductor Paul Goodwin led them through the session.
Sunday afternoon, watching the wonderful artists of the Young Musicians Showcase present their concert, another wave of emotion swept through me. This time it was delight in seeing these fine young musicians able to show their talents in such a distinguished setting.
Hosted with brio by festival dramaturge David Gordon, the concert featured vocal and instrumental performances of Baroque composers by young musicians, ages 4 to 19.
What a gift to our community that the Bach Festival supports young talent so enthusiastically. Under the dynamic leadership of executive director Debbie Chinn, aided by festival staff and musicians, the festival's commitment to young people keeps growing.
For those of you reading this column when it comes out on Thursday, I urge you to take advantage of three free events. At noon, Gordon continues the Virginia Best Adams master classes at the Church of the Wayfarer in Carmel. These are terrific opportunities to watch young professionals refine their craft with a master teacher, who is also a thorough presenter.
Even if you don't know much about Baroque singing, you are likely to find this an intriguing process. Go hear Virginia Best Adams fellows Brandon Hynum, Jonathan Woody, Emily Marvosh and Molly Quinn.
Also, Emmy award-winning musician John Wineglass's talk on "Bach to Modern Music and Hip-Hop" explores how Bach's imprint on music has transcended generations.
Come to Sunset Center Studio 105 in Carmel at 5p.m. for this event. Finally you can attend another open rehearsal of music by Bach, Gabriel Fauré and Handel at 7p.m. when maestro Goodwin conducts another open session rehearsal with the ensemble.
Allen Whear, principal cellist and director of the chamber recital series, spoke with me about the small ensemble bounty happening this summer. First he pointed to a renewed emphasis on the music of Bach.
He also notes the appearance of exciting new artists, "three new hot shots," at the festival, including the fantastic baritone Peter Harvey, who receives unabashed raves. Whear also spoke in superlatives about debuting soprano Domanique Labelle.
Another artist he wants to bring to our attention is the new principal oboist Gonzalo Ruiz, whom Goodwin singled out as well as a bright new star in the festival firmament.
Ruiz will be playing recitals that feature the Baroque oboe and the classical oboe. He will also be playing the shawm, modern oboe and modern oboe d'amore and possibly more.
He is the leading period instrument oboist in America. He will be featured in "Transcendent Bach" on Monday afternoons and "Beethoven's Brio" on Friday afternoons.
So here goes with the chamber music fun.
After Sunday's performance of Bach's Christmas Oratorio, members of the ensemble will perform a once-only recital of Franz Schubert's "Octet in F Major" at 8:30p.m. at the at Sunset Center Theater.
Mondays at 11 organist Andrew Arthur is the soloist in an all-Bach recital at the Carmel Mission Basilica. That will be followed by
"Transcendent Bach" at 2:30p.m. at All Saints Episcopal Church in Carmel with Harvey singing the favorite Bach cantata "Ich habe genug" and Ruiz playing Baroque oboe.
Tuesday afternoons tenor Thomas Cooley will sing in a program called "Impressions of Paris" at 2:30p.m. at All Saints, in a program of works by Maurice Ravel, Camille Saint-Sa'ns and Fauré.
Wednesday afternoons patrons attend a lively recital of "Rivalry and Ridicule: Lully, Charpentier and the 'Italian' Controversy" in the 2:30 slot at All Saints.
Thursday afternoons at All Saints hear "Melodies Francaises" when four festival singers team up for this musically rich French vocal concert that includes works by Reynaldo Hahn, Ernst Chausson, Francis Poulenc, Hector Berlioz, topped off with French Cabaret Songs by Kurt Weill.
"Bach in the Cathedral" Thursdays at 5p.m. features Labelle in a Bach cantata along with music by Arcangelo Corelli and a Bach harpsichord concerto played by festival favorite Yuko Tanaka.
Fridays at All Saints "Beethoven's Brio" features the end-of-week classical program Mozart Oboe Quartet, a humorous work by Giuseppe Cambini and a Beethoven String Quartet.
The traditional 11 a.m. Saturday Viennese Matinee recital has gone quite Parisian this year at Sunset Theater with music by J.C. Bach, Chevalier de Saint-Georges, Franois Devienne, Franois Joseph Gossec and Haydn.
On Friday July 21, associate conductor Andrew Megill conducts the professional chorale and members of the festival strings in a candlelight concert of Dieterich Buxtehude's "Membra Jesu Nostri," which promises to be a highlight of the festival chamber offerings.
There are more once-only chamber recitals and special events. I urge you to visit the web and/or pick up a brochure to study the schedule of programs. You will also find many free events worth attending. Remember the Tower brass music will be heard before the main concerts except for Mondays. Gordon's lectures are always a big draw and with good reason — he's simply the best there is at giving pre-concert talks.
Go on your own voyage of discovery at the festival this summer. Recitals occur at a variety of locations. For detailed information and tickets consult the festival website at www.bachfestival.org or call 624-1521.
For more by Barbara Rose Shuler visit her website at www.barbarasbest.com.GO!


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30 Oct 2012 4 Comments
Zucchini Tomato Sauce
When it comes to my garden, my motto is "eat what's blooming." So, with my zucchini in full bloom, I came up with a little comfort sauce for my pasta. Now I prefer roasted zucchini, but since I've already had that three times this month, I decided to try something new. While making pasta and red sauce for the family, I decided to have mine with zucchini. Mind you, I'm the only one in the family who cares for zucchini, but we have an entire bed of the stuff because I am the head gardener which means I get a say in what grows where. Leadership has its privileges.
Anyhoo, this sauce is easy and delicious and can be expounded upon exponentially (can you tell my daughter is learning algebra?). The ingredients are zucchini, garlic, tomatoes, basil and parsley.
Olive oil and butter, too, but I can't grow those in the garden. The basil I used is cinnamon basil, but plain old sweet basil is also delicious (yes, I've made this twice, now). More


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MORGANTOWN — Dana Holgorsen finally answered the burning question in West Virginia's preseason camp Thursday.
Well, sort of.
A day after special teams coordinator Joe DeForest and wide receivers/punt return coach Lonnie Galloway both insisted that it was way above their pay grade to decide whether William Crest was really a legitimate option as a returner, Holgorsen at first smiled and suggested what most had already considered.
"I was just doing that to mess with you guys,'' Holgorsen said.
In truth, there are far more pressing issues with which Holgorsen and the Mountaineers must deal between now and the end of preseason camp next week and then on to the Aug. 30 opener against Alabama. For sheer intrigue, though, perhaps none approach the Crest question.
Holgorsen said it wasn't his idea to station Crest, his four-star freshman quarterback recruit, under punts. It just happened.
"The first practice, I looked and he was down there catching punts,'' Holgorsen said. "I was watching him and I'll be darned if he didn't look pretty good. So I said, 'Keep catching them. We need a punt returner, so let's see what you can do.'
"He likes doing it, so I [told him to] go do it. I don't care.''
The fact is, Crest seems like a natural. He has large hands and handles the ball well. The only thing that separates him from most punt returners is his 6-foot-2, 210-pound frame, larger than the prototypical waterbug type of punt returner.
That Crest did it once or twice was interesting. That he has continued to stand under punts through the first full week of practice makes it slightly more than interesting.
So Holgorsen was asked if, beyond messing with the media, there might actually be more to it. Could it simply be an exercise to help Crest adjust to the speed of the game or work on his ball skills?
"Well, he did that in high school just to stay in shape,'' Holgorsen said. "Ball skills for a quarterback are important. Just try catching snaps from [last year's center, converted guard] Pat Eger. It could be here, here, here or here. I mean, it's all over.''
But that still didn't answer the question.
"Would it be an option? If he's the best one, absolutely,'' Holgorsen said. "Now if he was an every-down quarterback right now — our starting, every-down quarterback — that'd be pretty silly. You'd obviously want him honing in on being the starting quarterback.
"If he's not the starting quarterback and you've got the luxury of a little bit of depth [at quarterback], then if he's the best one, why not?''
While Crest dabbling as a punt returner is intriguing, far more pertinent is his progress as a quarterback. Holgorsen said Crest is like all freshmen in that after just a week he's confused by all that's being thrown at him.
"I've got receivers and running backs whose heads are spinning, too. And you can't even coach offensive linemen as freshmen,'' Holgorsen said. "But he goes in there and at times just doesn't know what he's doing and still looks good.
"The biggest challenge with William is that his expectations are really high and he's extremely competitive and he wants to please and he wants to learn and wants to do good. But it just doesn't look good at times.''
At this stage, however, it's not supposed to look good for a freshman. There's no real pressure on Crest to advance quickly because Holgorsen is committed to Clint Trickett as his starting quarterback. He again on Thursday praised Trickett as being light years ahead of where he was at this point last year, when he'd just arrived as a transfer from Florida State.
But while Holgorsen attempted to somewhat temper any overboard enthusiasm toward Crest, he didn't entirely douse it.
"He's ahead of the curve as a freshman quarterback. He's way ahead of the curve mentally and physically,'' Holgorsen said. "With that said, he's still got a long ways to go. I don't want people to get too excited about it right now. I've said it before, there's a reason why the two previous Heisman Trophy winners redshirted.''
Reach Dave Hickman at 304-348-1734 or firstname.lastname@example.com or follow him at Twitter.com/dphickman1.


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Decks in Fairfax County
Building Permit Requirements
- You must obtain building permits for your deck (wood patios are exempt from permitting).
- Building plans are required, but may be substituted with one of the typical deck drawings shown below.
- A site-related plan is required to show the impact of your construction on your property.
- Your project must be inspected to ensure the construction is in accordance with the code and the approved plans.
Learn more in our Decks publication
Typical Deck Details
Standard deck construction plans are available that can be used in lieu of a plan submission during the permit application process if your deck qualifies...
- Use is for residential only.
- Deck is single level.
- Maximum joist span is 18 feet.
- Deck does not support a hot tub, sunroom, screen porch or roof.
The Fairfax County Typical Deck Details and Standard DCA6 from the American Wood Council are accepted typical deck drawings. Click on the images below to access the drawings.
Deck Safety and Deck Maintenance
Industry reports that 2.5 million decks are constructed in the United States annually, prompting experts to warn that with such large numbers comes the probability of an increase in deck failures. Most decks fail at the connection to the house or where the guard posts attach to the deck.
- If you're building a deck, it is essential that you carefully follow one of the guidelines above to ensure strong connections and a safe deck.
- If you have an existing deck, you will need to perform regular inspections and maintenance.
Learn more about Deck Safety
More Questions?
For more information, follow the links above, go to our FAQs, email us or call the Permit Application Center at 703-222-0801, TTY 711.


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TWO men have appeared in court after police raided an address in a Worcestershire town and seized a quantity of heroin.
Janis Ozolins, 27, of Fownhope Close, Winyates, and Kamaro Dixon, 24, of Oak Tree Avenue, both in Redditch, appeared before Worcester magistrates on Saturday, January 4, charged with possessing heroin with intent to supply.
They were remanded in custody to appear at Worcester Crown Court for a plea hearing on April 14.
Both men were arrested on Thursday, January 2, shortly after a search warrant obtained under the Misuse of Drugs Act was executed at a flat in Fownhope Close. Officers seized heroin which was found in a bag.
The warrant was sought as part of a new West Mercia Police and Warwickshire Police strategy which is designed to continue tackling the impact of drugs on individuals and neighbourhoods, reduce crime associated with drug use and make communities feel safer.


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Hi all,
I remember a monk telling of some ancient story about the Buddha (or a main main disciple)
talking about future signs of declension of Buddha Dhamma. Among those where having robes
including a bag before the belly and monks writing poems. That is all I remember.
Anyone ever heard of that?


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Results 1 to 5 of 58
Thread: What If You Have Twins?
Hybrid View
July 7th, 2013 10:08 PM #1Senior Member
- Join Date
- May 2013
- Posts
- 128
What If You Have Twins?
What if you get pregnant and surprise! Twins. I have been thinking about this for awhile and I was wondering what other berries would name their twins: boy/boy or girl/girl/ or boy/girl. What I want to see the most is that I want to see your safe twin-set and your guilty pleasure twin-set to make things interesting. (:
Boy/Boy: Zayden Joseph & Brendan James OR Barnaby Cole & Phoenix Alexander
Girl/Girl: Victoria (nn Vic) Pearl & Brogan Lark OR Esperance (nn Espe) Cozette & Jack Calypso
Boy/Girl: Roman Everild & Wynnafreede (nn Willa) Amour OR Ignatius Fisher & Channing Keziah
Boy/Boy: safe set & guilty pleasure
Girl/Girl: " "
Boy/Girl: " "
I want to see your twin names, berries! (:Currently searching for that perfect name...
The Favorites For Now (constantly change):
Esperance, Dagny, Victoria, Isis, Aurora, Astoria, Calypso, Pearl, Photini, Circe and so forth..
Zayden, Ambers, Phoenix, Gabriel, Barnabas, Ethan, Roman, Sol, Auden, Oleksander, Jensen, and so forth...
July 7th, 2013 10:32 PM #3Melissa, Mama to Oscar Leopold.
Little Sparkler coming next July.
July 7th, 2013 10:43 PM #5
July 7th, 2013 10:56 PM #7
boy/boy- William Iowa & Neal Terrence "Will & Neal"
girl/girl- Elizabeth Zoebelle & Ruth Ann "Ellie & Ruthie"
boy/girl- William Iowa & Elizabeth Zoebelle "Wim & Ellie"
boy/boy- Monroe Ludovic & Jonquil Emrys "Roe & Jon"
girl/girl- Einmyria Suthen & Persephone Miette "Errie & Effie"
boy/girl- Perseus Cael & Einmyria Suthen "Percy & Errie"♥Mckinley Mayfair, Christian Wayne & Sir Angus Fionn♥
Elizabeth, Adelaide, Clara, Amelia, Arabella, Beatrice, Cordelia,
Hermione, Imogen, Juniperthe rest of the girls
William, Edgar, Arthur, Gilbert, Jasper, Basil, Henry, Horatio, Sebastian, Aloysiusthe rest of the boys
Lyra Primrose, Amelia Hyacinth, Imogen Viola/ Magnus Frey, Dashiel Everhart, Morgan Escherthe rest of my combos
July 7th, 2013 11:09 PM #9
This really wouldn't change my names much, especially with boys as I'm so picky!
Lachlan Alexander & Evander Alcott "Anders"
Lachlan Alexander & Lavender Alina
Lavender Alina & Hermione Jane (Avi & Mio)
Lachlan Evander & Dresden Alcott
Corisande Fable & Peregrine North (Chorus & Perry)
Corisande Fable & Calypso Fiametta (Chorus & Caly)
Rough n Tumble
Lachlan Alexander
Evander 'Anders' Alcott - Thatcher William - Peregrine North - Dresden Alasdair
Pretty in Pink
Lavender Irie/Alina/Ellen
Natalie Winter - Adelaide Pearl - Hermione Jane - Corisande Fable - Virginia Joy- Odessa Faye


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pull (someone or something) out of a hat(redirected from pulls something out of a hat)
pull (someone or something) out of a hat
To select someone or something entirely at random. I don't understand why our company is being targeted. It's as if the IRS pulled us out of a hat to scrutinize! It doesn't really matter who gets promoted to assistant manager—just pull a name out of a hat for all I care!


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Chennai, Tamil Nadu
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