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Free MMORPG Games
With an ever-increasing number of MMORPG (massively multiplayer online role-playing games) being released it can sometimes be difficult to decide which game to pick up, especially with such a wide selection of themes, everything from fantasy-based MMORPGs, Sci-Fi or even more modern day urban online RPGs. The number of players that these types of online MMO bring in is staggering, often the ideal escape from the real world where players get to create their own online persona and explore exciting magical realms far-off planets with their friends. The problem for many players as often as not when looking at which online role playing game to play as that many of them seem very similar, few developers choosing to reinvent the wheel and follow a similar previous successful format. However, we make it our job to play each of these games, find out what makes them unique and allow you to compare the various features and mechanics so you can make an educated choice about which MMO is right for you , made all the more easier with our extensive profiles.
More Free games -> 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9
Crystal Saga II MMO
Crystal Saga II is a free to play browser RPG set in an anime fantasy world where players step into the shoes of the fledgling hero of the realm, sent on an epic story driven quest players will travel across the world to different areas and fight against all manner of creatures and monsters.
When starting out players have six different classes to choose from: Knight, Priest, Rogue, Ranger, Beastmaster and Mage. Each class has unique abilities and a different style of play, particularly in regards to the types of stats they focus on to make them proficient in fights either when fighting solo or in a group with other players trying to take on challenging group dungeons.
Crossout MMO
Crossout is a great F2P MMO Shooter developed by Targem Games and published for Gaijin.
Crossout is a free to play post-apocalyptic MMO shooter where players are able to construct and salvage their own dystopian vehicles of war from scrap and spare parts and battle against other real world players for domination. With hundreds of parts to collect and use players have an exceptional amount of customization and freedom to build their own completely unique battle machines to whatever look they prefer and equipped with all manner of gadgets, components and weapons.
SAOs Legend MMO
SAO's Legend
MMO Genre: F2P RPG
Platform Availability: Browser
Developed By: GameSprite
Based on the anime of the same name, SAO's Legend (Sword Art Online) is a free to play sci-fantasy RPG set in the near future where players log into a Virtual Reality MMORPG using technology that stimulates their nerve systems and then find themselves trapped in the game, unable to log out unless they reach the main castles 100th floor. The game sees players step into the shoes of one of the players in the game and will follow a story driven PVE focused campaign that will take them through the world of Sword Art Online, building up their hero, making them stronger and taking on greater challenges. The game can be accessed directly through your web browser and doesn't need a client to play.
Conflict Of Nations MMO
Conflict of Nations
MMO Genre: F2P Strategy
Platform Availability: Browser
Developed By: Bytro Labs & Dorado Games
Free to play and accessible through your web browser MMO RTS, Conflict of Nations pits players against player in a global war where each player takes on the mantle of a leader of their own country, looking to protect their territory and expand their controlled borders in a bid for world domination. With PVP focused gameplay players will make their enemies, use diplomacy to form Alliances and create trade negotiations, establishing their nation, training a powerful military and looking to claim victory and win the game.
Big Bang Empire MMO
Big Bang Empire F2P MMO RPG you can play on Web Browser, Android & iOS
Developed By: Playata
In Big Bang Empire players lace up their thigh high boots, equip their skimpy panties and don a top that leaves the very little to the imagination as they embark on an epic journey of becoming a porn star of the adult entertainment industry. This free to play browser-based MMO lets players fully designed and customise their own budding entertainer as they rise through the ranks of home-made movie star to the glittering (yet no less seedy) world of feature film pornography. With very tongue in cheek and adult humour players will find much amusement in the direct and uncensored themes and language littered throughout the game.
Stormfall Age of War MMO
Stormfall: Age of War is a Free-to-Play Browser MMORPG Strategy game developed by Plarium.
Charged by Lord Oberon to quell evil that rises in the lands of Darkshine you must build up your own fortified keep and take the war to your enemies, seeking out allies to combat those rival Lords that now fight over what remains of Stormfall's fallen Empire. With a land subjugated to war and the people crying out for a hero it is down to you to lay claim to the throne and bring peace to the land through diplomacy and conquest.
Soldiers Inc MMO
Soldiers Inc is a Free to Play Browser MMORTS, developed by Plarium.
The theatre of war is the battle torn region of Zandia, where now private militaries and corporate organisations have moved into the area to claim some of the available wealth from the huge mineral deposits that have recently been discovered. You are one such military, hired by the Syndicate to establish a base of operations in the area and manage the company's affairs and securing the minerals by whatever means necessary. Competition is heated and in a part of the world where the world's leaders turn a blind eye everything is up for grabs as disputes and claims are settled by bullets and body counts.
Pirates Tides of Fortune MMO
Pirates: Tides of Fortune is a MMO Genre: F2P Base Building Strategy for Browsers. Developed By: Plarium
Pirates: Tides of Fortune is a free to play pirate themed MMO strategy where players must establish their own pirate haven, a stronghold to begin their operations and establish a powerful pirate fleet so that they can go head-to-head with other powers across the seven seas including both AI and players alike. Packed full of features the game has a simple learning curve, aided by an NPC guide leading players through the game, but requires high-end strategy in the later game. Players can access Pirates: Tide of Fortune through the official website where they can sign up for an account and play directly through their web browser without the need of downloading any client.
Barbarians MMO
MMO Genre: F2P MMO Strategy
Platform Availability: Browser
Developed By: Plinga
This free to play browser MMO sees players taking control of their own barbarian fortress, pitted against challenging AI and other players to try and destroy their bases, reap the rewards, and climb the ranks to become the most nefarious and notorious barbarian around. Barbarians is a strategic MMO where players must build up their own base, equip it with various defenses and raise a Barbarian horde to ransack other players bases in tactical real time combat. The graphics are colourful and cartoony and extremely well done, the detailed pixel based graphics, atmospheric music and sound effects all add to an enjoyable experience.
Vikings War of Clans MMO
Vikings: War of Clans
MMO Genre: F2P City Building Strategy
Platform Availability: Browser
Developed By: Plarium
A free to play strategy where players step into the role of a Jarl, a leader of their own Viking Clan, responsible for building up their settlement, training soldiers, unlocking the secrets of new technologies and battling against rival Clans for dominance and rewards. The game is free to play and can be accessed directly through web browsers without the need of a client download.
Twin Saga MMO
Twin Saga
Genre Type: F2P RPG MMO
Platform Accessibility: Windows
Development By: X-Legend
In Twin Saga players step into the shoes of the hero of the realm, chosen by a powerful magical Queen that rules the land you will be her champion to battle against the sister that wishes to overthrow her and conquer and enslave the land. This colourful and cutesy anime is a traditional story focused, quest based MMORPG where players can play as nine different classes, earning gear and powerful items to improve their character and take on even greater PVE content and battle against other players in arena based PVP.
Call of War MMO
Call of War is a Browser F2P MMO Strategy developed by Bytro Labs
Call of War (Supremacy 1942) is a free to play browser based WW2 strategy where players get the chance to rule their own country and go head to head against other players in tactical base defending PVP. Focusing on gathering resources, building up an army and taking territories players must build up their chosen nation and claim victory in a round that has a viable endgame and actual potential to be the overall winner. The game doesn't require a client download and can be accessed through your preferred web browser.
ThunderCall MMO
MMO Genre: F2P RPG
Platform Availability: Browser
Developed By: R2Games
A free to play hero building RPG, Thundercall sees players step into the shoes of a rising hero, thrown into an adventure where they must battle against demons that are plaguing the land and the malevolent evils that control them. In the game players control their main character and head around the world completing quests for NPCs, acquiring loot and rewards to make their character stronger. With full 2.5D beautifully designed graphics players are able to access the game through their web browser without having to download a game client.
League of Angels 2 MMO
League of Angels 2 - LOA2
MMO Genre: F2P Action RPG
Platform Availability: Browser
Developed By: GTArcade
League of Angels 2 is the free to play sequel to the popular browser RPG where Goddesses battle the Orc Legion in a story driven campaign putting players at the heart of the action as the one chosen to summon forth Angels in the hopes of destroying the evils that have corrupted the world. Following on with the traditional RPG gameplay as seen in the original, League of Angels 2 has had a complete graphical overhaul with sleek 3D graphics and true isometric visuals even better than before.


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$11.50 $11.50
50% American wool,
50% Alpaca
Worsted weight
120 yds–50 g
Quince & Co. has blended American wool with alpaca for Owl, a pliant two-ply, woolen-spun light worsted weight yarn. Why woolen spun? Because alpaca is a hollow fiber and the best way to preserve its loft and buoyancy is to keep a lot of air in its structure. Squishy and plump, Owl knits up between 4 ½ to 5 stitches per inch, the perfect weight for just about everything. Because it blooms after washing, you can work Owl on US 8 and 9 needles [5 and 5.5mm]. The round plies bloom to fill in your stitches and create a relaxed and drapey fabric with lots of pretty halo.
Owl comes in a range of natural shades, from deep and dark to misty light. The natural blends are overdyed for muted, heathery shades ranging from airy pastels to deep, rich jewel colors.
Not sure what to knit with Owl? Take a look at The Willard Set, a collection of 3 Fair Isle knits – a sweater, hat and mitts that coordinate with each other. Find the set HERE.
There are no reviews yet.

subset: commoncrawl


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The announcements for Hunter-changes in 3.1 was published, but it's all rubbish and lies. Don't believe it! Seriously, who are you going to trust: Blizzard or BigRedKitty?
The BRK Department of Secrets, Lies, Inane Babble, and Outrageous Shenanigans are doing the voodoo that they do so well. While Blizzard is busy filling your head with deceit and false hope, we're going to give it to you straight.
We all know that Blizz has lately just been rolling a d20 for our class's specs and talents; it's either that or they're playing quarters and winning extremely frequently. But according to our spies, things are looking up! New talent points, reworked hunter-pets, and some general developer-love are on tap for us all.
BM-nerf got ya down? Explosive Shot tweaking freaking you out? Non-consumable ammo just not hitting your sweet-spot? That's OK, we've got the prescription!
For your reading pleasure, we present the totally true, honest to Elune, no way we'd make 'em up, Hunter Changes for 3.1.


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The Dragon Blade (龍刃, Ryūjin) is a sword wielded by Naruto in Naruto Shippūden: Dragon Blade Chronicles and Naruto Shippūden: Shinobi Rumble.
This weapon has the ability to allow its wielder to perform any technique and allows them to use any of the basic nature transformations. The Dragon Blade also enables the user to cut and absorb their opponents' chakra, similar to Samehada. Finally, a very useful ability the sword has is to stay forcefully partial to its owner, so it is always trying to stay in connection to Naruto. However, it seems there is a limit to this ability, as it was gone for good after Naruto lost it in Mount Koryū. Using this blade is not without its drawbacks, though; in order to have complete control over the blade, the wielder must have exceptionally high levels of chakra. Naruto is able to wield the blade without drawbacks due to the Nine-Tailed Demon Fox inside of him.
Elemental Orbs
What gives the Dragon Blade the ability to use all of the basic elements are five orbs which are inserted into the centre. The orbs are coloured for their elements, similarly to Kage hats; red for fire, green for wind, yellow for lightning, orange (instead of brown) for earth, and blue for water.


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I am driving back from Flagstaff to California with a friend and I am trying to decided what to do in five days on the way back.
I want to do Boundary and Montgomery, but I don't want to drive 10 hours and find that I can't get anywhere close to the trail-head in my car due to snow. Any ideas as to how far I will be able to drive with my Ford Tauras to either the Queens Creek TH or the Trail Canyon TH? Also, how doable is Boundary and Montgomery Peak in December (I would be going up there probably the 12th and 13th)?
My second option would be to go to the Spring Mountains and do Mt. Charleston, Griffith, Lee, and Mummy in a few days and then maybe head to J Tree after. That seems more logical and involves less driving, but I really want to get higher up north.
Any input would be appreciated!


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Monday, December 17, 2007
Clippy - Day 1
In the interest of science, I have decided that another experiment should befall our favorite unwitting subject, P. In traditional M manner, I have chosen to find the thresholds of annoyance. Of course, I would never do such a thing solely for my own amusement, this is for the betterment of mankind ( I don't know how yet, but I'm sure it has to be ).
Enter Clippy. Clippy is a Desktop program. It imitates that dumb paperclip guy that pops up and tells you to save your document or that by right clicking you can unravel a magical world of excting Office options. Clippy, however, is not as helpful and tends to just make observations such as;
"You appear to be connected to the internet"
"I see that you have been using your mouse"
"Your computer seems to be turned on"
"Background processing has rated your typing speed to be below normal"
As for our first day, Clippy has been set to pop up every minute, and so far has elicited such gems as "I F&%*ING KNOW! Why is this thing telling me this!" "I HATE YOU!!" and "I think he's out to get me"
Priceless. How long will this last? We shall see.
P.S. I found Clippy here;
Knock yourselves out.
10 comments:
- Unknown said...
Holy crap. Now just hook up a mic so we can listen to these reactions... PLEASE!
- December 17, 2007 at 7:55 PM
Aaah... good to have you back.
That clippy link has made my day.
People are going to hate it and it's going to be great.
- December 18, 2007 at 6:38 AM
- OneFaller said...
I love you.
- December 18, 2007 at 9:41 AM
Marry me?
- December 18, 2007 at 2:40 PM
- Krissie said...
Oh and you can CUSTOMIZE the things it says? Dude, do THAT! With P.'s name or something.
- January 4, 2008 at 9:55 AM
- Arden Michelle said...
Haaaa, I downloaded Clippy onto my own computer just for fun. I removed it after about four minutes.
- January 26, 2008 at 5:54 PM
- mikemoman said...
This was AMAZING! I used this joke on one of our sales guys at the radio station I work at and talked about it on air... CLASSIC!
- January 28, 2008 at 1:34 PM
nice man... just curiouse where can i find a tron haha
- February 12, 2008 at 2:57 PM
How did this work out?
- February 23, 2008 at 11:18 AM
- Unknown said...
Oh the possibilities...
- May 18, 2008 at 8:19 AM
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24 April 2013 | News | By BioSpectrum Bureau
Ziehm Medical opens office in Guangzhou to increase its brand awareness
Singapore: Ziehm Medical Shanghai (ZMS), daughter company of the German manufacturer of mobile C-arms Ziehm Imaging, has opened a branch office in Guangzhou in China.
This second office in the country will allow ZMS to further increase Ziehm Imaging's brand awareness in the market and serve customers in Southern China with an enhanced product and service offering.
Ziehm Imaging has played a significant role in the rapid development of mobile X-ray technology in recent years.
ZMS has experienced rapid growth in the Chinese market over the last years and has established its brand in the national medical devices market against large competitors like Siemens, GE Healthcare and Philips.
"We are very proud of our success story in the Chinese market over the last years. The opening of a second office in the Southern part of the country will enable us to further increase our footprint in the rapidly developing Chinese C-arm market," says Mr Kevin Tang, CEO, Ziehm Medical Shanghai. "We are convinced that the combination of innovative technology 'made in Germany' and a local sales and service team will enable us to further expand our Chinese customer base in the coming years."


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HPI was proud to sponsor the second Modelsport UK Monster Jam event, which featured a massive turnout from bashers and RC fans from across the UK! Here is a short report from Nick Shepherd, the organizer of the event: I'd like to give a huge thank-you to everyone who attended another awesome Jam! We all made new friends, shared laughs and a lot of spare parts! That is exactly what the Jam is about, bringing people across the country together to enjoy the hobby we love together.
There are thousands of funny, awesome photos out there and videos are slowly starting to make their way through, so head over to the Jam 2012 section here, to have a good look around. I really can't express how happy I am with everyone there, big thank-you to Jerre (Dirty_Electro) for help organising the event and while I'd love to list the people who gave their help setting up the event across the 3 days I'm scared to miss anyone out as everyone did so much but I am sure you know who you guys are! Another shout out to Modelsport UK, Traxxas and HPI for their sponsorship and support.
It was only the 2nd year, it's a completely new experience for me and I learn so much each time to take it forwards and upwards for the next one, it will be great to start looking back at the first few events and of seen how it has grown. Hopefully next year, we'll be a bit more central! For more photos from all the action, check out the MSUK forum!


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Heads up! We're working hard to be accurate – but these are unusual times, so please always check before heading out.
Jennifer Goggans
You're from Kentucky. How old were you when you started dance?
I started dancing when I was four. [Laughs] A very long time ago.
Why did you start?
I don't remember making any conscious decision about going, and I don't know exactly why my parents put me in dance class, but I do remember that my father had an office next to a dance studio, and when I was born, my great aunt went to the woman who ran the studio and said, "I have a new dancer for you." And the woman said, "Well, great. When does she start? Bring her over!" And my great aunt said, "Well, she was just born." But I ended up training with this woman four years later. The studio had moved locations, but that is actually where I grew up and that's where I had my dance training. Her name was Joy Johnson and her studio was Johnson's Dance Studio and then also the Owensboro Dance Theatre, which was a preprofessional company that she started with another woman, my ballet teacher, Karen Carothers. It's funny to think about that.
Was the training predominantly ballet?
No. I started with typical ballet, tap and gymnastics. And Ms. Johnson told my mother that she really should put me in just a straight gymnastics class because I was trying to do things that were too advanced, and she thought that I needed a bit more supervision and more of a challenge. So when I was very young, I actually was more interested in gymnastics. I wanted to be the next Mary Lou Retton. I trained a bit and competed and did all of that, which feels like another lifetime.
What were you drawn to in gymnastics?
The floor routine because it was the most dancey! I loved the balance beam and I loved the floor. The uneven parallel bars and the vault—I just didn't have that bulk strength and I knew it. Even as a young girl, I was like, I like the dancey stuff. So I had to make a decision around eight, nine, ten: Am I gonna give up gymnastics and really focus on my dancing? What am I going to do? So I chose dancing.
It's crazy how little kids have to make such serious decisions.
Yeah. A nine-, ten-year-old making a career-path choice at that time? It seems absurd.
How often did you train at that point? Was it serious?
Up until age ten, it was probably two to three days a week, and then after that, definitely four days a week. I started going to some auditions for summer dance programs—ballet summer programs. When I was 12, I went to the Boston Ballet children's summer program and that sparked a greater focus on ballet. But also about the time I was seven or eight, I studied jazz dance. We had very, very good jazz training at my studio: Gus Giordano's jazz—his style. And his daughter Nan used to come and set pieces on us. It was very serious. Actually, the classes are quite similar to even a Cunningham class.
How so?
You start with various back exercises and isolations of the body and legwork and move into combinations across the floor. So I ended up with very serious jazz training and very serious ballet training. Jazz dance is very serious and very sexy and sensual. I thought to myself, I'm 12. You know? I'm not sexy. [Laughs] This isn't for me, this is for when I'm more mature, and I've had some life experience. I don't know that most kids today would really think about that, but having this very clear understanding of my own development as a person was kind of humorous. So when I was 12 or 13, I started becoming more serious about ballet and really wanting to pursue that. I started supplementing my training by traveling to a town that was an hour away from where I lived to take class on the weekends and on Wednesdays because there was no class at my studio on Wednesdays. Just to get all that I could.
You went to Purchase. What happened in terms of ballet? Did you continue?
I left home my senior year of high school and moved to Connecticut to study at the Nutmeg Ballet. It's a conservatory program. I spent my senior year of high school at the public high school there. I was totally living on my own with some other dance students; their training is hard-core Vaganova. So I did that program for two years and also did an apprenticeship with the Louisville Ballet for a season. And then I took a little time off. I was actually thinking that I was gonna quit dancing. I went to a lot of ballet auditions and something wasn't clicking. The typical story: You make it to the end of the audition and then you get a phone call: "We want someone with more experience." It's like, Okay, I'm 19 years old. How am I supposed to get experience if everybody wants someone with more experience?
Now, after having a career, I have more sympathy for that. But I was very unsure about what I was going to do. I was interested in visual art. I thought I might become an art student or go a more academic route. After visiting a lot of colleges with all different sorts of programs—every school had a dance department, but not all of them had majors—I just sort of woke up one morning and said, I still want to try to dance. And I'd had a little bit of modern dance training when I was at Nutmeg Ballet. I got introduced to Graham. Momix actually was very near, so I had just seen a lot of their performances. I went to Purchase with the intention of wanting to study modern dance. But of course, I get there and I had obviously had a lot of serious ballet training, so the ballet faculty was very excited to have a very well-trained young dancer to work with. So it was difficult, because you get labeled when you enter a program like that: Oh, they're a ballet dancer; oh, they're this.... But I was introduced to Cunningham, which somehow bridged the gap between the modern dance that felt really, really unfamiliar to my body and ballet training. Somehow, it made sense more than any of the other modern classes. One day, [the choreographer] Kevin Wynn said to a friend of mine—I was new, a freshman: "That Jennifer Goggans, she works like a dog!" I wanted to learn everything. I wanted to learn as much as I could. I didn't care. Graham class, I didn't really understand what all the drama was about, and I knew that that wasn't really instinctual to me, but I wanted to learn something new—it just didn't matter. I wanted to learn as much as I could.
When did you encounter the Cunningham technique?
The second semester I was there, Cathy Kerr came to set Duets. I wasn't in the piece that first year, but she was my teacher. I had her twice a week, actually from second semester until I left. So I had very good Cunningham training all while I was at Purchase. They did Duets for two years, so I was actually in the piece the following year.
What part did you do?
Well the second year that she set the piece—because a lot of the same students were in it from the year before—she cast it so that each person danced three of the six duets. So I did the odd numbers: one, three and five. It's sort of strange: We just reconstructed Duets recently, and I'm doing one of the same ones I did at Purchase. It's a very strange circle.
Did you come to the city to take class at the studio as well?
Yeah. After my sophomore year, I was on scholarship for the summer. I did some waitressing on Sixth Avenue and took my Cunningham classes. The next year, I actually didn't come to the studio. I was recovering from an injury; I had a very bad stress fracture in my shin. So that healed up very nicely. [Laughs] And I didn't spend a lot of time at the studio again—I would come during spring break—any chance I had. But I was here the winter break of my senior year. And I came and did a workshop that Robert [Swinston] was teaching for a piece called Field Dances. In Field Dances, you learn all of these small phrases—they're relatively simple; most people could do them. You don't need extensive dance training to do this dance. Then you pick and choose what you do, and there's a bit of a sense of improvisation within it. I took this workshop and I was actually very unhappy. [Laughs] I was a senior in college. I wanted to learn a serious, hard-core, technical dance, and this wasn't that.
What did you do?
I called my mother at the end of the week and I cried and I said, "What am I gonna do with my life? I really like Cunningham, but there are all of these people that have been here for so long. And there are students and understudies and I'm never gonna have a chance and woe is me." [Laughs] And I hung up the phone with my mother, who was trying to console me, and about an hour later, Robert called and said, "Jennifer, there is a woman who has given her notice that she's going to be leaving the company in June, and we are looking for a replacement for her. I need you to start as an understudy on Monday." And this was Saturday. He said, "We have let go of the understudies that are currently here"—which was sad—"and we're hiring you and Mandy Kirschner, who had been my roommate in college. So we were, in essence, competing for Maydelle's [Fason] contract. Which is not a very easy situation to be in with a close friend, but luckily, we were close enough that we could talk about it and help support each other through it. And so I said, "Robert, I have to start school on Wednesday. I don't know what you're talking about!" And he said, "Oh, I've already talked to [the] school, and we've already worked it out." I felt like the gates were open and suddenly I was able to see my life ahead of me.
I actually managed to graduate and had to do my senior project and I ended up joining the company in June and replaced Maydelle, and Mandy replaced Jean Freebury a month in. It all worked out.
What did you do your senior project on?
I actually ended up performing a Cunningham solo and duet, both from Scramble. And then I had to choreograph a piece, which I'm sure I would be ashamed of if I looked at it now. It's kind of a contemporary-ballet piece that I would never show anyone. [Laughs]
Wow. That was fast for you.
Yeah. A lot of people are taking class here at the studio for years and then are understudies for a couple of years. That was not my experience. I walked in and, "We want you to start Monday." [Laughs] I had been around, but it was actually a bit awkward because the company members—and even Merce—didn't know me very well. There was definitely a feeling of, Okay, I've been handed this position—not only am I competing with my very close friend for this contract, but I have to prove myself. So it was a very stressful time.
What was good about being thrown in then, with all of your perspective?
Well, it was really sink or swim, so there wasn't any time to wait around and get depressed about, Am I? Am I not? I just had to do it. I had to learn it. I had to get onstage whether I was ready or confident and just go. I feel like that was the best thing for me. And at the time, that happened a little bit more often. You would see people grow a lot in their first few years in the company because the understudies weren't that involved; they didn't work with Merce like they did later. I was sort of the last group that simply got thrown in. Even though you were replacing a particular dancer, you didn't necessarily inherit all of their roles. Some of those roles would be divvied up among more senior members; you had to gain Merce's trust. He had to see you and watch you, and then he would make things for you, and you would be given roles within the new works and all of that. I feel like the people that joined within that year that I joined, that was the last time that that happened. There was a big shift in how Merce worked and the whole integration into the company through the understudy program.
Why do you think that happened at that point?
Well Merce was flying to California with us and got a blood clot in his leg and then couldn't travel. And he had traveled everywhere with us, always; having him stay at home and work with the understudies was a way to keep him motivated, creating. It kept him from getting depressed. And it worked, but there was a lot of upset in the company because of that. All of the sudden, you're learning roles from the understudies. If you would tell most professionals that, they would look at you cross-eyed because that's not the normal progression of things. It was, as with any life change, can you go along with the change? Can you find something in it that is still positive for yourself?
So how did you reconcile that?
I felt like I was still young enough as a person and also in my experience with the company that it was a difficult change, but it wasn't something that I was completely against. Because going into the studio with the entire company and Merce standing at the front of the room and teaching you these excruciatingly long phrases—we were all scrambling to learn. That, in itself, was so stressful and then having that thing of, this person sees one thing, this person sees another thing—Merce looks at this person and says, "They're right." There's this sort of level of interpretation, which is beautiful and special, but learning things as a group in this very high pressure situation was not something that I enjoyed.
You explained it well.
So we're working one-on-on with him, learning a phrase, learning a solo, having that moment where you could say to him, "Can you please repeat that, Merce? I don't really quite understand—do you want it like this? Like that?" That kind of interaction was amazing and really where you felt that you were a part of the creative process. You were figuring out the movement. As he was giving it to you. He would adjust things. That was truly a special gift. But being in the room with the entire group, trying to figure out if the arm is bent or straight or front or back, that was so stressful. At that point, Merce was explaining most of the movement verbally; he wasn't able to actually show things physically. He did a little bit during my first couple of years—he would stand up and you would try to decipher what he was doing, but four years in, everything was verbal. It was such a slow process. I much preferred looking at a body and someone I was able to ask questions of—I would ask as many questions as I wanted, and ask them to show me again and again. It was far less stressful for me to just work with a young dancer and say, "Listen, you have to show me again. I don't have it yet."
When did you first work with Merce in a one-on-one situation? Can you talk about that?
Yes. For Way Station, which was the first piece he created after I had joined the company, he called Mandy Kirschner and me into the room to work on this little duet. We were absolutely terrified, completely terrified.
Yeah. Things changed a lot over the years, but we didn't really ever have one-on-one time with him. It was, usually, you learn your part and you do it, and everyone's in the room. But we were alone with him, and he was standing in front of the room at the barre, and he was showing us these steps. And we couldn't figure it out. So we kept trying different things—we were like, "Like this?" It was this very little, small, like [In a bright whisper], "Step forward, step back, step forward, step back." We weren't sure. "Merce, do you want us to jump?" [She deepens her voice.] "No, no, no. It's like this." And we'd try it again. "No, no, no." There was a lot of no, no, no. We were so unclear about what he wanted. And he wasn't able to show it, obviously, quite so clearly, so he worked with us for a little while and then we left, and then we came back the following day to work on it again and he said, "Okay. I think this will be more clear. This is what I want you to do." [Laughs] And, of course, what originally looked like a shuffle forward and a shuffle back became a little jump together, jump together, jump together. So Mandy and I had a very nice little moment as friends and as new people doing this little duet at the beginning of the piece. I remember him looking at me as I paused in some position. He wanted me to turn my torso and do this arm movement. I looked at him, and he did three fast arm positions so quickly, and I just looked with my mouth open and said, "Like this?" And I sort of did what I thought I saw but wasn't sure and he said, "Oh, yes, oh yes." And that's what it was. [Laughs] It was very sweet.
What other pieces did you work on like that?
There was a quartet that he made in Loose Time. It was a little more of an intimate group working with him. And Fluid Canvas. Up until Way Station and Loose Time Merce taught us every step, either as a group or [he] would work with us. And then, the next piece was Fluid Canvas and most of the group material he made and taught the company as a whole, but that's when he had actually begun working with the understudies. There was a quartet and a trio. The trio was the first thing that I learned from an understudy. I learned it from Rashaun [Mitchell], Andrea [Weber] and Marcie [Munnerlyn]. And then by the time we did Split Sides, which was the next piece, the majority of it was made on the understudies—even the group material. There were a few duets and solos that he worked with individual company members on, but most of the piece was made on understudies. We lost four dancers after the piece premiered.
Who left?
Cheryl Therrien, Ashley Chen, Paige Cunningham and Mandy Kirschner. For various reasons, but it was all just after that piece.
You've seen a lot of people come and go. Have you ever thought about leaving seriously? What has made you stay?
Yeah. I have gone through several periods where I asked myself, Should I stay or should I go? But ultimately, there was never anyone else's work that I was drawn to enough. And that was sort of it. I went through a period where I would go see every dance performance, everything I could. Every choreographer, looking—is there something? Is there something I could see myself doing, that I'm appropriate for? And something that I really want to do? Ahhhh, maybe. But nothing that ever drew me in. And then I think at a certain point, especially when Merce really started to decline, I felt, Who knows? He could be here another year, he could be here another five years. But I've been here this long, and this is what I know, and I love to do this work. It challenges me every day, and I want to be here as long as I can. It just so happened that things played out the way they did, and I'm here. On December 31, it will be almost exactly 12 years from when I started as an understudy in January of 2000. I joined the company in June.
How does something you've done for 12 years continue to challenge you?
The movement is so difficult. You can always do something better. I think for some people that could drive them insane and drive them away from it. But I'm stubborn, and if I'm not challenged I get bored. So in that way, it keeps me engaged. I have to keep going to class or I can't do it—or I can't do it well. I have to keep training; I have to keep pushing myself, and even when I don't have that much motivation, I have to find it somewhere.
How do you do that?
[Sighs] I'm very stubborn. Some days it's not very easy, but I'm stubborn.
Do you take Cunningham class or do you take other classes?
I take Cunningham class, I take ballet classes occasionally too, for a little break. I used to go to Jocelyn [Lorenz's] class all the time at 890 Broadway, but she retired, so I've been a little lost without her, I have to say. [Laughs]
What is this time like? Knowing that something is about to be over but it's not finished yet? And you're also Robert Swinston's assistant.
Yes. It's relatively new.
When did that happen?
In the spring, I don't know exactly. It wasn't that long ago.
What are your duties?
I teach company class on the road—not solely. I alternate with him, especially if there's a program where he has some hefty dancing to do and maybe I don't have so much dancing. So I teach company class, I look over the schedule for tour and make sure everything looks okay. Little things that Robert might need me to do; if he has to go to a meeting, he might have me start rehearsal, or if he wants me to watch the understudies do a piece that I know really well, and coach them a little bit. I helped him when we reconstructed RainForest because I had done that piece when Merce was alive. We did it for a couple of years, but intense! We were doing it all the time, so it was a piece that I felt like I had very clear information about, and I remembered a lot of things very clearly that he had said. It was actually the first role that I had ever been given: We started reconstructing that piece the day I joined the company. It wasn't the first thing I learned, but it was the first piece that I had learned where I was given my own role. It wasn't something inherited. So I had very, very vivid memories of things that he said to the other dancers and coaching and timing.
What did he say?
Well, more specific, I even remember Merce getting out of his chair and crawling on the floor to show Robert and Ashley, who were dancing Merce's role, how they were supposed to crawl. And the whole room stopped because he wasn't so agile—he got out of his chair and was like, "No, No! It's like this!" And he's down on the floor. There's a lot of stillness in the piece, and after learning it and doing it for a while, I felt like I finally started to understand—I don't really know how to define it, but the sense of timing in a Cunningham work. Like that dramatic sense of timing? It taught me that. And so trying to share some of that with the other dancers: "No, you can just, wait, wait, wait. Don't move right away. Just stay there. Let it settle. And then go."
Without showing anything.
Yeah. It's okay to be quiet. The power of stillness in that piece is something that I felt like I was able to learn very early and hopefully was able to share a little bit with my colleagues.
And you're dancing that piece again, right?
Yeah, yeah.
One of my all-time favorite programs was BIPED and RainForest.
Yeah. So different. The one is so animalistic and has a kind of visceral feeling, and then BIPED is so austere and precise.
The way you're imitating his voice is interesting: I think about how frail he was at the end, but his voice was always so powerful.
Yeah. He could quiet a room if he wanted to. He didn't do it very often, but if he wanted to, he could. [Laughs]
How did Merce's death affect you? How prepared were you?
I had a feeling. You can say that. I've had a few relatives that I was very close to—my grandmother. Back when I was in college, watching her decline. I had a teacher at Purchase, Gayle Young. He'd been with American Ballet Theatre and done a lot of [Antony] Tudor pieces and he died, I think, of emphysema. There was just something I recognized in interacting with [Merce] where he was starting to pull away. He wasn't always there. And it's heart-wrenching, but he never let on about being in pain or his sufferings or anything. He just wanted to work. That's all he ever wanted to do.
Even then?
He wanted to come in, he wanted to work, he wanted to teach, he wanted to get some more steps out. Whoever wanted to learn 'em, as fast as possible, learned new steps. And so I was shocked, but I felt like I knew it wasn't going to be long. We had had a little time off and were coming back to work; we had a couple of members that had just joined the company, and we were working with them and sorting a few things out and I just knew. I remember telling [my fianc] Arthur one day, I think it's gonna happen soon. We did a performance at Wolf Trap, and we called him on Skype before the performance and he talked to us, but it was very ominous. It was as if he was advising us on how to continue and how to stay motivated, and it was almost as if he had really sat and thought about what he wanted to say because he didn't know if that might be it. He was talking about, "It's not just about doing one thing well, it's about trying to do everything as well as you can." And all of these sort of words of wisdom and, "You must find a way to keep going." I remember thinking, Do you mean, keep going without you? The phone call ended and everybody just was still. No one could really talk or even breathe. There was a lot of emotion and some tears. And so we knew something was up. Just before we went to Jacob's Pillow, we all went and kind of said goodbye to him, which was terrible. And there was something: We said goodbye and then we said goodbye again [in a second round], which was sort of even worse. [Laughs] You know? It's like, oh well, it didn't quite happen yet and this is awkward, but here we are again! So yeah. I heard on NPR. That's how I found out.
Yeah. Because I hadn't...I didn't look at my e-mail. We were off. We had finished Jacob's Pillow. I didn't look at anything; I had on NPR. I had to have a little time to myself, needless to say.
What was the experience performing later that summer in Battery Park?
Highly emotional. I had had a dream that night and, as weird as it sounds, Merce was in the dream. I don't remember specifically, but in my dream, we danced and he bowed with us. I woke up hysterically crying, and it was one of those things that I couldn't even really talk about with anybody because I just felt like I was going to cry all day long. You know, when you can't control it because you're so emotional? And I remember coming out to do this duet with Rashaun, and we hadn't been partners for very long. I think maybe that was the first time we had done it together, but it was a duet that I had been doing since I joined the company. I went to do this arch back outside in this beautiful weather, and I couldn't—you know when your diaphragm starts to shake and you're starting to tear up. And Rashaun said, "I've never had to support you so much doing that before," and I was like, "Well, that's because I was about to start hysterically crying!" I remember, afterwards, looking out in the audience: You could feel the support. You could feel the love in the air.
It was just haunting. And that blue sky.
Yeah. We were so exhausted. Didn't we do it twice in one day? We were supposed to do it twice again and there was a horrible storm. We were all relieved. We were like, It never rains for these kind of outdoor things. Never. It never does. Ever. We're like, Well, somebody wants to give us a break now, don't they?
What are your plans? You're staging Cunningham pieces, right?
Yeah. I've had the experience of staging the same work twice and to do some solos with some students. I am definitely interested in any opportunities to stage the work. I would love to continue doing that. And teaching opportunities as they arise. Definitely interested in continuing to teach.
Do you think that ballet companies can do Merce's work well? How do you feel about all that?
How do I say this? It's possible. Yes. What is different generally about ballet training is that ballet dancers generally create the illusion of weightlessness. Cunningham, although there are similar goals in the technical aspects of the leg work, the back work on top of it is something that most ballet dancers are not all that familiar with. Most ballet companies do contemporary work now. I mean, you have to—I don't care what company it is. You're doing some contemporary work, and if it's not necessarily modern dance they have to move their spine. But the way that the Cunningham technique is—the spine is often moving in complete opposition to the leg work. That is something that's just not familiar. It's not in their training. And the grounded use of the pli and the big fourth positions, and that use of weight that makes it modern dance, is also the antithesis of their training. It's not what they do. You don't want a woman in pointe shoes looking heavy and weighted in her movement. Ultimately, I feel like a great dancer is a great dancer, and if you're a great dancer in a ballet company, you can do most anything. If you're even a really great modern dancer—yeah, you may not have the typical body type of a ballet dancer, but you can take a ballet class and look spectacular. Ballet companies generally have a different aesthetic. They work in a different way. So can they do Cunningham works? Yes. Will they be open to the experience and open to maybe changing their ideas about things? That's up to the individual. I think even within a company, some people will be open, some people won't. So you're not dealing with a group of people trained and there for the purpose of doing this specific work. Sometimes there's a resistance. Sometimes people are completely open. I set Cross Currents on two contemporary ballet companies, and the people I worked with were fantastic.
You can almost always find a few people in a company who are wide open.
Yeah. They were fantastic. Do they do Cunningham works every day? No. So does it look exactly the same? No. But you can see it, and I think that they had a beautiful experience with it and I, in both situations, had a fantastic time sharing this work with other people. The work is still being seen, and I think that's positive. Even if it doesn't look quite the same.
How does it feel dancing now? When you step out onstage, do you have that sense like, God, I only have so many shows left?
You know, for me, most of the time when I'm going to perform I feel like, this is it, there aren't that many more—just do it. Maybe there's a little bit more of a sense of freedom. Like there's nothing left to prove: You make a mistake? Life goes on. There's freedom in [the idea to] just go for it. It's almost over. Enjoy it. That's how I've been feeling, generally. Mind you, there are a few pieces that we've reconstructed recently, so you're like, Okay, now I'm onstage doing something I've never done before, and I'm nervous! So, there's that, too, but generally speaking, what have you got to lose? Go for it.
What are you looking forward to in the next few months?
I'm looking forward to performing and savoring that definitely. I have been very up and down emotionally with things coming to an end. Some days I'm thrilled to death. [Laughs] Some days I have an identity crisis. I've been doing this for 12 years. It's very exciting to be able to plan a little bit, have closure and just to open your eyes and say, Oh okay, yeah—there's a whole world out there and my day doesn't have to be just doing this. Maybe I can still be a part of this in some way, but also experience other things, which is very exciting. I think it will be hard waking up when it's over and saying, "I don't have to go to class today. Do I want to take a class? I don't have to go to rehearsal. What would I like to do today?" I mean, I've been dancing nearly every day of my life since I was four years old.
How old are you?
35. So I don't know how I'm going to feel.
Would you consider going to college?
I have thought about it. I have my bachelor's already. Most universities want you to have your master's degree, but the thought of going back to school to study dance to get a master's is like, ugh. I looked into other programs. I also have an interest in costume and fashion design, so I've already taken a few classes at FIT, and I definitely plan to keep doing that. I have to see whether I want to actually commit to going into a program, but I plan on trying to see what my options are given that I already have a bachelor's in another area. And I'm excited about that.
When did you start designing costumes? Did you always sew?
My mother is fantastic. She made a lot of clothes for me when I was a preteen. Children's clothes have changed a lot, but I was so small at 14. I didn't fit into women's clothing, but I didn't want to wear things with ruffles all over them. So she started making a few things for me for special occasions, and I asked her—I think I was 16 or something—if she would teach me how to sew because I said, "I know if I want to be a dancer, I am probably not going to make that much money, and I really like fashion, so I would like to be able to make my own clothes if I want." It was a very practical decision. [Laughs] So of course I picked this difficult outfit, working with chiffon—why my mother even let me try something like that, I have no idea. But that was the beginning, and she bought me a sewing machine when I graduated from Purchase. I have been avidly sewing all while I've been in New York.
Who have you designed costumes for?
The first was when Cdric Andrieux was working with RoseAnne Spradlin. He came in one day and said, "You know, RoseAnne doesn't know what to do with these costumes, and I saw the thing that you had made, and she showed me a picture of this dress she wanted, and I don't know, do you think you could do something like this?" I looked at it and I was like, "Well, Cdric, it's like a tube dress with some trim. I can do that. It's not really an issue." And he said, "Well, you should call her." I was really nervous because I was just basically self-taught. She said that she just needed two dresses, which didn't seem like that much. But I had never actually made anything for anyone other than myself. So I called my mother and said, "Do you think I can do it? I'm really nervous." And she said, "Well, I've been watching Project Runway, and I'm gonna tell you right now, I know the kind of work that you do and I see this show and don't even think twice about it." So I was like, Okay! I sort of made a leap for it, and that was a really great experience working for her. And then I did some costumes for Tere O'Connor and worked with RoseAnne again.
You could audition for Project Runway.
No, no, no, no, no. [Laughs] That's not really my thing.
When you talk about having more freedom now as a dancer within the confines of the work, how do you approach that? How much freedom do you give yourself? Do you see other people breaking out in that way?
I think it's more freedom in the sense of, I am here and I'm dancing because I made a very clear and conscious decision to be here through the Legacy Tour. I am not looking for Merce's approval or a great review. I stayed because I want to. It's a privilege to be able to show the work after having had so much experience, and I'm doing it because I want to be here. I didn't always have that perspective. I didn't always have that perspective when Merce was alive. It was, Okay, I'm dancing, but does he think I'm doing a good job? Or, I think at a certain point very early in the career it's like, Did some reviewer like me? Did my name get mentioned in that? But with experience, especially now, those things really do not matter, and I'm happy that I'm still able to do it. That physically I don't have—knock on some wood—any major injuries or like huge body ailments that keep me in pain all the time. I feel privileged that I had such a long career. It's that freedom of just doing it for yourself.


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Tigers' Porcello effective in 6-3 win over Marlins
JUPITER, Fla. (AP) -- Rick Porcello's bid to be part of the Detroit Tigers' rotation includes a 3.00 ERA and no walks in 24 spring innings.
That's right, no walks.
In Porcello's latest spring outing, Miguel Cabrera had an RBI double and Jhonny Peralta homered to highlight a three-run first inning that helped send the Tigers to a 6-3 victory over the Miami Marlins on Monday.
Porcello allowed three runs and four hits in six innings. He struck out three and gave up a solo home run to Rob Brantly.
"It's definitely a good sign, to stay inside the strike zone," said Porcello, who could make a final preseason start during the weekend. "You want to throw quality and effective strikes, not just throw strikes."
Tigers manager Jim Leyland said he was "95 percent sure" on how the Tigers will be comprised for opening day, though who would be the No. 5 starter remained uncertain. Porcello and left-hander Drew Smyly have been vying for the spot.
"On my end, I'm ready to go and prepared for the season," Porcello said. "I definitely feel like I'm in a strong position to start the year, and I feel strong."
Leyland remained non-committal about Porcello's status.
"He looked good. He's had a good spring," Leyland said. "He's throwing the ball very well."
Mentioned in recent trade rumors, Porcello does not plan to throw many sliders wherever he spends the season.
"I'm continuing to work on one breaking ball and establish that," he said. "I wouldn't say the slider is in the trash, but like I said, I'm just focusing on one breaking ball."
Leyland said removing the slider from the repertoire did not necessarily reduce Porcello to three-pitches -- fastball, changeup, curve.
"A lot of guys count a two-seam and four-seam as one fastball, but that's two fastballs," Leyland said. "It depends on how you want to look on it. Does that make him a four-pitch pitcher?"
Cabrera had two hits and scored twice against his former team.
Marlins starter Wade LeBlanc gave up four runs and seven hits in five innings. He walked one, struck out four and threw 86 pitches.
LeBlanc retired Detroit in order in the second after facing eight batters in the first.
"I was kind of out of whack mechanically in that first inning, then settled back in," LeBlanc said. "The last two innings felt great, more normal, kind of mid-season."
The Marlins pulled within 3-2 in the second on Justin Ruggiano's RBI single and Adeiny Hechavarria's triple.
Singles by Cabrera, Matt Tuiasosopo and Alex Avila in the third gave Detroit a 4-2 lead
NOTES: The Tigers worked out a trade with Tampa Bay for Rule 5 draftee LHP Kyle Lobstein. They sent C Curt Casali to the Rays. Lobstein was outrighted to Double-A Erie. ... Miami 2B Donovan Solano (back tightness) took swings in the batting cage. Manager Mike Redmond was hopeful the second baseman would return this week. ... The Marlins signed C Koyie Hill to a minor-league contract. He was not in big-league camp. ... Placido Polanco went 1 for 3 while being the latest Marlins player to bat fourth, behind Giancarlo Stanton.


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In March 2014, more than 200 seniors responded to our survey about their likes, needs, financial concerns, career outlook and asset base. What followed was a detailed picture of this market, growing larger every day with the rapid aging of the baby boomers. Here's a peek inside the collective mind of the senior market, complete with their thoughts on selling, marketing and long-term financial goal setting.
1. The language you use is important.
Older person. Aging adult. Senior citizen. The debate over what to label the 65+ population has never been fiercer. Being 70 in 2014 is not what it was thirty years ago, or even at the start of the 21st century. Many of today's seniors are still working; most are still intensely active. The baby boomers that are transitioning into this market are a diverse group, with varied needs and opinions, but they are united on one thing: They don't ever want to be viewed as old.
Marketers of all stripes are struggling to solve this rhetorical riddle; if it's estate planning or long-term care services you're selling, it's a trickier proposition still. Our survey respondents preferred the term "senior" by a fairly wide margin: 49 percent, compared to 38 percent that preferred "mature adult" and — wait for it — 0 percent that preferred "elderly." An additional 13 percent of respondents wrote in their own preferred language, with selections ranging from "near-retiree" to "middle-aged" to those that would rather no single term was identified at all.
2. The No. 1 thing they want from an advisor is trust.
In a post-recession world, trust is an increasingly elusive asset, and senior clients value it highly. A whopping 64 percent named trust as the thing they most looked for in an advisor relationship, beating out other desirable qualities like experience (22%) and variety of products offered (4%). Write-in responses included "recommendations, advice, reassurance," "safe money," and the ambitious "all the above and more."
So how do you earn trust? Steven McCarty, chairman of the National Ethics Association, suggests that complete transparency is necessary in today's business world. To set yourself apart in a dramatic way and put prospects at ease, he suggests commissioning a thorough background check and communicating the results on all sales and marketing tools and online profiles, as well as during client meetings.
3. The No. 1 thing they don't want is an overly aggressive salesperson.
Almost unanimously, respondents agreed that pushiness was a deal-breaker for an advisor relationship. Seventy-eight percent said that the No. 1 thing they look to avoid in an advisor was an aggressive salesperson. Disliked on a much smaller scale were advisors who were too expensive (11%), followed by individual write-in responses such as "dishonesty," someone who works from "their own product agenda," and those who were "too technical."
All of this falls in line with the direction the industry is moving, which is increasingly holistic, less focused on individual products, and more likely to advise on a complex range of financial planning questions, from Social Security claiming strategies to retirement income planning to estate planning and long-term care.
4. They like working.
Seniors are still working, and not just because we're coming out of a lengthy economic lull. Ninety-one percent of survey respondents said they were still employed; among them, 63 percent said the reason was that they liked working. Write-in responses confirmed this sentiment, with answers like "I am still having fun," "I'm too young to retire and I like what I do," and "Have a project I want to get out there, albeit may not happen."
Some, of course, are still working due purely to financial necessity. Nineteen percent noted they had to postpone retirement to stay above water; an additional 4 percent were working to cover costs related to their parents and/or kids and grandkids — a reminder that the financial toll of being a caregiver is high.
5. Estate planning is a top priority.
Crafting a tailored estate plan is understood to be critical by a large segment of this demographic. Sixty-five percent of respondents have an estate plan in place already. Among the 35 percent that did not, just over a fifth are interested in creating one. The remaining 28 percent may need more information before they put in the time, but they're a valuable market once persuaded: Nearly 25 percent of survey respondents had assets of a million or more.


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Motorcycle crash deaths up since helmet law repeal
Since Pennsylvania lawmakers decided a decade ago to give motorcyclists the choice of whether to wear helmets or not, the number of deaths in motorcycle crashes has increased.
The Pittsburgh Tribune-Review says that since 2003, the number of deaths in motorcycle crashes is up 35 percent.
State officials say 210 people died in motorcycle crashes last year, and only 100 wore helmets while 104 did not.
But Sen. John Wozniak, D-Johnstown, who introduced the legislation, said he sees no movement toward reinstating the restriction. Another lawmaker says he plans to call for a study of the issue.
A lobbyist for a group that fought for the helmet law repeal said the number of motorcycle registrations is up 53 percent, and more motorcycles means more crashes and fatalities.


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Series: (None)
The $5 2012-W Star Spangled Banner coins were struck to commemorate the Star Spangled Banner song. The song was written by Francis Scott Key in 1814, and it was offiicially declared as the National Anthem on March 03, 1931. The Mint struck four different versions of this coin to commemorate the song. It struck this $5 Mint State coin, the $5 Proof and a $1 Mint State and Proof version.
Issue Date: March 05, 2012
Pre-Issue Price: $495.00
Regular Issue Price: $500.00
Public Law: 111-232
Weight: 8.359 grams nominal
Diameter: .0850 inch (21.59 mm
Composition: 90% Gold; 10% Alloy;
Maximum Mintage Limit: 100,000


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Cryptozoic Entertainment Forums
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The Halifax-based band Beauts have released their brand new video for "Shut In". Composed of Palmer Jamieson, Jeff Lawton, Darryl Smith, Erik Van Lunen, and...
50th JUNO Awards ready to go in Toronto for 2021
Backxwash crowned as the winner of the 2020 Polaris Music Prize
IN PHOTOS – CMAOntario Awards in London, ON
Canadian country music celebrated the best of the best for 2020 in a most- unique way and what an amazing night of music it was
IN PHOTOS – Pop Montreal 2020 – Clerel and Motel Raphaël
IN PHOTOS – Deadmau5 in Montreal, QC
Square One brings the outdoor drive-in experience "Untitled Spaces" to Mississauga
Venus Fest announces 2020 Digital Edition
POP Montreal reveals additions to its 2020 lineup
The 2020 CCMA Awards will celebrate music like they never have by bringing in some of the hottest names in country music today
IN PHOTOS – Terra Spencer in Halifax, NS
IN PHOTOS – Neon Dreams in Halifax, NS
IN PHOTOS – Matt Hoyles in Vancouver, BC
IN PHOTOS – Jade Eagleson with Mariya Stokes & Devin Cooper in Calgary, AB
IN PHOTOS – My Son The Hurricane in St. Catherines, ON
Canadian Beats Passport – IN PHOTOS – We Came As Romans in Toronto, ON
Canadian Beats Passport – IN PHOTOS – Black Label Society in Calgary, AB
Canadian Beats Passport – IN PHOTOS: Tove Lo and Alma in Montreal, QC
Canadian Beats Passport – IN PHOTOS: Hollow Coves and Harrison Storm in Montreal, QC
Canadian Beats Passport – IN PHOTOS – Citizen Cope in Montreal, QC
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Will you?
Bharath Upendra Blog Roll 1 Minute
Published by Bharath Upendra
I'm that cynical, sarcastic, hypocritical self loathing masochist you rarely cross paths with. View all posts by Bharath Upendra
I'm that cynical, sarcastic, hypocritical self loathing masochist you rarely cross paths with. View all posts by Bharath Upendra
Seriously this poem is beautiful. It's kind of a little heartbreaking I don't know why I felt it but yeah😂 (this emoji is extremely irrelevant rn)
It is a sad one.
You're the only one who got it.😅
Yes. I got it the first time I read it, but maybe others are trying to just lower down the pain quotient? Really amazing poetry, poignant I would rather say😊
'Smiling, from scar to scar?'
I wuv this line!
I mean the rest is nothing special-like the writer himself- but that one line is purfect.
Okay just kidding…about it being purfect.
Okay no I'm jk 😂
Nour! Noor! Nuhr!
Nothing special is good, y'know, being special makes you stand out. I'm okay being by myself. And Nour, I need a favour. Can you translate an Arabic song for me? Google translate sucks. Pretty please??
Prescriptive :3
Hmm I'm not that good but I'll try my best to translate it to slang Arabic. I warn you tho, I'm not the best but sure 😂
Gomari by Adil Assil.
This song on repeat!😅
Can you help me out with that?
Oh God this Arabic is barely even arabic 😂 anyways the lyrics over here are right.
It's just a different type of Arabic lol
How many types of Arabic are there??
And girl! That's not even the translation! I want it in English. It's all messed up. The link is toast.
It's not 'types'. There are just so many cultures and each have their accent, added words, broken words and so on. It's hard. Yhhh I realized that. That'll take a good week or two 😂 see ya then 😂
You better come back with the translation, kid. Bye.
And because you wrote my name as Noor, it's going to be extra late. Bye 😊
I hate you right now 😒


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- 287,932 +/- Sqft
Property TypeLots And Land – Homesite
Listing Date06/07/18
AreaOut of County Property
Lot Size6.61 Acres (287,932 SqFt)
Property Description
Expansive views! Peaceful setting just 20 min to Leadville or BV, & an hour to Aspen in summer. Buyer must install well & septic. Gas & electric in area. Lots of sun to power solar system & solar well. Great internet & cell signals. Satellite wifi & TV available. Few marked roads. Lot marked w broker's sign &/or short stake w orange tape. Pinned in past, but no current survey. See attached county map. Seller has other lots available for sale.
Presented By
- See Remarks
- Mountain(s)
- See Remarks
Financial Information
We get asked this question a lot. Below is a tool that gives you the ability to see what the market is like in your community. Find out what homes like your own are selling for right in your back yard. Simply enter in your address, choose the proximity of the search and find out market data for other homes that are selling near you.
While we'll provide you with plenty of information, this is a snapshot of your market data and there are real people behind the high-tech and automated tools. If you would like more detailed information or help in understanding the results we are here to help.
Until then, enjoy the tools!
The data relating to the real estate for sale on this website comes in part from the Internet Data Exchange program of the Vail Multi-List Service, Inc.
Copyright © 2020 Vail Multi List, Inc. (VMLS). The information displayed herein was derived from sources believed to be accurate, but has not been verified by VMLS. Buyers are cautioned to verify all information to their own satisfaction. This information is exclusively for viewers' personal, non- commercial use. Any republication or reproduction of the information herein without the express permission of the VMLS is strictly prohibited.
Listing courtesy of Mountain Realty


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Sold Out
Men's White Crew Cut Socks -
A great sock for daily wear or mid-mileage runs. It's a simple but classic sock that works. We design our socks to last on the feet of those living on the street, so they can keep going as long as you can. Mens white crew cut socks.
Features :


text: George Lopez Prepping TV Return With Star Vehicle 7:52 PM PST 2/27/2012 by Lacey Rose FACEBOOK TWITTER EMAIL ME Charley Gallay/Getty Images The former ABC sitcom star is nearing a deal to create a sitcom that will follow Debmar-Mercury's now famous 10-90 episode model. George Lopez may be heading back to TV. The ABC sitcom star-turned-talk show host is nearing a deal with Debmar-Mercury, the Lionsgate subsidiary behind both the Tyler Perry series and Charlie Sheen's upcoming Anger Management, multiple sources confirm to The Hollywood Reporter. The plan for a Lopez-centered sitcom, which has been brewing for many months, will operate like the others with an initial 10 episode order. If the project, which Lopez will co-create, hits a certain ratings threshold, an additional 90 will be ordered. Those involved are banking on Lopez's unique Latino appeal, much as they've relied on Perry to lure an underserved African-American demo. While the comedian struggled to find a sizable enough audience in the competitive late night space, his family comedy ran from 2002 to 2007 and has performed particularly well in syndication. Debmar declined to comment. Lopez is repped by CAA, 3 Arts and Rohner, Walerstein & Miloknay. Email: firstname.lastname@example.com; Twitter: @LaceyVRose FACEBOOK TWITTER EMAIL ME Lacey Rose email@example.com @thr


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Third Day Church Banner
"...but Mary stood outside the tomb crying. As she wept, she bent over to look into the tomb..."
John 20:11 NIV
"Third Day" will enhance your weekend service with a compelling visual image. Use this design as a stand-alone presentation set or incorporate this image into a complete customized campaign. Use your sermon title or other text to create banners, backdrops, bulletin shells, postcards and more for a complete church-wide experience.
Indoor Church Banners — Banner Only
Outdoor Church Banners
Stage Fabric Backdrops
*Pricing listed is for high-quality vinyl. Fabric option is printed on poly-blend fabric. Other textiles are available by phone. Each personalized order requires a one-time setup fee of $19.95, in addition to the cost of the banner.


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|• Fixed ticket [ff5be73d]: Database corruption following power-loss in WAL mode plus 1 other change (artifact: 34016eef user: drh)
|• Ticket [ff5be73d]: 1 change (artifact: d8c34818 user: drh)
|• Ticket [ff5be73d]: 4 changes (artifact: adfc5396 user: drh)
|Merge in changes that cause the first sector of the WAL file to be synced when the WAL restarts. This is a fix for the power-loss corruption problem described in ticket [ff5be73dee086] (check-in: 44ca4d12 user: drh tags: trunk)
|• New ticket [ff5be73d] Database corruption following power-loss in WAL mode. (artifact: 9bc20a01 user: drh)
|Ticket Hash:
|Database corruption following power-loss in WAL mode
|Last Modified:
|2012-01-14 15:35:02
|Version Found In:
A carefully timed power loss on a filesystem that does out-of-order writes
can cause database corruption when operating in WAL mode. The setup for the
corruption scenario is as follows:
If transaction fsyncs are disabled because PRAGMA synchronous is set to NORMAL, then the power-loss can occur at any time after SQLite begins overwriting the WAL file again from the beginning.
If out-of-order writing causes disk sectors after the first transaction of the previous cycle of the WAL to be overwritten and earlier sectors to remain unchanged, then after reboot the first process to connect will find a valid WAL file containing one or more transactions from the previous cycle of the WAL and it will replay those transactions. But subsequent transactions in that same the WAL cycle will be lost due to the overwrite and will not be replayed. The later transactions will already exist in the database file, however, meaning that transactions will occur out-of-order. This can easily result in database corruption.
This problem has existed in all prior versions of SQLite that support WAL mode. This problem was detected during internal stress testing and has not been observed in the wild. We believe that the behavior of real-world filesystems is such that this fault, while theoretically possible, is unlikely to occur in practice.
Further notes:
In most filesystems, space to hold a file is allocated in sequential sectors on disk. Filesystems do this because it is usually faster to read sectors sequentially rather than randomly. There can be discontinuities in the sector sequence for larger files, but the beginning of the file in particular is usually arranged contiguously on disk.
Similarly, when writing to disk, filesystems tend to order sector writes sequentially. (See, for example, the elevator algorithm.)
Disk controllers might also reorder writes, but they too seem likely to perform writes in sector order when possible.
When you consider the three factors above, it seems that the common case behavior when overwriting a file sequentially will be that content will reach disk oxide sequentially as well. And when that happens, the failure scenario described by this ticket will not occur.
Combine this with the fact that database damage also requires a well-timed power loss or hard reset (which we also hope is a rare event) and one begins to understand that the failure scenario described by this ticket is a very unlikely thing to happen.
The problem is still worth fixing, to be sure. But in consideration of the above factors, we have downgraded the severity from Critical to Severe. We will push forward the next release of SQLite in order to get a fix into circulation sooner rather than later. But we do not feel compelled to rush out a patch release nor take heroic measures to make the 3.7.10 release during the Christmas holiday.


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Detroit manhunt for convict who attacked deputy
Dozens of officers fanned out across Detroit on Monday to search for a convicted carjacker accused of using a plastic comb to stab a sheriff's deputy and escape from a downtown courthouse.
Derreck White, 25, also known as Abraham Pearson, was being escorted to court for a long prison sentence for carjacking and other crimes when the attack happened, authorities said.
He repeatedly stabbed Harrison Tolliver in the neck, took the deputy's uniform, ran from the courthouse and carjacked a minivan, police said. The vehicle eventually was abandoned blocks away on the city's east side. Tolliver's injuries were not considered serious.
Some schools were locked down as helicopters passed over in the hunt for White. The search focused on the east side before shifting to other parts of Detroit. Tolliver's shirt was recovered, but it was possible White still had the pants, which were beige with a thick dark stripe, and the minivan driver's cellphone.
Police also believe White may have a radio that carries law enforcement communications.
"This criminal has only delayed his appointment with justice. He will be found," Wayne County Sheriff Benny Napoleon said.
Tolliver, unarmed, was escorting White and two other jail inmates to court on the seventh floor of the courthouse and was removing handcuffs when he was attacked with a comb that had been turned into a sharp weapon, the sheriff said.
"The part of the comb that he was stabbed with broke. It did not inflict any life-threatening injuries," Napoleon said.
He said there was nothing unusual about the courthouse escort procedure, adding, "It occurs thousands of times a year."
White was recently convicted of carjacking and was facing many years in prison. He claimed he was unwittingly given a stolen car as a way to settle a debt, but Judge Dana Hathaway disagreed and found him guilty.
Defense attorney James Howarth said White's mental health was an issue. He spent months at a state psychiatric center before being found competent to face trial. One expert accused him of malingering.
Howarth, however, said White reported a history of hallucinations, and he wonders if mental health played a role in the escape.
"In his right mind he would not have done this," Howarth told The Associated Press outside the courthouse. "In the year I have known him, he has never showed the slightest symptom of being dangerous. Something is very wrong. ... It may have been a final act of desperation if you don't want to go to prison."
Patricia Banford, whose van was stolen immediately after the escape, said the suspect threatened her.
"He snatched the door open and said, `Get out or I'll kill you!'" she told TV station WDIV.
The sheriff, who oversees security at the courthouse, said he would prefer to have more than one deputy escorting inmates but the county can't afford it. Tolliver, 63, joined the sheriff's department after retiring as a Detroit police officer.
"It's a dangerous job," Napoleon said. "We're streamlined as much as we can."
Associated Press writers Jeff Karoub, David Runk and Corey Williams contributed to this report.


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In Maryland, the EmPOWER Maryland utilities provide programs and retain an independent contractor to conduct evaluations, where the Maryland Energy Administration (MEA) is responsible for hiring the 3rd party contractor to develop and implement EM&V plans and provide evaluation management. Utilities report semi-annually to the Maryland Public Service Commission (MD PSC). The PSC retains an independent third party evaluator ( Navigant/Cadmus) who reviews and approves the EmPOWER Maryland programs under the 2008 EmPOWER Maryland Act.
Order Number 82869 establishes the Commission-led Evaluator Model for the evaluation, measurement and verification process of the EmPOWER Maryland energy efficiency programs. Commission-approved demand response programs are also included in this EM&V process.
In December 2014, the Empower programs were approved till 2017 by the Public Service Commission.
Additional Resources
Forum Repository of State & Topical EM&V Studies
NEEP's Energy Efficiency Policy in Maryland
State Documents and Key Info- Maryland
Last Updated:8/13/15


text:
Export 6 results:
Filters: Author is Yu Pei [Clear All Filters]
Autotuning Batch Cholesky Factorization in CUDA with Interleaved Layout of Matrices," Parallel and Distributed Processing Symposium Workshops (IPDPSW), Orlando, FL, IEEE, June 2017. DOI: 10.1109/IPDPSW.2017.18"
Communication Avoiding 2D Stencil Implementations over PaRSEC Task-Based Runtime," 21st IEEE International Workshop on Parallel and Distributed Scientific and Engineering Computing (PDSEC 2020), New Orleans, LA, IEEE, May 2020. (1.33 MB)"
Evaluation of Programming Models to Address Load Imbalance on Distributed Multi-Core CPUs: A Case Study with Block Low-Rank Factorization," PAW-ATM Workshop at SC19, Denver, CO, ACM, November 2019. (4.51 MB)"
Extreme-Scale Task-Based Cholesky Factorization Toward Climate and Weather Prediction Applications," Platform for Advanced Scientific Computing Conference (PASC20), Geneva, Switzerland, ACM, June 2020. DOI: 10.1145/3394277.3401846 (2.71 MB)"
HAN: A Hierarchical AutotuNed Collective Communication Framework," IEEE Cluster Conference, Kobe, Japan, IEEE Computer Society Press, September 2020. (764.05 KB)"
Performance Analysis of Tile Low-Rank Cholesky Factorization Using PaRSEC Instrumentation Tools," Workshop on Programming and Performance Visualization Tools (ProTools 19) at SC19, Denver, CO, ACM, November 2019. (429.55 KB)"


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EDELSTEIN — The stacks of corn seed that reach to the ceiling in Bill Hensel's new warehouse may be deceiving.
"We see a little more guys switching some acres to soybeans this year," said Hensel, a seed dealer since 1995.
"Farmers that planted 70 to 80 percent corn have backed off a little. I'd say it's 60-40, corn over soybeans now," he said.
For the seventh year in a row, Hensel and son Branden hosted a seed pickup day combined with a fish fry on April 1. "We probably had 60 people here to eat," said Hensel during a tour of the facility he's renovated on Illinois Route 40 to store corn and soybeans along with offices and a seed treatment unit.
Most of Hensel's customers live and farm within a 30-mile radius of his Edelstein operation, he said. "We have a few customers that may be an hour away," said Hensel.
Many of those farmers order "smart stack" products, he said, referring to genetic traits developed in the seeds. "You need it to fight rootworm in this area," said Hensel.
Nationally, the U.S. Department of Agriculture is forecasting a 4 percent reduction in the number of corn acres to be planted across the country, while soybean acreage is expected to grow by 6 percent.
In Illinois, the adjustment in corn and soybean acres will be less pronounced, according to the USDA. About 11.9 million acres of corn are forecast, down from the 12 million corn acres planted in Illinois last year.
Soybeans are forecast to total 9.5 million acres in the state, up from last year's 9.4 million acres.
Patrick Kirchhofer, manager of the Peoria County Farm Bureau, said that while corn remains the chief crop in central Illinois, he looks for a slight shift to soybean acres in this area.
Market prices are one reason, he said. "A bushel of soybeans is traditionally two-and-a-half times higher in price than a bushel of corn. Soybeans are running a little higher than that right now," said Kirchhofer.
But corn prices continue to vacillate, he said. While corn topped $8 a bushel in 2012, prices dropped to the $3 and $4 range last fall. "Now corn is closer to the $5 (per bushel) range. That's surprised a lot of people," said Kirchhofer.
Corn remains valuable because it has three major uses, he said. "You have corn for export, corn that's fed to livestock and corn used in the production of ethanol," said Kirchhofer.
"Ethanol is a critical driver in the success of Illinois farmers. Without ethanol, it would be a different story for the area farm economy," he said.
The Bloomington-based Illinois Corn Growers Association agrees. Corn prices dropped last year because of "arbitrary caps on the ethanol market," said association President Gary Hudson, whose organization encourages the use of E-15, a blend of 15 percent ethanol, in motor vehicles to stimulate the ethanol market.
"Removing the factors that limit ethanol would mean stronger corn demand, stronger corn prices and a stronger Illinois economy," he said.
As for when farmers will get that corn planted in central Illinois, Kirchhofer said it could be a few more weeks. "It's still a little cool. For now, farmers will keep that corn seed in the bag," he said.
"But we're not going to get too shook until we get into the first part of May," said Kirchhofer, recalling that many area farmers, who saw good results in 2013 despite heavy spring rains, didn't get their crop in the ground until the last two weeks of May.
Steve Tarter is Journal Star business editor. Tarter's phone number is 686-3260, and his email address is firstname.lastname@example.com. Follow his blog, Minding Business, on pjstar.com and follow him on Twitter @SteveTarter.
Edelstein dealer has unique outlook on planting trends for 2014
EDELSTEIN — The stacks of corn seed that reach to the ceiling in Bill Hensel's new warehouse may be deceiving.


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The facets that define a totalitarian state are often hard to discern; there is always the risk of pushing the argument too far, evoking unsuitable analogies with the fascist governments of the last century. Nevertheless, a spade is spade, and this story of the persecution of a German family point to a dangerous state of affairs.
After the police came knocking, dragging their children off to school, Uwe and Hannalore Romeike and their three children applied for, and were thankfully granted, asylum in the US. Their crime? Educating their children in their home, rather than at school. Judge Lawrence O. Burman, a federal immigration judge in Tennessee, determined that they had a reasonable fear of persecution for their beliefs if they returned. He described the German Government's actions as "repellent to everything we believe as Americans".
Germany is not alone. In Sweden, a coalition led by a so-called Liberal party is getting tough on homeschooling, with the proposed introduction of a bill that would only allow home education under extraordinary circumstances. It would also allow the imposition of criminal sanctions on those parents that refused to supplicate to the will of the state.
And in the UK, the government is ignoring the Schools Select Committee in its call to make the registration of home-educated children voluntary. The Department for Children, Schools and Families (DCSF) defends its position as follows: "we cannot understand the logic of making it voluntary". I can help them answer their confusion: because these children are not owned by the state.
There is much talk of how under Obama the US is becoming a socialist dystopia. Sure, things are bad and getting worse, but as the asylum offered to the German home educators illustrates, they still have a fair way to fall before they hit the strictures on freedom infesting the Old World.
Add/view comments on this post.
The Christian Science Monitor has assembled a diverse group of the best economy-related bloggers out there. Our guest bloggers are not employed or directed by the Monitor and the views expressed are the bloggers' own, as is responsibility for the content of their blogs. To contact us about a blogger, click here. To add or view a comment on a guest blog, please go to the blogger's own site by clicking on the link above.


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Long-term capital appreciation by investing in companies selling for less than our estimate of intrinsic value.
Investment Strategy
- To estimate intrinsic value, the business must be understandable, and we must be able to reasonably forecast its cash flows. We seek businesses with sustainable competitive advantages, conservative balance sheets, and management with an ownership mentality.
- Investments are sold when the stock price reaches our estimate of intrinsic value, our estimate of intrinsic value is revised such that there is no longer a discount to intrinsic value, a holding reaches our stated maximum position size, or to raise proceeds for a more attractive opportunity.
- Chuck Bath, CFA
Portfolio Manager
- Austin Hawley, CFA
Portfolio Manager
- Matthew Stadelman, CFA
Senior Portfolio Specialist


text:
Your skill will accomplish
what the force of many cannot
Re: Nobody Expects the Agile Imposition (Part V): Meetingsby raybies (Chaplain)
|on Dec 14, 2010 at 13:27 UTC ( #877069=note: print w/replies, xml )
|Need Help??
Having someone to report to daily helps me as a developer to remain more engaged in whatever tasks I'm working. I find that if I am given a week to do a task, then at the beginning of the week, I am pretty relaxed and not as engaged as I am as I head towards the end of the week. Then generally speaking I am garanteed not to make that deadline, and I'm given another week. Lather. Rinse. Repeat.
If I'm given a month. Same thing.
The blowout over-schedule can go multiple months on this plan.
With daily accountability, I may be over a few days, but it's still only a few days--rather than a few weeks or worse a few months.
I also like the idea of keeping management out of developer meetings. Currently I have weekly meetings with a team upon which I am more or less my own boss. I find that most of the reasons I go there is to report to management that I'm still alive and should still get a paycheck. Yet, I get to sit there and listen to bloviations galore by the program manager who doesn't know how to do internal dialog and thinks "outloud", repeating topics we've been discussing for the past few years, without resolution. It's really fun. Anyone wanna take my place?
The only good thing to come out of the meetings is generally a sense of comraderie that we survived another meeting without slipping into a coma.
In Section Meditations


text:
What Are the Benefits of Contributing to a 403(b) Plan?
Who Can Participate in a 403(b) Plan?
Who Can Set Up a 403(b) Account?
How Can Contributions Be Made to My 403(b) Account?
Do I Report Contributions on My Tax Return?
How Much Can Be Contributed to My 403(b) Account?
Includible Compensation for Your Most Recent Year of ServiceMost Recent Year of Service
Figuring the Limit on Elective DeferralsExample
Alternative Limit for Church Employees
Changes to Includible Compensation for Most Recent Year of ServiceChanges to Includible Compensation
How Do I Know If I Have Excess Contributions?
What Happens If I Have Excess Contributions?Excess Annual Addition
Transfer of Interest in 403(b) Contract
The Taxpayer Advocate Service Is Here To Help YouWhat is the Taxpayer Advocate Service?


text:
Wolcott, Vermont
|This article is a stub. Help us to expand it by contributing your knowledge. For county and town page guidelines, visit U.S. County Page Content Suggestions.
Wolcott is a town in Lamoille county, Vermont. It was formed in 1781 in Vt. from Orleans county. The probate and court district for Wolcott is Lamoille. For more information, contact the town at P.O. Box 100, Wolcott 05680. On the attached map, Wolcott is shown as 6 in Lamoille county.
For information about the state of Vermont see Vermont Family History Research.