text:
In response to increasing risks, insurers now offer cyber liability insurance. The product is particularly attractive to financial institutions and health care providers.
Forget the debate over whether or not a credit union should keep offering free checking accounts, there are signs credit unions may eventually have to decide whether or not to charge their members fees for holding deposits.
Dan Geller at Market Rates Insight predicts retail banks will start charging interest on deposits.
The financial services industry and particularly credit unions are at a crossroads right now. Many toss the term crossroads around every time a tweak occurs, but current circumstances are exactly what the word was created for.
Credit unions should leave no sacred cows in the field, and one of these that needs to be set free is the credit union tax exemption.


text:
Media PR & Promotions
At Prime ScratchCards we welcome all Media, PR and Promotions enquiries. We are here to help you get the best information, stories, events and activities that Prime ScratchCards offers.
Our expertise in marketing online games has always made us a good story line, and our skill in creating new business opportunities both for our players and our associates continues to grab the headlines, but we recognize that consistency is the key to promotion and presence.
Regular contact and media attention will keep us in the forefront of this energetic and enthusiastic industry and we look to our friends in both media and PR to support this ideal.
In return we will let you know first what is happening at Prime ScratchCards where the news stories are, what the big prizes will be, who is winning and how much we paid out to our prize winners. At Prime ScratchCards you have a 1 in 3 chance of winning, that's better than any lottery odds or other sporting event.
Online games are becoming accessible to all legitimate age groups and there are a number of ways in which these stories can be covered in editorial or advertorial coverage for magazines, newspapers, radio, web-blogs, or specialist television programmes.
Aside from pure media coverage Prime ScratchCards is looking to develop event management opportunities, where corporate companies can benefit from a partnership or an alliance with PSC, say for the launch of a new product or the enhancement of an existing one using prize competitions both on and off line.
Corporate sponsorship is also a great awareness tool and can be extremely cost effective for local as well as international campaigns. Talk to us about this.
Of course if you have a really good idea of your own that you think would make a great scratch card or be the perfect solution to your promotion, these are the address for you to contact.
Email Contact: firstname.lastname@example.com advertising promotion and event management enquiries, we'll be back to you within 48 hours
Or for PR and media enquiries mail to email@example.com.
Special Offer
Latest Winners
Thomas N. won 4,060kr
on Mighty Sphinx11/20
Kelly C. won 1,590€
on Aloha! Cluster Pays11/20
Marianne V. won 1,000kr
on Cash Rumble x1011/20
Joe G. won 1,416€
on Fruity Friends11/20
maria A. won 1,123€
on Fruity Friends11/20
Maria A. won 1,256kr
on Gonzo's Quest11/20
lena S. won 1,420kr
on Jungle Spirit11/20
Marco H. won 502€
on Glamour 7s11/20
Petra V. won 735€
on Starburst11/20
Andreas P. won 681€
on Gonzo's Quest11/20
Astrid J. won 1,067€
on Fruity Friends11/20
Ragnvald U. won 1,080kr
on Butterfly Staxx11/20
David H. won 1,426kr
on Steam Tower11/20
Britt-Marie L. won 1,525kr
on Super Graphics Upside Down11/20
Tuulikki P. won 1,180kr
on Starburst11/20
Lisa R. won 1,748$
on Redeem The Dream11/20
PrimeScratchCards.com is leading the online scratchies market; also known as Lottery Scratch Off Tickets or instant win games. PrimeScratchCards offers instant win prizes of up to $1,000,000 per card with more than 150 unique amazing scratchies games, including amongst others, the 'classic' scratchcard and our unique 3WOW! game where you can win up to $1,000,000 in ONE SECOND. Our PrimeScratchcards team are committed to 'Customer Care' - our customers really are our business and we ensure that we offer top of the line customer service at all times including: chat, phone and email support available every day from 8:00 to 01:00 CET, fast payouts and a very rewarding VIP program. Get started today and take advantage of our welcome offer of 120 free cards on your first 3 deposits + 100% deposit bonus. Special offer using a promo code of 20 FREE Scratchies Bonus no Deposit for new players (with promo code only). Try your luck and Win Money Online Instant Scratch Card Games and huge jackpots!
Copyright 2014- All Rights Reserved. Prime ScratchCards is a brand owned by Prime Online LTD, a company incorporated under the laws of British Virgin Islands whose registered office is at Road Town, Drake Chambers, Tortola, 3321 British Virgin Islands. The games on this website are powered and operated by Aspire Global International limited., a Malta based company with registration number C42296 and having registered office at 135, High street, Sliema SLM 1549, Malta, which is a fully licensed operator under the Remote Gaming Regulations of Malta (MGA/CL1/408/2007 - issued on the 17 August 2009, MGA/CL1/876/2013 - issued on the 19 September 2013, MGA/CL1/1000/2014 - issued on the 20 August 2014, MGA/CL1/1142/2015 issued on the 26th January 2016, MGA/CL1/1174/2016 issued on the 26th May 2016, MGA/CL1/1226/2016 issued on the 25th November 2016) and regulated by the Malta Gaming Authority.
In the Great Britain only, the games on this website are operated by AG Communications Limited, a Malta based company with registration number C48328 and having registered office at 135, High street, Sliema SLM 1549, Malta, which is licensed and regulated by the United Kingdom Gambling Commission (Remote Gaming License Number 000-039483-R-319409-001).
The current status of operator's license can be found at: secure.gamblingcommission.gov.uk.

subset: commoncrawl


text:
Latest Stories
Call of Duty Created as 'A Little Bit' of an F-You to Medal of Honor – IGN Unfiltered
October 17, 2016
IGN Presents the History of Awesome: 19990 Comments
October 21, 2015
About This Game
- Summary
- Specifications
- Features
- Game Editions
Medal of Honor leaves the WWII theater and enters the modern day setting of war-torn Afghanistan seen though the lens of a small band of fictional characters.
The new Medal of Honor introduces players to the Tier 1 Operator, an elite warrior and relatively unknown instrument of the U.S. Military that operates under the National Command Authority, taking on missions no one else can handle. In addition to a full single-player campaign mode, developer EALA has enlisted Battlefield creator EA DICE to supply the multiplayer experience of Medal of Honor. The game features a weapon customization system and a range of tactical and team-based modes for up to 24 players, including Team Assault, Combat Mission, and more.
- Supported Functions
- Number Of Players: 1-24
- Online
- Online - VS Number Of Players: 24
- Fight Today's War -- Go to war as elite soldiers in a gritty combat campaign using surgical tactics combined with sledgehammer force.
- Unparalleled Authenticity -- An intense story with incredible pacing and variety set in the rugged landscape of Afghanistan creates a shooter experience only available from the famed Medal of Honor franchise.
- Realistic Battlegrounds -- Wage war from the Helmand Valley to the city ruins of Kabul. Environments vary from snowy mountains to vast desert fields, and small villages to labyrinthine city streets.
- Scalpel and Sledgehammer -- Experience different sides of the war—the surgical warfare conducted by Tier 1 Operators and the overwhelming force of the big army—through the eyes of four playable characters from the elite branches of the military.
- Asymmetrical Warfare -- Join the Coalition as a war-hardened soldier or fight as a dug-in guerrilla Insurgent in 12-on-12 multiplayer matches sure to spike your adrenaline.
- 4 Multiplayer Modes by DICE -- Jump into a fast-paced Team Assault match, where classic Deathmatch rules and quick reactions are king, or engage in the story-driven Combat Mission mode, where Coalition forces look to take over specific objectives. These high-action modes and more are built by the creators of Battlefield.
- Tactical Support Actions -- Players use personal skill to support their team directly in a coordinated assault raining death from the sky, or change the tide of battle by boosting their team's defensive capabilities when they need it most.
- Strategic Weapon Customization -- Players can customize their gear mid-game and adapt to the situation at hand. Every equipment alteration impacts the method of combat.
- Dedicated servers and multiplayer persistence and ranking.
Medal of HonorPublisher: Electronic ArtsRelease Date: October 12, 2010MSRP: 59.99 USD
Medal of Honor Limited EditionPublisher: Electronic ArtsRelease Date: October 12, 2010MSRP: 59.99 USD
Medal of HonorRelease Date: October 14, 2010
Medal of Honor Limited EditionRelease Date: October 14, 2010
Medal of HonorRelease Date: October 15, 2010
Medal of Honor Limited EditionRelease Date: October 15, 2010


text:
pandasty's Favorites
70 votes cast
(S)aint by HeroinHearts with Vera Baby
"Hail the occult"
30 votes cast
The Panty Archives by BodoAttila with RazorCandi
pandasty has not updated their status recently.
No tags yet...
Only pandasty's favorite artists and friends can post to this wall. You can add a post if you become friends with them.
Join Zivity now to join the conversation.
Hello Hello! I'm back on zivity from a long whiles break and I have 2 brand new photosets on my profile. I've just posted incentives on my profile also :)
Would love for you to check out what I have and let me know your thoughts
hello hello! thank you for the add dear!
Thanks so much for your votes on The Panty Archives! If you would like the photos just drop me a message with your email address and I will send a zip file with all 333 images!
:) xoxo
Hi! Thanks for adding me! Welcome :)
Thanks for the add :)
Thanks so much darling. I hope you'll enjoy the occult :D


text:
Dog of the Day
Cat of the Day
Pet of the Day
Meowmie to Mr. Spunky, Lady Jane, Bob, Callie, Kimi, and fosters Lucy Lou and HRH Oliver Woodrow von Katz.
I've been Boo'd ... right off the stage!
RIP Samwise (Dec 2, 2014), Emily (Oct 8, 2013), Rose (Sept 24, 2001), Maggie (Fall 2003)
What a wonderful home for Beautiful Bella. I hope her purrrrrrsons consider joining Pet Talk. I would love to watch her blossom in her new home.
Ask your vet about microchipping. ~ It could have saved Kuhio's life.
It's great to hear she's liking her new home. I like her new name too, Bella fits her well. Pretty name for a pretty kitty!
RIP Sally
What a happy ending for Bella! I am so glad she is adapting well to her new home. She's a very pretty cat. All of you involved with her did great!!
Awww, that's all, just Awww!
What a lucky and beautiful kitty! It sounds like Bella has found the purrfect furever home where she's loved and cared for. I wish Bella many years of good health, love, and companionship!
Concatulations, you did a wonderful job!!!
This is just Fantastic News.
Bella is making nice progress. We kept the room unblocked while we were home in the evenings this week. She started coming out on her own and checking things out. I've been sick all week-end and haven't gone anywhere, so Bella has been free to roam all week-end. For the most part, she stays under a bed and sleeps during the day, then comes out in the evening and hangs with us. She's slept in bed with us a couple of times and one of those times there was another cat on the bed with us, but they did not bother each other. My old cats have done some hissing and so has Bella, but that does not bother me. Having gone through this with my other cats, I know that things will just ease up slowly until they completely tolerate each other. Right now, they mostly ignore each other. Bella has been eating good, running up and down the stairs-you can sure hear her coming! She's managed to jump up on the beds and couch a few times with no help needed, so that's been encouraging too.I don't plan on gating her off tomorrow-I think the cats are ready to give each their own space.
Meowmie to Mr. Spunky, Lady Jane, Bob, Callie, Kimi, and fosters Lucy Lou and HRH Oliver Woodrow von Katz.
I've been Boo'd ... right off the stage!
RIP Samwise (Dec 2, 2014), Emily (Oct 8, 2013), Rose (Sept 24, 2001), Maggie (Fall 2003)
Thanks for the latest update. This is wonderful news!!! It sounds like she finally found the purrfect loving forever home.
Owned by Sky, Pearl, Ziggy Stardust, Alani, Blaze, Colby, Finnegan, and Summer.
My Rainbow Bridge Babies:
RB Pepper 3/17/97- 2/3/03 RIP Sweet Pepper
RB Starr 3/22/05- 7/1/09 RIP Sweet Starr
RB Sunny 8/25/00- 2/28/10 RIP Sweet Sunny
RB Storm 1/11/96- 8/2/12 RIP Sweet Storm
I am so happy for Bella that she has found such a loving furrever home!
Proud to be a crazy cat lady!
I am so glad Bella is doing well in her new home!
I've been Boo'd ... right off the stage!
Aaahh, I have been defrosted! Thank you, Bonny and Asiel!
Brrrr, I've been Frosted! Thank you, Asiel and Pomtzu!
"That's the power of kittens (and puppies too, of course): They can reduce us to quivering masses of Jell-O in about two seconds flat and make us like it. Good thing they don't have opposable thumbs or they'd surely have taken over the world by now." -- Paul Lukas
"We consume our tomorrows fretting about our yesterdays." -- Persius, first century Roman poet
Cassie's Catster page: http://www.catster.com/cats/448678
Copyright © 2001-2013 Pet of the Day.com


text:
By Craig Robinson
Iowa's First-In-The-Nation Caucuses do more than just launch the presidential nominating process for Democrats and Republican. The caucuses also allow Iowans to play significant roles in presidential campaigns, and sometimes these individuals can parlay their positions in a campaign into high-level government jobs.
Think of it this way. A minor-league baseball player in Des Moines waits to get the call from the Chicago Cubs that he's getting called up to the major league. A political activist or consultant in Iowa doesn't wait to get called up to the major league in politics, the major league comes to them every four to eight years.
Iowa's First-In-The-Nation is not only a privilege, but also a great opportunity for Iowans who may just want to dabble in politics or make it their career. However, while there is a tremendous upside to presidential campaigns coming to town, there is also a downside. This is especially true for those individuals who forget that playing in the big leagues means more scrutiny, even though they continue to sleep in their own beds at night.
Perhaps no Iowan has felt the sting of presidential politics like State Senator Kent Sorenson, but before you feel sorry for the conservative firebrand, realize that he is responsible for the fiasco in which he finds himself today.
Sorenson's involvement with Michele Bachmann and her presidential campaign began innocently enough. Bachmann's first visit to Des Moines in February of 2011 included a photo-op with Sorenson outside of the Iowa Senate chamber. It was apparent that Bachmann was courting Sorenson's support, and by April, it was clear that Sorenson was directing Bachmann's efforts in Iowa.
Sorenson was a natural fit for Bachmann given that both appeal to social conservatives and tea party activists alike. The soon-to-be candidate and her Iowa chairman hit it off. Sorenson joined Bachmann at the June 13th debate in Goffstown, New Hampshire, where Bachmann used a stunning performance on CNN to basically launch her candidacy.
The Bachmann campaign was off and running, but there was one hang-up, ethics rules in the Iowa Senate precluded Sorenson from getting paid by a presidential campaign. To say that Sorenson was only involved in Bachmann's campaign for the money would be inaccurate, but it's also safe to say that Sorenson wasn't going to go through the grind of a presidential campaign without being compensated. Sorenson put in significant hours on the campaign trail and in the campaign office, especially during the lead up to the Ames Straw Poll.
There had been talk of the Bachmann campaign finding a creative way to compensate Sorenson from the early days of her campaign. While it was a clear violation of the Iowa Senate ethics rules, unearthing the payment scheme would be nearly impossible since it involved private individuals who are not required to disclose their sources of income.
Bachmann's popularity with the Republican base in Iowa combined with her ability to run what looked and felt like a credible and big time presidential campaign helped her win the Republican Party of Iowa Straw Poll in Ames in August. As she and her campaign basked in the glow of victory in Ames, the wheels were about to come off as the campaign transitioned from sprinting to the Ames Straw Poll, to preparing for the marathon that is the presidential nomination process.
As Bachmann's campaign came back down to earth, major staff shakeups occurred. The once frontrunner nationally and in Iowa was overtaken by Rick Perry, then Herman Cain, then Newt Gingrich, and finally Rick Santorum. The campaign reached its lowest point just days before the Iowa Caucuses. Knowing that the campaign was going nowhere, Sorenson defected and joined the Ron Paul campaign.
Sorenson's defection was the final blow to the Bachmann campaign, and a major boost to a Paul campaign that had run an exceptional campaign in Iowa and believed it had an opportunity to win the caucuses. Yet, Sorenson's decision to abandon ship and join the Paul campaign sowed the seeds for the fiasco he finds himself embroiled in today.
Sorenson's decision to jump ship created national news. Almost immediately there were accusations that Sorenson accepted money to bolt to the Paul campaign. While Sorenson has denied doing anything illegal, a source with connections to Ron Paul's national campaign has told TheIowaRepublican.com that Sorenson accepted a $30,000 payment from someone in the Paul network in conjunction with him joining Ron Paul's campaign.
On caucus day, Ron Paul finished in third place behind Santorum and Mitt Romney, but Bachmann finished in sixth place. Disappointed and out of money, Bachmann's campaign soon ended. Lacking the funds to satisfy the debt her campaign had racked up, a number of Bachmann staffers never received their final paychecks. The lack of payment has caused some of them to make their dissatisfaction public, and in one case, retaliate by filing a complaint with the Federal Election Commission (FEC). That complaint discloses how the Bachmann campaign and Sorenson violated federal and Iowa Senate rules in order for him to be compensated.
If investigated thoroughly, not only could Bachmann and Sorenson face stiff fines and punishments, but so too could the Ron Paul campaign. If Sorenson was indirectly compensated by the Bachmann and Paul campaigns by over-compensating other consultants who then paid Sorenson, both campaigns could face serious FEC penalties. The FEC just fined President Obama's 2008 campaign $375,000 for not disclosing nearly $1.8 million in contributions. One would think knowingly funneling expenditures though other consultants to hide the payment staff and consultants is worse than not reporting 1,300 contributions.
The subverting of FEC and Iowa Senate ethics rules by Sorenson, Bachmann, and likely Paul gives them all a black eye, but it also unfortunately blemishes the institution of the caucuses that has already taken a beating following this last cycle.
As is the case with everything in life, there are lessons that can be learned through all of this. First, when participating in a campaign, always follow campaign finance laws and any other state or professional laws that may apply to you. Second, while the quality of the candidates themselves is paramount to the success of the campaign, the quality of staff also matters greatly. Third, when the presidential campaigns come to town, Iowans need to put their best foot forward and conduct themselves in an appropriate way because the eyes of the nation are upon us.
While the 2012 caucus season seemed to take a while to crank up, unfortunately, it doesn't seems interested in dying down anytime soon. TheIowaRepublican.com will keep you apprised of any future developments involving Bachmann, Paul, and Sorenson.
blog comments powered by Disqus


text:
CodePlexProject Hosting for Open Source Software
An unexpected error has occured.
There is an unsaved comment in progress. You will lose your changes if you continue. Are you sure you want to reopen the work item?
+ Project
+-+ Folder
+-+-- File1.py
+-- File2.py
No files are attached
Keyboard shortcuts are available for this page.


text:
2. The Introduction of Opera in Antwerp
3. The First Librettos and Establishing Who Published Them: 1682–1684
6. A Second Series of Librettos: 1684–1689
7. A Successor: Bartholomeus Foppens
9. The Publishers and Their Motives
1.1 Between 1682 and 1714 three generations of Antwerp1 publishers—Hendrick van Dunwalt, Bartholomeus Foppens, and Petrus Grangé—issued nearly sixty opera librettos in duodecimo format. The great majority of these librettos were for operas by Jean-Baptiste Lully. Later a small number of other French composers, including Colasse, Delalande, and Destouches, were added to the list. In each case the original text of the opera was printed in its entirety, often including the list of performers of the original French court performances. Who were these relatively unknown publishers? Why were these librettos published in Antwerp and why did they begin to appear in 1682? And finally, what was the function of the librettos?
1.2 Van Dunwalt, Foppens, and Grangé have received very little attention. The three publishers had a strong personal relationship, and can therefore be considered as a single printers dynasty which played a noteworthy role in the dissemination of the operas of Jean-Baptiste Lully (1632–1687) and some of his contemporaries. However, they did not publish their librettos without reason or context. Relatively little has been written about the introduction of opera in Antwerp and about the operatic life which developed in that city during the last two decades of the seventeenth and the first decade of the eighteenth century. Yet, as this article will argue, it is there and then that we have to look for the reason for the existence of these librettos, as their publication can only be understood in the context of the arrival of French opera in Antwerp in 1682.
1.3 In this article I will first provide some background on the Antwerp opera. After that, the publishers and their work will be discussed. I will add several anonymously published librettos to the list of works that can be attributed to Hendrick van Dunwalt. And finally, this article will explore the publishers motives and the use of the librettos vis-à-vis the introduction of opera in Antwerp.
2.1 In 1585 Antwerp, at the heart of the religious wars raging through the Low Countries, was captured by the Spanish troops and became part of the Catholic Southern Netherlands. The second largest city north of the Alps during the first half of the sixteenth century, Antwerp soon lost over half of its population and its position as a commercial hub to the Protestant Northern Netherlands, especially Amsterdam. Antwerp, however, had not lost its taste for splendor and all things fashionable. Foreign travelers visiting Antwerp during the second half of the seventeenth century were still impressed by the monumentality of the citys ramparts, the grandeur of its Gothic and Baroque churches, the splendor of the paintings created by Peter Paul Rubens and his pupils, and the art collections of its richest merchants.2 One particular luxury its bourgeois citizens liked to indulge in was theater.
2.2 The Chambers of Rhetoric (Rederijkerskamers), the renaissance theatrical societies in Antwerp, had by the middle of the seventeenth century lost their momentum, and the temporary void they left was quickly filled by the first, and for a long time only, fully commercial public theater of Antwerp, the so-called Almoners Theater. This new theater opened its doors in January, 1661. The city almoners, responsible for the care of the poor and the sick, the mentally ill and the orphaned, hoped that running a theater would provide new income: any profit would be used to support the needy and destitute. In the process of founding their theater, the almoners also hoped to ban other commercial theaters in the city, using the argument that they [the organizers of theatrical performances] often try to rob our citizens of their money, they corrupt many of our youth, and they often cause discord among families.3 Eventually, it was agreed that a quarter of the income of any commercial performance outside the Almoners Theater would go to the almoners.
2.3 The new stage and auditorium were erected in a small, unused sales hall, about 60 feet long and over 27 feet wide, located on the ground floor of a guild house, called the House of Spain, near the city hall (Figure 1). The very first companies to perform in the theater were local. The majority of the repertory was local as well and, therefore, in Dutch. Often, between the spoken plays some modest music was performed.4 After a few years, travelling troupes, apparently mostly from the Northern Netherlands, were also welcomed.5 The first decade was a relatively successful period, but during the 1670s the theater became less profitable and a new repertory was urgently needed.
2.4 When the French author Jean-François Regnard visited Antwerp in 1681, he noticed the eagerness with which the Antwerp population was following French fashion.6 The Antwerp almoners, acknowledging the French tastes of its audience, hoped to take advantage of this popularity and looked to France for inspiration. In France, the court composer Jean-Baptiste Lully had a few years earlier begun to produce a series of tragédies en musique. The influence of these operas would quickly spread beyond France, where they were performed by travelling French troupes or by local companies. In 1677 in Amsterdam, Isis was the first Lully opera performed in the Northern Netherlands, even though it would take several more years before Lullys operas would be performed there on a regular basis.7 In the Southern Netherlands the first documented performances of Lully operas—Thésée in May and Persée in August 16828—took place in Brussels, where the governor and his court resided, although it was not until more than a decade later that Lullys tragedies saw steady production.9 Despite the absence of a court culture and notwithstanding the bleak economic times, only a few months later Antwerp too would fall under the spell of Jean-Baptiste Lully.
2.5 In the summer of 1682, the composer Joannes de Haze (fl. 1681–1689), the singer and composer Nicolaes Procureur (1653–1723), the church singer Gillis Diricx (fl. 1681–1685), and the violinst Joannes Anthonius Lemire (1661–1733) signed a contract with the almoners and agreed that they would be responsible for the organization and performance of operas.10 Musical scores were bought, more musicians from the local musicians guild were hired, and the stage of the Almoners Theater was entirely renovated by installing the machinery for quick scene changes and modern perspective scenery (Figure 2). Finally, in late October 1682, Antwerp citizens could attend their very first operas.
2.6 The first opera was Jean-Baptiste Lullys Bellérophon, followed by Proserpine, two tragédies en musique.11 While the main attraction was Lullys music, evidence exists that these (and other) performances were followed by very short musical farces in Dutch, of which at least three survive: Belachelycke kluchte vanden onstantvastighen minnaer,12 De wel-bedachte ende vermaeckelycke kluchte vande broek-draghende vrouwe (Figure 5),13 and Het aenghenaem divertissement vande twee honden aen een been (published together with the Dialogue entre Lisette, et Lucas).14 All of them were published in Antwerp by Hendrick van Dunwalt. For Italian opera there was no room.15
2.7 The operas were an immediate success: between November 1682 and February 1683 at least 38 performances were given, and more probably followed as the contract stipulated that at least 50 were to be given.16 The limited size of the theater—la place est trop petite pour des grandes representations lamented the almoners—determined the size of the orchestra: two or three violins, a viola, two bass violins, a harpsichord, and an occasional bassoon.17 Added to that was a complement of around eight singers, a few actors for silent roles and, when required, four dancers.18 All in all a small company, quite unlike the forces Lully had at his disposal in France, but enough to preserve the essence of Lullys music.
3.1 Performances were only one of the ways through which the Antwerp public became acquainted with the works of Lully; librettos were another. This article opened by referring to three generations of Antwerp publishers and their librettos. Establishing the chronology of these librettos is the first problem that must be tackled. Carl Schmidt was the first to study the librettos of Lullys operas extensively and systematically from a bibliographical point of view, resulting in several articles and in his authoritative catalogue.19 If we follow Schmidts chronology, the first individual libretto with a reference to Antwerp (à Anvers), is Amadis, published in late 1684. However, if we are willing to dig a little deeper, more and earlier librettos come to light.
3.2 In 1682 and 1683 a series of (at least) eleven librettos of operas by Jean-Baptiste Lully was published (Table 1). These librettos were decorated with an armillary sphere as printers device (Figure 3). The place of publication is not disclosed on the title page, but the librettos follow la copie imprimée à Paris. Schmidt attributes the printers device to an anonymous Amsterdam printer/publisher. That attribution is based on a comparison with rather similar devices used by Amsterdam printers and in particular by the Elzevier printing house.20 These librettos were not objects of great value, but simple, hastily printed booklets. They contain no engraving, and even the printers device is witness to the low quality and the high speed with which they were created: [le] titre est orné dune sphère des plus grossières, a printers device most crude indeed.21
3.3 The printer/publisher of these librettos remains anonymous, but in 1683 several of the librettos appeared again, this time bundled under a general title page (Figure 4) and a new frontispiece created by the Antwerp engraver Gaspar Bouttats (1648–1696). The rather high-flown title of this collection reads: Le Parnas François, ou œuvres mis en musique par le Sieur Jean-Baptist Lully Sur-Intendant de la Musique Royale. Tome second. The title page also informs the reader that the copie imprimée à Paris was followed and that the collection was sold in Antwerp, chez Henry van Dunwalt libraire. This Henry (Hendrick) van Dunwalt bundled the individual librettos and had a frontispiece for the collection designed by a local artist, but was he also responsible for the individual librettos, that is was he just an importer and a reseller, or was he also the printer and publisher?
3.4 That these librettos were not printed in France where printers like the Ballard family and René Baudry controlled the market has already been established by Schmidt.22 What then about Schmidts logical solution: that the librettos were published in Amsterdam? The armillary sphere was indeed a popular printers device in the Northern Netherlands, but also appeared in other cities, including Brussels in the Southern Netherlands.23 Research into more local printed matter published in the city of Antwerp reveals that an identical armillary sphere appears on the title page of a play which has nothing to do with either Paris or Amsterdam, the farce De wel-bedachte ende vermaeckelycke kluchte vande broeck–draghende vrouwe (Figure 5), that had been presented in music by the amateurs of the Antwerp opera in the year 1683 and was now being sold by none other than Hendrick van Dunwalt.
3.5 Hendrick van Dunwalt is a figure who left relatively few traces. He was born in Antwerp in 1655 as the son of a maker of scales and coin-weights called Artus (Arnoldus) van Dunwalt and his wife Joanna van de Velde. In 1667–8 he entered the guild of Saint-Luke—the guild of, among others, painters, sculptors and book printers and sellers—as an apprentice, and in 1679–80 he became a full master book seller. Not much later, in 1681 he married Maria Magdalena Jouret (1657–ca.1707).24
3.6 On the title page of the 1683 Parnas François Van Dunwalt identifies himself as a book seller, not as a book printer, nor does he mention the name of any other possible printer. Yet, we do know that Van Dunwalt was a printer himself: in 1681 he had acquired a printers license. Van Dunwalt was a relatively versatile printer. The largest part of his output consisted of religious works, including several devotional books and a songbook, but he also printed at least two fully illustrated books on geography, an emblem book and a handful of theatrical pieces by local playwrights.25 Van Dunwalt limited himself to text, and he did not print any music.
3.7 In order to determine whether Van Dunwalt was just the retailer of the opera librettos, we should look at some of the books that we know Van Dunwalt did print himself. A number of similarities between these books and the librettos—some typographical ornaments found in Thésée (1682) can also be found in Les veritez chrétiennes (1683), several initials used in Persée (1682) are reused in Les Œuvres de Sainte Therese (1688), an initial used in, again, Thésée turns up in the songbook t Hemels lusthofken (1681)—confirm that not an Amsterdam or Parisian printer was responsible for printing the librettos, but Hendrick van Dunwalt.26 This also means that the first Antwerp librettos did not appear in 1684 but in 1682, the very same year the Antwerp opera house was opened.
4.1 Printing librettos means finding source texts: manuscript sources or librettos printed elsewhere. As far as we can tell, Hendrick van Dunwalt had no clear relations with France, where, logically, the original librettos came from. As Schmidt demonstrated, the Lully operas and especially their librettos quickly found their way to other regions and countries.27 The Northern Netherlands in particular, and especially Amsterdam, were quick to pick up these librettos where they would appear in print from the late 1670s onwards, despite, at that point in history, the lack of regular performances of Lullys operas.28
4.2 Van Dunwalt had therefore two possible locations to obtain the sources for his librettos: Paris or Amsterdam. He chose the latter. Reconstructing the chronology of Van Dunwalts librettos (Table 1) and comparing this chronology with the chronology of other publishers,29 reveals that Van Dunwalt uses the same texts as the publisher of librettos printed in Amsterdam under the motto Quaerendo, who, most likely, was Abraham Wolfgang (1658–1695). And since Wolfgang was nearly always the first to print a specific libretto (for example, Wolfgang published Alceste, Psyché and Thésée in 1680, which Van Dunwalt published in 1682; Wolfgang then published a second edition of Amadis in 1684, which Van Dunwalt copied and published in 1685) it seems logical that it was Van Dunwalt who followed Wolfgang, not the other way around.
4.3 Van Dunwalt had at least one connection with Amsterdam and he would develop a second one. His first connection was a personal one since his uncle Geeraerdt van Dunwalt had settled in Amsterdam around 1666.30 A second connection, which he developed from 1682 onwards, was a professional one. Van Dunwalt was also active as a printer of straight plays from the Antwerp Almoners Theater, and several of these plays would appear in collaboration with the Amsterdam publishers Albert Magnus and (the widow of) Michiel de Groot.31 This shows that books easily crossed the Dutch border and that Van Dunwalt had convenient access to Amsterdam sources.
4.4 When using the Amsterdam librettos as the basis for his own editions he changed little or nothing: he copied the complete text of the title pages, the prefaces, the lists of singers and of course the actual words from the opera. Van Dunwalt only changed the type and the typographical ornaments, using the material he had at his disposal, and he dropped any images, such as the engravings or frontispieces that Wolfgang used, saving time and money. Wolfgang seems to have based his librettos on French originals which meant that they earned the indication suivant la copie imprimée à Paris, but it also meant that they often contained some extraneous information such as the original French list of performers. Apparently that did not bother either Wolfgang or Van Dunwalt as it gave their librettos an aura of authenticity.
5.1 Although Hendrick van Dunwalt slavishly followed the content of the Amsterdam librettos, he also took some initiative himself. As mentioned earlier, Van Dunwalt published his first recueil factice, or collected edition, in 1683, which means that he was the first outside France to bundle several Lully librettos to create a more or less unified work.32 He gave the edition a new general title page and title, Le Parnas François, and a new frontispiece, engraved by Gaspar Bouttats depicting Mount Parnassus with the muses, Apollo, and Pegasus (Figure 6). Bouttats and Van Dunwalt collaborated frequently and they were responsible for some very diverse works, including an emblem book and a geographical book with maps.33
5.2 The title page tells us that Le Parnas François is actually the second volume (tome second) in a series. This, however, must have been some sort of sales ploy, since no first (or third) volume seems to have existed, only a second volume which could contain any possible configuration of librettos. Depending on the exemplar one examines of this tome second of Le Parnas François, the table of contents lists Atys, Psyché, Alceste, Cadmus et Hermione, and Isis; or Thésée, Bellérophon, Proserpine, Le triomphe de lAmour, and Persée.34
6.1 By the end of 1684 Hendrick van Dunwalt reached the bottom of his libretto supply and began printing new editions (Table 2). Between 1684 and 1689 at least 29 librettos were published under Van Dunwalts name. With a few exceptions these were all of operas by Lully. The sources remained the same, again the publications of Abraham Wolfgang, but the title pages of the individual librettos were changed. The old, rough armillary device was thrown out and replaced by a new version of much higher quality (Figure 7). Also, no longer do we find that the librettos followed la copie imprimée à Paris, but that they were actually printed in Paris and that Van Dunwalt sold them, the exact same wording he had already used on Le Parnas François.35 By claiming that the works were printed in Paris he probably tried to pass himself off as the exclusive importer of these librettos. It is not clear why Van Dunwalt chose to use an armillary shield, a printers device popular in Amsterdam and Paris, as his printers device right from the start, but this too may have been an attempt to make the librettos appear more foreign. It has less to do with piracy than with giving his publications an aura of quality, legitimacy and perhaps a direct link to Paris, all of which were sales arguments which appealed to the francophile public in Antwerp. Paris still has little to do with these printed matters: just like the old printers device, the new armillary sphere also appears on several other (more local) works that Van Dunwalt printed.36
6.2 In the meantime, in 1685, Van Dunwalt began publishing new collected editions. He dropped the name Le Parnas François and copied the title Abraham Wolfgang had begun using in 1684 for his first collected edition: Recueil des Opera des Balets, & des plus belles Pieces en Musique.37 This time Van Dunwalt did publish a first and a second volume. Unlike Wolfgangs set, a third volume did not appear. Initially Van Dunwalts new collected editions contained a mix of material printed between 1682 and 1685, but when these librettos ran out they were supplanted by post-1685 librettos.
7.1 The librettos and a collected edition Van Dunwalt published in 1688 were his last works as a publisher. Those librettos that appeared in 1689 were his work only in name: around December 1688 Hendrick Van Dunwalt suddenly died.38 His widow, Maria Magdalena van Dunwalt née Jouret, continued Hendricks business for some time on her own, but she soon got help from Bartholomeus Foppens (d. 1697), whom she would marry in May 1689.39 Conveniently enough, Foppens became a master bookseller of the Guild of Saint Luke in 1688–9. Like Van Dunwalt, Foppens wasnt just a book seller: in the following years he accepted several apprentice book printers and typesetters in his workplace, and in April 1689 he acquired his own printers license.40
7.2 Bartholomeus Foppens was a true heir to Van Dunwalts legacy and reprinted several works of his predecessor, religious texts as well as plays. Apart from adding new librettos, Foppens also reprinted several librettos Van Dunwalt had published in the preceding years. Both in content and design these reprints are quite similar to each other, the only major update being the address on the title page which changes from on les vends a Anvers chez Henry van Dunwaldt to on les vends a Anvers chez Barthélémy Foppens. Foppens also continued to use the armillary sphere as his printers device (Figure 8).41 When printing his own collected editions, he even reused some of Van Dunwalts title pages and added his own librettos, which resulted in collections with a 1688 title page but with 1693 librettos.42
7.3 After Lullys death in 1687, other French composers tried to fill the void. In Antwerp these changes could be felt as well. Foppens printed eight librettos (Table 3), half of which were from operas by Lully, but he added several new composers to his production, including Delalande, Campra, and Desmarest.
8.1 When Bartholomeus Foppens died in January 1697, Maria Magdalena once more tried to continue the business and she had Foppens printers license transferred to her in January 1698.43 She seems, however, to have lost interest in printing opera librettos and during the years that followed Maria Magdalena Jouret printed only a single libretto: Lullys Armide (1707). When she died that same year, successors had already been appointed: her children would continue the printing business.44 Under the designation les heritiers dHenry Dunnewalt & de Barthelemy Foppens they printed at least one libretto: Le Carnaval et la Folie by Antoine Houdar de la Motte and André Cardinal Destouches (Table 4).
8.2 Maria Magdalena Jourets heirs were her daughter Magdalena van Dunwalt and her son-in-law Petrus Grangé (d. 1734). Grangé had become a master of the Guild of Saint Luke in 1706, but he received his printers license only in 1711.45 The years between these two dates were covered by a license to the heritiers, which included Grangé.
8.3 Between 1711 and 1714 Petrus Grangé published at least six librettos (Table 5). Grangé no longer used the old armillary sphere as his printers device, but another that Schmidt describes as a decorative letter A surrounded by an oval frame intertwined with foliage.46 While the form does indeed suggest an A and could refer to Antwerp, it is actually a combination of the letters B and F, both regular and mirrored (Figure 9). These letters can only refer to Bartholomeus Foppens, Grangés immediate predecessor, and no doubt came from his supply of typographical material, which confirms that there is no real caesura between Van Dunwalt, Foppens, and Grangé. Grangé published his last libretto in 1714.
9.1 What drove Hendrick van Dunwalt to begin publishing these librettos? The fact that the first Antwerp opera house opened in the same year the first librettos were published should already be a clear indication of what inspired Van Dunwalt. He knew well in advance that opera was going to be introduced. In the Fall of 1682, when preparations for the opera performances were underway, the almoners turned to Van Dunwalt in the hopes that he, as a bookseller, would be able to provide the score of Proserpine. And indeed, Van Dunwalt obtained a copy of the score which he then sold to the almoners for ten guilders; the original payment note has survived.47 It does not specify how he obtained the score or in what form (a printed edition or a manuscript copy). An exemplar of a Ballard print seems unlikely as the price is probably too low, so a manuscript copy seems more likely. A manuscript copy of Proserpine from the Almoners Theater does indeed survive in B-Aa (Figure 10), but was apparently copied by a bassoon player, not by Van Dunwalt.48
9.2 That the whole opera undertaking was quickly becoming a reality must have led Van Dunwalt to realize the potential opera offered him as a publisher: after all, where there is an audience for opera performances, there must also be a market for the librettos of operas. Indeed, the very moment the first operas were performed in Antwerp, Van Dunwalt began selling librettos, including those of Proserpine and Bellérophon. That Van Dunwalt rushed to get his librettos ready explains why the armillary sphere he had used on his first series of librettos was created so hastily.
9.3 The publication of Van Dunwalts first series of librettos (Table 1) runs parallel with the first season of the Antwerp opera (1682–3). After the first season the Antwerp opera lost some of its impetus and no information about performances survives for the following season (1683–4). In 1683 Van Dunwalt began to gather his librettos into collections. The lack of operatic activity meant that he was left with a large stock of librettos. It is conceivable that he was afraid that opera had turned out to be nothing but a flash in the pan; bundling the individual librettos and adding a new title page and frontispiece was perhaps a way of making them more attractive to a wider audience and hopefully selling them more quickly.
9.4 In November 1684 (season 1684–5) the opera took a fresh start. Van Dunwalt too must have realized this, as he began publishing new librettos (Table 2). As a matter of fact, the performances were so successful that the members of the revived De Olijftak (the Olive Branch chamber of rhetoric) began giving their own opera performances49 an activity the almoners outlawed after a few performances. In the meantime the Almoners Theater was professionalized by the addition of a board of former almoners (who oversaw the activities) and of the first opera director, Wouter Dieltiens, who led the theater on a day-to-day basis between 1684 and 1686. The opera experienced some growing pains, including insubordinate musicians and singers with oversized egos.50 When the opera house was in its infancy, Lully reigned supreme both in print and on stage, just as in Paris. In the Almoners Theater the titles of Proserpine and Amadis, again both by Lully, and both performed in February 1686, have come down to us, but other archival evidence also suggests that it was French opera that was performed.51
9.5 After Hendrick Van Dunwalts death, Bartholomeus Foppens continued to print librettos of operas by Lully and his contemporaries. Little information about the opera survives from the years 1687 to 1694, although we do know that Dutch theater companies visited Antwerp. In the meantime the number of librettos published diminished as well. In 1696, with performances of Lullys Armide and Pascale Colasses Enée et Lavinie, we hear more from the Almoners Theater.52 However, Foppens productivity does not increase significantly. The widow of Marcelis Parys, another Antwerp printer, attempted to get involved in the opera business, and published an edition of Bellérophon in 1695, but limited herself to that one edition.
9.6 In 1696 more opera was performed, but information about the years that follow is very limited. In 1701–2 and 1702–3 Gio Paolo Bombarda (ca.1650–1712), founder of the Théâtre de la Monnaie in Brussels, came to Antwerp to lead the Almoners Theater. He surely organized many performances of French operas, but the evidence has not survived, and the death of Bartholomeus Foppens in 1697 meant that for quite some time no new librettos would appear, with the exception of Armide (1707).
9.7 It was Petrus Grangé who showed renewed interest in printing librettos, an interest which was no doubt fuelled by the next step the almoners took in the history of the Antwerp opera. In 1709 the almoners left their cramped quarters and finally obtained the theater they had always hoped for: a large, comfortable theater with a plethora of technical possibilities, representing the latest in stage design.53 The city council granted them the use of a part of an empty tapestry hall, and building of the new theater soon began. In 1711 the almoners were finally able to open the Theater of the Tapestry Hall, a large théâtre à litalienne with room for about 600 spectators, or over 400 more than the old theater (Figure 11).
9.8 Grangé continued his predecessors work but added one intriguing aspect, which demonstrates how sensitive the Antwerp publishers were to developments in local operatic life. Grangé contacted Petrus Balthasar Bouttats (1681–1756) and asked him to prepare an engraving of the proscenium of the new theater, providing us with a rare image of the interior of the theater as it appeared before it was destroyed by a fire in 1746 (Figure 12). It is a unique addition, giving the librettos a local character and confirming that the librettos were intended for a local audience.
9.9 Although he would remain in business for many years to come, Grangé printed his final libretto, Issé by Destouches, in 1714. There is no obvious immediate cause that led to the end of libretto production, but we may assume that the repertory of the new Theater of the Tapestry Hall expanded further and further and was no longer limited to the operas of Lully. Also, the performance of operas ceased being a local affair, and became the work of travelling troupes who gave a limited run of performances in Antwerp and then left for the next city. This must have made the production of librettos too uncertain and therefore too unattractive. In 1717 another Antwerp printer, Jean-François Lucas, published a single libretto, Joseph-François Salomons Médée et Jason, but no others followed. The printing and publishing of opera librettos in Antwerp became a thing of the past.
10.1 A final important question that requires an answer is the use of the librettos. Van Dunwalt, Foppens, and Grangé were no doubt motivated and inspired by the creation and evolution of the Antwerp opera. But what purpose did they have in mind for their librettos? Did these librettos only serve a literary function or did they have a practical function during performances as well?
10.2 Schmidt writes that almost all livrets published in Amsterdam for Lullys stage works served a literary function and were not intended to accompany any actual performance.54 In an Amsterdam context this makes perfect sense: apart from a small number of performances in 1677, no operas were performed there before 1687.55 Therefore, librettos printed in 1682 or 1683 simply cannot have accompanied any performance. Schmidt bases his hypothesis principally on two arguments: literary and practical librettos differed in size, duodecimo for literary versus quarto format for practical use; and in content, the text of practical librettos was often altered to reflect local requirements.56
10.3 For the Antwerp librettos, a literary purpose is likely: all of them were in duodecimo format, and the content of the booklets was identical to the French (and Amsterdam) editions and was therefore not tailored to a specific performance; nor did the title pages refer to a specific theater. Furthermore, almost all of these individual librettos eventually ended up in a collected edition, where they most definitely had a literary use. Also, Van Dunwalt and his successors no doubt wanted to cash in on a general popularity of French texts, and the librettos could of course be read without having attended an actual performance.
10.4 Yet we have seen that Van Dunwalt was contacted by the almoners to provide the score of Proserpine, and that he was also responsible for printing at least three Dutch musical farces performed in the opera. We can therefore conclude that he was not an outsider and that he was at least somehow involved with the opera. We also know that the librettos were originally conceived as individual booklets with the text of a single opera, and that only later they became part of a literary collection. Perhaps the publishers also hoped to reach members of the theatrical audience who, after a performance, wanted to have a copy of the text of the opera they had attended as a souvenir, or perhaps even as a literary equivalent of a short score of an opera recently attended. If this is the case, many, if not all, librettos are evidence of actual performances.
10.5 Finally, what about truly practical use? There is no direct proof in the form of a title page that explicitly mentions that a particular libretto was especially printed for a specific production. We do know, however, the titles of several operas that were performed in Antwerp: Bellérophon in 1682, Prosperine in 1682 and 1686, Amadis in 1686, Armide and Enée et Lavinie in 1696, Tancrède in 1712. All these operas also appeared in print in Antwerp, either in the same year or earlier.
10.6 That Van Dunwalt, Foppens, and Grangé kept their librettos as general as possible, copying the French originals or Amsterdam copies almost verbatim, is no proof that the librettos only served a literary purpose; it can be explained by the Almoners Theater itself. The theater was small, and the market for a libretto for each performance or even each run of an opera must have been simply too small. It was economically much safer to create a general libretto, usable under all circumstances. We know that the original opera troupe in 1682 was a small group, with local musicians and even family members cooperating.57 No doubt they made some changes and cuts in the original librettos text; but a few months later they, or another company, might have made different changes. Why even bother removing the names of the original French performers when it makes the librettos appear as if they were imported directly from Paris? Changing as little as possible makes them suitable even for export to Brussels for example, or to Amsterdam. Indeed, Abraham Wolfgang used a few of Van Dunwalts librettos in some of his collected editions in 1684, 1688 and 1690.58 Petrus Grangé also kept his librettos as general as possible. Not all exemplars of the librettos contain the engraving of the Antwerp theater, allowing for a cheaper version of the libretto, but also for a version suitable for export.
10.7 Two exemplars of these librettos suggest that at least some librettos had a practical use. B-As contains an exemplar of Armide which has a handwritten note on the title page telling us that the opera was performed in 1696.59 And in an exemplar of Médée et Jason a spectator has crossed out the names of the original French performers, signaling that these were most definitely not the singers he had heard.60 Still, no hard proof of a practical use exists. And while it is tempting to believe that many, if not all, librettos were printed because of performances, all evidence must be considered circumstantial.
11.1 Several conclusions can be drawn, the most obvious being that now that the armillary sphere librettos (1682–1684) can be assigned to an Antwerp printer, it is clear that more librettos were printed in that city than previously thought, and that this activity started earlier than thought. Several interconnected generations of Antwerp publishers were involved, and printing these librettos was a regular task for them, spanning more than thirty years, from 1682 to 1714. It is also possible to establish that Antwerp, not for example Brussels, was the third city where librettos were printed on a regular base, after Paris and Amsterdam. That Antwerp came to publishing them so early in the spread of Lully librettos can only be explained by the activities of its opera house. This in turn means that the early Antwerp opera was more active than previously thought.
11.2 Comparing the list of printed librettos with the list of actual performances, we have to conclude that Hendrick van Dunwalt and his successors worked parallel to, and most likely even in collaboration with the almoners. After all, the publishing of opera librettos would not have continued for over thirty years had the citizens of Antwerp not been receptive to opera: export alone cannot explain the large number of titles printed. All this suggests that Antwerp, despite an important economic decline throughout the seventeenth century, was in fact a relatively significant early center for Lully operas, even though it would quickly lose its pioneer-like position to other cities.
* Timothy De Paepe (firstname.lastname@example.com) studied Dutch and English Literature at the University of Antwerp, Belgium. He also holds a masters degree in Arts Management from the University of Antwerp Management School. He is currently a Research Foundation-Flanders (FWO) post-doctoral fellow in Theatre History at the University of Antwerp.
1 Antwerp, now part of Belgium, was, until 1585, part of the Seventeen United Provinces. During the Eighty Years War (1568–1648), the Catholic Southern Provinces, which included the city of Antwerp, and the Protestant Northern Provinces, were divided. The Northern Provinces later evolved into what we now call The Netherlands (or Holland, after its central province). The largest part of the Southern Provinces eventually became part of modern-day Belgium.
2 See, among others, the playwright Jean-François Regnards description of Antwerp in Les Œuvres (Paris: La Compagnie des Libraires, 1742), 1:9. In the eighteenth century both the Mozart family (1765) and Charles Burney (1772) visited Antwerp. Burney was quick to notice that, although the city was full of splendid buildings and works of art, it was also largely deserted.
3 On a veu souvent disciper inutilement largent de nos bourgeois, débaucher beaucoup de la jeunesse et souvent mettre le désordre dans les familles. (B-Aa PK 359 Minuten van secretaris A. M. van Valckenisse, 1686, fol. 5r)
4 As confirmed by an anonymous letter writer, quoted in E. F. Kossmann, Nieuwe bijdragen tot de geschiedenis van het Nederlandsche Tooneel in de 17e en 18e eeuw (s Gravenhage: Nijhoff 1915) and by musician Jan vander Meerssen (B-Aa PK 771 Requestboeck 1679–80, fol. 160v).
5 Timothy De Paepe, Des operas avecq plus desclat: de eerste commerciële schouwburg van Antwerpen en de introductie van opera, De zeventiende eeuw: cultuur in de Nederlanden in interdisciplinair perspectief 24, no. 1 (2008): 25–37; especially p. 27.
6 Anvers … surpasse toutes les autres villes que jaye vûës, à lexception de Naples, Rome, Venise; non-seulement par la magnificence de les bâtimens, par la pompe de ses Eglises, & par la largeur de ses rues spacieuses, mais aussi par les manieres de ses habitans, dont les plus polis tâchent à se conformer à nos manières françoises, & par les habits & par la langue quils font gloire de posseder en perfection. (Antwerp … surpasses all the other cities I have seen, with the exception of Naples, Rome and Venice; not only because of the magnificence of its buildings, the splendor of its churches and the size of its streets, but also because of the manners of its inhabitants, among whom the most polite tend to adopt our French manners, customs, and language, which they pride themselves in knowing perfectly.) Regnard, Les Œuvres, 1:9.
7 Rudolf Rasch, De moeizame introductie van de opera in de republiek, in Louis Grijp, ed., Een muziekgeschiedenis der Nederlanden, (Amsterdam: Amsterdam University Press, 2001), 311–6. Rasch states: 25 november 1677. Lullys opera Isis wordt opgevoerd in de Schouwburg.
8 Henri Liebrecht, Histoire du Théâtre Français à Bruxelles au xviie et xviiie siècle (Paris: Edouard Champion, 1923), 98–9. It is not certain whether a performance of Lullys Cadmus et Hermione in Ghent in 1679 really took place. The performance is listed in Prosper Claeys, Histoire du théâtre à Gand (Gent: Vuylsteke 1892), 35, but no sources are given. The first documented performance in Ghent, Lullys Thésée, took place almost twenty years later, in 1698.
9 Carl B. Schmidt, The Geographical Spread of Lullys Operas During the Late Seventeenth and Early Eighteenth Eenturies: New Evidence from the Livrets, in John Hajdu Heyer, ed., Jean-Baptiste Lully and the Music of the French Baroque (Cambridge: Cambridge University Press, 1989), 183–211; specifically, p. 203.
10 Archive of the Museum Maagdenhuis Heilig Geesttafel, Aalmoezeniers box 112.
11 De Paepe, Des operas avecq plus desclat, 29.
12 Belachelycke kluchte vanden onstantvastighen minnaer (The Ridiculous Farce of the Inconstant Lover) (Antwerp: Van Dunwalt, 1683).
13 De wel-bedachte ende vermaeckelycke kluchte vande broeck–draghende vrouwe ofte Simpelen Giel (The Clever and Amusing Farce of the Trouser-wearing Woman or Simple Giel, Presented in Music by the Amateurs of the Antwerp Opera in the Year 1683) (Antwerp: Van Dunwalt, 1683).
14 Het aenghenaem divertissement vande twee honden aen een been, … musicalijck gherepresenteert … op het Antwerps schouborgh (The Delightful Divertissement of Two Dogs and a Single Bone, … Presented with Music … in the Antwerp Theater) (Antwerp: Van Dunwalt, s.d.).
15 Only around the middle of the eighteenth century did Italian opera become popular in Antwerp.
16 Archive of the Museum Maagdenhuis Heilig Geesttafel, Aalmoezeniers box 112; De Paepe, Des operas avecq plus desclat, 29.
17 The theater is too small for large-scale performances. Archive of the Museum Maagdenhuis Heilig Geesttafel, Aalmoezeniers box 112.
18 De Paepe, Des operas avecq plus desclat, 33–4.
19 Carl B. Schmidt, Livrets for Lullys Ballets and Mascarades. Notes toward a Publishing History and Chronology (1654–1671), in Jérôme de la Gorce and Herbert Schneider, eds., Jean-Baptiste Lully: actes du colloque (Laaber: Laaber Verlag, 1990), 331–48; The Geographical Spread of Lullys Operas (see Reference 9); The Livrets of Jean-Baptiste Lullys Tragédies Lyriques: A Catalogue Raisonné (New York: Performers Editions [Broude Brothers], 1995).
20 Schmidt, The Livrets of Jean-Baptiste Lullys Tragédies Lyriques, 559.
21 E. Rahir, Catalogue dune collection unique de volumes imprimés par les Elzevier et divers typographes hollandais du 17e siècle (Nieuwkoop: De Graaf, 1965), 313.
22 The Livrets of Jean–Baptiste Lullys Tragédies Lyriques.
23 Rahir, Catalogue, 454, 462.
24 The preceding information can be found in greater detail in Timothy De Paepe, Opera op de Antwerpse drukpers: een commercieel interessante onderneming tussen 1682 en 1714, De Gulden Passer 86 (2008): 43–60.
25 The songbook, t Hemels lusthofken (The Heavenly Garden of Delights) (Antwerp: Van Dunwalt, 1681), contains no music, only lyrics which are to be sung to pre-existing tunes. A part of Van Dunwalts output can be found through the Short Title Catalogue Flanders (http://www.stcv.be).
26 For more specific similarities see De Paepe, Opera op de Antwerpse drukpers, 43–60.
27 Schmidt, The Geographical Spread of Lullys Operas.
28 Rasch, De moeizame introductie van de opera in de republiek, 314.
29 As listed in Schmidt, The Livrets of Jean-Baptiste Lullys Tragédies Lyriques.
30 Wittop Koning, Dirk Arnold, and G.M.M. Houben, 2000 jaar gewichten in de Nederlanden (Lochem: Tijdstroom, 1980), 170, 186.
31 De seven Hooft-sonden, Den grooten en onoverwinnelycken Don Quichot and Gheluck door ongheluck, all three tAmsterdam, voor Michiel de Groot, 1682. Michiel De Groot had died in October 1680, and it was actually his widow who now ran the business. See M.M. Kleerkooper and W. P. Van Stockum, De boekhandel te Amsterdam voornamelijk in de 17de eeuw: biographische en geschiedkundige aanteekeningen I (s-Gravenhage: Nijhoff, 1914), 239. The plays in these three publications were originally performed in Antwerp, where they were also printed by Van Dunwalt. Other examples include Beleg en ontzet van Weenen and De helle-vaert van den grooten vizier, both TAmsterdam by Albert Magnus … 1684. Men vintze te koop t Antwerpen by Hendrick van Dunwalt.
32 From a bibliographical point of view, a distinction should be made between collected editions in which several, often unrelated works were randomly put together in one book without a general title page, and collected editions in which works were bound together with a new general title page and often a table of contents. Unlike the first type, the second type of edition can, at least in part, be considered as a new work and requires more planning and a greater effort on the part of the publisher. Le Parnas François falls in the second category.
33 Jacob Moons, Sedelycken vreughden-bergh (The Moral Mountain of Rejoicing) (Antwerp: Van Dunwalt, 1682); Vincenzo Coronelli, Korte, beknopte, en nette beschryvinghe van het koninck-ryck Morea (Short, Concise, and Precious Description of the Kingdom of Morea) (Antwerp: Van Dunwalt, 1688).
34 Exemplars in IRL-Dtc OLS B-6-642 and B-Br BC 39.830 which Schmidt labels as RF 2, and exemplars B-Amp 8 27 and B-Lc (Terry C47), labeled by Schmidt as RF 2a.
35 Wolfgang too had changed his impressum in the meantime which now read: suivant la copie de Paris, à Amsterdam chez Abraham Wolfgang.
36 The device appeared on, for example, Les Œuvres de Sainte Therese (Antwerp: Van Dunwalt, 1688) and on the musical farce Het aenghenaem divertissement vande twee honden aen een been (Antwerp: Van Dunwalt, s.d.)
37 The complete title on Van Dunwalts title page reads: Recueil des Opera des Balets, & des plus belles Pieces en Musique, qui ont ete representees depuis dix huit ou vingt ans jusques a present devant Sa Majeste Tres-Chretienne. Divisées en trois parties.
38 Ph. F. Rombouts en Th. Van Lerius, De liggeren en andere historische archieven der Antwerpsche Sint Lucasgilde (Antwerp: Baggerman, 1872), 536.
39 B-Aa PR 199 Marriages 1679–1730 (O.L.V. Zuid), fol. 45v.
40 Rombouts en Van Lerius, De liggeren en andere historische archieven; B-Baeb Registers of the Council of Brabant 3677, fol. 105r.
41 When he prepared a new edition of the Kluchte van de broeck–draghende vrouw, he replaced Van Dunwalts 1682 armillary sphere with the one Van Dunwalt began using in late 1684.
42 For example: a collection in the private library of Michael DAndrea (Lawrenceville, New Jersey) contains a title page and table of contents from 1688. The table of contents lists the libretto of Roland, which actually appears in an edition from 1693.
43 B-Baeb Registers of the Council of Brabant 3677, fol. 105v.
44 B-Baeb Registers of the Council of Brabant 3677, fol. 106v.
45 B-Baeb Registers of the Council of Brabant 3677, fol. 105r.
46 Schmidt, The Livrets of Jean-Baptiste Lullys Tragédies Lyriques, 560.
47 Archive of the Museum Maagdenhuis Heilig Geesttafel, Aalmoezeniers box 112.
48 B-Aa MP 1. Four parts have survived: viol. 1o, viol. 2do, bas. viol., and bas. cont. These parts represent only three of the five instrumental parts in Ballards Lully scores; it is not clear if the two other parts are lost or were never copied/performed. The bassoon players role is indicated by a note on the inside of the cover of the second violin score.
49 Antwerp had three competing chambers of rhetoric, founded in the late fifteenth and early sixteenth centuries: De Olijftak (The Olive Branch), De Violieren (The Gillyflowers), and De Goudbloem (The Marigold). Two of the chambers ceased functioning between 1640 and 1650, but De Violieren remained dormant, being revived in 1662 (confusingly) under the name De Olijftak.
50 B-Aa PK 598, Collegiaal Akteboek, fol. 160v.
51 B-Aa PK 598, Collegiaal Akteboek, fol. 160v.
52 De Paepe, Des operas avecq plus desclat, 32. B-Aa PK 2947 [F. Verachter, History of the Antwerp Theatre], fol. 28r.
53 This theater is described in Timothy De Paepe, Un des plus jolis Théâtres hors de lItalie & point de spectacle: The Design and Construction of the First Proper Theatre in Antwerp, Restoration and Eighteenth Century Theatre Research 23, no. 2 (Winter, 2008): 7–21.
54 Schmidt, The Geographical Spread of Lullys Operas, 201.
55 Rudolf Rasch, Soixante ans de réception de la musique de Lully en Hollande (1655–1715), in Agnès Terrier and Alexandre Dratwicki, eds., LInvention des genres lyriques et leur redécouverte au XIXe siècle, (Lyon: Symétrie, 2010), 99–115.
56 Carl B. Schmidt The Amsterdam Editions of Lullys Music: A Bibliographical Scrutiny with Commentary, in John Hajdu Heyer, ed., Lully Studies (Cambridge: Cambridge University Press, 2000), 100–165, specifically pp. 105–6.
57 For example, one of the singers during the 1685–6 season was Joanna de Haze, daughter of Joannes de Haze, one of the founding members of the opera. (Archive of the Museum Maagdenhuis Heilig Geesttafel, Aalmoezeniers box 112.)
58 Schmidt, The Livrets of Jean-Baptiste Lullys Tragédies Lyriques, 486–95 (RF 3–RF 4, RF 17–RF 18).
Figure 1: Reconstruction of the exterior of the House of Spain
Figure 2: Hypothetical reconstruction of the Almoners Theater
Figure 3: Title page of Thésée
Figure 4: Title page of Le Parnas François
Figure 5: Title page of the De wel-bedachte ende vermaeckelycke kluchte
Figure 6: Frontispiece of Le Parnas François
Figure 7: Title page of Le Triomphe de lAmour
Figure 8: Title page of Armide
Figure 9: Printers device of Bartholomeus Foppens
Figure 10: First page of the violino primo of Proserpine
Figure 11: Hypothetical reconstruction of the Theater of the Tapestry Hall
Figure 12: Engraving and title page of Tancrède
Table 1: The Librettos Printed Under the Armillary Sphere
Table 2: Librettos Printed by Hendrick van Dunwalt
Table 3: Librettos Printed by Bartholomeus Foppens
Table 4: Librettos Printed by the widow Foppens and heirs
Table 5: Librettos Printed by Petrus Grangé
Copyright © Society for Seventeenth-Century Music. All Rights Reserved.
Items appearing in JSCM may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the Editor-in-Chief of JSCM.
Any authorized redistribution of an item published in JSCM must include the following information in a form appropriate to the medium in which it is to appear:
This item appeared in the Journal of Seventeenth Century Music (http://www.sscm-jscm.org/) [volume, no. (year)], and it is republished here with permission.
Libraries may archive issues of JSCM in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the Editor-in-Chief of JSCM.
Website Design and Development by Crooked River Design.


text:
All Android applications categories
Every fan of Buffalo Bills football team must have this special FREE android app on their phone/tablet.
Buffalo Bills News Pro app features:
- Hottest news & rumors
- Latest galleries, news from the blogs, videos and audio recordings from Official site
- Buffalo Bills schedule, stats, standings and more
- Read every tweet of your team because we integrate Official Tweeter feed
- Official Buffalo Bills page on Facebook. Stay up to date on news, promotions and special offers from the Bills.
- Videos
- Photos
- News about top players 2013 like Ryan Fitzpatrick, C.J. Spiller and Fred Jackson
- More tweets by fans on Live Tweets
- And more!
Grab your FREE copy today!
DISCLAIMER: All names, trademarks and images are copyright their respective owners. The use of any names, copyrights, trademarks or photos have been used for Descriptive Purposes only and not to show endorsement or permission to use. This is completely unofficial, and created for fans.
from 1 reviews
Download Buffalo Bills News Pro
Free - 1.01 - 1M
Sorry ...
This app is no longer available.Explore Android
Share this app


text:
Yuma (Az.) Arizona Western C.C. quarterback Tanner McEvoy came into this weekend's official visit with West Virginia with an open mind, and left with all of his questions answered.
Premium Content
Subscribe today to read the full article and get everything Rivals has to offer.
- Member-only message boards
- Exclusive highlights and recruiting interviews
- Exclusive coverage of Rivals Camp Series
- Breaking recruiting news


text:
Unfortunately, the book is a convoluted mess peopled by urban stereotypes. It seems as if the author had a bunch of great songs and constructed a faulty clothesline to hang them on. The story focuses on aspiring rock musician DJ (Spottiswoode), who is unable to remain faithful to his photographer girlfriend, Isabel (Sulieman). Hovering around the edges are DJ's alcoholic therapist (Andrea Frierson); his swishy gay manager, Gary (George Merrick); a rich bitch named Ethel (Elizabeth Ward Land), who demands sexual favors from DJ in return for financing his career; and Isabel's previous boyfriend Charley (Justin Badger), a mountain-climbing enthusiast. The clichéd plotline follows the tired old theme of art versus commerce, with DJ selling out for Ethel's largess and Isabel following her dream without sacrificing her principles. There are also stale observations on the nature of love and the differences between the sexes. Just as it seems the show is going to conclude predictably, things take a weird twist, with one character suddenly dying—nobody is particularly affected by it—and a supernatural element being introduced at the last minute from out of nowhere.
Despite his weakness as a storyteller, Spottiswoode displays talent as a songwriter and actor. As noted, the songs have variety and charm, and his performance as the devilishly attractive DJ is fun and fresh. The rest of the company each have a moment to shine. In addition to the professional cast, the score is put over with savvy and spunk by Spottiswoode's band, Spottiswoode and His Enemies. Too bad all this promise is in the service of a flimsy plot.
Presented by La Vie Productions as part of the New York Musical Theatre Festival at TBG Theatre, 312 W. 36th St., NYC. Oct. 7–17. Remaining performances: Wed., Oct. 13, 4:30 p.m.; Fri., Oct. 15, 8 p.m.; Sun., Oct. 17, 1 p.m. (212) 352-3101, (866) 811-4111, or www.nymf.org. Casting by Geoff Josselson.


text:
Los Angeles quartet OK Go are coming to San Diego and, if the above video is any indication, UCSD students have already put on their dancin' shoes.
OK Go, known in no small way for their meticulously choreographed music videos, are touring to support their 2010 album, Of the Blue Colour of the Sky, and will play the Price Center West Ballroom at UCSD on May 31. Tickets are $10 for UCSD's graduating seniors, $20 for lesser students, and $27 to the general public. Buddha's Playlist will open.
For those who don't feel like throwing down the dough to see Ok Go, we're offering up a pair of tickets to the concert. To enter the contest, simply comment via Facebook (below) by May 29.
This contest is now closed. Thanks for playing!
Awesome! Thanks!
Hey Ryan, don't forget, you have to comment via Facebook (above) to be entered!
I wanna win! Pretty Please!


text:
Order Total
AK, HI, Military, and U.S. Territories
$0.00 - $29.99
$30.00 - $39.99
$40.00 - $59.99
$60.00 - $79.99
$80.00 - $99.99
$100.00 - $299.99
*Does not apply to standees, a small number of heavy items that have a surcharge, charity items, or taxes. Offer may be withdrawn or modified at any time.
Please note that standard shipping may either be via UPS or USPS, so please use a shipping address that can receive both types of these deliveries.
Returns & Exchanges:
At WB Shop, our goal is your complete satisfaction. You may return any new item for any reason within 30 days for a refund. The item must be in the original, unopened package to be accepted back for a refund.
If apparel, the item cannot be worn or washed. A damaged or defective item can only be replaced for the same item. Another item cannot be substituted in place of a damaged or defective item.
You may return any new Blu-ray/DVD for any reason within 30 days for a refund. Blu-ray/DVD must be in its original, unopened factory shrink wrap to be accepted back for a refund. A damaged or defective title can only be replaced for the same item. Another title cannot be substituted in place of a damaged or defective item.
Undergarments: Opened packages of undergarments may only be returned for exchange to another size and not for a refund. Undergarments that do not come in packages must have the original hangtag attached to them, not be worn, or washed and may also only be returned for exchange for another size and not for a refund. We will discard any returned items and send a replacement size, if available. If we are unable to exchange for your selected size, we will then refund your purchase completely.
Earrings and Body Jewelry: These items are non-returnable. If your order of either earrings or body jewelry, or both, is received damaged or defective, we will exchange it and then ship you out a replacement item.
Halloween Costumes and Halloween Accessories: These items must be returned within 30 days of the shipping date, or postmarked by October 31st of the year of purchase, whichever comes first. The items must include the original packaging and the costumes cannot be worn or washed.
How to Return an Item:
If an item is damaged, defective, or incorrect, contact us and we will issue a Return Authorization. If the item is not damaged, defective, or incorrect, please include a copy of the packing slip and write the reason for the return and if you would like a refund or an exchange.
You will be responsible for the cost of shipping an item back to us. We recommend using carrier that provides you with a tracking number, such as UPS, FedEx, or USPS Priority Mail.
PLEASE NOTE: ONLY MERCHANDISE PURCHASED DIRECTLY FROM WB SHOP CAN BE RETURNED TO THE FOLLOWING ADDRESSES BELOW. WE CANNOT ACCEPT ANY MERCHANDISE (INCLUDING BLU-RAY DISCS and DVDS) PURCHASED AT ANY OTHER RETAILERS.
Please return Blu-ray/DVD to:
WB ShopAttn: Returns300 Omicron CtShepherdsville, KY 40165
Please return MOD Blu-ray/DVD to:
WB ShopAttn: Returns901 Bilter Rd.Aurora, IL 60502
Please return all other merchandise to:
WB ShopAttn: Returns459 Park AveSan Fernando, CA 91340
Customer Service:
Call us: 866-373-4389Hours: Monday - Friday 8am - 8pm EST & Saturday 10am - 6pm EST
(based on 19 reviews)
Ratings Distribution
5 Stars
4 Stars
3 Stars
2 Stars
1 Stars
of respondents would recommend this to a friend.
Best Uses
Feels too small
47% (9 reviews)
(9 reviews)
Feels true to size
Feels too big
Feels too short
Feels true to length
84% (16 reviews)
(16 reviews)
Feels too long
Most Liked Positive Review
Nice Shirt, Cool Design
It has a great design that any Supernatural fan would love. I wear the shirt on any normal day, such as going to class or just hanging around at home.I would recommend...Read complete review
It has a great design that any Supernatural fan would love. I wear the shirt on any normal day, such as going to class or just hanging around at home.I would recommend possible buyers to order a size larger, as it is very form-fitting and made of cotton, so it will shrink a little.
Most Liked Negative Review
Great shirt...but its too small! :(
I was so excited when I got this shirt in the mail but it turns out it was too small so I had to return it! This shirt is more like a junior sizes...Read complete review
I was so excited when I got this shirt in the mail but it turns out it was too small so I had to return it! This shirt is more like a junior sizes so keep that in mind when ordering. If in doubt, I would order the mens version instead so you won't have to go through the process of returning it. Other than that, I remember the logo being really cool, nicely imprinted on the shirt.
Reviewed by 19 customers
Displaying reviews 1-10
Back to top
Previous | Next »
love the shirt
By Cindy loo hoo
from Carlisle, PA
Comments about Supernatural Crows Juniors T-Shirt:
I read the reviews before I bought the shirt. All the reviews said to order a size larger then what you normally wear. I usually wear a small but ordered a medium way big. Do not order a bigger size unless you like loose fitting shirts.
Bottom Line Yes, I would recommend this to a friend
Was this review helpful? Yes / No
- You may also flag this review
Loved my purchase!
By LilithBleed
from Gentry, AR
Love the style!
Great Product
By Mad mark
from Tasmania, Australia
About Me Bargain Shopper, Casual
My daughter loved it
Nice tshirt
By mikntam
from michigan
About Me Bargain Shopper, Casual, Classic
Nice material and design
Awesome shirt!
By Believe
from Vermont
About Me Career, Eclectic
Love Supernatural and parapsychology (which is whacked according to some folks since I'm Christian but I know the subject matter...). Anywho the shirt was cute but over priced for the value and since I'm a size 8 and I bought Large, the Large was just barely able to fit on, there's a problem there guys!
Bottom Line No, I would not recommend this to a friend
Order 1-2 Sizes Up & You'll Love It!
By Krys M.
from Emporium, PA
About Me Bargain Shopper, Casual, Classic, Eclectic
SHIRT RUNS SMALL! Order 1 size up for a "Fitted" fit & Order 2 sizes up for a "Loose" fit.After reading reviews, I ordered a L (instead of my usual M.) It seemed to shrink SLIGHTLY after the first wash, but nothing major. It's comfortable & soft, good for everyday wear.
(0 of 2 customers found this review helpful)
small shirt!
By Genknit
from Houston, Texas
About Me Casual
This shirt was purchased as a gift for my daughter. She read that the shirts run small, so requested a woman's XL. The shirt looks more like a size medium, and I hope it fits my daughter! The fabric is soft, but thin. The design is not one I would choose, but presumably my daughter will like it. She will be wearing it to work, but not to church.The sliders on the fit and length categories in the review above would not work for me. Probably they are not enabled to work in Safari. I would have indicated that the shirt fits small, and the length looks as if it might be a little short. If the shirt shrinks, it's not going to fit my daughter.
Great shirt
By dorothyoz
from Atlanta ga
About Me Bargain Shopper, Casual, Eclectic
Sam's Silhouette of Black Crows!
By Arduinna and Morrigan
from Fresnes, France
About Me Casual, Eclectic, Trendy
Love the lenght down to the hips, the cotton softness.The design is beautiful and artistic,Sam's face in the crow's wing, magic ! Love the way "Fate" and "Thruth" are included.
By CRUMCAKE
from WICHITA, KS
About Me Career, Casual, Classic, Trendy


text:
In this free half-day seminar learn test tips and best practices from Tektronix engineers in a classroom setting. You'll gain insight on how to test more efficiently through hands-on labs using today's latest, most innovative scopes. Registration is limited. Sign up today to reserve your spot.
Debugging Your Digital Design Seminar
Join Tektronix experts for a hands-on seminar to learn new test techniques to not only validate your design, but to quickly troubleshoot problems using the MDO3000. See for yourself the power of having six instruments in one oscilloscope.
- Techniques for discovering infrequent events
- Tips for capturing your RF spectrum and using spectrogram
- How to simulate missing signals and stress test your design using troubleshooting tools for your mixed signal designs
- Debug methods for common serial buses: CAN, LIN, RS-232, USB, I²S
- Methods for quickly measuring voltage: AC, DC and AC+DC RMS
- 4.5 hour Seminar with over 2 hours of hands-on lab using the new MDO3000 Mixed Domain Oscilloscope
- Real-world troubleshooting techniques
- Instant feedback and insight by Tektronix experts
- Lunch provided
This is the text for tab 2.
This is the text for tab 3.
Want to see even bigger scopes and more advanced topics? Check out our Meet the Experts tour.
Attend and Win
Sign up and attend the Tektronix Scope Tour and you'll be automatically entered to win a Tektronix MDO3000 Series*.
What People Are Saying About The Event
"I think the seminar is really useful, very well setup. We get hands-on time with the scopes to play with -- what engineers love to do."
"The content was fantastic, lectures were good, clear and the material was written fantastic."
"The hands-on step-by-step process was excellent. Very easy to follow along. I recommend this seminar!"


text:
- Location: The Dalles Chronicle
- Occupation: Staff photographer
Mark B. Gibson is the staff photographer at The Dalles Chronicle. He is author of two blogs here at the Chronicle, "Web press to web press," a guide to making the transition from newspaper web press to the world wide web of today, and "Eye on the storm."
Use the comment form below to begin a discussion about this content.


text:
Food Service Applicants will not be interviewed at
Job Fair, March 28th & 29th.
The director of dining services may contact you for an interview by phone or email.
Kitchen Staff
Prep Cooks, Dishwashers, etc. needed in our campus dining facility. Employment Dates will vary depending upon position. Rate: Based on Experience


text:
Written on: 18/03/2012
I started LL at 11st 7lbs and in the 8 week programme got to 9st 5lbs so I was very happy then I went back to eating normal food, before I knew it I was 12stone! It's like it happened overnight I didn't even realise! Now I've lost a bit of the weight again by exercise & healthy eating, but because I lost and put on the weight do quick, I have stretch marks all over my tummy thighs & arms! I spent so much money on this diet and regret it so much, I was always tired and never felt up to doing anything because I had no energy!


text:
Its because your wii has the d3-2 drive which will not read dvds. Might want to usb load!
Sent from my HTC Desire Android using WiiHacks
I recently installed NeoGamma r9 Beta 47 on my 4.1u White Wii which I bought in December 2010, but discs wont play. They dont even start spinning or anything.
I've tried both DVD-R and DVD+R. I get the following messages with both discs:
First it shows "Init drive" , then "DVD Err(1208), Disc ID", then "Drive Data: 20081218", and finally "Most likely no DVD-Rs possible".
Any help would be greatly appreciated. Thank you so much.
Its because your wii has the d3-2 drive which will not read dvds. Might want to usb load!
Sent from my HTC Desire Android using WiiHacks
Thank you for your reply and help. Is there a way to fix that problem or am I just stuck with that problem?
and welcome to
Thank you for becoming a member of the best wii modding site around!
First off you need to read the Site rules and try your best to abide by them.
Now we know the rules its time to find the right guide for modding your wii, I recommend the
The Softmod Any Wii Guide by Mauifrog
This guide works for all wii's
There are also other guides which you can find in the Guides and tutorials section
Once you have completed the guide you need to ascertain if your wii is capable of playing backups via the disc drive or whether you need to be usb loading.
Wii's post 2009 generally cannot play backups via the disc drive and have to use usb loading.
I recommend usb loading anyway as you can add an remove your games easily and there is no wear and tear on your disc drive and no messing about with discs etc.
What you will need to know -
What drives are compatible - Usb Compatibility list
How to set your drive up - Loading and Playing Wii Backup Games from USB HDD
Once your HDD is setup and ready to go, you will need a program to manage your games!
Checkout Peire's Wii Game Manager Guide
Now your set up and ready to go, but you run in to a problem with one of your game backups -
List of problematic games and the solutions
Now if you're a modchip user you need to get over to the Modchip Section
Wiihacks also has an IRC chat room so you can get live help and assistance from staff and other
members - IRC welcome and rules
Other useful guides -
Ultimate Wiihacks index
Wiihacks guides - The Authors Index
Multi Mod Manager guide
Wiihacks Prize Drawings
Check out our resident site artist Peire's GFX Shop
And his Free Signature Give Away!
Finally if Wiihacks have helped you in any way you can help us keep helping by donating to keep us going!


text:
Many children are exposed to a wide variety of risk factors. Divorce and parental neglect are two factors that can lead to a variety of problems in adulthood. Protective factors are things that combat the risk factors, and include things such as positive parenting, extracurricular activities such as Sports, Arts and Music (SAM) and which are founded on a respect based style are examples of protective factors.
More information about risk and protective factors, and about Clallam County programs, can be found on the prevention works website.
Angeles Mediation recommends counselors, social workers, lawyers, judges, and anyone involved with family law and parenting issues to check out the Prevention Works! of Clallam County website.
Mark Baumann, JD, Rachel Hardies, MA, and Angeles Mediation, are accepting referrals by advocates, lawyers, therapists, doctors and other professional persons for their pro bono Domestic Violence Mediation Project. This project is designed to help low income families who have had allegations or a history of domestic violence resolve conflict through mediation. Domestic violence may involve physical and/or emotional abuse, and/or may be perceived as a "high conflict" case. These are difficult cases that require special handling and attention, particularly to both parties needs and safety.
The interdisciplinary DV Mediation Project is an access to justice oriented project, offering people of modest means an alternative to litigation that may also offer a more effective method of managing entrenched conflict patterns. Part of the purpose of the project is to develop and report on effective mediation techniques for domestic violence situations.
The DV Mediation Project encourages attorney and advocate participation and the development of safety plans. Attorneys and advocates interested in participating in the Project may contact Mark Baumann and Angeles Mediation at the number below.
Referrals to the DV Mediation Project will only be accepted from professionals, including lawyers, therapists and advocates. Parties interested in mediation services should ask professionals they are working with for a referral, and/or call Healthy Families for advocate and safety planning services in this or any DV situation. If you are interesting in contributing to the project, as a volunteer mediator, advocate, advisor, counselor, educator, concept developer, or otherwise, please call for more information.
Mark Baumann
Rachel Hardies
Healthy Families, 360-452-2381]]>
In this advanced workshop, we will provide and review cheat sheets for recognizing high conflict behaviors and solutions for effectively reducing conflict in very difficult cases. Then, using case examples, we will look at the dynamics of what is happening and explore specific ways of dealing with the problems.
We will introduce some new specific methods for managing high conflict, and facilitate a discussion about High Conflict Institute techniques and participants own techniques for particular problems.
If you had a case that you would like to dissect and study from the high conflict perspective, please contact us before the conference.
Take aways from this workshop will be:
• Understanding the difference between a high conflict case, a difficult case and a situation where parties are temporarily "flooded."
• Being able to quickly identify high conflict behaviors, with seven categories and 52 specific identifiers (HCP Identifiers cheat sheet)
• Thinking about high conflict cases in four-point structure for, with 32 specific tools for handling difficult parties (HCP Solutions Table (mediation)
• More confidence in how to manage high conflict cases
We will also introduce equipoise as a concept to bring together a collection of tools for staying neutral, balanced, detached from the outcome yet compassionately engaged in the process.
The written materials will include an article on equipoise, two cheat sheets, and articles by Bill Eddy on mediating in high conflict cases, listening, and B.I.F.F, Bill's method for responding to aggressive demands in a productive manner.]]>
At the training I shared this wonderful poem from Dr. Thomas Gordon:
When I ask you to listen to me
And you start giving me advice
You have not done what I asked.
When I ask you to listen to me
And you begin to tell me why
I shouldn't feel that way
You are trampling on my feelings.
When I ask you to listen to me
and you think you have to do something
to solve my problem
you have failed me,
strange as that may seem.
Listen! All I asked was that you listen,
not talk or do…just hear me.
advice is cheap; twenty five cents will get
you both Dear Abby and Billy Graham
in the same newspaper.
And I can do for myself. I am not
helpless. Maybe discouraged
and faltering, but not helpless.
When you do something for me
that I can do for myself
you contribute to my fear
and inadequacy.
But when you accept as a
simple fact that I do
feel what I feel,
no matter how irrational,
then I can quit trying to convince
you and can get about this business
of understanding what's behind
this irrational feeling.
And when that's clear, the answers are
obvious and I don't need advice.
Irrational feelings make sense when
we understand what's behind them.
Perhaps that's why prayer works
sometimes, for some people…because
god is mute, and doesn't give
advice or try to fix things.
He (or She) just listens
and let's you work it out
So please listen and just hear me
and if you want to talk, wait a minute for
your turn…and I'll listen to you.*
*Writings from Dr. Thomas Gordon
obvious and I don't need advice.]]>
His topic will be the importance and difficulty of listening to and respecting victims of abuse. Domestic violence comes in many forms and can physical and/or emotional and can be perpetrated by men or women. Victims are often in an emotional place where they have been beaten down by their abuser and they often have a difficult time seeing their options and feeling their worth –they feel helpless. Compassionate listening is what victims need first. Only until they feel heard can they start to understand the reality of their situation. This can lead to an ability for abuse victims to start to gain a sense of mastery over their lives.]]>
Mark Baumann litigates and mediates family law cases in Port Angeles, and mediates high conflict cases in Seattle, Bellevue, Redmond, Everett, Tacoma, Olympia and throughout the greater Puget Sound region.
Peacekeepers trained 28 student mediators in February, 2010, and started mediating disputes between students.
Peer Mediation is a program where students help students resolve their problems. Adults are not involved in the mediation process. Students are trained in mediation skills to help their peers resolve conflicts in a nonviolent way. Mediators learn a variety of skills to facilitate communication and listening, that can be applied in mediation and virtually any situation. Mediation skills are an excellent life time skill and item on any resume.
PeaceKeepers would like to thank the Port Angeles Education Foundation and the Kiwanis of Port Angeles for their financial support of the program, and Superintendent Dr. Jane Pryne, PAHS Principal Gary Cameron for their support of the program.]]>
Program developers are Mark Baumann and Taylor Schraudner. Student developers are Madison Baumann and Chloe Johnston.]]>


text:
Written on: 20/06/2011 by jillhansen (1 review written)
Visited the Gate of India for the first time in years on Saturday. On arrival the manager was so rude that we almost left and the waiters were also quite dismissive of us, didn't get any drinks until they'd taken food orders, totally unco-operative. Food was average, won't be back.


text:
Seven settlements to be abandoned by the end of the day; Stiff resistance in southern Gaza Strip
The Israeli army commenced the implementation of the withdrawal plan Monday morning, as teams of soldiers entered the northern Gaza Strip settlement of Nissanit to present eviction notices, which will go into effect early Wednesday. If settlers ignore the deadline, they will be removed by force and could lose up to a third of their government compensation for the move.
"It's a painful and difficult day, but it's a historic day," said Israel's defense minister, Shaul Mofaz, according to The AP. Over the next three weeks, Israel plans to remove all 21 Jewish settlements from Gaza and four from the West Bank. Police estimated that 300 families will leave the Gaza Strip on Monday and that seven settlements in northern Gaza Strip will be vacated of their Israeli residents. The operation went quite smoothly in the settlements of Nissanit and Elei Sinai that have virtually emptied out. In the West Bank, two settlements - Ganim and Kadim - are also expected to be vacated by the end of the day.
Settlers in southern Gaza Strip and West Bank enclaves, meanwhile, blocked the entrances to their settlements to prevent Israeli troops and reporters from entering. Some 400 youths opposed to the pullout blocked the main road leading into "Gush Katif" settlement bloc on Monday morning, preventing an army convoy from reaching its destination. Hundreds of settlers blocked the gates of Neve Dekalim, Gaza Strip's largest settlement, preventing the forces from entering. As of Monday afternoon Israeli policemen and soldiers avoided confrontation with the settlers.
The army and police have decided not to deliver eviction orders to five Gaza Strip settlements, following requests by their residents, Haaretz reported. Therefore, soldiers will not enter Monday morning the settlements of Netzarim, Kfar Darom, Azmona, Katif and Dugit.
On Sunday night, settlers clashed with Israeli troops near the northern West Bank settlements of Sa-Nur and Shavei Shomron. Sa-Nur is one of the four settlements in the northern West Bank to be evacuated along with all 21 settlements in the Gaza Strip.
Top Headlines
- PA: Israel Aims to Destroy Jenin Refugee Camp; Stiff Palestinian Resistance Goes On; Sharon Objects Powell–Arafat Meet
- 38 years of Israeli settlement in the Gaza Strip comes to an end
- Gaza Strip: Deadline expires for settlers
- Gaza Strip: Key settlements evacuated after intensive clashes
- Israel plans to relocate Gaza Strip settlers near southern city