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Two recent articles have come to my attention that will be of definite interest to Civil War Emancipation readers.
In the first, Kate Masur published a piece in Disunion in the New York Times that is a nice complement to my own recent post on the advent of emancipation in Washington, D.C., on April 16, 1862. Masur does an excellent job of describing the larger significance of an event that might be dismissed because it only involved about 3,000 slaves and is miniscule compared to the scale of the emancipation to come. She describes the D.C. emancipation act as "a step heralded by abolitionists [at the time] across the country. Never before had Congress passed a measure designed to destroy slavery in a place where it was already entrenched."
Besides Masur's eloquent phrasing of the historical significance of this event, and her astute discussion of the legislative origins of D.C. emancipation and provisions of the law ending slavery in Washington, D.C., what I found especially interesting in Masur's article, is her explanation of the unsuccessful 1849 bill to end slavery in the District of Columbia that Abraham Lincoln had introduced in the House of Representatives during his single term in the U.S. Congress. Kate Masur writes:
As a congressman in 1849, he had drafted legislation for emancipation in the District of Columbia that would be gradual, voluntary and compensated. Adults would remain enslaved, but beginning in 1850 all children born to enslaved mothers would be free and subject to apprenticeship to their owners. Slave owners would be compensated at market value for those liberated. And the gradual emancipation law would only go into effect if the voters of the District of Columbia approved it. Lincoln believed Congress had the power to enact abolition in the capital without voters' consent, he reiterated in his debates with Stephen Douglas, but he did not think it desirable to do so.
Clearly, Washington, D.C., emancipation meant something special to Abraham Lincoln, as it represented the achievement of a legislative goal from when he was a young congressman. While he would rather have had emancipation there take place gradually instead of immediately and with the consent of the District of Columbia's voters, he signed the Compensated Emancipation Act, as it later came to be known, not only because it contained provisions for the compensation of slaveholders and emigration of freed District slaves, but also because it would once-and-all end the blot of slavery from the nation's capital.
The second article of interest comes from last Sunday's Washington Post. Written by Post staff reporter Joe Heim, it is entitled "On Emancipation Day in D.C., Two Memorials Tell Very Different Stories." In the story, Heim compares two different memorials in Washington, D.C., dealing with African Americans and the Civil War. The first being the Emancipation Memorial in Lincoln Park on Capitol Hill, dedicated in 1876. The second being the African American Civil War Memorial at 1925 Vermont Avenue in the U Street Corridor, dedicated in 1998. Here are pictures of them.
Emancipation Memorial, Lincoln Park (1876)
Source: http://en.wikipedia.org/wiki/File:Emancipation_Memorial.jpg
African American Civil War Memorial, U Street Corridor (1998)
Source: http://www.nps.gov/storage/images/afam/Webpages/originals/365.jpg
The basic point of Joe Heim's article is although both memorials commemorate African Americans in the Civil War and in both cases largely were financed by the black community, they have very different messages and reflect the different conditions of African Americans at the time they were built. 1876's Emancipation Memorial, although paid for with the contributions of former slaves, had its design and construction overseen by an all-white committee and executed by a white sculptor. Heim writes:
Some critics felt the statue was paternalistic, that it ignored the active role blacks played in ending slavery. An alternate proposal for the memorial depicted a statue of Lincoln as well as statues of black Union soldiers wearing uniforms and bearing rifles. That option was considered too expensive.
And so we have Lincoln and the kneeling slave, a nation's narrative cast in bronze: Lincoln the freer of the black man, the savior of a race that couldn't save itself.
So, in other words, the 1876 memorial, built at the end of Reconstruction, reflected a white society that just as soon would forget about slavery, and when they did remember it, wanted to depict themselves as benevolently granting the slaves their freedom–hence a standing President Lincoln reaching out to a kneeling slave. White Americans even then were forgetting the active role played by slaves in their own liberation.
Heim's also discusses the ambivalent feeling of African Americans in Washington, D.C. about the memorial in Lincoln Park. He writes:
"I was attracted to it because it was the only monument paid for by former slaves," says Loretta Carter Hanes, the 85-year-old educator and historian who was instrumental in leading the movement that created Emancipation Day as a holiday in the District in 2005. "The statue is something that is of that time and that place, but we need to study it as part of our history. We owe it to [our ancestors]."
That message was echoed at the Lincoln Park ceremony early this past Saturday morning.
"It may seem outdated and it may seem subservient, but no one can ignore its historical significance," Washington historian and writer C.R. Gibbs told the small group of activists, onlookers and reporters in attendance. "It meant something to the people of its time and if it meant something to them, it means something to us."
Also at the ceremony was Anise Jenkins, president of Stand Up! For Democracy, an advocacy group for D.C. statehood. She understands the mixed feelings about the statue.
"It's part of our history and it depends what you bring to it," Jenkins says. "If you're ashamed of our history of slavery, then that's what you bring to it. But we have to be honest. Enslaved people loved Abraham Lincoln. They called him Father Abraham. You can question [the statue] from a modern perspective, but you can't ignore its significance."
The 1998 memorial, designed and executed by African-American sculptor, Ed Hamilton, well captures the active role played by African Americans in the Civil War, especially the black men that joined the Union Army and Navy. As Heim writes:
The focal point of this late 20th-century memorial is a statue bearing the images of three black Union infantrymen and one black Union sailor. All four men are standing. The looks on their faces are determined, full of purpose. The soldiers carry guns. There is nothing meek about it. An inscription reads: Civil War to Civil Rights and Beyond. Two messages are clear: Blacks fought for their freedom; that work is not yet finished.
In addition to Hamilton's stirring sculpture, the memorial is surrounded by panels bearing the names of the over 178,000 black men that served in the Union Army. The last touch reflects a late 20th-century tradition, began at the Vietnam Veterans Memorial, of acknowledging individually the persons being memorialized even when they were numerous. And nowhere in this memorial is President Lincoln granting freedom to anyone. African Americans clearly are depicted as having earned their freedom, not having it given to them as a gift. The 1998 memorial very much reflects the changed status of African Americans over the 122 years since the first memorial, and changes in the way Americans perceive emancipation over that same period.


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Long before there was a ski hill, visitors first flocked to the area to explore Whistler, BC's pristine and beautiful lakes and rivers. Today, Backroads Whistler lets you experience the resort's most iconic waterways on unforgettable canoe and kayak tours. Paddle the legendary River of Golden Dreams or historic Alta Lake - site of the early 1900's fishing lodge that started it all. Discover Whistler's original summer activity, and so much more.
Happy Guests
"I just wanted to let you know how much we enjoyed kayaking the river of golden dreams with you. Thank you sooo much we had a great time. We keep raving about it to all our guests!"
Nina (Marriott Whistler)
"This trip is better than our rafting tour down the Grand Canyon"
Colin and Cary
I wanted to say THANK YOU to you and your staff for the exemplary service provided to us during our stay in Whistler. The canoeists were elated when they returned and the cyclists were raving about what a fun time they had and how terrific your guides were."
Shannon (Conference Co-Coordinator)
"Thank you arranging the bicycling trip and tours on Sunday. We all had a great time."
Betty (Washington)
"Thank you for the fun paddling around Alta Lake in your canoe last Sunday. We both really enjoyed ourselves. Please pass on our thanks to Cameron for his help."
Our Latest River Pictures
Visit our galleries to see our latest pictures. The River of Golden Dreams is an activity you don't want a miss when you visit Whistler.

subset: commoncrawl


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Forensics Scholarships
- Scholarship awards range from $300 to $13,000
- Early round deadline for 2017-2018 season: January 19, 2017
Our Scholarhips
Title: SMC Forensics Honors Award, $13,000 (three available for 2017-2018 season)
Who Can Apply: Very well qualified incoming frosh students who have competed successfully in debate for at least 2 years.
Criteria: In addition to meeting the Initial Requirements (below): Minimum cumulative GPA of 3.5; outstanding competitive, leadership, and service record in the program; meet all initial and continuing eligibility requirements. This scholarship requires an audition, either in person or recorded, and an interview with the director.*
Title: General Forensics Debate Award, $2,000-6,000
Who Can Apply: All full-time undergraduates who actively participate in Macken Forensics and incoming frosh and transfer students who will participate in Macken Forensics.
Criteria: See "Initial Requirements," for first-time applicants (below) and "Continuing Eligibility Requirements" for continuing team members (in application materials). For first-year students, this scholarship requires an audition, either in person or recorded, and an interview with the director.
Title: Kurt W. Simon Memorial Scholarship, varies by academic year
Who Can Apply: All full-time undergraduates who actively participate in Macken Forensics and incoming frosh and transfer students who will participate in Macken Forensics.
Criteria: Contact Director of Forensics
Initial Eligibility Requirements (for all scholarships)
- Submit all required forensics scholarship application materials.
- High school or community college cumulative grade point average of not less than 2.5 (on a 4.0 scale), unless award specifically requires a higher minimum GPA.
- Commit to compete for full SMC enrollment.
Other Information Related to Forensics Scholarships
- Most scholarships are based on academic and competitive ability, not financial need.
- All scholarships are renewable.
- All team members on scholarship enroll as a full-time students at SMC.
- Team members enroll in both sections of Comm 191-Forensics Lab and agree to abide by the rules and procedures set forth in the syllabus. The fee for these upper-division labs are waived for team members on scholarship.
- Scholarship recipients are expected to actively participate in Macken Forensics activities and to make significant contributions in the following areas:
- Participation in, and work during, on-campus activities including, but not limited to, high school and college tournaments, public debates, outreach programs, and regular team meetings, as determined by the coaching staff.
- Research, practice, and other needs of the team, as determined by the coaching staff.
- Generation and maintenance of an appropriate image for the College and Macken Forensics while participating in officially sanctioned activities.
- Scholarship recipients are expected to be team leaders and exhibit a commitment to Macken Forensics beyond that of team members not on scholarship
Complete the Macken Collegiate Forensics Scholarship Application.
Consider also applying for: Saint Mary's College General Scholarships: $1,000-$28,000 annually.
These need-based grants are provided annually by both endowed funds and tuition revenues. Award amounts depend on student demonstrated financial need. However, several endowed scholarships have additional criteria, such as geographic restrictions or ethnic restrictions (e.g., Joseph David Cardoza scholarship for students of Portuguese descent).


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Author Flannery O'Connor lingers long in Southern Catholic letters. One of the best-known and strongest Catholic apologists during the 20th century, along with fellow Southerner Walker Percy and only a handful of others, she remains today widely read and taught. She was a prodigious writer of novels, short stories and essays.
Born in Savannah in 1925, of parents from two of Georgia's oldest Catholic families, she spent the latter part of her life in Milledgeville, Ga., where she struggled with a debilitating disease, systemic lupus erythematosus. Her father had died of it in her youth, and the disease would claim her in 1964 at age 39.
There is an entire academic industry around O'Connor. Next month, Loyola University Chicago will hold a three-day symposium on her life, work and influence on modern Catholic thought.
In New Yorker magazine's The Book Bench, writer Mark O'Connell posted a blog this week about O'Connor and turned up a rare recording of her reading an excerpt from her acclaimed short story, "A Good Man is Hard to Find." The reading is from a 1959 writers' conference at Vanderbilt University.
It is a remarkable find of the voice of a remarkable Catholic writer, possibly the finest of her generation.


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More than 20 years after "Achy Breaky Heart," Billy Ray Cyrus is still one of country music's most recognizable names. Now he's put his life story to the page in Hillbilly Heart, an autobiography published by Amazon this week.
On Saturday (April 20), he'll sign copies at the Nashville store Parnassus Books as well as the gift shop at the Grand Ole Opry prior to a performance there.
During a visit to CMT, Cyrus explained why he took on the project.
"It felt like there had been a lot of misconceptions about me, a lot of untruths, you know? A lot of things were said about me," he notes. "Sometimes I look at my life and go, 'How did my life end up being something that became more about what my persona is, compared to who I really am?' All I ever wanted was for the music to speak for who I am. But when you are coming out of the eclipse of 'Achy Breaky Heart,' that is a pretty tough thing to do. I spent the last 20 years reinventing myself from that moment."
Cyrus found immediate fame with the single "Achy Breaky Heart," which spent five weeks at No. 1 in 1992. His debut album Some Gave All sold more than 9 million copies and paved the way for future Top 10 hits like "Could've Been Me," "She's Not Cryin' Anymore," "In the Heart of a Woman" and "Somebody New." Cyrus also embraced acting, notably with a starring role in the TV series Doc.
After decades of being beaten up by critics and traditionalists, Cyrus is decidedly upbeat. You can tell he's grateful to still be working — not to mention, alive.
"I knew that if I had died, I am probably worth more dead than I am alive — and that's a scary spot to be in. I don't cherish that, but that is true. It happens to be a fact of life," he says. "I realized if I die, somebody is going to tell my life story, and it ain't going to be right. Somebody is going to tell it, and I want to be the person to tell my life story."
Cyrus says he borrowed a phrase from the Bible to be his mantra while writing the book: "The truth will be your shield and your buckle."
He adds, "All I am looking for is the truth. I want to make sure I got everything true in there. … Some of those truths are not always pleasant. As a matter of fact, I am realizing I have had a painful life. It's no wonder my back hurts, man. I have been abused."
In conversation, Cyrus lights up when he talks about meeting his musical heroes.
"I think one of the turning points in my life and my career was in June of 1992," he recalls. "Johnny Cash wrote me a handwritten letter. Three paragraphs in his own hand, his own pen, on his own letterhead. … He said some really nice things in that letter. Most of all, he finished his letter by saying, 'Let them have it, I'm in your corner. Johnny Cash.' I needed that in the first week of June in 1992. I needed to know that Johnny Cash is in my corner, so everything is going to be all right."
Cyrus also befriended musical giants Carl Perkins and Waylon Jennings, whom he refers to as his best friends.
"Carl is the guy that mentored me, took his arm around me and said, 'Hey, you know what? You do what you do because you love it. You make music because you love it.' Constantly. 'Just make the music.' Carl said, 'Don't be a follower. You will find that a lot of people in this town just want to follow whatever is going on.' He said, 'Don't be that guy. Be the guy that makes your music, and be original.' He used to say, 'When someone calls you an original, that's not a bad thing. That is a good thing. You don't want to fit in with everybody else.' That was Carl's motto: 'Be original.' I feel really lucky that I have friends like that."
He continues, "A few years later, I met Waylon Jennings in one of these buildings right here where [Nashville radio station] WKDF is, on the Carl P. Mayfield show — live. I was doing Doc at the time, and Waylon ended up becoming my best friend. Waylon was the one that said, 'Do you know what the definition of an Outlaw is? One that has been outlawed.' Kind of makes sense, doesn't it? That's what he said, and it made sense. I feel very fortunate to learn from my heroes and even call some of them my friends."
In early 2008, Cyrus enjoyed a country comeback duet with daughter Miley on the Top 5 hit, "Ready, Set, Don't Go." In 2012, he offered a well-received album, Change My Mind, which displayed his diverse musical influences through a batch of original songs. Following his stint on Broadway in November and December as a star of Chicago, Cyrus says he'll spend 2013 focusing on touring.
"I still like a new challenge and I felt like I had to do this [book]. … This was the opportunity to say thank you, and 20 years later, here we are," he says. "I look forward to being a singer, songwriter, entertainer from Flatwoods, Ky., that loves country music. I am going to go around the world and celebrate. That is my goal for 2013. Now in 2014, I may be sitting outside cutting hay for the rest of my life, but 2013 is my celebration of country music and what I love."


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Irish support for the European Union's Lisbon reform treaty has risen further, continuing this year's trend of gains for the "Yes" camp and a steady decline in opposition, an opinion poll showed on Monday.
The Irish Times/TNS mrbi poll found 54 percent would back the treaty in a fresh referendum this year, up two percentage points from two weeks ago, with the proportion of those planning to vote "No" dropping one point to 28 percent.
When undecided voters were excluded, 66 percent were in favour and 34 percent against, compared with a referendum result last June of 53.4 percent "No" and 46.6 percent "Yes." The Irish government has consented to holding a second Lisbon vote this autumn, subject to concessions in areas of concern for Irish voters, such as military neutrality, taxation and the retention of a European commissioner.
[efoods]European leaders are expected to agree on the details of those guarantees later this month.
Many voters now look to the European Union as a haven amid the global financial crisis, in which Ireland has become one of the most vulnerable euro zone members, but the recession has also distracted the government from focussing on Lisbon.


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Shinji Mikamis highly anticipated game The Evil Within has been released for a week now and for the most part it has gotten mixed reactions. Some people were expecting a return to classic survival horror and felt let down. But where do I stand when it comes to The Evil Within? Having beaten the game yesterday, I can finally answer that question.
Introduction: My Thoughts on Classic
I'm a fan of the series so I decided to dedicate a blog entry to it.The 3DS version of the latest entry came out in Japan last week. I have access to the game and I can answer any questions.
Anyway, here we discuss everything Smash Bros. related. Exchange friend codes and strategies. Post news, pictures, and videos. Talk about tournaments.
What are your favorite trophies, stages, items, bosses, game modes, and characters?
Since the Wii U version isn't
Updated 09-18-2014 at 02:08 PM by Kaguya
Hello there people, who read my newfound blog. This blog will be about me and my future blogs that I will blog. Prepare your bodies, as we are about to go on a huge TL;DR ride here at SGZ.
Anyways, I shall introduce myself. I am the Electrorocket, God of Noodles, Prophet of Providence (temporarily a while ago), Priest of Greed, Russian Noodler (Until I evolved), mystery first account on SI, and Jake. I am largely a video gamer, anime watcher, and I'm slightly crazy. Regardless, I
Hey everyone, so I'm expanding from game reviews to anime reviews! Might as well take advantage of this blog feature since it's a great way to actually practice writing these. So if you don't like my reviews I'm sorry lol. But do keep in mind these are just my opinion and all that. So yeah let's get started!
-WARNING: Each review may contain heavy spoilers for the events of the episode!-
So this season has been FANTASTIC for anime.
Updated 08-06-2014 at 09:59 AM by RMGMDPunk
So I know that this game has been out for over a month now but I'm only just now getting the chance to play it. Murdered: Soul Suspect is a narrative driven mystery game that's done somewhat like Rockstar's LA Noire. The key difference being: LA Noire is way better. That's basically where my comparisons with these two games draw to a close because I don't want to write a review nearly


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Learn more about us
We tailor our services from a day-to-day operational support to strategic reengineering of infrastructure and network architecture.
We handle major technology initiatives such as network or security upgrades as carefully planned projects managed for accountability to budgets and timeframes.
Our technology solutions remain objective and vendor independent in terms of hardware and software.
There's no one size fits all here, but together we'll forge a technology management and support relationship that's best for your company, both today and tomorrow.
Network administration involves a wide array of operational tasks that help a network to run smoothly and efficiently.
We'll implement the latest encryption technologies on your wireless network to elevate your level of security.
Managed backup includes on-site and off-site in case of catastrophe.
We offer 24/7 desktop support to include remote support, phone support, and on-site support.
We will monitor your organization's firewall(s) and server(s) continually to identify and remediate security vulerabilities and ensure that unwanted intruders cannot gain access to sensitive information.
If you need just about any type of custom application we can help. From simple Excel macros to full blown desktop and web applications, we have the expertise to get you what you need in a timely manner.
We offer Secure cPanel and VPS Hosting as well as custom solutions including dedicated servers and Co-location. Contact Us for details.
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UNC General Administration oversees a number of programs and activities dedicated to faculty employment policies, professional development, faculty evaluation and faculty benefits. It also serves as the liaison to the UNC Faculty Assembly.
Awards for Excellence in Teaching
The Teaching Awards were established in 1994 to underscore the importance of teaching and to encourage, identify, recognize, reward, and support good teaching within the University. These awards are presented to a member of the faculty of each of the constituent institutions of the University.
2014 Teaching Award Winners
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Aside from the smart, engaged and talented colleagues here at BBH and likeminds the world over, at Labs we are lucky to be in close proximity (in the same office in fact) to the smart, engaged and forward-facing Power to the Pixel team. Their mission is to explore new ways of getting stories in front of increasingly fragmented audiences and support media producers wanting to make the sometimes difficult transition to digital and cross-media distribution.
Audiences no longer think in silos – the recent 2Screen evening demonstrated the power of creating compelling behaviour drivers and experiences across multiple platforms. Power to the Pixel's recent centrepiece event, the Cross-Media Forum in London, brought together leading thinkers and pioneers from across the media industries who are instrumental in changing the way stories are conceived and are reaching audiences.
Below, PttP's CEO Liz Rosenthal and COO Tishna Molla picks out some themes that are emerging from their work and, for anyone interested in new tools for storytellers, links to deeper thinking from the Pixel Report.
Story experience
"The best storytelling devices are, and have always been, rooted in human behaviours and desires," says Mike Monello, Founder of Campfire and Co-Creator of The Blair Witch Project. His keys to creating a successful story experience are;
- Communal experience
- Making it tangible
- Fostering discovery
- Making it personal
- Building a world larger than your characters
Story = brand
Whilst marketers have long been used to advertising products across multiple platforms, do they really understand how to keep audiences engaged? How do you begin to find your audience, let alone engage them? How do you decide which platforms to use to tell your story, let alone work out how to use them? Director Jon M Chu, is an expert in how to not only reach, but to sustain an audience. He conceived The Legion of Extraordinary Dancers (The LXD) – "a living, breathing comic book" – first and foremost as a brand, enabling connections with different audiences across multiple platforms.
Power lies with the audience
With the impact of new technologies has come a shift in authorship and access. Audiences have moved from passive viewer to active collaborator, stakeholder, co-creator, marketer, distributor, even financier. There's a new breed of storyteller emerging, one that understands the new technologies, tools and services that are changing the way that stories are told, how and where audiences can interact with them and, as a result, the whole business of storytelling.
Lance Weiler (@lanceweiler), US filmmaker and story architect, grew his audience for Head Trauma – a fusion of feature film, live performance, mobile interaction, online gaming and remix – by allowing the audience to discover and expand elements of the story, moving them from one platform to the next in the process. Audience numbers grew in direct correlation to the number of access points made available to them.
Finnish director, Timo Vuorensola is an expert at collaborating and engaging with his audience throughout the development, production and distribution of his films. Crowd Controls is one great example of a tool that he uses to harness the power of the audience.
With technology advancing so rapidly, the possibilities for storytelling and audience interaction seem limitless or intimidating, depending on your point of view. No-one has all the answers anymore (if they ever did) which makes it essential now, more than ever, to share information and foster new networks, collaborations and partnerships. Which is what we do @powertothepixel.


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Home > Vehicles > Off Road Motorcycle > KTM > 250 SX US 2015
You are on the download page of the KTM 250 SX US 2015 user manual.
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Category : Vehicles
Rubric : Off Road Motorcycle
Brand : KTM
Product : 250 SX US 2015
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From the kitchen of One Perfect Bite...I found three contenders for the beans I was asked to prepare for the barbecue today. When I learned that burgers and bratwurst were to be the main feature of the "cue", any plans for an upscale dish were discarded and, despite the Silver Fox's insistence that cassoulet would be perfect, I exercised my veto power and narrowed my search to what I hoped would be American barbecue favorites. Trouble is, I don't have a lot of recipes for beans and I don't make them often. Tea may work for two, but beans, when there are just two diners at the table, requires a commitment I'm not willing to make on a regular basis. So, of course, luck of the draw being what it is, I was the person asked to bring beans to barbecue where we will be meeting our new neighbors. I wanted them to be especially good because these folks don't know that I can cook, and I wanted their first impression of my abilities to be positive. While this will come as no surprise to those who know me, I ended up making a big deal about something that should have been really simple. I found and tested three recipes for good old American beans and, as it turned out, all three were exceptional. I decided my first feature would be the Cowboy Beans because they will go so well with a simple barbecue menu. These beans are sweet and have some heat, and I think they will appeal to anyone who likes beans with their burgers and brats. The recipe, which comes from America's Test Kitchen is clear and simple to follow, so you'll have no trouble duplicating their results, but do be sure to use a strong cup of coffee and a barbecue sauce that you are familiar with. The trick with these simple recipes is to layer flavors wherever you can, so be sure your ingredients are up to muster. These beans can be made several days before you plan to serve them, so they are definitely hostess friendly. I hope you'll give them a try. Hot and sweet is hard to beat. Here is the recipe.
Cowboy Baked Beans...from the kitchen of One Perfect Bite courtesy of America's Test Kitchen
1 pound dried pinto beans or dried navy beans, washed and picked clean of any debris
4 slices bacon, chopped fine (about 4 ounces)
1 medium onion, chopped fine
4 medium garlic cloves, minced (about 4 teaspoons)
4-1/2 cups water
1 cup strong black coffee
1/3 cup dark brown sugar, packed
2 tablespoons prepared brown mustard (such as Gulden's)
1/2 cup barbecue sauce + 2 tablespoons barbecue sauce, divided use
1/2 teaspoon hot sauce
2 teaspoons salt
ground black pepper
1) Soak beans overnight -OR- place beans and 6 cups water in large Dutch oven. Bring to boil over high heat and cook for 5 minutes. Remove pot from heat, cover and allow beans to sit for 1 hour. Drain beans. Clean and dry pot.
2) Adjust oven rack to lower-middle position and heat oven to 300 degrees F. Add bacon to pot and cook over medium heat until lightly browned, about 6 to 8 minutes. Add garlic and cook until fragrant, about 30 seconds. Stir in onion and cook until beginning to brown, 6 to 8 minutes. Add drained beans, water, and coffee. Bring to simmer over high heat and cook for 10 minutes. Add brown sugar, mustard, 1/2 cup barbecue sauce, Tabasco sauce and 2 teaspoons salt. Return to boil over high heat, cover pot and transfer to oven.
3) Cook until beans are just tender, 2 to 2-1/2 hours. Remove lid and continue to cook, stirring occasionally, until liquid has thickened to syrupy consistency, about 1 to 1-1/2 hours. Remove from oven, stir in remaining 2 tablespoons barbecue sauce, and season to taste with salt and pepper. Yield: 4 to 6 main course servings.
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May 22 - Hedge Funds, Insider Trading - Comments
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Warren Buffett
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Renaissance Technologies
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NFPA Re-elects Officers and Elects New Members to the Board of Directors
June 11, 2012 – The National Fire Protection Association (NFPA) announced the re-election of officers and election of new members to the Board of Directors today at the 2012 NFPA Conference & Expo in Las Vegas, Nevada.Philip C. Stittleburg of La Farge, Wis., has been elected to his first term as board chair. He served as first vice chair for the previous two years. Stittleburg has served as the fire chief in La Farge, Wis. since 1977, was named Volunteer Fire Chief of the Year by Fire Chief Magazine in 1998, and is currently serving his sixth two-year term as chairman of the National Volunteer Fire Council (NVFC). Stittleburg, a practicing attorney, is also a partner in the law firm of Jenkins and Stittleburg.
Ernest J. Grant of Chapel Hill, N.C., has been elected to the board as first vice chair. Grant previously served as second vice chair. He has been an outreach nurse clinician with the North Carolina Jaycee Burn Center, UNC Hospitals for over 23 years. Grant is a past president of the North Carolina Nurses Association.
Philip J. DiNenno of Baltimore, Md., has been elected as second vice chair. He is president of Hughes Associates of Baltimore, Md., a global fire protection engineering firm where he has worked for more than 25 years. DiNenno is also a fellow and past president of the Society of Fire Protection Engineers. He is a past member of several NFPA technical committees and is a current member of the Technical Committee on Gaseous Fire Extinguishing Systems and the Technical Committee on Merchant Vessels. He also served on NFPA's Standards Council 1998 – 2007 and was chair 2002 – 2007.
Randolph W. Tucker of The Woodlands, Texas, has been re-elected to his current position as secretary. He is the associate principal leading the Fire Protection and Life Safety team for ccrd partners and has over 30 years of fire protection engineering consulting experience, including work on projects in over 60 countries around the world. Tucker was formerly with Rolf Jensen & Associates, Inc. He has been chair of NFPA's Smoke Management Systems Technical Committee since 2006.
H. Wayne Boyd, president and CEO of the U.S. Safety & Engineering Corporation in Sacramento, Calif., has been re-elected to his current position as treasurer. He has served on several NFPA technical committees including NFPA 72®, National Fire Alarm Code and NFPA 720, Installation of Carbon Monoxide (CO) Alarms in Dwelling Units. He is a member of NFPA's Research and Education Sections and the California State Fire Marshal's Public Education Committee.
New members elected to the board include Harold A. Schaitberger, of Washington, D.C.; William A. Stewart, of Toronto, ON, Canada; and Peter J. Gore Willse, of Hartford, Conn.
Schaitberger has been the general president of International Association of Fire Fighters (IAFF) for the last 12 years. He serves on many boards and committees, and in 2009 was elected by President Barack Obama to the Department of Homeland Security Advisory Council. Schaitberger also serves as vice president of AFL-CIO Executive Committee as well as vice president of the Muscular Dystrophy Association of American.
Stewart retired from the position of Fire Chief of Toronto Fire Services, Toronto, Canada in 2012 after a nearly 40-year career with the fire service. Throughout his career, he worked in several positions including Operations Fire Fighter, Fire Captain, Administration Chief, Assistant Deputy Fire Chief, and Deputy Chief. Stewart is a past president of the Metropolitan Fire Chief's Association and a past international president of the Institution of Fire Engineers (IFE) and current Board member.
Willse is the vice president Director of Research for XL GAPS. He is a member of Society of Fire Protection Engineers' Board of Directors, Worcester Polytechnic Institute's Fire Protection Engineering Advisory Board, and a past recipient of NFPA's Special Achievement Award. Renowned for his publications, Willse has revised chapters in the seventeenth, eighteenth and nineteenth editions of NFPA's Fire Protection Handbook as well as a chapter in the ninth edition of NFPA's Fire and Life Safety Inspection Manual.
About the National Fire Protection Association (NFPA)
NFPA is a worldwide leader in fire, electrical, building, and life safety. The mission of the international nonprofit organization founded in 1896 is to reduce the worldwide burden of fire and other hazards on the quality of life by providing and advocating consensus codes and standards, research, training, and education.
Request more info from National Fire Protection Association, Inc.
Thank You!


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Yeh, metal-tape measures stopped being cool right around the time ThinkGeek started selling the Smart String, which has 50-inches of retractable string that can bend around curved things. BUT WAIT! It also tells you the measurements on the LCD screen.
That's to three decimal places, motherlucker. It also has a small amount of onboard memory so can store the last three measurements in case you don't have a pen and paper with you, and a small flashlight and sprit level.
Yes, this is pretty much your dream $12 invention. [ThinkGeek via 7Gadgets via OhGizmo]


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Mifflin County's Katie Kline, left, attempts to win the ball while defended by Mechanicsburg's Allison Schrass Monday in Lewistown.
Mifflin County's Tori Moon, left, drives the ball while defended by Mechanicsburg's Sara Rice Monday in Lewistown.
MMifflin County's McKenna Smith, left, and Mechanicsburg's Lainie Anderson battle to win Monday in Lewistown.
teaser? Mifflin County's Madison Bressler ?body blocks? the bsll grom Mechanicsburg's Lauren Costello Monday in Lewistown.


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You are not the only one somewhat inconvenienced by the white stuff on the ground outside: The Knicks spent last night stuck in Minneapolis, the Spurs couldn't escape from Detroit until an hour ago, and the Nets had to take a train:
The New York Knicks were stuck in Minnesota after playing the Timberwolves on Friday night, hoping to try to fly home sometime Saturday. The San Antonio Spurs were also staying overnight in Detroit after seeing their 11-game winning streak fall to the Pistons, awaiting word on when they might be able to fly to New York for their game Sunday night at Brooklyn.
The Brooklyn Nets planned to take a train home instead of flying from Washington, D.C. after losing to the Wizards on Friday night.
Next time you complain about cabin fever, remember that you could be stuck in Detroit with Tim Duncan. The Bruins, meanwhile, had to change a midday matinee to a night game, and may not get out of Boston in time for their game in Buffalo:
The Boston Bruins pushed back the start of Saturday's game against the Tampa Bay Lightning by six hours because of the blizzard. The game originally slated for 1 p.m. was rescheduled for 7 p.m., but Boston was expected to be one of the cities hit hardest by the storm [...] The Bruins and Lightning each already had road games scheduled for Sunday night.
Had, in the past tense; the Associated Press seems to have some doubt that those games will go on as planned, which is fine, because the NHL has plenty of open space in the schedule for make-up games. The Knicks' Sunday match-up against the Clippers may be in trouble as well:
So, great: Can't go outside, and there won't be any sports on TV. Can Netflix handle the load?
Knicks Stuck in Minnesota, Nets Taking Train Due To Storm [AP]


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<![CDATA[The Duke of Edinburgh will attend the Mountbatten Festival of Music in London on 13th March as Captain General of the Royal Marines.
The Mountbattern Festival of Music features the Massed Bands of Her Majesty's Royal Marines performing over three nights in London's Royal Albert Hall.
Prince Phillip will be attending the event as Captain General of the Royal Marines. His Royal Highness was previously a member of the Navy until 1951 when he ended his active naval career.
In 1952, he was appointed Admiral of the Sea Cadet Corps, Colonel-in-Chief of the Army Cadet Force and Air Commodore-in-Chief of the Air Training Corps.
Eventually the Prince was promoted to Admiral of the Fleet and appointed Field Marshal as well as Marshal of the Royal Air Force.
The festival began on the 6th February 1973 when the bands of the Royal Marines School of Music, Commander-in-Chief, Naval Home Command and HMS Ganges were massed for a performance given in aid of the Royal Academy of Music's 150th Anniversary Appeal.
All proceeds from the festival go to the Royal Marines Charitable Trust Fund and CLIC Sargent.
photo credit: Royal Navy Media Archive via photopin cc]]>


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1955 Chevrolet Nomad - The Whole Is Greater Than Its Parts
Jim Alley's '55 Chevy Nomad Is Much More Than Meets The Eye
If you know anything about hot rod builders and anything about BMX bikes then there's a good chance you know the names Tucci and Alley. Dave Tucci Jr., of Tucci Hot Rods, has turned out, and continues to turn out, some awesome hot rods. Jim Alley is no stranger to race cars and hot rods but is now a force to be reckoned with in the manufacturing world of BMX components with his company Profile Racing.
So how did these two individuals who are worlds apart get together to build and own one of the definitive examples of a Tri-Five Nomad? Answer: Out of necessity for Jim, and "it's what we do" for Tucci.
According to Tucci, "I was attending Fay Butler's sheetmetal class in Massachusetts, where Butler introduced me to a tool called a sweep; used for measuring curves on body panels. These sweeps were machined by Jim Alley,at Profile Racing in St. Petersburg, Florida."
From here Tucci contacted Jim with the idea of purchasing a set of sweeps. As is often the case, one conversation led to another, which included the purchase of said sweeps, but the conversation moved into what exactly is done at Tucci Hot Rods. In turn that sparked Jim to tell Tucci about his '55 Chevy Nomad. It wasn't long before Jim was shipping his prized possession off to Tucci's shop in Marcy, New York.
Another Floridian Brent Gill penned the renderings that Jim and Tucci would talk over and build from. The '55 represented Chevrolet's first significant body and engineering (i.e. the 265 V-8 and 12V electrics) changes to a car that substantively had been around since 1941. The '55 Chevrolet Bel Air Nomad two-door station wagon (base price $2,472) saw 8,386 vehicles off the assembly line, making it the lowest production number of any '55 Chevy passenger car (excluding Corvette). Chevy specs for the '55 included a 115-inch wheelbase and most of the body styles had an overall length of 195.6 inches, while the Nomad, Beauville, Townsman, and Handyman were several inches longer at 197.1 inches. The station wagons tipped the scales around 3,200-3,300 pounds (other models were approximately 3,100 pounds).
Tucci's first significant design change was the windshield, after he sized up a '64 Impala one he had in the shop. They found that the windshield wouldn't need to be cut at the top but would need to be pinched approximately 1 inch on either side to match the roof sides. By installing the Impala windshield there was about 8 inches of the front section of the roof skin that needed to be removed, this gave the windshield a leaned backed and more streamlined appearance. It didn't take long to realize "it would fit". From here it was "game on" and the gennie chassis would be parked (literally) as an Art Morrison GT Sport Tri-Five replacement chassis with air ride would be used.
After the body was mounted to a custom-made jig, Tucci Hot Rods went to a local salvage yard. From here they brought back the roof from a '64 Impala, which they cut in the middle of the roof about 10 inches from the windshield and also halfway through the firewall. The '55 then had its roof skin removed, along with the complete windshield surround on the Nomad, including the cowl area. Next up was the removal of approximately 2 inches from the height of the roof skin, which gives the appearance of a top chop without changing the side glass height. With the windshield change, they had to remove the vent windows from the doors and create a one-piece door glass. All moldings were retained on the '64 Impala windshield surround and the original moldings above the door glass from the '64 Impala were modified and fitted in the '55 Chevy door window opening. The stock molding on the side glass and the original slider window style on the '55 Chevy was not modified.
Next up came the original taillights, push them forward and at the same time, tilting them forward to get a much smoother look on the backside of the body. Tucci also installed the Rocky Hinge hidden power gas filler in the driver side taillight. After the taillights were complete, the crew at Tucci Hot Rods started looking at the tailgate and rear window assembly. The stock tailgate (upper and lower pieces) was scrapped in favor of a fabricated one-piece aluminum decklid. The original back glass bezel and glass were retained. This decklid uses an OEM-style hinge from a modern-day hatchback along with the latch mechanism.
Next up was fitting the Art Morrison Enterprises (AME) chassis. The chassis was changed to accommodate the humongous wheel and tire combo. Tucci wanted the chassis to accommodate Budnik Shotgun wheels measuring 20x8.5 and 22x10s. The rear tire size is a 305/50R22; in back new tapered rocker panels were fabbed to give the appearance that the car still had a rake at the roofline but appeared to sit level when completely aired out. Next the original Nomad tire openings were discarded and new openings hammered that were akin to a '55 sedan-style wheel opening.
A major change in the chassis was about to occur as Jim called Tucci and had an idea for using a Mark Williams' modular rearend. The original 9-inch Ford that AME designed for the car was shipped to Profile Racing where they machined an all aluminum rearend housing, incorporating the airbag mounts and machining titanium four-link brackets. Tucci also designed new front and rear sway bars that Profile Racing machined. A set of Wilwood six-piston front and four-piston rear calipers mounted to four 14-inch rotors supply the "whoa".
As is often the case with large projects, especially those treading new ground, Tucci opted to bring in more help. Ryan Butler was brought in to assist with some of the exterior sheetmetal and Matthew Harris came in to help clean up some of the dash and fabricate upper door panel sheetmetal.
Shortly it was noted that the front fenders appeared to have an uphill look from the door to the headlight assembly. Tucci used Xciting Lighting HID headlights. To overcome this, a wedge section was taken out of the fender by removing 11/2 inches at the front of the fender to zero at the door. A new bodyline needed to be fabricated on the fender where the molding sits over. This also changed the fit from the fender to the door so the rear portion of the front fender needed to be completely fabricated.
Next up was the hood. The original '55 Chevy hood had a raised area from the fender to the middle of the hood and that wasn't going to work. An old customizer trick: Pancake the hood to make it give a smooth transition from the fender into the hood. The original raised portion of the middle of the hood that housed the '55 Chevy hood ornament was also removed and smoothed.
All hot rods need power. And if you think it is too much then you are probably getting close. Initially Jim wanted a 502 Chevy motor but in time and after a few back and forth conversations Tucci's idea for a twin-turbo setup took hold. It was fabricated at Tucci's shop with the help of Chris Miniker, who also fabricated the stainless steel headers up to the turbo flanges. Next up was Bill Dehimer of Full Throttle Performance to machine a custom set of throttle bodies and upper intake sections. Dehimer suggested they start with a Ram Jet 502 lower intake and use his individual throttle bodies to transition into two separate 4-inch aluminum tubes that would be connected to a double throttle body located at the front of the motor.
A Vintage Air Front Runner was used to assist in keeping all engine drive components tight to the block. A custom radiator and fan shroud was built by Tucci utilizing a Vintage Air 18-inch electric fan. Engine compartment space was at a premium primarily because of the turbos. The complete exhaust system was fabricated from Stainless Works 3-inch mandrel-bent builder kit and a custom set of Flowmaster mufflers. Tucci fabricated custom tips that run through the rear bumper with a stainless mesh and billet bezel finishing off the exhaust. The exhaust system was coated from Jet Hot using Jet Hot 2000 coating, not only did they coat the complete exhaust, they completely covered the exhaust system with Cool It Thermo-Tec exhaust insulating wrap. This was to try to keep the underhood temperature down along with under car temperatures from the extreme heat the turbos produce.
Tucci used Bigstuff 3 engine management system and Patrick Barnhill. The Nomad makes 1,100-plus rear-wheel horsepower and 1,500-plus lb-ft of torqueat 5,500 rpm on pump gas. All of this power is handled by Budnik Shotgun wheels with powdercoated centers and a brushed outer hoop.
Body and paintwork was another area that needed special attention and Tucci brought in Andre Carey from Andre's Customs and Rods for this project. Also helping apply Lizard Skin was Walt's Custom Body. Carey wasn't able to finish the bodywork and paint, so Tucci brought in Rich Thayer. DuPont had a new charcoal and orange they suggested and both Jim and Tucci agreed. From here Thayer laid out the unique two-tone paint scheme. After the paint was complete Tucci applied Dynamat on all the interior floor and door panels.
After the build on the air boxes and intercooler was complete, Tucci wanted to create a grille that was unique but retained the '55 look. Tucci took stainless tubing, flattened them in a press brake, and had Jim machine uprights that the flattened tubes would lock into. While doing this, they retained the stock hole openings that allowed them use the stock bezels. Tucci then asked Joe Arcuri from Arcuri Design to design a bezel that slid over the top and bottom of the grille uprights to finish off the ends. These pieces were machined by Profile Racing out of stainless steel.
An AccuAir e-Level air management system is employed to control the air suspension. A custom set of clutch, brake, and throttle pedals were fabricated by Tucci and connected to the Kugel Komponents reverse-mount 90-degree underdash system. Vintage Air also supplied them with the underdash A/C and heat unit. Tucci modified the dash by using the passenger side speaker bezel and installing it in the driver side to use the same bezels and installed a '55 gauge cluster by Classic Instruments with a custom-made clock for the passenger side and a matching boost gauge for the driver side. They used a stainless steel tilt column from Flaming River along with their steering wheel and U-joints coupled to a Unisteer power rack-and-pinion. Tucci used an Alpine DVD fli-out screen stereo head unit and Kicker speakers and amplifier.
The front seats were covered in leather by Rich Perez from RP Interiors, while the rest of the interior was finished by Jamie McFarland from McFarland Custom Upholstery. Also helping McFarland was Tom Bidle. Tucci used American Autowire Highway 22 system to handle of the electronics.
He fabricated a custom aluminum gas tank that incorporated an under belly pan that runs from under wheelwells to the custom rear bumper. Two more belly pans were also fabricated in the middle of the chassis; they were louvered by Louver's Unlimited.
As we mentioned earlier the whole is greater than its parts and we are thankful that Tucci and Jim gave it a shot.


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The Fidelio Trio has become one of the leading piano trios in the UK over the last few years. Robert Fokkens asks them about their commitment to contemporary music and how this informs their performances of older music.
Robert Fokkens: All three of you are very busy and experienced performers, with a particular reputation for contemporary music. What drew you to contemporary music initially, and what do you enjoy most about working on new pieces?
Fidelio Trio: The trio began life playing (like most ensembles) classical chamber music repertoire – however for our Purcell Room debut in 1996 we were introduced to Toru Takemitsu's Between Tides which we gave the UK premiere of. We quickly realised we had a particular affinity with the music of today and much enjoyed the collaborative process with living composers. We also realised that there is a huge variety of diverse new music that needed to be programmed.
RF: Working with composers is often a mixed blessing for a performer. Has working regularly with composers changed the way you approach music in general? What do you enjoy most and least about the relationship between composers and performers?
FT: One of the most rewarding aspects of playing new music is the collaborative process between composer and performer. There is nothing more exciting than seeing a new work for the first time that has been conceived for the given performers and then taking it on the next step of the journey ie. into the concert hall. The shared creative experience forms an indelible bond between performer and composer which has a lasting effect on the interpretation. It can also be just as exciting to work with a composer and a piece that wasn't written for you but through the rehearsal process both parties start to hear new angles and possibilities in the work.
Of course the performers do need space sometimes, it's never wise to have the composer at a first rehearsal- they will have been living with that piece for months where as the performers are barely on first name terms with it and need time to feel their way in to the language!
RF: Despite the trio's reputation for performances of contemporary music, I know that you are all very comfortable with a broad range of repertoire. How do you feel about programming new or twentieth-century work alongside pre-twentieth century repertoire?
FT: We often play more traditional repertoire (which for us can be Ravel or Schoenberg) alongside newer music which can compliment the contemporary angle to the programmes well. The old idea of 'sandwiching' a piece of new music between classical or romantic repertoire certainly doesn't always work as the new piece (if performed well enough with total conviction by the performers) should stand alone beside older repertoire. We recently performed a series of concerts in Dublin that featured each of Schumann's impeccable piano trios alongside new pieces for us by Irish composers. This process seemed to work well and the feedback from the audiences was extremely positive in how they listened to both the new pieces and the Schumann. This has lead us to seriously think about what classical repertoire we should play alongside new music. However, it is also important to introduce audiences to solely new music concerts and never feel the need to be apolgetic about this. We programme new works from very different aesthetic view points as the new music world is already a tiny place and alienating audiences should never be the case with performers of this repertoire!
RF: You are performing for the ACF's Soundings 2010 this Wednesday at the Forge in Camden, London. How long have you been involved with this series, and how did you first come to work with the ACF?
FT: We first worked with the Austrian Cultural Forum in 2005 when Soundings was still a relatively young series and Joe Cutler and Johannes Maria Staud were particularly involved in the choosing of repertoire and inviting the other composers to participate. We have been involved increasingly over the years and since 2008 Mary has been curator, working closely with Andrea Rauter in seeking out and balancing the composers for the UK and Austria and the works to be performed. As a trio, we are very much now associated with the ACF and are Soundings Ensemble in Residence. This has resulted in a number of new works being written for us and our Wigmore Hall debut in December 2009 (in a programme of Ed Bennett, Luke Bedford, Thomas Larcher, Johannes Maria Staud and the fantastic arrangement of Verklarte Nacht by Eduard Steuermann). Every year Mary and Andrea work to refresh and bring new ideas and formats to the week of workshops and concerts and it now is a firmly established series in the London music calendar.
RF: Soundings brings composers from Austria and the UK together for workshops and concerts each year. Have you noticed any particular national differences between the composers, their music and their approach to composition, or is it very much down to the individual composer?
FT: What is clear to us is that yes indeed, composers are all individual. However, one point that seems to recur every year in discussions and conversations is that, in Austria in general, composers are afforded more time with the musicians they are working with – and in relation to this, composers in the UK are accustomed to working with musicians who are excellent sight-readers and fast learners and so become very time efficient in their rehearsals. There also seems to be more of what you might call an 'extremely quiet school' present in Austrian music circles, more than in the UK. But the workshops and concerts every year result in a great variety of new and exciting works.
RF: What other big projects are you currently working on?
FT: We are really excited to be making our USA debut next February (2011) with two concerts at Symphony Space New York City working closely with two very different American composers – Charles Wuorinen and Evan Ziporyn. Later next year we will tour Southern Africa. On the CD front our next release in February 2011 will be Michael Nyman's Complete Piano Trios for MN Records and also we begin recording our first album for Naxos of music by Schoenberg, Korngold & Zemlinsky. Forthcoming commissions include new pieces from Stephen Gardener, Alasdair Nicholson and Gavin Higgins.
The Fidelio Trio (Darragh Morgan, violin; Robin Michael, cello; Mary Dullea, piano) perform with Lore Lixenberg (mezzo soprano), Patricia Rozario (soprano), Rowland Sutherland (flute) and Gerald Davidson (speaker) for Soundings IX.
At The Forge (3-7 Delancey Street, London, NW1 7NL on Wednesday 24 November. Presented by the Austrian Cultural Forum.
Low-flute specialist Carla Rees has been running rarescale since 2003, championing new chamber music for alto and bass flutes. With their Premiere Series 2010 starting on Saturday 18 September at Shoreditch Church in London, I asked her to tell us more about what rarescale do, and how composers can get involved with their work.
RF: rarescale has been around for a number of years, energetically championing new music by a very broad range of composers. For those readers who haven't come into contact with you, who are rarescale, and what is your mission?
CR: We are a chamber music ensemble with flexible instrumentation, which specialises in music using alto and bass flute. I began working to develop repertoire for low flutes and received pieces for a wide range of chamber music combinations, so I wanted a group with flexible instrumentation which could build programmes around the works rather than developing a narrow repertoire with limited instrumentation. I am passionate about the alto and bass flute and they have a lot of potential within a solo and chamber music context, so my aim is to work with composers to develop as wide a repertoire as possible. rarescale is a registered charity, and one of our aims is to educate composers in terms of how to write successfully for these instruments, as well as doing what we can to promote their works.
RF: Can you tell us more about the quarter-tone flutes you play? Who makes them, and how common are they? What draws you to them?
CR: My instruments are made by Eva Kingma in the Netherlands. They have full quarter tone system key work and are capable of achieving a full range of quarter tones without compromising tone colour. They are still relatively rare instruments – the alto was made in 2000 and is the first of its kind, although there are a few others around now, and the bass was made in 2007 and is the first with an upright design, which means the weight of the instrument is taken up by the floor rather than my arms! C flutes are now being made with the quarter tone system by two different makers and are becoming a little more common. It's a fantastic design, because the extra keys don't get in the way of standard playing – I'd use my quarter tone instruments for Bach or Mozart, just as much as I would for contemporary music. They offer a wide range of possibilities for alternative fingerings, timbral trills and contemporary techniques (especially multiphonics) and are incredibly versatile with microtonal tunings too. On top of that, they are very well made and have a beautiful tone and response.
RF: In the past, you had a remarkable open call for new works, through which you undertook to try to premiere any works with suitable scoring which were sent to you. Is the call still open, and are there any restrictions or guidelines about sending in scores?
CR: The call for scores is still open. I've received around 600 pieces since rarescale was founded in 2003, and on average I receive one new piece a week. As a result of that, I have to be selective about what we can perform, but I learn every piece I am sent, and it goes into the database so that it can be considered for a particular performance opportunity. I tend to build programmes around instrumentation, so it can sometimes take a while before we have enough pieces to justify including a certain instrument in one of the concerts, but I programme as many of the pieces that are up to standard as I can. Generally speaking, we rarely use more than 4 (or at a push) 5 players in a concert, for financial reasons, more than anything, and it is always easiest to programme works for alto or bass flute solo or with electronics or guitar. Other core instruments are soprano, bass clarinet, cor anglais and piano, but I am willing to accept music for any combination. I prefer to receive scores as PDFs or Sibelius files by email, and I am more than happy to receive a very wide range of compositional styles – I am trying to build a repertoire for the instruments, so variety is essential. This means the works need not include the full capabilities of the quarter tone system instruments, and I will also consider works which are suitable for educational use; I run masterclass courses for alto and bass flute players so I am also always on the look out for works my students can play.
RF: Saturday 18 September sees the first concert in rarescale's Premiere Series 2010. Can you tell us more about the series, and in particular Saturday's concert? What other performances and projects do you have coming up?
CR: We hold the Premiere Series every year, in Shoreditch Church. We usually do two or three concerts every autumn (this year there are two) which we use as a platform for some of the new works received during the year. The first concert (on 18th) is for alto/bass flute, soprano, bass clarinet and electronics, and we're playing a range of new pieces and second performances, including by Michael Oliva, Rob Fokkens, Scott Wilson, Thomas Simaku, Jay Batzner and Kaja Bjorntvedt. We also usually include something by a well-known composer, and this concert, Rosie Coad will be performing La Fabbrica Illuminata by Nono, which is a fantastic piece for soprano and electronics. The second concert, on 6th November, is for alto flute, guitar and electronics, and includes pieces by Claes Biehl, Elizabeth Winters and David Bennett Thomas. In place of a third concert in this year's series, we'll be performing the premiere of Michael Oliva's Requiem at St Albans Abbey on 20th November, with the fantastic chamber choir, Mosaic, under Nicholas Robinson. The piece is scored for choir, organ, alto flute and electronics. Also coming up is our 2011 masterclass course on the Isle of Skye, which has both an electroacoustic composition masterclass course, led by Michael Oliva, and a composers retreat, to enable composers to come and work in an inspirational environment and to meet other composers and some of the rarescale players.
Being a composer can be an interesting experience when it comes to performances. Quite often, once a piece is off our desk and in the hands of whoever is kind, brave or foolish enough to want to perform it, there is a sense that we are ever so slightly (or, indeed, completely) superfluous to proceedings. We may be invited to the performance - for that glorious smile and wave moment - and, when unavoidable, a final rehearsal. But I can't shake the nagging thought that our presence is too often really just for show - a rubber stamp for the performance, an added (if questionable) thrill for the rest of the audience, or perhaps even a public buck-passing for the performers ("if you didn't like it, talk to HIM/HER"...).
However, every now and then, an event comes along which turns this all on its head, an event where everything is arranged to let us composers know - or at least make us feel - that someone really does want to know what we think about our music.
So I'm very fortunate this year to have been asked to take part in Soundings, an annual event set up and run by Andrea Rauter of the Austrian Cultural Forum London. Started in 2004, Soundings brings together 6 composers - three each from the UK (or at least based here) and Austria - and some of the UK's top performers at the Austrian Cultural Forum in South Kensington for a week. During the week, the performers have open rehearsals with the composers; the composers get to talk about their work, both in formal presentations and over lunch; various eminent musical personalities are invited to discuss new music - again, both formally and informally; and two concerts of music by the resident composers are presented. In a situation like this, the composers have the opportunity to work intensively with the performers to develop performances that are truly collaborative, they get to know one anothers' work intimately and exchange ideas, and the audiences have an opportunity to hear carefully prepared performances in a friendly, serious but relaxed atmosphere.
This year, pianist Mary Dullea has curated two concerts in which the Fidelio Trio (Darragh Morgan, violin; Robin Michael, cello; Mary Dullea, piano), soprano Patricia Rozario, mezzo-soprano Loré Lixenberg, flautist Rowland Sutherland, clarinettist Tom Lessels and speaker Gerald Davidson perform music by myself (Robert Fokkens), Ian Vine, Emily Howard, Elisabeth Harnick, Stephan Maria Karl and Gerhard Krammer. The theme of the week is "Inspired by Mahler" - taking into account the great Austrian composer's 150th birthday. Other events during the week include presentations by the composers, and discussions with Gillian Moore (South Bank Centre), Clarke Rundell (RNCM, Ensemble 10/10), Matthias Lošek (Wien Modern), and broadcaster Annette Moreau.
The main events of Soundings VIII - the two concerts - are on Wednesday 12 and Thursday 13 May at the ACF London (28 Rutland Gate, London SW7 1PQ). So if you'd like to hear some interesting new music presented by excellent performers next week - and see some contented composers into the bargain - join us next week in South Kensington.


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Art gives voice to the voiceless and fame to the ignored. You can learn various forms of art from dancing to sketching in Kepong. There are designated classes, drama workshops, and art events in Kepong for the same. If you just want to be a mere spectator you can attend theatre events and art exhibitions in Kepong too.
Ever wanted to volunteer in those nukkad, nataks or street shows? Wish to learn the basics of painting? Well, just explore through the art & theatre events in Kepong.
Get weekly email updates with the events that are just for you!
E.g. Jack is first name and Mandanka is last name.


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The "Institute of Geriatrics and Gerontology" directed by well-known Prof. Dr. Ana Aslan performed clinical and functional tests for the care prevention of cutaneous aging phenomena on impressing of cases. These were the foundation of Romanian cosmetologists that have developed a personalized treatment methodologies, using special cosmetic products to prevent the aging phenomena and to attenuate these where they have occur, to stimulate the defending reactions of the organism with the aim to prolong the well being, and to find the vital balance of entire body.
The complete lines of professional treatment both in beauty centers and at home, GEROVITAL H3, ASLAVITAL and GEROVITAL PLANT are not only a commercial illusion, but also a scientific reality.
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Bomber jacket: H&M Trend || Crochet bustier top: Trendsgal || 'Bandits' Shorts: One Teaspoon || Tribal Necklace: Topshop (old) || Boots: Vagabond
Yay it's Friday again, so the weekend is just around the corner. Hope you're all doing well! The last days have been very summer-unlike here in Germany, it was kinda cold and all cloudy. Hopefully the sun will show up again and never leave. I've been wearing this shiny printed bomber jacket made of jacquard fabric a lot since I bought it, isn't it stunning? It's definitely a statement piece with its gorgeous colors in blue, burgundy and gold and it got that awesome aztec print. H&M definitely nailed it this season, it's perfect. I still wanted the outfit to be more "summer" like so I combined it with my beautiful crochet bustier top I received from Trendsgal. It's awesome and it fits to everything you wear because of its khaki color. I can't wait to wear it with some kimonos during the next weeks. Furthermore I wear the most comfortable shorts which have ever been made and my platforms. This outfit is also perfect for nights out and parties, I really should go out more often haha.
Love x


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Yes, this Pittsburgh Post-Gazette graphic sums up Sunday's AFC Championship game matchup perfectly (WTF?). Time to worry: That Raven looks totally unaffected by the deadly eye beams. [Best Week Ever]
• Fast Times At Mt. Carmel High. Now on sale, copies of Donovan McNabb's senior high school yearbook. Featuring Philadelphia Eagles quarterback in class picture, varsity football, varsity basketball, varsity volleyball and in candids. [First Cuts]
• Did You Catch This Comparison? So the Cardinals have a bit of an edge when it comes to receivers, it would seem. [Philadelphia Eagles Examiner]
• You Have Not Wasted Your Life I See. Meet Tim Rich, the Baltimore Ravens fan whose entire front yard is decorated in lights as a shrine to the Ravens, including a lighted football field. [Fan IQ]
• Keystone Logic. Top 10 reasons why America should root for an all-Pennsylvania Super Bowl. 7. Finally, the historic saga of the Phil-Pitt Steagles will be widely known. [Five Tool Tool]
• The Arizona Cardinals Bandwagon Placement Test. Score your Arizona Cardinals knowledge. (Not responsible for injuries suffered from being thrown off the Arizona Cardinals bandwagon). [Fanster]
• Gotta Support The Team. Father-son Philadelphia Eagles man-breast tattoos. Take that, Communism! [NBCPhiladelphia]
• Conan O'Brien Vs. Fox Robot, Round II. Late night host really hates that robot. [Sox & Dawgs]


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< Back to Theatre
English National Ballet: My First Swan Lake
Following the success of their children - friendly adaptions of Cinderella, Sleeping Beauty and Coppelia, English National Ballet and English National Ballet School return to the Peacock Theatre with a new addition to the enchanting My First Ballet series - My First Ballet: Swan Lake.
The evil magician Rothbart has turned the beautiful princess Odette into a swan; only at night can she return to human form. Will Prince Seigfried be able to save her, or will he fall Rothbart's sorcery?
Featuring a narrator to help the young audience follow the story and a shortened version of Tchaikovsky's wonderful music, these performances are specially created to make ballet accessible and enjoyable to children from the age of 3 upwards.
This unique collaboration between English National Ballet and English National Ballet School is created by English National Ballet's Associate Artist George Williamson and performed by a second year students from English National Ballet School. A range of symbol resources are available to make the story more accessible to children with learning difficulties and disabilities.
Show Information
Thursday, 2nd April 2015
Saturday, 11th April 2015
1 hour 30 minutes
Venue Information
Peacock Theatre
Portugal Street
Map | Seating Plan
(5mins) Turn left on Kingsway and carry on 200 metres until Claire Market, where the theatre is on your left.


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Jorge Romero is a CERTIFIED FINANCIAL PLANNER™ professional and member of the Financial Planning Association. Serving clients at Carson Wealth Management in The Villages, FL and the surrounding communities.
Unless you have been on another planet for the past several months, and or years, you know that we are facing difficult financial times. Our...Read More >
The recent rise in banks looking to make up for lost revenue caused by tightening credit regulations and a seemingly never ending low rate...Read More >
The Financial Planning Association website has a very useful section called "Choosing a Planner," which begins by stating:...Read More >
When you buy a home, it's important to consider its resale potential, even if you have no foreseeable plans to move. Here are some tips:A...Read More >
When entering retirement, it's common to simplify your budget as much as possible by cutting all unnecessary expenses. Nix the expensive work...Read More >
Striving to improve our lives is part of being human. We all have things, personal and professional, we want to accomplish, goals we want to...Read More >
A sudden death or serious illness in the family can knock spouses and other family members for a loop. If the primary breadwinner dies, what...Read More >
As more Baby Boomers approach their Golden Years they are faced with a plethora of challenges. Especially for those with greater resources, the...Read More >
People frequently misunderstand the purpose and benefits of financial planning. They think it's only about beating the S&P 500 Index or...Read More >
In the wake of Bernie Madoff's $50 billion Ponzi scheme, many investors have grown more concerned about the safety and security of their...Read More >


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Hollywood legend Robin Williams a private man away from the cameras
Just remember, during Mork & Mindy's heyday, 60 million people watched Robin Williams' antics as Mork from Ork every week.
That was a different time, of course, when there was a TV in virtually every home, were just three major U.S. TV networks — two in Canada — personal recorders were unheard of.
Behind the whipsaw-smart one-liners, crazy accents and frenetic energy, though, was an intensely private man.
That was evident one sunny evening a year ago in Beverly Hills , almost one year to the day before Williams was found dead in his home in Marin County, Calif. He was 63.
Moments earlier, on that day in July, 2013, Williams had appeared alongside Sarah Michelle Gellar and writer-producer David E. Kelley at a press conference in Beverly Hills to promote their new sitcom The Crazy Ones.
Later that evening, as the shadows grew long on a typically bucolic Southern California evening, Williams and his colleagues decamped at a nearby lawn party to celebrate CBS's coming fall season at the summer meeting of the TV Critics Association.
A reporter from Postmedia News was engaged in conversation with Kelley when Williams walked up shyly, not wanting to be a bother. He was hardly visible in the crowd milling around on the lawn, clinking glasses of Chardonnay and engaged in their own private conversatiions. He seemed distant, faraway, immersed in thought.
A blogger for one of the myriad entertainment websites spotted him and turned momentarily to get his autograph. She saw that he was preoccupied in thought, though, and thought better of it. Kelley, the creator of Ally McBeal, The Practice, Boston Legal and countless others, nodded warmly at Williams, without saying a word, and Williams seemed happy to leave at that.
For a media star seemingly born to the spotlight, Williams could be remarkably shy and retiring in person. Wit came easily to him —rapid-fire, razor-sharp, lightning fast — but wit is not the same as confidence and contentment in life.
Williams could be wildly irreverent, but his lively wit masked a serious person. Years earlier, in an interview with Postmedia News, he confessed that it was the dramatic roles, in films like Dead Poets Society, What Dreams May Come, The Fisher King and, in particular, Moscow on the Hudson, that nurtured his soul. Moscow on the Hudson, Paul Mazursky's 1984 allegory based on Mazursky's own family experience about a Soviet circus musician who defects to the U.S. while on a tour of New York, affected him deeply, he said.
"Standup comedy teaches you that you have to take chances, and that in turn infuses your acting ability with the confidence to always be trying something new," Williams explained that day. "That's why I can do Insomnia or One Hour Photo. The comedy tells you, 'Don't be afraid.' You learn discipline. 'Stay with this.' 'Concentrate on that.' 'Don't be afraid to do a character sometimes.' The drama and comedy feed each other. It's symbiotic."
Even in his darkest moments, Williams found room for light and levity.
Asked, three years ago at a press session for his HBO one-man show Weapons of Self-Destruction, what he would say if he could go back in time to the young comedian in brightly coloured suspenders Mork & Mindy fans saw for the first time in 1978.
Williams said, without hesitation: "'Brace yourself. It's going to be a long ride.' Well, it's been a roller-coaster. It's certainly been interesting."
At the time, Williams was going back to the stand-up comedy circuit. The Crazy Ones was still a year away from making it to the drawing board.
"The reason I'm going back to stand-up is I've run out of the merchandising money from Bicentennial Man," he quipped.
Bicentennial Man or no, he was always a private man away from the cameras. He didn't like to be recognized; never wanted to be stopped in the street.
Once, while waiting to cross a street in downtown Vancouver at a traffic light — he was in Vancouver filming a feature film at the time — he was recognized by someone else waiting at the light.
"Hey, you're Robin Williams!" the passerby cried.
"Hey, you're right!" Williams replied. The light turned green. He stepped forward and, without a word, kept walking, without looking back.
He may have been private, but he never tired of telling that story.


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ASU Electronic Theses and Dissertations
This collection includes most of the ASU Theses and Dissertations from 2011 to present. ASU Theses and Dissertations are available in downloadable PDF format; however, a small percentage of items are under embargo. Information about the dissertations/theses includes degree information, committee members, an abstract, supporting data or media.
In addition to the electronic theses found in the ASU Digital Repository, ASU Theses and Dissertations can be found in the ASU Library Catalog.
Dissertations and Theses granted by Arizona State University are archived and made available through a joint effort of the ASU Graduate College and the ASU Libraries. For more information or questions about this collection contact or visit the Digital Repository ETD Library Guide or contact the ASU Graduate College at email@example.com.
- Thompson, Darrell Irwin
- 1 Arizona State University
- 1 Bush, Jeffrey
- 1 Demars, James
- 1 Little, Bliss
- 1 Norton, Kay
- 1 Sunkett, Mark E
- 1 English
- 1 Public
- FyrStar
- Music
- 1 African American studies
- 1 African studies
- Mobile Crowd Sensing in Edge Computing Environment
- The Effect of Disability on Subjective Well-Being across the Adult Lifespan: The Moderating Roles of Age at Disability Onset and Disability Type
- Mechanically Active Heterogeneous Polymer Matrix Composites
- Attribute-Based Encryption for Fine-Grained Access Control over Sensitive Data
- 并购背景下教育行业品牌价值研究
Illuminating Silent Voices: An African-American Contribution to the Percussion Literature in the Western Art Music Tradition will discuss how Raymond Ridley's original composition, FyrStar (2009), is comparable to other pre-existing percussion works in the literature. Selected compositions for comparison included Darius Milhaud's Concerto for Marimba, Vibraphone and Orchestra, Op. 278 (1949); David Friedman's and Dave Samuels's Carousel (1985); Raymond Helble's Duo Concertante for Vibraphone and Marimba, Op. 54 (2009); Tera de Marez Oyens's Octopus: for Bass Clarinet and one Percussionist (marimba/vibraphone) (1982). In the course of this document, the author will discuss the uniqueness of FyrStar's instrumentation of nine single …
- Contributors
- Thompson, Darrell Irwin, Sunkett, Mark E, Bush, Jeffrey, et al.
- Created Date
- 2012


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geodesignstudio brauchte ein neues Website Design und hat einen Wettbewerb auf 99designs gestartet.
Aus 16 Designs von 7 Designern wurde eine Gewinner gewählt.
We are DIYgamer.com, a unique gaming blog that covers everything you'd ever want to know about the indie and independent developed games. These are usually smaller games, like Super Meat Boy, Braid, and Joe Danger to name some of the larger indie games.
We are currently the third largest indie games site on the internet, and believe that if we had a really good design, we'd easily be able to make it to the top.
Gamers. This means we need big pictures, exaggerated icons, and stuff that really pops out at our audience. This is where our current site fails. We have a clean website, but it's altogether disjointed and unexciting.
Please take a look at the following sites to get a good idea of our target market:
These are all sites that are designed with the typical "gamer" in mind.
We really need something that "pops" to our audience.
Please take a look at our current website: http://www.diygamer.com and get a good feel for it. Currently we like the colors (blue/light green) and we like our logo. Also please keep the traditional blog format.
We need a better way to showcase premiere content, and we also need a place for our specific categories to be readily available and noticeable.
Currently we have four ad spots. In our redesign we only want 2. One 728x90 header, and a 300x250 box, probably located in the sidebar.
We also need our login area to be in a readily available spot that's noticeable.
Overall, something like this: http://www.templatemonster.com/webs…h=0&tab=32
That template is great. So feel free to use that as a basis for what I am looking for.
Attached you'll find our logo as well as the original design PSD. Feel free to tweak the logo if it serves your purpose.
Finally, this is a Wordpress Design. The reason it's here is because I don't need it coded, I just need a clean design. What I do need, however, is all the Wordpress extra designs like:
1. Quoted box
2. Bullet/numbered points
3. Box around uploaded pictures for captions.
These are pretty simple things, but I still need them to keep the consistency of the website.
Please give me the full design PSD, ready for web.


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At Enable Labs, we have decades of database development experience. The proper selection and setup of a database engine can make orders of magnitude differences in the speed of your application. Here are some areas of database development expertise we possess:
Centrally located in the heart of New York's Tech Valley, Enable Labs can provide these services to businesses located in or operating in Lake Luzerne, NY. Many of our staff were born and raised in upstate New York and know Lake Luzerne well. As you can see listed below, Enable Labs has a lot to offer the businesses of Lake Luzerne, NY. Contact us at 866.895.8189 to get started.
Sometimes database development can be more about the database engine and hardware platform you select and how those things are configured. At Enable Labs, we have experience performance tuning databases and servers to get the best performance from the resources available.
When you engage in database development where data is coming from, or integrating with, a legacy system. Being able to analyze the structure of that database, often without documentation, and make crucial design decisions based on that analysis is absolutely critical.
An important part of designing the schema for any database development project is to facilitate comprehensive reporting and to design reports that add value for the client consuming the report at a granularity that can be acted upon.
When you are engaged in database development, the key to the speed, the performance and the flexibility of the system lies in the ability to design a 'truthful' schema for the database.
We have done our share of database development using schema-less document databases. The purpose of such a database is to be able to store data that while the stored has some common components there can be dramatic discrepancies in the material stored. Medical records, for example, are best stored in such a system.
A key phase of almost any database development project is the migration of data from its existing storage solution to the selected database. At Enable Labs, we've migrated data from some pretty exotic legacy systems.
Almost as important as schema design to the success of any database development project is the ability to construct and understand database queries. These queries, at times, can be quite complex. While simplicity in most circumstances is often best, there are times when dealing with databases that a more complex query will return an answer orders of magnitudes faster than simpler queries that piecemeal the answer.


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The car Fast & Furious star Paul Walker died in wasn't easy to drive.
Introduced in 2004 with a $500,000 price tag and a production run of just over 1,200 cars, the Porsche Carrera GT is a coveted supercar, but even veteran drivers have crashed these 200 m.p.h. torque monsters. Many have even speculated that the car was discontinued by Porsche just three years later because of its unwieldiness.
Comedian and wrench-head Jay Leno spun his GT out doing 182 m.p.h. at Talladega and two men were killed in a Carrera GT at California Speedway in 2005. In the later case, the driver hit a wall at over 100 m.p.h. trying to avoid a Ferrari on a track day.
Rally car driver and Porsche test driver Walter Röhrl told Australia's Drive magazine about the Carrera GT back in 2002:
It is "the first car in my life that I drive and I feel scared…"I came back into the pits and I was white," Rohrl said. "I immediately said to the engineers that we need one button for the wet and one button for the dry", referring to the need for a traction control switch."
The Carrera GT puts down 612 horsepower, which isn't easy to harness — when Top Gear's Jeremy Clarkson reviewed it, he said "You need to be awake to drive this fast. It really isn't an easy car to control, the clutch is brutal, the power is savage, and the handling… you really are on a knife edge…Other cars forgive you, but make a mistake in that and it bites your head off."
The previous owner of the car in the Paul Walker crash was Indy Car driver Graham Rahal, who told Autoweek, "It says it has traction control, but that traction control on that car is not going to do a thing to save you." Rahal told the magazine this is what thrilled him about the car, but then, he's a professional.
But even professionals could see the danger in a car, Doug DeMuro a former Porsche manager told Jalopnik just how scary the Carrera GT is:
"The car is crazy….I think conservative estimates say something like 70 of these are off the road, and they keep severely injuring and killing people. My favorite car ever, in the whole world, but man are they dangerous. A close friend of mine has one here and I refuse to let him take me for a ride — even the pros at the driving school in Birmingham were really cautious with it."
Walker's friend and business partner Roger Rodas owned the car and was behind the wheel during the crash that also claimed his life. By all accounts Rodas was a serious driver, racer and the owner of a sports car motorsports shop in Southern California, but it may not have been enough to corral the Carrera GT.
Watch Top Gear's Porsche Carrera GT: