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Get ready for the new buzz that expects to reshape how people see trees.
Artist Stacy Poitras of Calabasas is slated to make his television debut on Country Music Television on Saturday, Nov. 10, with the season premiere of "Chainsaw Gang."
The show aims to spotlight Poitras and his "rag-tag bunch" of chain-saw artists as they "battle blades breaking, chainsaws bursting into flames" and each others' egos, according to CMT.
"When I tell people I have a reality show they automatically go, `Oh, like `The Kardashians.' But no, that's not it at all because they're being filmed doing nothing. We're actually doing something," Poitras said.
"I'm exposing an art form that most people on Earth had no idea existed."
Poitras, who has wielded a chain saw for nearly 30 years as his artistic paintbrush of choice, owns Deadwood Tree Sculptures in Agoura Hills where he and his team turn tree trunks into everything from coyotes to bears and even people.
The first episode features Poitras carving out a 12-foot-tall wooden replica of the Michelangelo's statue of David, which he made in August at Janss Marketplace in Thousand Oaks. | PHOTOS
Sculptures made for a Porter Ranch couple are also said to be among the local projects making guest appearances on the show. | PHOTOS II | Read the story about Poitras' sculptures at Porter Ranch home
"I can't give specifics of what we're carving, but people will cry with laughter," Poitras said. "They'll also actually cry with inspiration when they see some of the things I've carved."
Other cast members include Rio de Jarmett of Agoura Hills. The chain-saw artist owns Malibu Mountain Gallery and has known Poitras for 15 years back when Poitras used to carve at the gallery.
"We've joined forces and I've been all in," de Jarmett said, laughing. "We've been having a good time."
The CMT crew started shooting the show in late July and wrapped up the season Nov. 2.
The 10-show series begins Saturday night at 10 p.m.


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Judith Malina's HERE WE ARE launches The Living Theatre's 66th Season
The Living Theatre, the oldest experimental theatre group still producing in the United States, launches its 66th year with the world premiere of Judith Malina's HERE WE ARE -- with previews to begin January 10, prior to its official press opening January 23 at The Living Theatre (21 Clinton Street). Judith Malina directs.
In HERE WE ARE, the legendary Judith Malina, at 86, has again redefined theatre's role in our lives with a production that changes and transcends the actual definition of what art can produce, and that art and life are far more connected than we have been willing to accept.
As we enter 2013 the world has not ended, but it remains in disarray. HERE WE ARE asks: Where are we? How did we get here? What have we tried in the past that has mislead us? What are the new ideas for the new world? How can we achieve them together and put aside violence, without the fear of retribution? How can the theatre help us do this?
HERE WE ARE takes a look at how decisions are made and how we govern ourselves. It seeks to find better solutions to our problems. The ensemble and the audience work together to manufacture and perform the potential creative possibilities for a post-revolutionary world of beauty and non-violence.
The play explores the inadequacy and inefficacy of the voting process, which is the core of our own poorly organized society -- and is largely responsible for why we do not live in the world we want.
The ensemble includes Leah Bachar, Sarah Braenne, Soraya Broukhim, Brad Burgess, Jay Dobkin, Eno Edet, Leonie Ettinger, John Paul Harkins, Thaddeus Harvey, Jen Emma Hertel, Dennis Yueh-Yeh Li, K'Sandra Nova, Mary Round, Tom Walker, and Fabian Zarta.
HERE WE ARE includes set design by Nicholas Benacerraf; lighting design by Simon Harding; and music composition by David Personne. Assistant Director is Nathan Shreeve.
Under Judith Malina's guidance and experience, The Living Theatre vigorously continues its ongoing research of innovative theatre forms involving audience participation and new methods of communication and social/political organization.
Ms. Malina was born in 1926 in Kiel, Germany, and is the daughter of Rabbi Max Malina, one of the founders of the German Jewish Congregation in New York City. In 1947, after studying acting and directing at the Dramatic Workshop at the New School with Erwin Piscator, she and Julian Beck co-founded The Living Theatre as an artistic challenge to the commercial theater, producing nearly 100 production including THE CONNECTION, THE BRIG, FRANKENSTEIN, ANTIGONE, PARADISE NOW, SEVEN MEDITATIONS ON POLITICAL SADO-MASOCHISM, I AND I, RESISTENZA and KORACH, and last year's HISTORY OF THE WORLD. Her literary output includes the plays PARADISE NOW, MYSTERIES AND SMALLER PIECES and THE LEGACY OF CAIN; collections of her diaries including "The Diaries of Judith Malina 1947-1957" and "The Enormous Despair"; and two books of poetry, "Poems of a Wandering Jewess" and "Love and Politics." As an actress, she has appeared in films including "Dog Day Afternoon," "China Girl," "The Addams Family," "Household Saints," "Enemies: A Love Story," "The Deli," and "Nothing Ever Happens"; and television series including "ER," "Miami Vice," "The Street" and "The Sopranos."
The Living Theatre was co-founded in 1947 by current artistic director Judith Malina and Julian Beck, who served as the company's executive director until his death in 1985. For more than six decades, the company has presented a unique body of work that has influenced theatre the world over, staging nearly a hundred productions, performed in nine languages in twenty-nine countries on five continents.
The company's more recent work includes Judith Malina and Hanon Reznikov's EUREKA!, Judith Malina's MAUDIE AND JANE, and a revival of 1963 Obie Award-winner THE BRIG which christened the company's home at 21 Clinton Street in 2007. This is the last production in the Clinton Street space before it closes at the end of February 2013, capping the longest run for the company in one venue in New York City.
The Living Theatre has toured extensively throughout the world, often in non-traditional venues, such as streets and prisons. It has greatly influenced other theatre companies, notably The Open Theatre (founded by Living Theatre member Joseph Chaikin) and Bread & Puppet Theatre. Its productions have won 3 Obie Awards: THE CONNECTION (1959); THE BRIG (1963) and FRANKENSTEIN (1968).
Associate Artistic Directors are Tom Walker and Brad Burgess. Artistic Associates are Eric Olson, Albert Lamont, Soraya Broukhim. HERE WE ARE is presented by executive producer Brad Burgess and associate producer Perf Productions.
HERE WE ARE runs January 10 -February 23 at The Living Theatre (21 Clinton Street, just below Houston Street at Avenue B). Performances are Wednesday-Saturday at 8pm). Wednesday tickets are "Pay What You Can"; Thursday, Friday and Saturday tickets are $20; $15 students/seniors. For reservations call 212-352-0255 or visit www.livingtheatre.org.

subset: commoncrawl


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15 U.S. Code § 78n–1 - Shareholder approval of executive compensation
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(a) Separate resolution required
(1) In general
Not less frequently than once every 3 years, a proxy or consent or authorization for an annual or other meeting of the shareholders for which the proxy solicitation rules of the Commission require compensation disclosure shall include a separate resolution subject to shareholder vote to approve the compensation of executives, as disclosed pursuant to section 229.402 of title 17, Code of Federal Regulations, or any successor thereto.
(2) Frequency of vote
Not less frequently than once every 6 years, a proxy or consent or authorization for an annual or other meeting of the shareholders for which the proxy solicitation rules of the Commission require compensation disclosure shall include a separate resolution subject to shareholder vote to determine whether votes on the resolutions required under paragraph (1) will occur every 1, 2, or 3 years.
(3) Effective date
The proxy or consent or authorization for the first annual or other meeting of the shareholders occurring after the end of the 6-month period beginning on July 21, 2010, shall include—
(b) Shareholder approval of golden parachute compensation
(1) Disclosure
In any proxy or consent solicitation material (the solicitation of which is subject to the rules of the Commission pursuant to subsection (a)) for a meeting of the shareholders occurring after the end of the 6-month period beginning on July 21, 2010, at which shareholders are asked to approve an acquisition, merger, consolidation, or proposed sale or other disposition of all or substantially all the assets of an issuer, the person making such solicitation shall disclose in the proxy or consent solicitation material, in a clear and simple form in accordance with regulations to be promulgated by the Commission, any agreements or understandings that such person has with any named executive officers of such issuer (or of the acquiring issuer, if such issuer is not the acquiring issuer) concerning any type of compensation (whether present, deferred, or contingent) that is based on or otherwise relates to the acquisition, merger, consolidation, sale, or other disposition of all or substantially all of the assets of the issuer and the aggregate total of all such compensation that may (and the conditions upon which it may) be paid or become payable to or on behalf of such executive officer.
(2) Shareholder approval
Any proxy or consent or authorization relating to the proxy or consent solicitation material containing the disclosure required by paragraph (1) shall include a separate resolution subject to shareholder vote to approve such agreements or understandings and compensation as disclosed, unless such agreements or understandings have been subject to a shareholder vote under subsection (a).
(c) Rule of construction
The shareholder vote referred to in subsections (a) and (b) shall not be binding on the issuer or the board of directors of an issuer, and may not be construed—
(d) Disclosure of votes
(e) Exemption
(1) In general
The Commission may, by rule or order, exempt any other issuer or class of issuers from the requirement under subsection (a) or (b). In determining whether to make an exemption under this subsection, the Commission shall take into account, among other considerations, whether the requirements under subsections (a) and (b) disproportionately burdens [1] small issuers.
(2) Treatment of emerging growth companies
(A) In general
An emerging growth company shall be exempt from the requirements of subsections (a) and (b).
(B) Compliance after termination of emerging growth company treatment
An issuer that was an emerging growth company but is no longer an emerging growth company shall include the first separate resolution described under subsection (a)(1) not later than the end of—
(i) in the case of an issuer that was an emerging growth company for less than 2 years after the date of first sale of common equity securities of the issuer pursuant to an effective registration statement under the Securities Act of 1933 [15 U.S.C. 77a et seq.], the 3-year period beginning on such date; and
[1] So in original. Probably should be "burden".
Source(June 6, 1934, ch. 404, title I, § 14A, as added Pub. L. 111–203, title IX, § 951,July 21, 2010, 124 Stat. 1899; amended Pub. L. 112–106, title I, § 102(a)(1),Apr. 5, 2012, 126 Stat. 308.)
References in Text
The Securities Act of 1933, referred to in subsec. (e)(2)(B)(i), is title I of act May 27, 1933, ch. 38, 48 Stat. 74, which is classified generally to subchapter I (§ 77a et seq.) of chapter 2A of this title. For complete classification of this Act to the Code, see section 77a of this title and Tables.
2012—Subsec. (e). Pub. L. 112–106designated existing provisions as par. (1), inserted heading, substituted "any other issuer" for "an issuer", and added par. (2).
Effective Date
Section effective 1 day after July 21, 2010, except as otherwise provided, see section 4 ofPub. L. 111–203, set out as a note under section 5301 of Title 12, Banks and Banking.
LII has no control over and does not endorse any external Internet site that contains links to or references LII.


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Sports Programs and Initiatives
Traditional Sports
Special Olympics first began with our traditional sports model and to this day the majority of Special Olympics athletes participate in this type of Special Olympics program. more
Unified Sports®
Special Olympics Unified Sports brings together athletes with intellectual disabilities and athletes without intellectual disabilities (Unified partners) to train and compete on the same team. more
Motor Activities Training Program (MATP)
Motor Activities Training Program is a motor skills development initiative designed for persons with severe limitations who do not yet possess the physical skills necessary to participate in official Special Olympics sports. more
Young Athletes™
Young Athletes is a unique sport and play program for children with intellectual disabilities. The focus is on fun activities that are important to mental and physical growth. more
Healthy Athletes®
The Healthy Athletes initiative is dedicated to providing health services and education to Special Olympics athletes, and changing the way health systems interact with people with intellectual disabilities. more
Fundraising Programs
Special Olympics Massachusetts has many unique opportunities for individuals, families or corporate groups to support the over 12,000 athletes and participants we serve in the state of Massachusetts. Make a direct donation that will help support a Special Olympics athlete, team or initiative. more
Athlete Leadership Programs (ALPs)
The mission of the Special Olympics Athlete Leadership Programs (ALPs) is to empower athletes to develop leadership skills and utilize their voices to assume meaningful leadership roles, influence change in the Special Olympics movement, and educate communities around the world that results in positive life changes. more


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Grateful Dead Fashion Comstom Plastic case cover For Iphone 6
No disponible.
- Haz clic aquí para comprobar si este producto es compatible con tu modelo
- Made from durable plastic.
- The case covers the back and corners of your phone.
- Keep your phone safe and protected in style.
- Shock absorbent, shatterproof, and anti-scratch material. Applicaton and removal are easy.
- TPU is more cut and tear resistant than rubber. It is abrasion resistant, and has a high degree of transparency.
Es adecuado para su .
Descripción del producto
Quality pictures digitally printed onto the cover cases * Easy access to all buttons, controls and ports without removing the case * Choose your own personalised Phone case. It is also a good idea to keep it as a collection or to send it as a gift to your friends. * It is a real Case not a cheap sticker (skins) Dimensions
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Imagine a Britain stripped of democracy, a world of the not-too-distant future in which freedom has been surrendered willingly to a totalitarian regime which rose to power by exploiting the people's worst fears and most damning weaknesses.
This is the setting for the parable of Evey, a young woman saved from death by a masked man calling himself V. Beguiling and dangerous, V ignites the fuse of revolution when he urges his fellow citizens to shed the blanket of tyranny and oppression that they have permitted themselves to be cloaked in. While those in power take steps to neutralize the threat, police pursue the mystery of V, unaware of the terrible truth that awaits them. But it is Evey who, with V as her enigmatic guide, sets out on the painful path of deception and self-discovery, deconstruction and re-creation, vindication and vengeance.
Novelization by Steve Moore, based on the graphic novel illustrated by David Lloyd and published by Vertigo/DC Comics. Based on the screenplay written by the Wachowski Brothers.
©2006 DC Comics; (P)2006 Blackstone Audiobooks
"Visceral Vindictive Vicarious Vicissitudes?"
Audio: Excellent. Narrator has a British accent, as appropriate for the context of the book, and was easily understood by this American listener. This is a dramatization, and the narrator does "voices in character", but there is no music except at the title introduction of each of the two audio segments. (I personally don't care for music-enhanced dramas in audiobooks)
Content: The audio intro says this book is based on the graphic novel based on the screenplay by the Wachowski Brothers. As such this is a VERY in-depth, fleshed-out and thoughtful portrayal. After listening one would think that the based-ons could easily have been reversed, as this book is not a mere description of a movie, but an insightful exploration of all the themes and issues. My highest kudos to the author for doing so. I had seen the movie previously and look forward to seeing it again, as the book seems faithful to the plot, to my recollection.
As a story, both book and movie have a near-term, futuristic setting with enough mystery, suspense, and action that appeals to my personal tastes. Fascism, anarchy, and "V"engence certainly give it a serious side, with enough references to current day England and several pointed jabs at America to express its opinions. I highly recommend it as a thought-provoking AND entertaining tale.
I like a good dystopia. 1984 is my favourite work of fiction and I listen to it several times avery year. This work is not quite at the same standard but is pretty close because it is, sadly, just as plausible as Orwell's vision.
A bit wierd to have a book based on a comic (graphic novel) which was itself based on a film script but it never feels like its derived from anything else. It feels like an original and very well constructed original idea. And a well written one at that.
The narration is excellent, clear and with enough characterisation to aid comprehension without being intrusive.
Anybody with a taste for the future should read this.
"An amazing Gem"
Just a fantastic story with the Perfect Reader, really unexpected when I was browsing the site.
I have listened to this repeatedly in the background and still been as entertained as the 1st time I listened to it.
Excellent Characters in a not too distant/ possible time of horrible ruling and abuse of power made you feel like joining in on the march yourself.
Well done
"Very Enjoyable"
I thought this book was outstanding and a great compliment to the movie. Of course I love the movie, so perhaps my opinion is not completely objective.
Now having said that this book (and movie) is more of an Orwellian 1984 spin-off than an allegory of our current political atmosphere. It is a warning of what might be without diligence, not of what is happening now. To review a political philosophy as opposed to the book is unfair and more than a little disingenuous. The lust for power is not a political ideology of right or left it is a human trait.
My taste differs from kid books to gory horror books.
Leave it to the British to come up with a super hero who quotes Shakespeare. Who conducts invisible orchestras heard around the world. The world is London. This is based on a something, something, screenplay, comic book, graphic novel, something, something. I never read any of the somethings, which seems to be a requirement to enjoy this. I could not get into this and quit after two hours.
"great companion for the movie"
I love, love, love this movie. I usually re-watch it a couple times a year. When I saw this book on sale, I thought, why not?
At first it reads just like the movie, word for word. Once you get into it, it starts to give you more. In a movie you must have dialog to convey thoughts, feelings and intent. Not so with a book. This book gives a little more backstory to most of the characters and lets you in on their thoughts.
Most of the time I love the book and hate the movie, but you can't go wrong when the book was written based on a movie that is already awesome. It's a win/win. I would still like to read the original graphic novel, though.
What more can I say about this book! I LOVED it from start to finish. The narrator invited my imagination into this gritty universe and held it there until the very end :)
I'm a politically conservative, technologically inclined, open-minded, all American citizen of this great terrestrial ball we call home. I keep my head in the clouds, I love Sci-Fi and Fantasy novels but I keep my feet on the ground, I stay informed on news and current events, and I love the fact that I can still form and express my own opinions in this great nation we call The Untied States.
""V" Freedom Forever"
I first saw the movie and loved it. I got the book and it seemed to follow the same story line so I enjoyed the book as well. A very good read
"Most Excellent!!!"
This story spoke to my soul. In this time of governments lying to their people about everything possible, this story gives hope to the common man. While it is still fiction and a illustrated novel (comic book)story at that, it is still a great story. If you didn't see the movie, then the book is a great way to get the total experience. While the movie is also excellent, the book does have a little more than the movie.
"I got my five dollars worth."
I got this thinking it was based on the original comic by Alan Moore, but actually it's based on the graphic novel based on the movie, and bears little resemblence to the comic. My fault for not reading the description clearly enough! Still, I got it on special for $5 so I really can't complain. The narrator does a good job, and the story's okay.
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'"I don't think many teams in the league have guys like this," Recchi said. "It's rare to have a guy who can see the ice as well as that. He finds those seams, and eventually that's going to open things up out there. Joni is going to be able to control games at times. There will be nights he makes mistakes, but I think the positive is going to outweigh any negatives."'
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By Polly Browning Team Ride With Pride
We all have stories, our universal commonality. We have stories of experiencing joy and laughter. Some of us experience pain and hardship on a daily basis, while others of us support and care for those who struggle.
We all share one constant: We share in the making of these stories, either alone or with others.
No matter, once again, this coming Sept. 25-26, on what is the 10th anniversary of the Lone Star Ride, we all come together and know we are not alone. For two days and three nights, I get to be "just a number" again: Number 202, one rider among many.
I get to blend in and be a part of something much bigger than myself, much bigger than us all.
I have been asked to share my story. I'm humbled and hope I can do more than speak for myself, which is way too lonely. I've learned that our words and experiences are more alike than different.
My name is Polly Browning. I may not live in Dallas (too far from my Longhorns!), but as of September 2009, my wife and I (me being a rookie rider and Sarah being the rookie sweeper — and the cutest one, in my opinion) will now be temporarily located in Dallas once a year.
How did I get here? Laura Kerr invited me to ride a few years ago.
I remember her telling me at the time, "Polly, I need to warn you. If you say 'yes,' be prepared because you will be addicted to it and will be a 'lifer,' forever committed."
I took on the challenge. And I immediately fell in love with this organization and its members.
As a psychotherapist, I have worked with many individuals and their families impacted by HIV and AIDS. It has been an important cause my family has supported.
But why would I choose Lone Star over staying and riding in Austin? All you have to do is come to the closing ceremonies of the Lone Star Ride, bring an open heart and watch, listen and let it all in. You will experience something indescribable and you will understand.
There simply are no words for it. For all participants, observers, whomever, you simply cannot go away with an untouched heart. Laura, I love you dearly for believing in me enough to introduce me to Lone Star.
I am a licensed clinical social worker. I am currently in the fourth year of my doctoral studies in the social work department at the University of Texas — Austin. As such, convincing me to participant in the Lone Star Ride wasn't too difficult.
My personal path took a drastic turn in my first year in my Ph.D. program. I became someone I didn't know at all.
I was in horrific pain. I was unable to compose my thoughts, either verbally or in writing (just a tad important to a student). I lost most of my ability to write, to move my fingers and most joints, including my feet, and my back. Any slight breeze (regardless of temperature) felt like razor blades on the skin of my arms, hands and feet.
My eyesight was affected. My ability to balance was gone. It became impossible for me to walk on my own. My wife, Sarah, got me a really cool blue walker and committed herself to making a belt to brace me in so I could be pushed around.
I was diagnosed with a rare auto-immune disease: RSD, or Reflex Sympathetic Dystrophy, now called CRPS. They are still trying to figure the rest out.
The types of doctors I began seeing were foreign to me. I had every blood test, MRI, scanning this and X-raying that, and doing it again and again. The patients in the waiting area were often diagnosed with terminal illnesses, most much older than me. (It's okay to ask — I'm 45 years young.)
No longer was I the helper, the server, the therapist. Now I was the client, the patient. The one who needed to learn how to ask for help, a skill I had not yet developed very well.
After fighting back, I began to let help in. I had to let go of my vanity, all my humility and accept the fact that I couldn't solve it on my own.
After having a serious back surgery filled with titanium and fusions, I was restricted to lying on my back for three months, no less. I was allowed a total sitting time of 15 minutes a day. My bright blue turtle "torso" brace I wore 24/7 became my best friend. (One of my professors actually told me after that it showed off my "girlish figure!" Ha!)
That was on April 31, 2008. After I was cleared several months later, my orthopedic surgeon, Dr. Spann, told me to start to cycle for my rehab.
I was still wearing my brace 24/7. Did they even make cycling jerseys big enough to cover a brace? I'd never seen anyone in the Tour de France wearing one.
So I suggested that I learn how to play soccer for my rehab. Dr. Spann again suggested cycling, being a cyclist himself.
My wife's best friend, Laura Kerr, knew where I was at in recovery, physically, emotionally and mentally. She knew I thrive on challenges, and she suggested — and re-suggested — that I set a goal of riding 180 miles that following September in the Lone Star Ride. Yep — five months after being cleared.
Now it's history. I said "yes," showed up in my bright blue turtle brace, and pretended that I knew something of what I was doing.
My 14-year-old son, Sayer, had committed himself to training with me and riding the full two days with me. My wife, Sarah, committed herself to being on the sweep crew. It was a family affair from beginning to end. I became cyclist number 202, and Sayer became rider number 203. Sayer inspired many in his willingness to ride along side his mom.
I've been excited and ready to ride this year, but God has a sense of humor. Several weeks ago I came back out of remission. I feel different. I feel abnormal. I feel my pain. But it's often an invisible pain to others. Sometimes I feel embarrassed by not being able to "do."
But in 12 days, I get to just be a number again. I will be back in my brace and will be ready to ride again in twelve days, with the grace of my God.
Something deep inside tells me that many of us want to be a part of, wanting to shed our skins that cause us to feel different while dealing with our own barriers.
Some of us participating in Lone Star ride in cars; some of us ride on bikes with two or more wheels. Some of us walk on two healthy feet. Some of us require help when we walk.
Some of us ride on motorcycles and are assigned the role of protecting the riders on the routes. Some of us are strictly cyclists. Some stand on corners smiling and shouting endless cheers of encouragement.
Some of us drive our cars, sweeping and picking up riders, ready with cold AC, peanuts and snacks, cold grape Gatorade, and most important, a nice soft seat. Some of us are more behind the scenes: the medical crew, the pit crews, the training crews, the organizers, and most importantly, the people who set up the catering.
There are family and friends who come and support all of us. They share memories and stories of previous riders who have lost their lives. They trust that their tears will be received with gentleness and love. These families bring pictures of lost loved ones on t-shirts, reminding all of us why we do it.
Without the willingness of these families to share their stories, the closing ceremonies would just not be the same.
No matter what our role, or how many wheels we ride on, we all come together. We link ourselves together on the last weekend of September, and try our best to make a difference in the lives of so many living with AIDS.
To donate to Polly Browning or another Lone Star Ride participant, go online to LoneStarRide.org.
Lone Star Ride Fighting AIDS takes place Saturday and Sunday, Sept. 25-26, beginning and ending each day at the American Airlines Training and Convention Center, located on Hwy. 360 N., at Hwy. 183, in Fort Worth. Friends and supporters of LSR participants are invited to attend closing ceremonies on Sunday, beginning at 6 p.m.
This article appeared in the Dallas Voice print edition September 17, 2010.


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News Release
Media Contact: TPWD News, firstname.lastname@example.com, 512-389-8030
Jan. 14, 2008
Conservation Careers Await at Texas Parks & Wildlife Department
AUSTIN, Texas — If you love the outdoors and are looking for a job where you can make a difference in conserving Texas' natural and cultural resources, the Texas Parks and Wildlife Department may have just the job you're looking for.
Entering 2008, TPWD had 50 job postings and was expecting to post even more during coming weeks. The majority of those job openings are within the State Parks Division, which is looking to fill job slots in Austin, its field offices and in many of the 93 state parks. Recent retirements of park employees and additional appropriations from the Texas Legislature last year to increase staffing in state parks by more than 200 employees are driving the demand.
"The combination of retirements and new positions is making for the best state park career opportunities that we've seen in 20 or more years," said State Parks Director Walt Dabney. "For people who love the outdoors, like working with park visitors and doing something that makes a different in their quality of life, this is a wonderful time to consider a parks career."
Dabney says state park job openings cover everything from clerk slots to major maintenance jobs to interpretive and peace officer positions. There are some excellent opportunities, too, he said, for college graduates with no parks experience to come into the agency as park trainees, where they can learn on the job and forge a state parks career.
At present, the State Parks Division has approximately 100 job openings, many of them ranger positions. Some of them are entry-level positions for which many people might qualify, but the majority requires special skills and experience, so applicants need to look closely at the job descriptions to make sure they meet minimal qualifications before applying.
Other employment opportunities exist, as well, in wildlife, fisheries and other TPWD divisions, according to Al Bingham, director of the Human Resources Division.
"There are a variety of jobs at our Austin headquarters," Bingham said, "but because we are a field-based organization, we are looking to fill jobs throughout the state. A number of vacancies exist in rural areas, where our positions are competitive with the local retail market."
Applicants must submit a completed State of Texas job application for each position of interest. Copies of applications will be accepted as long as the different job posting number and location preference are identified.
Job seekers may stop by the TPWD headquarters, 4200 Smith School Road, in Austin to view the job postings and apply, or they can review employment opportunities on the agency's Web site. Interested job candidates also may call the Human Resources Division at (512) 389-4545.
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Mr.SmOOOth wrote:I love the sound a disc makes when it glances off the water tank! I went down there about 4 or 5 years ago for the CVS. First round, throw a Buzzz, park the hanging basket. Second round, turn my Buzzz over and land in the maze of gnarly trees. Had to literally crawl to my disc. Take a 6, or was it a 7?
Glad to hear the course is going to be permanent.
Both the water tank hole and the 'hanging basket' holes are part of the permanent course. We've even added a couple of pin positions to both of those holes.
Wait until you see the 'park' course. Not as extreme as the hillside but challenging and very fun.


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This Yamaha Fretless Bass is model #RBX260F. The bass comes with Bartolini pick-ups and flatwound strings. The bass is in excellent shape, being kept in a climate controlled house since being purchased years ago. There are some superficial marks near where the cable plugs in.
Package includes bass, hard carrying case, cable and strap. I can also toss in a guitar stand if you want. Would prefer dealing in person rather than shipping this (but can ship if it comes down to it), will drive half-way to meet you to sell, maybe we can throw a round too. Asking 375$ OBO.
Will also consider GB Silverback + cash. Maybe a mahal.


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Update at 12:15 p.m. by Scott Goldstein and Diane Jennings: Dallas County District Attorney Craig Watkins defied a subpoena this morning and did not appear to testify in a hearing regarding allegations he committed prosecutorial misconduct in a mortgage fraud case against a member of a prominent Dallas family.
State District Judge Lena Levario repeatedly requested that Watkins come to her courtroom to testify in the hearing regarding the pending felony cases against Al Hill III. After several delays, Assistant District Attorney Teresa Guerra Snelson appeared in the courtroom and told the judge Watkins would not be coming.
"He is in the office and has been in the office," Snelson said. "He is not going to make himself available on the basis that it is his responsibility to the criminal justice system to abide by his oath to protect the office."
Snelson then added that Watkins and his wife and daughter are also sick.
"I know him to be ill," Snelson said. "He was not well yesterday. He is not well today. He is here. He is discharging his responsibilities to the citizens of Dallas."
Levario appeared frustrated and said the district attorney had, "violated an active order to come down to this court. It is a serious matter."
Hill III's attorney John Hueston was also angered by the refusal to appear.
"The last time I heard an argument like that it was President Nixon," Hueston said.
Hueston called the explanation "beyond belief. We would like to have him down here to begin questioning."
But the judge said that she generally would not require someone who is ill to come to court to testify. She therefore asked the District Attorney's office if they would like to reschedule the hearing and they opted to do so.
The hearing was rescheduled for March 7.
There was no further mention in the courtroom of a possible ongoing FBI investigation.
Continuing updates from Scott Goldstein's Twitter feed:
Tweets by @DallasCrime
Original item at 9:02 a.m.: An expected hearing on allegations of misconduct against Dallas County District Attorney Craig Watkins has been delayed as the judge seeks to determine whether the FBI is currently investigating Watkins.
We're in a holding pattern until at least 9:30.
Several high-profile witnesses were expected to testify at the hearing today on allegations of prosecutorial misconduct against Watkins.
The proceeding before state District Judge Lena Levario is tied to a pending felony case against Al Hill III, a member of a wealthy Dallas family that has been embroiled in a bitter battle over money for years.
Hill III's attorney contends Watkins brought the charges against Hill III as a favor to a friend and generous political donor, Lisa Blue. She is a prominent lawyer who was suing Hill III in an unrelated civil case.
If they're able to determine that there is an ongoing federal investigation, it could represent a possible conflict of interest for the DA's office in its prosecution of the Hill III case.
My colleague Diane Jennings reported in Saturday's Dallas Morning News:
Before she sued him to collect attorneys' fees, Blue represented Hill in a bitter civil fight for his share of the family fortune begun by oilman H.L. Hunt decades ago.
The inheritance case was settled for about $115 million, according to court filings. But after Hill disagreed on how much he owed Blue and two other attorneys in legal fees, they took him to civil court seeking $50 million.
Two weeks before the fee dispute was to go to trial, Hill and his wife, Erin, learned the district attorney's office was charging them with mortgage fraud in connection with a home-equity loan application.
Hill's attorneys contend Watkins committed prosecutorial misconduct by consulting with Blue about the criminal case while she was suing Hill in the civil matter. Blue is not accused of any wrongdoing.
Thursday's misconduct hearing, in which Watkins might testify, is "one of these deals you live for," said Hill's lawyer, George Milner.
"There's a clear injustice, and as an attorney, you get the opportunity to at least attempt to correct it," he said. "The evidence suggests that Craig had an outside motive to indict this case."
Watkins declined to comment, but his attorney, Russell Wilson, said the district attorney "did not do anything wrong."
"The district attorney's only motivation for presenting these cases to the grand jury was a good-faith belief that the defendant had committed a crime," Wilson's filings say.


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Bioequivalency Study of Zolpidem Tartrate Under Fed Conditions
This study has been completed.
Roxane Laboratories
Information provided by:
Roxane Laboratories
ClinicalTrials.gov Identifier:
First received: January 15, 2008
Last updated: February 5, 2008
Last verified: February 2008
- Full Text View
- Tabular View
- No Study Results Posted
- Disclaimer
- How to Read a Study Record
The objective of this study was the bioequivalence of a Roxane Laboratories' Zolpidem Tablets, 10 mg, to Ambien® Tablets, 10 mg (Sanofi-Synthelabo Inc.) under fed conditions using a single-dose, randomized, 2-treatment, 2-period, 2-sequence crossover design.
|Drug: Zolpidem
|Study Type:
|Study Design:
|Allocation: Randomized
Intervention Model: Crossover Assignment
Masking: None (Open Label)
Primary Purpose: Treatment
|Official Title:
|A Single Dose, Two-Period, Two-Treatment, 2-Way Crossover Bioequivalency Study of Zolpidem Tartrate Tablets 10 MG Under Fed Conditions
Resource links provided by NLM:
MedlinePlus related topics: Malnutrition
Drug Information available for: Zolpidem Zolpidem tartrateU.S. FDA Resources
Further study details as provided by Roxane Laboratories:
|Ages Eligible for Study:
|18 Years to 45 Years (Adult)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Inclusion Criteria:
- No clinically significant abnormal findings on the physical examination, medical history, or clinical laboratory results during screening.
Exclusion Criteria:
- Positive test for HIV, Hepatitis B, or Hepatitis C.
- Treatment with known enzyme altering drugs.
- History of allergic or adverse response to Zolpidem or any comparable or similar product.
Contacts and Locations
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the Contacts provided below. For general information, see Learn About Clinical Studies.
Please refer to this study by its ClinicalTrials.gov identifier: NCT00602719
Please refer to this study by its ClinicalTrials.gov identifier: NCT00602719
|United States, North Dakota
|PRACS Institute, Ltd.
|Fargo, North Dakota, United States, 58104
Sponsors and Collaborators
Roxane Laboratories
|Principal Investigator:
|Alan K Copa
|PRACS Institute, Ltd.
More Information
Additional relevant MeSH terms:
ClinicalTrials.gov processed this record on September 18, 2017
|Responsible Party:
|Elizabeth Ernst, Director, Drug Regulatory Affairs and Medical Affairs, Roxane Laboratories, Inc.
|ClinicalTrials.gov Identifier:
|NCT00602719 History of Changes
|Other Study ID Numbers:
|Study First Received:
|January 15, 2008
|Last Updated:
|February 5, 2008
Additional relevant MeSH terms:
Hypnotics and Sedatives
Central Nervous System Depressants
Physiological Effects of Drugs
GABA-A Receptor Agonists
GABA Agonists
GABA Agents
Neurotransmitter Agents
Molecular Mechanisms of Pharmacological Action
ClinicalTrials.gov processed this record on September 18, 2017


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It was an ugly day but what was most notable about the action was how quickly the mood shifted away from Friday's euphoria over the DJIA at 14,000, talk about the return of the individual investor and stories about how the jobs news and GDP numbers were quite good (though below expectations).
That market suffered steady selling and ended with a very ugly finish. As I commented recently, weak closes are problematic and tend to indicate that a change in market character is developing. We did not see a single weak finish this year until two days last week. Today marks the third poor finish in four days.
If you are looking for a positive spin, then we can focus on volume, which wasn't very heavy, and the lack of panic signals. On the other hand, the poor breadth and the fact that we had no dip buying are not good signs.
I've been complaining too much today about not finding many stocks that I'm willing to buy, but that tends to occur just as the market starts to struggle. It has not been easy to find good leaders lately, and the lack of real enthusiasm among individual investors has been another indication that maybe momentum is cooling.
While this was definitely a rough day for the bulls, it wasn't quite bad enough to declare that the uptrend is over. We need to raise caution and tighten stops, but at this point, this is just healthy profit taking in a slightly extended market. The bulls still have the edge, although they are looking a bit like the Ravens did early in the fourth quarter last night.
Have a good evening. I'll see you tomorrow.


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In the second part of an in-depth interview, Gerard Piqué tells Champions Matchday how the atmosphere in the dressing room has made FC Barcelona great and reveals his odd taste for memorabilia.
This content is streamed in such a way that it is protected and available only in a Flash format. Your device seems not to be compatible with our Flash video player.


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2nd: after continuing to release what seem to be blockages of breath the pleasure spreads itself throughout the entire body except for the head, which i can't seem to unblock
But more important, leaving aside any specific ideas about the jhanas, I'd like to say that such a goal-focussed approach may not be the most skillful or fastest way. At least, I know for me it isn't. Having goals in mind is a form of craving. Whether they are nirvana, jhanas or even just to be without thoughts, they all obstruct the peace which you are actually looking for. So you just have to arrive here, not going towards a goal. Otherwise, it'll be like the donkey and the carrot.
Hi there. Did the head unblock after this stage? It's not clear from your writing.
You need to use this to see anatta, but obviously that isn't an absence you can just choose to see.
Goofaholix wrote:I think you need to be in contact with a teacher skilled in navigating the jhanas, though your written description is quite thorough it will be difficult to get accurate feedback on a public forum like this, especially as most people probably do vipassana type practices.
I think it's pretty foolhardy to try and progress beyond first jhana without guidance from a teacher as it's easy to decceive oneself.
thirdly, which should i focus on ending? the intuitive answer for me currently is the b. which brings me to my next question...
hi, the head doesn't unblock in terms of allowing the pleasure in, however - the tension can be relaxed, with some difficulty at 2nd/3rd and with ease at 4th.
hm, so how does one go about seeing it? if this is similar to the dissociation techniques, and 'who hears this sound' type of inquiry, i don't think i am interested. it seems quite possible to 'penetrate' the 3 characteristics without ending sensual desire, ill will, desire for becoming, desire for non-becoming, conceit, restlessness, and ignorance. i have always preferred the not-self as a "therapy to relinquish craving" theory (is that which is stressful rightly regarded as self?) rather than the penetrating the truth of no-self as an end in itself interpretation.
From your description it appears you are confusing mundane experiences as jhanas.
ohnofabrications wrote: no one was willing to even begin to talk about actual meditation... what else is there in buddhism?
ohnofabrications wrote:i apologize, i guess i misunderstood what the intentions of this forum are. no one was willing to even begin to talk about actual meditation...
Cafael Dust wrote:Anger with a forum poster is such a pale thing (...)
bodom wrote:ohnofabrications wrote:i apologize, i guess i misunderstood what the intentions of this forum are. no one was willing to even begin to talk about actual meditation...
Hi ohnofabrications
Im sorry I cannot offer any advice or feedback to you regarding your meditation practice as I live a busy life with two young children and have little time for meditation. The best I can do is recommend some books on jhana by highly regarded meditation teachers.
Beyond Mindfulness in Plain English
An Introductory Guide to Deeper States of Meditation
http://www.wisdompubs.org/Pages/display ... n=&image=1
Focused and Fearless
A Meditator's Guide to States of Deep Joy, Calm, and Clarity
http://www.wisdompubs.org/Pages/display ... ch&image=1
Mindfulness, Bliss, and Beyond
A Meditator's Handbook
http://www.wisdompubs.org/Pages/display ... ch&image=1
I hope you find them helpful .
ohnofabrications wrote:thank you for this suggestion, it's true that i am taking a goal oriented approach (the goal being the end of suffering) but i don't think this is a problem for me.
"Remember you dont meditate to get anything, but to get rid of things. We do it, not with desire, but with letting go. If you want anything, you wont find it." - Ajahn Chah
ohnofabrications wrote:From your description it appears you are confusing mundane experiences as jhanas.
could you expand on this? it would seem sensible that if you were going to tell me that what i thought was jhana wasn't, you would also give me some explanation on why it isn't, what it is, and what to do... otherwise you are providing no insight and simply creating doubt.
how could simply telling someone they are practicing wrongly without any explanation be beneficial? you said that i should seek someone qualified to teach, implying that you aren't. but if that is the case then why are you telling me i am practicing incorrectly, telling me i am practicing incorrectly implies you know what practicing correctly is - but you're not telling me, simply enforcing a hinderance?
Return to "General Theravāda Meditation"
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Posted 6 years ago
(1 item)
Hello I found a waterman fountain pen. on the bottom of the pen it says baby and 3 1/2 V. S./ on the metal part of the pen it has DUR,UM and under that it has the number 2. The top screws on and off and the bottom screw retracts the writting part @/or extends the writting part. The cap has PAT APRIL. 28 1903. THE BODY OF THE PEN HAS PAT'D,1884 MAY, 23 1899 THE NEXT LINE IS WATERMAN'S IDEAL (THE WORD IDEAL HAS A FANCY CIRCLE AROUND IT) FOUNTAIN-PENN.Y.U.S.A. @ AUG. 4. 1903 UNDER THAT LINE IT HAS SAFETY PEN. I think it is made out of plastic or bakelite? the pen has etched wavy lines on the body of the pen.
Thanks, Gil Temme firstname.lastname@example.com


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Artown for July
It's a monthlong celebration of the arts in the Biggest Little City in the World. Every July, Reno is Artown, with a packed schedule of multicultural music, dance, theater and spoken-word performances, plus art exhibits, open studios, films, lectures, walking tours and lots of hands-on family fun. Many events are free. Full lineup: www.renoisartown.com.
SoCal dining deals
The dineLA Restaurant Week has expanded to 12 days' worth of prix-fixe menus at a whopping 330 Los Angeles-area restaurants, including hot spots run by top chefs Susan Feniger, Sang Yoon and Govind Armstrong. And if you stay at a participating hotel for two nights, you will get a $50 American Express card. You must book your stay at www.discoverlosangeles.com; you'll find a list of restaurants there, too.
Leisure au naturel
For nudists, summer means more warm, liberating hours at clothing-optional resorts. The American Association for Nude Recreation will celebrate with Nude Recreation Week (July 7-14) and a world skinny dipping record-breaking attempt July 13. They're looking to add fans of all ages, too; if you'd like to check out clothes-free recreation, you can find a club to visit at www.aanr.com/aanr-clubs.
Contact Linda Zavoral at email@example.com. Follow her at Twitter.com/buh_byeTravel.


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LOUDONVILLE -- Kathryn E. "Kathy" Akins, 52, of Loudonville, died Wednesday afternoon, March 20, 2013, at James Cancer Hospital, Columbus, after a two-week battle with cancer.
Kathy was born March 4, 1961, in Millersburg, the daughter of the late Warren and Mildred (Cline) Hyatt. She was a 1979 graduate of West Holmes High School and Ashland County-West Holmes Career Center.
She had been a resident of Loudonville for the past nine years, living in the Big Prairie area previously. She was a 20-year employee of Stakes IGA and Gribble's IGA of Loudonville, working in most departments of the store and serving most recently as produce manager.
She was a member of New Hope Community Church of Loudonville and loved collecting bells, working in her flower garden and shopping for shoes and purses.
Surviving are her husband, Russell "Rusty" Akins of Loudonville, whom she married July 2, 1983; brothers, Richard (Sharon) Hyatt of Killbuck and David Hyatt of Scottsdale, Ariz.; sisters, Valerie (Lester) Leckrone of Loudonville, Gayle Elliott of Danville, Joyce (Kerry) Patterson of Baltic, Cynthia (Lonnie) Dalton and Lois (Rick) Pace, both of Loudonville; and many nieces, nephews and great-nieces and nephews.
Funeral services will be Monday, March 25, at 10:30 a.m. at Lindsey Funeral Home in Loudonville, with Pastor Rob Paterson officiating. Burial will be in Newkirk Cemetery, Wayne County.
Friends may call Sunday, March 24 from 3-6 p.m. at the funeral home. Online condolences may be left for the family by visiting www.Byerly-Lindsey.com.
Memorial contributions may be made to New Hope Community Church, 637 N. Market St., Loudonville 44842.


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Dry eye disease makes millions of people miserable. It is caused by a variety of things. Standard treatment usually means medications, daily eye drops and ointments. Now there is a new eye-opening option for sufferers, and it only takes few minutes.
"I felt like I had a piece of glass in my eye," said Diana Galson-Kooy, who has suffered with dry eye disease for years.
Dry eye disease is caused by things like prolonged contact lens wear, birth control pills and antihistamines. Evaporative dry eye affects the glands that make tears.
Dr. Ernest Kornmehl said the majority of his patients come in for dry eye treatments. For many patients, he is now recommending LipiFlow.
"It takes 12 minutes and patients go to work immediately after the procedure," said Kornmehl.
Cups surround the eyelids. They heat up and pulsate to melt blockages in her tear glands.
"It doesn't hurt. It just is strange," said Galson-Kooy.
In a Food and Drug Administration trial, 79 percent of LipiFlow patients showed improvement. Doctors said those improvements can last nine to 15 months. Most patients find themselves not taking the drops or ointments as they were before.
LipiFlow is FDA-approved, but it is not covered by insurance. The cost per eye can range between $700 and $1,100.
Copyright 2012 by Click2Houston.com. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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IN the near future.
I'm watched a new movie.
It is Happy Feet 2 .
Is telling a dance teacher there is a big problem,
His son Eric is not dancing .
But he met a penguin in other countries,
He began to dance not afraid.
I think this movie looks good
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text:
Finding Aid
Papers of Philip Greeley Clapp
Access and Restrictions: This collection is open for research.
Digital Surrogates: Except where indicated, this document describes but does not reproduce the actual text, images and objects which make up this collection. Materials are available only in the Special Collections Department.
Copyright: Please read The University of Iowa Libraries' statement on Property Rights, Copyright Law, and Permissions to Use Unpublished Materials.
Use of Collections: The University of Iowa Libraries supports access to the materials, published and unpublished, in its collections. Nonetheless, access to some items may be restricted by their fragile condition or by contractual agreement with donors, and it may not be possible at all times to provide appropriate machinery for reading, viewing or accessing non-paper-based materials. Please read our Use of Manuscripts Statement.
Acquisition and Processing Information: These materials were transferred to the University Archives from the University of Iowa Music Library in May 1994. Guide created by Denise Anderson, June 2007. Additional oversize box contents notes provided by Amy McBeth, 2010.
Philip Greeley Clapp, not dated
Scope and Contents
This collection contains material relating to the professional career of Professor Philip Greeley Clapp, a composer, conductor of symphony orchestras, accomplished pianist, and music instructor. Some Greeley and Clapp genealogy is included in boxes 1 and 6, as well as some documentation of Mr. Clapp's studies at Harvard in box 12.
Four scrapbooks of carefully dated newspaper articles are housed in box 12. Mr. Clapp and his father, Henry Lincoln Clapp, authored many of the articles, while others announce their accomplishments. Henry Clapp was principal of Putnam Elementary School in Connecticut during the 1800s, and his theories of elementary education were highly-regarded. Articles dated 1879 to 1918 by the senior Clapp on the topic of education, and his hobby of horticulture in the Boston area, are preserved here.
Correspondence in box 6 is primarily with SUI faculty and administrators. Correspondence in box 7 is primarily with administration, yet includes includes more correspondents, who are listed on the folders.
Boxes 15 and 16 hold plaster casts of the faces and hands of adults and a child, yet it is not recorded of whom they were made.
Oversize boxes 1 through 20 contain original scores and drafts of compositions, including annotations. Several audio recordings of Mr. Clapp's performances are included in one oversize box.
Biographical Note
Philip Greeley Clapp was born in Boston on August 4, 1888. His mother, Florence Greeley Clapp, and his aunt, Mary Greeley James, were his first music teachers of piano. At age 11 he began to study composition under the dean of the Boston University Music Department, John P. Marshall. He continued his education at Harvard, earning his B.A. in 1908, and M.A. in 1909, while studying under Dr. Karl Muck, conductor of the Boston Symphony Orchestra. During 1909-1911, Clapp studied in Germany under a Harvard fellowship, and took his Ph.D. in 1911. Dr. Clapp taught at Harvard University, Dartmouth College, and other colleges for the next seven years, before joining the faculty at the University of Iowa.
At Iowa, he continued as a composer, and conducted the University Symphony Orchestra, among others. He was hired to organize an official music department, because such instruction had been private since 1906. Associated with the University of Iowa as a professor and department head since September 1919, Dr. Clapp became director of the School of Music in 1932, a position he held until his retirement on July 1, 1953. Philip Greeley Clapp died of a heart attack on April 9, 1954. During his 35 years of guidance, the University of Iowa School of Music gained a reputation that attracted students from across the nation, largely for the varied experience, and due to the opportunity of graduate study, which was developed by Dr. Clapp. The University of Iowa Clapp Recital Hall was named in his honor in 1971.
[D. Anderson; 06/2007]
Related Materials
Biographical folder, "Philip Greeley Clapp," in Faculty and Staff Vertical Files collection (RG 01.15.03)
Biographical folder, "Himie Voxman," in Faculty and Staff Vertical Files collection (RG 01.15.03)
Calmer, Charles Edward. "Philip Greeley Clapp: The Early Years (1888-1909)." M.A. thesis, University of Iowa, 1981.
Calmer, Charles Edward. "Philip Greeley Clapp: The Later Years (1909-54)." Ph.D. dissertation, University of Iowa, 1992.
White, Dorrance Stinchfield. "A Biography of Dr. Philip Greeley Clapp, Director of Music at the State University of Iowa, 1919 -- 1954," in University of Iowa Historical Papers collection (RG 01.01.03)
Compositions by Philip Greeley Clapp are listed in "Philip Greeley Clapp," Holcomb, Dorothy R., Books at Iowa, November 1972
Records of the School of Music (RG 06.24.01)
Box Contents List
Family Bible, includes genealogy
Large photograph of Clapp on stage with orchestra, n.d.
The Flaming Brand music score, by P. G. Clapp
Clapp anniversary programs, July 26, 1944
"The Use and Development of the Orchestral Woodwind," by P.G. Clapp, 133 handwritten pages, n.d.
The Lion and the Clown, vocal score
Box 2
The Flaming Brand, text and music score, by P.G. Clapp
Box 3
The Flaming Brand, text and music score, by P.G. Clapp
Box 4
The Flaming Brand, text and music score, by P.G. Clapp
Box 5
The Flaming Brand, text and music score, by P.G. Clapp
Box 6
Greeley genealogy
The Clapp memorial. Record of the Clapp Family in America, Containing Sketches of the Original Six Emigrants, and a Genealogy of Their Descendants Bearing the Name. With a Supplement, and the Proceedings at Two Family Meetings. Ebenezer Clapp, Compiler. 1876
Fifty Ancestors of Henry Lincoln Clapp, Who Came to New England from 1620 to 1650, part 1. 1902
P.G. Clapp's early sketch books
Diary of Florence Greeley, 1888-1895
An Account of School Garden and Herbarium Work Done During Fourteen Years, 1890-1904, in the Massachusetts Horticultural Society, by Henry Lincoln Clapp
Correspondence from Alice I. Whitehall, University of Iowa music student, 1938-1944
Phi Beta Kappa, positions held by Clapp
Correspondence of Clapp to his wife, Gladys, 1925
Correspondence of Clapp held at the Library of Congress, and clippings, 1908-1918
Correspondence with faculty and administrators
Catalogue of the Roxbury Latin School, 1904-05 (Philip Clapp's college preparatory school)
Concert programs
Box 7
January-June 1933
July-December 1933
January-August 1934
September-December 1934
Personal, 1951-1953
Box 8
Orchestra programs, 1919-1947
Box 9
Orchestra programs, 1947-1955
Clapp piano performance programs
---. 1937
---. 1904-1912
---. 1908-1945
---. 1945-?
Box 10
The Taming of the Shrew, music score for play
Box 11
The Flaming Brand, play, text and music score by P.G. Clapp
---. Newspaper clippings by and about Clapp, 1911-1916
---. Clippings and articles about Clapp's father, Henry Lincoln Clapp, 1879-1918
---. Clippings, programs, correspondence, exams, Harvard activities of Clapp, 1904-1909
---. Clippings and two undated photographs of Clapp from a New York studio, 1912-1945
Box 13
Original music scores, 1896-1902
Box 14
Writings by Clapp
---. Typed and handwritten, n.d.
---. Harvard Monthly, 1908
---. Harvard Musical Review, April 1913
Box 15
Plaster casts of one adult face
Box 16
Plaster casts of 5 sets of hands (2 of adults and 3 of a child)
Oversize Boxes
Box 1
Photostat(?) copy of ms "Scherzo" from Symphony 7, arr. for concert band by P. G. Clapp. Spiral bound.
Ms 606. Symphony #2 1936.
Ms Symph. 6.
Ms 57. Symphony in D major.
Ms 115. Symphony 2 in E minor- revision of 1st movement.
Ms fragments of Symphony #2. Adagio for String Quartet "became start of Symph. #2 in E minor (I)." Sketch for Symphony in D minor.
Ms 4(5?) Symphony No. 3 in E-flat major.
Ms fragments of Symphony No. 3. Symphony D "became symph. 3." Early sketches and discards.
Box 2
Ms 46. Symphony in E Major By Gee Clef." "For the Paderewski Fund Competition of 1909."
Ms 51. Symphony in E minor.
Ms 1012. Symphony 11.
Ms 1011. Symphony 11.
Ms 1010. Symphony 11.
Ms 12. Eleventh Symphony first version
Ms 11. Symphony 11.
Ms 10. Symphony No. 10 in F Major.
Ms 513. Symphony No. 10 in F Major "Heroic" "ded. To Theodore Roosevelt" (somewhat crossed out with pencil).
Box 3
Ms 81. "Humoresque" full score and complete set of parts.
Set of parts, stamped "In Summer Prelude for Orchestra" – "Phillip [sic] G. Clapp." Some violin parts are reproductions of ms parts, all others mss. Scored 7-7-5-5-4, strings, timpani, triangle, tambourin [sic], snare drum, bass drum, cymbals, harp.
Box 4
Ms 13. Full score Symphony No. 4 in A Major (dedication "To my Mother").
Ms 9 (7). Full score Symphony No. 4 in A Major.
Ms 53. Full Score Symphony No. 4 in A Major.
Ms 54. Symphony No. 4 in A Major.
Ms 55. Symphony No. 4 fragments.
Ms 62 (2). Symphony No. 4 fragment "sketch 2" dated October 9, 1914.
Ms 61 3. Symphony No. 4 "sketch 3."
Ms 58 1. Symphony No. 4 "sketch 1."
Ms 63 4. Symphony No. 4 "sketch 4." "Planned as symphony, Stuttgart, 1909-10; as concerto, Boston, 1914; much revised and altered.—1st mov't written down as part of violin concerto, Bonton, Dec. 25-28, 1914; 1st mov't written down in present form, Hanover, Aug. 28-30-1915."
Ms 65. Symphony No. 4 sketches, fragments.
Ms 60. Symphony No. 4 sketches, fragments.
Fragment. ""Sonata in b min" – "op. 2"" "Became first theme of Symph. #4 in AM (end of score – Bridgton, Me Sept 15, 1905"
Revision sheets—Sym. # 1—"Discards of a Revision (illegible) of Symph. #1 in E Major Move I page 1 of 1907 score."
Box 5
Ms. Full score sketches—First sketch of final form of Sym. #1 in E major, mvt I sketches Symph. # 1, mvt I, II.
Ms. Full score Symph. 12, mvt I only, 1942 version.
Ms. Incomplete full score sketch, mvt I of "Academic Riverrun (illegible)—Early version.
Ms 43. Full score, "Fairy Dance."
Mss 82-83. Incidental music to the play "The Promised Land."
Ms 77. "In Summer" Prelude for Orchestra. Bridgton July – August, 1912
Ms 84. Tone Poem "A Song of Youth" Tondichtun "Ein Jugendlied" by Philip Greely Clapp Op. 4, Von Philip Greely Clapp Werk 4.
Ms 64. "Summer" Prelude for Orchestra Bridgton, Maine: July 9-August 1, 1912. Boston, Massachusetts and Hanover, New Hampshire: December 25, 1917; January 10, 1918.
Mss 74-76. "Masque" In Memory of the Soldiers Killed in the War. Includes typed letter to Clapp from? (illegible) with return address of 8 Kraft Avenue, Bronxville, New York, September 17, 1919. Performance suggestions.
Handwritten postscript. Text and stage direction to "A Memorial Masque for the Soldiers Killed in the War," with ms insert of special musical (Burgundian folk song). Full score and partial piano reduction.
Ms 1013. Sketches. "Masque"?
Misc. part of unknown score. fl 3, ob 2, Eng hn, cl Eb & Bb, Bcl, Bn 3, Hn 4, trpt D 3, tbn 3, tu, hp, kdr, tri, cymb, mltr(?) drum, Bdr, strings
Box 6
Ms 88b "Norge" composed January-February 1908. Revised February 1909
Misc. "Alla Fantasia" from Symph. 5? (hecklephone in score--- Box 5 includes score with hecklephone). Symph. in A.
"The Shadow of Dawn (W. E. Henley)." Song manuscript. Med voice. Iowa City April 7, 1924, April 15, 1934.
"Song." Ms. Words by Hermann Hagedorn, Jr. Rome 1910, Iowa City 1934. Typed note from Herald Stark (then in San Antonio) dated Nov. 28, 1986, provides history of first performances, performer Alice Mikulasek. Stark recommended publishing it.
Misc. song fragments.
Mss 88A, B. "Norge" misc. parts, full score—"Dedicated to the Pierian Sodality of Harvard University on its Hundredth Anniversary "Norge" Tone-Poem Full Orchestra and Pianoforte by Philip Greeley Clapp." Contains correction markings.
Ms 72. Piano quintet #2 in g minor.
Ms 71. Piano quintet #1 in c minor, score and parts.
Ms 509. Prelude and Finale, wind quintet. "Dedicated to Himie Voxman." Parts only. Missing flute part. Note of Boosey Copyright.
Mss 512 & 512A. "Romance," parts (2-2-2-2, 2-2-3-0, tympani, strings). Score, "Romance for Orchestra with Saxophone obbligato" (no separate sax part)
Ms 25. Piece for violin & piano. Fragment identified as first theme of Move I of Symph. 5.
Ms 20. Sketches to B minor piano sonata [#600] & Sonata in B minor for Pianoforte, 1904 - 1906.
Ms 73. Sketches for Piano Quintet #3 in F major.
Fragments of Brass Sextet.
Ms 35. "Romance" "To Mrs. Jane Bingham Abbott."
Ms 23. "Ballad in A flat (with apologies to Frederic Chopin," "deranged by Philip Greeley Clapp."
Ms 78. "The pageant For the 50th Anniversary of the Massachusetts Agricultural College." Typed text explaining leitmotivs of music and stage direction. Typed letter from William Chauncy Langdon, American Telephone and Telegraph Company, NY, June 29, 1926. (Pageants to take place at various locations.) Mention of pageant committee in Michigan and possible engagement of Detroit Symphony for performance. Instrumentation list for Cape Cod, Austion, Indiana University performances. Sheet music by W. C. Langdon. Sketches for pageant score. Piano score to "Music for the Pageant of the Massachusetts Agricultural College," full score.
Box 7
Ms 1013. Unidentified orchestral work.
Ms 41. "Psalm 150." SATB & organ.
Ms 38. "My Love's Like a Red, Red Rose." (Robert Burns) SATB.
Ms 26. "The Light of Other Days." (Thomas Moore) Women's voices with piano acc.
Mss 31, 31A, 31B, 32, 32B. "Eldorado." (Edgar Allan Poe) SATB.
Ms 40. "I Therefore Beseech You That You Walk Worthy." SATB & organ.
Mss 37 & 37A. "Remembrance." (Thomas Moore) SATB.
Mss 39 & 39A. "In the Quiet Hour." (Sir Walter Scott). SSAATTBB.
Ms 86. Concerto in B (min) for piano and Orchestra by "Denverite." Full score.
Ms 87. Piano Concerto. Sketches.
Mss 90 & 90A, B, C. "A Chant of Darkness." (Helen Keller). P/V score, full score, original vocal score.
Box 8
Ms (no number). "The Opera of Elena, words by Roaldn B. Coe, music by Philip G. Clapp." Begun, late August, 1898, Finished, November 11, 1901." Incomplete vocal score and sketches.
Ms17. Sonata for Violin and Piano #2 in d minor. Sketches, violin part.
Ms 18. Sonata for Violin and Piano #1 in B major (op. 1). Violin part, piano part, sketches.
Ms 19. Sonatina in E for Piano. "to G.O.M." 4 copies, 1 stamped "John Simms." Independent Music Publishers reproduction of manuscript.
Ms 27. "Gray Day" for solo violin and orchestra. Full score, violin and piano arrangement (2 versions, photocopies of manuscript).
Bound Photocopy Ms score (no number). "A Highly Academic Diversion on Seven Notes (A, B, C, D, E, F, G without Corrupting Chromatics). "Dedicated to George Dasch." "Composed for the Little Symphony Orchestra of Chicago conducted by George Dasch in Ovington, Washington. Premiered in Iowa City, Iowa in 1933 by the above group, George Dasch conducting." (Full score and parts at Fleisher Collection, the Free Library of Philadelphia.)
Ms (no number). Sonata for Violin and Piano, violin part only.
Box 9
Ms (no number). Fragments of Symphony No. 10. Full score.
Ms 92. Piano Concerto. Full score.
Ms 1001. Early version of Piano Concerto. Full score.
Ms (no number). Sketches to Piano Concerto. Full score.
Ms 99. "To Helen" Song for Mezzo Soprano. P/V score. Text Edgar Allan Poe. (From Four Songs of E.A. Poe." Independent Music Publishers reproduction. Copyright 1942 P. G. Clapp.
Ms 99A. "To Helen" Song for Mezzo Soprano. P/V score. Text Edgar Allan Poe.
Independent Music Publishers reproduction. Copyright 1942 P. G. Clapp.
Ms 29B. "A Dream Within a Dream" (song for soprano). Words by Edgar Allan Poe. Written 1906. Independent Music Publishers reproduction. Copyright 1942 P.G. Clapp.
Ms 29A. "A Dream Within a Dream." Sketch with vocal line only. Text typed. P/V.
Ms 29. "A Dream Within a Dream." P/V. Different key from Mss 29A-B.
Ms (no number). "Evening Star." P/V. Text by Edgar Allan Poe. 4 flats in key.
Ms (no number). "Evening Star." P/V. Text by Edgar Allan Poe. 6 flats in key. Dated Nov. 1934.
Ms 56. "Little D Major," Symphony No. 5. "By Prometheus." Full Score.
Ms 100. Three Songs for Soprano (words by Edgar Allan Poe). "A Dream Within a Dream," "Hymn," "The Evening Star." P/V. All dated 1906. Independent Music Publishers reproduction. Copyright 1942 P. G. Clapp.
Ms 98. "The Nightingale and the Rose," words by Henley. P/V. Independent Music Publishers reproduction.
Ms 501A. "A Woman's Last Word," song for soprano. Robert Browning. P/V. Independent Music Publishers reproduction.
Ms 102. "The Power of Spring," Richard Burton. Voice and orchestra. Full Score. National Blue Print Co. reproduction. Composed Cambridge, 1906. Orchestrated Iowa City, 1943.
Ms 1008. "Cradle Hymn of the Virgin" (Coleridge). Instrumental pts: Eng hn, cl in A, bass cl, bsn, hns I & II, trbs I-III, kettledrums. P/V score, Independent Music Publishers reproduction. "Old Latin Hymn transcribed by Samuel Taylor Coleridge." Latin and English. Instrumental pts by Independent Music Publishers, vn I (7 copies), vn II (7 copies), va (4 copies), vc (4 copies), contrabass (4 copies).
Ms (no number). 1-page sketch, "Cradle Hymn of the Virgin."
Ms (no number). "Cradle Hymn of the Virgin." Full score. Independent Music Publishers, reproduction.
Photocopy of P/V score "Cradle Hymn of the Virgin."
Ms 1008. "Cradle Hymn of the Virgin." P/V. National Blue Print Co. reproduction.
Ms 44. "Cradle Hymn of the Virgin." Instrumental pts on onionskin(?) originals, vns, va, vc, contrabass. Independent Music Publishers reproduction.
Sketches. "Cradle Hymn of the Virgin."
Ms 24. "Creole Love Song" Tone-Poem for Voice and Piano. Words by Edmund Clarence Stedman.
Ms 15 or 51. "Bridal Ballad" Song for High Voice. Edgar Allan Poe. Water damaged.
Ms 15 or 51. "Bridal Ballad" Song for High Voice. Edgar Allan Poe. Second copy.
Ms (no number). Arrangement of Bach organ Fantasia and Fugue in G minor? Full Score (incomplete).
Ms 15. "Bridal Ballad" voice and orchestra. Full score. National Blue Print Co. reproduction. Composed Cambridge October, 1906. Orchestrated Iowa City November, 1943.
Ms 93. Fantasy for 'Cello and Orchestra on an Old Plain Chant (in 2 movements). Full score. Incomplete.
Ms 59. Unidentified orchestra sketch. Movement I.
Box 10
Ms 1002. Recessional by De Koven. Arr. for band and chorus by P.G. Clapp. Text by Kipling. Full score and complete set of parts.
Ms 1006. Overture to Messiah. Arr. by P. G. Clapp. Piano reduction.
Ms (no number). Lord's Prayer by Malotte. Arranged for band by P. G. Clapp. Full score and complete set of parts.
Ms 1003. Hallelujah Chorus by Handel. Arr. for band by P. G. Clapp. Full score and complete set of parts.
Ms 42. The Swimmer – Song for Baritone. Words by Lindsay Gordon, music by P. G. Clapp. Cambridge, Massachusetts. November 7 – 10, 1906.
Ms 36. Bist wie eine Blume. Song for Alto or Mezzo (crossed out). MezzoSoprano. Text by Heinrich Heine. For voice, violoncello, and piano. P/V score and vc pt.
Box 11
Ms 94. "Taming of the Shrew." Orchestra, full score, loose leaf, correction copy. Iowa City, December 2, 1945 – February 15, 1946.
Ms 1009. "Flaming Brand." Orchestra, full score, opera discards. Characters "John Brown" and "Colonel" noted. Corrections, etc. n.d.
Ms 600. "A Song of Youth." Full score. Dated 1935.
MS 96A. "A Hill Rhapsody," "old version" loose leaf, corrections, etc. Iowa City, December 25, 1944 – March 24, 1945.
Box 12
Ms sketches. Symph. 1936?
Ms. Various misc. choral/orchestra sketches.
Ms. Sketches for chorus. Text "The Congo: a study of the Negro race" by Vachel Lindsay (not noted on sketch).
Ms. Discards from "B-A-C-H"?
Ms. "A Fanfare Prelude." Photocopy. Dedicated to Maurice Faulkner. Ovington, August 9 – 27, 1940.
Ms 103. Overture to an Irish Comedy. Orchestra full score.
Ms 91. Prologue to a Tragedy. Orchestra full score. Iowa City, July 2 – 10, and Ovington, July 28 – August 14, 1939.
Ms. "Golden Wedding Fantaisie." Nana's and Grandpa's Golden Wedding 1848 1898. To Nana and Grandpa.
Ms. Sonata in F to Gertrude Gardner. Pf I & II.
Ms. "To My Mamma." Op. 46, no. 1. Charles Kingsley, text. Pf & alto voice. 1896 – 1897.
Ms. "To Mamma." Madrigal. Text by Clapp. Pf & alto voice.
Ms. Guernikako Arbola. Pf.
Mss. Student counterpoint exercises: Ms. 110: Canon for string trio; Ms. 107: Fantasia Canonica for string trio; Ms. 21: Fugue for Organ on a Given Subject; Ms. 112: Fugue for pianoforte & Voices; Ms. 113: Prelude & Fugue for Organ in G minor; Ms. 22: Prelude & Fugue in the Ancient Style for String Orchestra; Ms. 106: Scherzetto, pf. Ms. 108: String quartet; Ms. 109: Polonaise for piano; Ms. 111: Prelude for organ.
Ms. Eingangschor aus der Cantate: lasset uns ablegen die Werke des Finsternis, by W.F. Bach. Komponiert 1749. Klavierauszug von George B. Weston. G.B.W. 3.3.07.
Ms. Tragic Overture sketch. July 4, 1907.
Ms. Misc. fragments: Adagio; Ms. 601 Incomplete "Overture"; sketches from F minor Symphony, sketches begun May 25, 1906.
Ms. Early orchestra sketches: Ms. 105: Cradle Song; Ms. Dramatic Overture; Ms. Hamlet. Ms. 81B: Humoresque #2, 1904, June 16 – July 5; Ms. 602: Incomplete "MacBeth : Dramatic Overture"; Ms.: Symphonic Poem "The Making of America"; Ms. Sinfonietta in E major; Ms. 603: Sketches for Symphony "Russia"; Ms. 604: Theme & Variations, sketches for orchestra; Ms.: Tragedy Overture; Ms.: Symphony 3 fragments; Ms. 116: Sketches for Symphony in D.
Box 13
Ms. Symphonic Mvt in C minor. Fragments of full score. "M'v't begun Nov. 7, 1916".
Ms. Fragment. "Concord, Feb. 24, 1914".
Ms. Symphonic Mvt in A major. Full Score. Three versions. "July 25, 1915".
Ms. 47. Symphony No. 1 in E major for Grand Orchestra. Extensive foreword. "M'v't begun July 18, 1907. M'v't finished August 19, 1907" (missing part of mvt. III and all of IV).
Ms. 52. Loose pages and discards form Symph. 2(?). Full score.
Ms. 103A. Comedy Overture in F. Full score.
Ms. Misc parts for Dramatic Poem for Trombone and Orchestra 1911-12 version (vn II, percussion).
Ms. Misc parts for Symph. In E minor (mvts I, II). Includes instructions special instructions for clarinet and bassoon players doubling instruments.
Ms. 79. String Quartet in C minor. Full score. (water and glue damage).
Ms. 79A. Photocopies of full score of string quartet and misc. ms pages.
Ms. Parts to First version of String Quartet (includes corrections, etc.)
Box 14
Ms. Set of parts to Symphony in A major, early version. Parts have stamped cover title page and measure numbers.
Box 15
Ms. Set of parts (inc.) for Symphony (no. 4) in A major, early version. Includes: harp 1, 2, pf, vn1 (9 copies), vn2 (8 copies), va (1 copy). Endpiece of original part box. Photostat(?) copies.
Ms. Set of parts for Symphony no. 7 in A. (Almost all parts have "no. 6" on them; top parts have this crossed out with "7" written over.) Mix of handwritten and Photostat copies. Different copyists. Vn1 (19 copies), vn2 (13 copies), va (7 copies), vc (6 copies), bass (5 copies). String parts only.
Box 16
Ms. P/V score for The Flaming Brand. Photostat, copyright 1954 Philip Greeley Clapp.
Ms. 67. The Power of Spring (Burton). Set of parts. Pic, fl 1-2, ob 1-2, cl 1-2, bass cl, bsn 1-2, hn 1-4, tpt (Bb) 1-2, trb 1-3, tuba. Percussion: cymbals/bass drum, snare drum, kettledrums, triangle, harp. Photostats of Vn1 (7 copies), vn2, (7 copies), va (4 copies), vc (4 copies), bass (4 copies). Original masters for string parts.
Box 17
Concert poster. "Memorial Concert of the Compositions by Philip Greeley Clapp." 26 May 1954. University Chorus (Stark, cond.), University Symphony Orchestra (Gower, cond.).
Concert poster. "University Symphony Orchestra." 3 March 1976. (Dixon, cond.)
Program included performance of P.G. Clapp's Symphony No. 9, "The Pioneers."
Symphony No. 9, "The Pioneers." Score and set of orchestral parts. Photo-reduced ms score with introductory text by Clapp. Spiral bound. MS set of orchestral parts.
End piece of original donation box.
Box 18
Original box end for parts to A Song of Youth, op. 4, tone poem. Tondichtung Ein Jugendlied.
Ms. Set of parts to A Song of Youth. Pic, fl1-3, ob1-3, Eng hn, cl in Eb, cl in Bb 1-2, bass cl, bsn 1-3, contrabsn, hn 1-6, tpt in C 1-3, trb 1-3, tuba 1-2, harp 1-2, organ, vn1 (10 copies), vn2 (7 copies), va (3 copies), vc (3 copies), bass (5 copies).
Percussion: timpani 1-2, triangle, Bekken/Gr. Trommel, Rührtrommel, Militaertrommel, Tamtam/2 Gr. Glock./Glock. Different copyists, some Photostat.
Box 19
Ms. Reduced photocopy full score of Symphony No. 8 in C, 1929-30. Spiral bound.
Ms. Set of parts "Norge". Fl1-3, ob1-2, cl in Bb 1-2, bsn1-2, hn1-4, tpt1-3, trb1-3, tuba, pf, vn 1 (6 copies), vn2 (5 copies), va (4 copies), vc (4 copies), bass (3 copies), kettledrum, bass drum/cymbal/tamtam, triangle/tambourine, snare drum, glock./xylophone.
Ms. Set of parts to Symphony No. 7 in A. Fl1-2, fl3/pic, ob1-2, cl in A 1-2, bass cl in Bb, bsn1-2, contrabsn, hn1-4, tpt in Bb 1-3, trb1-3, tuba, vn 1 (10 copies), vn2 (10 copies), va (6 copies), vc (5 copies), bass (5 copies), harp 1 (harp 2 missing?), kettledrum, triangle, cymbals, military drum, bass drum.
Box 20
Misc. ms fragments (full score, orch).
Ms. 1004. Fragment (full score, band).
Ms. 3. Fragment (full score, orch).
Ms. Symphony 9. Fragment. Full score.
Ms. Symphony 8. Fragment. Full score.
Ms. Symphony 8 in C major. Full score.
Ms. 67A. "Power of Spring" solo song piano-vocal score (note says "This is in Pg's mothers [sic] hand. Words by Richard Burton. Also, full orchestra score of "Power of Spring".
Ms. 1009. Early version of 1st mvt. of Symphony 8 in C major.
Ms. 2. "Sketch for choral poem later used for slow movement of no. 8."
Ms. 1. Symphony No. 8 in C major. "to the memory of Max von Schillings". Full score.
Ms. Symphony 7(?). Scherzo sketch.
Ms. 116. Symphony no. 5 (old version). "Little D Major."
Ms. Fragments. Symphony 6.
Ms. 90(A). "Chant of Darkness." Full score.
Recorded sound
Box 1
Mahler broadcast, July 18, 1942, on 78 RPM audio records
Concert, January 12, 1948, on eight 33 RPM audio records
Prof. Clapp and Waldbauer: Beethoven Opus 12 #2 Violin and Piano Sonata; June 7, 1948, on two 78 RPM audio records
[Lonabine in E?], December 1935, on two 78 RPM metal audio records
Philip Greeley Clapp Symphony No. 8, 1st, 2nd and 3rd movements, New York Philharmonic, Dmitri Mitropoulos, conductor; February 1952, on one 33 RPM audio record


text:
Can you make five differently sized squares from the tangram pieces?
What is the greatest number of squares you can make by overlapping
three squares?
Arrange the shapes in a line so that you change either colour or
shape in the next piece along. Can you find several ways to start
with a blue triangle and end with a red circle?
This activity comes from BEAM's Maths of the Month


text:
Prostate cancer and PSA scores have gotten a lot of airtime and print for a variety of reasons, ranging from media exposure like pharmaceutical ads to celebrity survivors of the illness. Testicular cancer may not have as much media play at the moment or as many diagnoses (8,000 new diagnoses every year, compared to 200,000 for prostate cancer), but its origins and causes merit attention.
The best news about testicular cancer is that, in comparison to prostate cancer, patients respond readily to chemotherapy and most are cured if the cancer is caught early, according to doctors interviewed. In contrast, prostate cancer patients don't respond so readily to chemotherapy, it has been shown, and treatments are often more extensive and complex if it is not caught in its early stages.
Testicular cancer also hits a younger demographic, men ages 18 to 35.
According to Cancer.org, Caucasian American men are about five times more likely to get testicular cancer than are African-American men, and three times more likely than Asian-American and Native American males.
Dr. Richard Greenberg, chief of urologic oncology at Fox Chase Medical Center, and Dr. Robert Somer, co-director of the genitourinary cancer center at Cooper University Hospital, both point out that while the incidence of testicular cancer is significantly smaller than prostate cancer (6 per 100,000, compared to prostate cancer, which is 1 in 6 men), they both advise that education about its existence and preventive measures should start early.
"Boys should be taught" about testicular cancer "in health class when they are in middle school, and be taught testicular self-examinations, just as young girls should be taught to do breast self-examinations," says Greenberg.
"If they feel an abnormality or have any question at all, examination by a physician or an ultrasound test could be a next step."
"The best advice a physician can give to a young patient is to get to know his body, given that the highest risk occurs in the teenage years through the early 30s," says Somer matter-of-factly.
"Although there are no definitive screening tools or guidelines, I do recommend young men have a testicular cancer examination at least once a year by a healthcare professional, and periodically do self-exams in the shower to check that there are no masses developing in either testicle.
"A good rule to follow, as with any cancer, is that the earlier it is caught, it tends to be easier to treat."
Though testicular cancer is not a hereditary illness, and the circumstances for predisposition are few, the doctors do point out one possible determinant is when an infant's testicles do not descend normally from his abdomen into the scrotum. While this is correctable by a pediatric urologist during childhood, Greenberg notes that it does give rise to some predisposition to the rare seminoma, a slow-growing form of testicular cancer that is usually confined to the testes, but can spread to the lymph nodes.
Nonseminoma, meanwhile, is the more common type of testicular cancer, which tends to grow more quickly than seminomas. Greenberg points out there are four strains, based on different cell types (choriocarcinoma, embryonal carcinoma, teratoma and yolk sac tumor).
Greenberg further explains that 90 percent of the tumors will often present as a painless mass or an increase in size of the testicle. Because the condition is often painless, it is not perceived as being significant or not clinically a problem. However, nothing should be counted out.
"Everything is curable when caught early, especially in this day and age," says Greenberg. "While tumor removal can be done as an outpatient, I recommend staying overnight at a hospital for a little more TLC.
"In most procedures, the testicle is removed, with the spermatic chord cut to prevent spread. Subsequent treatment can be minimal, and in some cases removal of testicle alone may be curative. However, learning more about the histology and subtype of your tumor with your doctor will affect treatment and post-treatment management of the health situation and recovery time."
Though some young men may be worried about their ability to start families later in life, the doctors note that sperm banking is an option, with patients putting away a semen sample before treatment begins. However, this option is expensive, and in many cases the remaining testicle will often function normally a few years after treatment.
Somer adds that young men should never forget that a healthy lifestyle will decrease risk of any cancer, and an increasing amount of data across the country supports that.
"We know what to do out of common sense, but it is difficult to adhere to a routine that includes 30 to 40 minutes of exercise at least three to four days a week; moderate alcohol consumption, if at all; choosing foods with complex carbohydrates over simple carbs; and maintaining a healthy diet," he advises.
"However, conscientious adhering to these guidelines will not only alleviate cardio-vascular risks, but risks for many cancers as well."
Bryan Anmuth, a therapeutic recreation specialist who worked at the American Cancer Society as a patient advocate, literally speaks from experience when helping patients address their concerns and fears. Now a 12-year survivor of testicular cancer, the 32-year-old notes the worst things he suffered prior to the diagnosis were short bouts of flu.
Though he took an unusual growth in a sensitive area for granted, he later realized that a sharp abdominal pain that came out of nowhere needed attention.
"The beginning in many ways is the most difficult period of this experience because it was one of those times where everything seemed to be happening at once and in less than a week," recalls Anmuth.
"I went from taking an ultra-sound to a blood test to visits to a urologist. I did not understand at first that I would have to have the testicle removed, which was the worst part for me. After that was over, I went to three doctors and picked the oncologist I trusted most who was also close to me so my family could come with me."
From there, Anmuth went through a prescribed round of chemotherapy. Although he experienced a lot of "indescribable pain," it went away after the first session. From there, he experienced quantifiable improvement with every session.
"I did whatever the doctor told me to do, I believed my doctor had a great plan for dealing with the situation," Anmuth continues.
"There were a lot of needles, gloves and masks, along with a chemical put into you that you have to get out of your system as fast as it goes into you. By the third round, it was a lot easier to deal with and I knew what to expect."
He adds that the doctors "prepare you for the worst, but other than nausea and losing some of my hair, I had no side effects other than that. As horrible an experience as it was, I am certainly better for it in all areas of my life."
Another event that helped Anmuth cope was an opportunity to meet with Philadelphia Phillies outfielder John Kruk, who also went through testicular cancer. Anmuth's father arranged for Kruk to call him directly.
That call "helped a lot and really drove my confidence," says Anmuth.
Anmuth himself freely offers advice and encouragement to other young men to proceed through the illness with courage. "I was young and scared, but what sticks with me about the whole experience is that I caught it early and it did not have a chance to spread," he says.
"It is easy to check yourself in the shower, and if you find anything abnormal, absolutely have it checked out."
This article originally appeared in a special "Fighting Cancer" section of the Exponent.


text:
Zoe Bell
In a profession once dominated by men, Zoe Bell is making stunts sexy and showing that the ladies can run, tumble and fight with the best of the boys. Once a double for Lucy Lawless on Xena: The Warrior Princess, Zoe Bell won the admiration of Quentin Tarantino, who hired her first as Uma Thurman's Kill Bill stand-in and then as an actress in Grindhouse: Death Proof. We love her because she's the only woman in movies who can ride on the hood of a speeding car and make it look scary, sexy and really fun at the same time.
AppealZoe the Cat needs to be in tip-top shape and boast equal measures of agility and strength to literally survive her job. If she doesn't have a knockout body at all times, she could be seriously injured. Scary thought. These days, Zoe Bell maintains her nicely sculpted physique through swimming, dancing and the gym, but even she admits to being lazy about fitness unless she has some good motivation -- like a Quentin Tarantino movie to work on.
The idea of dating a stuntwoman might sound great on paper, but Zoe Bell's line of work is decidedly unglamorous and she has the battle scars to prove it. On Xena, she broke a portion of her vertebrae, but like a true pain fetishist, she kept working for a full week until a chair to the back left her unable to move. Luckily, that was only temporary, but there were more injuries later. While making Kill Bill: Volume 2, she smashed her ribs and wrists while pretending to get shot. Who says movie guns don't hurt? What does Zoe Bell think about injuries and the outside chance that she could become a human pancake? It's just another day at the office. In her mind, she has a better chance of being hit by a car than getting hurt from a harness-aided 200-foot leap.
SuccessNew Zealand-born stuntwoman Zoe Bell makes crazy movie stunts look easy and ultimately helps stars like Uma Thurman and Lucy Lawless look tougher than they actually are. (Sorry, Uma, are we still on for Friday?). First the longtime stunt double on Xena: The Warrior Princess and later the stunt version of The Bride in the Kill Bill movies, Zoe Bell hasn't met a knife, sword, wire, or fall that she didn't like. Thanks to a rock solid friendship with Quentin Tarantino, she got to try acting in the Death Proof segment of Grindhouse, which has led to other hybrids of stunts and spoken word on TV's Lost, Drew Barrymore's Whip It, Gamer with Gerard Butler, and the new web series, Bitch Slap.
Hollywood stunt work can often attract some interesting (read: slightly crazy) personalities. After all, how many people do you know would volunteer to fall 200 feet or ride on top of a car with belt straps? On second thought, don't answer that. Where Zoe Bell is concerned, she does have a little bit of crazy to go along with her fearless, live-now attitude. One of her quirks is that she deals with depression by having extended conversations with herself, anything from motivational speeches, to fake celebrity interviews, where she plays herself and also the interviewer. Oprah Winfrey is her favorite fake "interviewer." We're not quite sure how to handle all of this, but we felt compelled to share.
Zoe Bell BiographyHeights were never a fear for Zoe Bell. As a youngster, she regularly climbed her grandmother's 15-foot water tank on her own, and it became her favorite hiding spot. Her tomboyish qualities went into full bloom during her time at Auckland Girls' Grammar School and Selwyn College, as gymnastic competitions and Taekwon-Do became her preferred extracurricular activities. Before long, dance, scuba diving, high diving and track events joined the mix, but stunts and show business were completely out of sight and out of mind. The closest that Zoe Bell had ever been to Hollywood thus far had come from watching The Cosby Show on television, but it didn't give her any sudden ambitions to join the Huxtable clan.
At 20 years of age, Zoe Bell's thrill-seeking nature finally got the better of her. The idea of conquering the predominantly male profession of stunt work was too tempting to pass up, but she still needed a way in. It ultimately came from an injured stuntman who was receiving aid from Zoe Bell's father. By 1998, she was getting hit by cars and adding a shot of adrenalin to the Kiwi-made soap opera, Shortland Street, while also performing stunts on Amazon High, a proposed TV pilot that was airing on the same network that created the hit series Xena: The Warrior Princess.
zoe bell on xena: the warrior princess and kill billZoe Bell's experience on Amazon High was short-lived, but the producers of Xena: The Warrior Princess asked her to join their stunt crew. Splitting her time between Xena and Hercules: The Legendary Journeys, Zoe learned wire work and within four years, she became the primary stunt double for series star Lucy Lawless. In addition to taking every cut, bump and bruise like a champ, Zoe Bell also learned to emulate the star's fighting style. By the time the series ended, Zoe was significantly wealthier, a lot more bruised, but also the recipient of an all-expenses paid vacation from Lucy Lawless as a token of appreciation.
Los Angeles was next where Zoe Bell and her friend Jennie Epper participated in the documentary film Double Dare, a chronicle of their adventures in stunt land. It was at a training session at the gym where Zoe met a scout for famed director Quentin Tarantino, who was busy preparing his next film, Kill Bill. Zoe was hired as Uma Thurman's stunt double and was sent to China for six weeks of training. Originally hired to handle the falls and fights of the vengeful protagonist The Bride, Zoe was later asked to double for knife and sword fights, which she had to learn on the job. The training paid off when Zoe won two Taurus World Stunt Awards for Best Fight and Best Overall Stunt by a Stunt Woman, all from the cramped trailer fight in Kill Bill: Volume 2 where she doubled for Uma Thurman and Monica Staggs did the same for Daryl Hannah. Zoe also had a third Taurus nomination that year for a drop of over 200 feet in the Halle Berry flop, Catwoman, a stunt that was infinitely better than anything else that the film had to offer.
zoe bell stars in grindhouse: death proofAs a result of her fine work in the Kill Bill films, Zoe Bell had an open invite to appear in the next film from Quentin Tarantino, but the eccentric director had a different challenge in mind. Having watched her in Double Dare, he had a hunch that she could act and do stunts, and wanted to see if his inkling was right. The end result was 2007's Death Proof, Quentin Tarantino's contribution to Grindhouse. Asked by the director to play a variation of herself, she offered what many felt was the high point in the film -- a thrilling chase scene that found her holding onto the hood of a speeding 1970 Dodge Challenger with a belt strap while a psychotic Kurt Russell tried to send her flying.
The release of Death Proof brought rumors that Zoe might give up stunt work for acting, but that hasn't been the case. Instead, she has maintained her high pedigree for on-screen punishment while also embracing the new experience of acting in small doses. Recently, she mixed stunts and acting as Regina on season four of the megahit, Lost, and re-teamed with Lucy Lawless for a role on the web series, Bitch Slap. In 2009, she also starred opposite Gerard Butler in the sci-fi actioner Gamer, and played the feisty roller derby girl Bloody Mary in Drew Barrymore's directorial debut, Whip It.
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