text:
Six active players join O'Bannon lawsuit against NCAA
- Football players from Arizona%2C Minnesota%2C Clemson and Vanderbilt are new plantiffs
- Until now%2C only former college athletes%2C headed by UCLA basketball star Ed O%27Bannon had been named
- Case is awaiting a federal judge%27s ruling on whether to certify it as a class action
Six football players Thursday became the first current athletes to join a lawsuit against the NCAA pertaining to the use of college athletes' names and likeness.
Arizona linebacker Jake Fischer, Arizona place kicker Jake Smith and Clemson defensive back Darius Robinson joined a lawsuit in U.S. District Court in Califiornia against video game manufacturer Electronic Arts and the nation's leading collegiate trademark licensing and marketing firm, Collegiate Licensing Co.
Also added to the case are Vanderbilt senior linebacker Chase Garnham, Minnesota senior tight end Moses Alipate and Minnesota senior wide receiver Victor Keise.
The addition of the new players came as part of filing in which lawyers for the plaintiffs also amended their complaint with the inclusion of a series of new and scathing allegations against each of the defendants.
Among them are that:
-- Then-NCAA president Myles Brand in "public remarks" in 2008, "conceded" that "(t)he right to license or sell one's name, image, and likeness is a property right with economic value."
-- EA and CLC "actively lobbied for, and obtained, administrative interpretations of those rules that permitted greater uncompensated exploitation of student-athletes' names, images, and likenesses. Where their formal efforts were unsuccessful, EA and CLC obtained agreement from the NCAA to permit greater uncompensated exploitation of student-athletes' names, images, and likenesses notwithstanding the rules."
-- In August 2007, when licensing of video games was being negotiated, EA "offered to establish a 'players' fund' for the use of the (student-athletes') names, images, and likenesses. CLC, negotiating on the NCAA's behalf, instead suggested that the money should go to the NCAA. EA agreed to pay a kicker to NCAA in order 'to align interests and incentivize all parties to help build the category with new rights.' EA made this offer contingent on 'no royalties . . . to a player fund.' "
NCAA spokeswoman Stacey Osburn said via text message the association "will reserve comment until we have had time to read the amended complaint."
Until Thursday, the named plaintiffs in the case were a group of former college athletes, headed by former UCLA basketball star Ed O'Bannon and including all-time greats Oscar Robertson and Bill Russell.
Fischer is a 6-0, 222-pound senior from Oro Valley, Ariz., who led the Wildcats with 119 tackles last season, 76 of them solo. He was an all-Pacific-12 Conference honorable mention selection on the field and a Pac-12 first-team all-academic honoree off it.
Smith is a junior kicker from suburban Philadelphia who began his college career at Syracuse and transferred to Youngstown State before coming to Arizona, where he is expected to compete for the starting role.
Robinson is a 5-10, 170-pound senior cornerback from College Park, Ga., who missed half of each of the last two seasons with injuries. He has 33 tackles and 3 interceptions in 25 games, including 12 as a starter.r
Garnham is a 6-3, 236-pound middle linebacker who led Vanderbilt in 2012 with seven sacks, and has been a key member on defense the past two seasons.
Alipate is a 6-5, 281-pound senior who has never appeared in game for the Gophers. His father, Tuineau, played in 24 games for the New York Jets and Minnesota Vikings from 1994-95.
And Keise is a 6-1, 188-pound senior who has played in 14 games in his career, catching one pass during his freshman season.
None of the athletes could be reached for immediate comment.
"We are aware that Jake Smith and Jake Fischer are now plaintiffs in the lawsuit," Arizona AD Greg Byrne said in a statement. "While we do not support the lawsuit, we support their right to be involved and express their opinion. They are two fine young men and we are glad they are part of our program and University."
Arizona spokeswoman Molly O'Mara said Fischer and Smith would not do any interviews immediately and that Fischer will address the matter at the Pac-12 media day July 26.
U.S. District Judge Claudia Wilken ruled earlier this month that the suit could be amended to add new plaintiffs who are current players. She discussed granting permission for that at a June hearing on whether to certify the suit as a class action. She has not yet ruled on that question.
Thursday's news came one day after the NCAA said it would not renew its licensing agreement with EA Sports. The NCAA said it was confident of its legal position for use of its name and logo, but "given the current business climate and costs of litigation" it won't enter a new deal after the current one expires in 2014.
That doesn't necessarily mean that NCAA Football 2014 will be the video game's final edition, as NCAA member schools license their own trademarks for it.
In the O'Bannon suit, he and the other plaintiffs allege that the defendants violated anti-trust law by conspiring to fix at zero the amount of compensation athletes can receive for the use of their names, images and likenesses in products or media while they are in school and by requiring athletes to sign forms under which they allegedly relinquish in perpetuity all rights pertaining to the use of the names, images and likenesses in ways including TV contracts, rebroadcasts of games, and video games.
If Wilken certifies the suit as a class action, it could allow thousands of former and current football and men's basketball players to join the case. That could create the possibility of a damages award in the billions of dollars. In addition, if the plaintiffs were to get everything they have said they are seeking, it would force the establishment of an entirely new compensation arrangement for current NCAA Bowl Subdivision football players and Division I men's basketball players -- one under which "monies generated by the licensing and sale of class members' names, images and likenesses can be temporarily held in trust" until their end of their college playing careers.


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David and Victoria Beckham have welcomed to the world the sixth member of their family, their fourth child and first daughter: Harper Seven. In terms of bizarre athlete baby names, this one ranks somewhere between George Foreman III and George Foreman IV. Everyone's trying to come up with an explanation: 7 was one of a few kit numbers Becks has worn in his career, and there's the legendary Seinfeld episode too. This isn't the couple's first weird baby naming: their first is Brooklyn, named after where the child was conceived. Maybe this time, the magic moment took place somewhere between Manhattan and Queens, making it impossible to tell.
Harper Seven – a daughter for Victoria and David Beckham [Guardian]

subset: commoncrawl


text:
New Hampshire Maps
This entry was originally written by George F. Sanborn Jr., FASG, and Alice Eichholz, Ph.D, CG for Red Book: American State, County, and Town Sources.
New Hampshire is a state with excellent map sources, making it possible to follow migration trails with the use of political divisions and geographic features. David A. Cobb, New Hampshire Maps to 1900: An Annotated Checklist (Concord, N.H.: New Hampshire Historical Society, 1981), helps to identify and locate many maps for research purposes.
An excellent, currently published atlas for the entire state is The New Hampshire Atlas and Gazetteer published by DeLorme Publishing in Freeport, Maine. It is continually updated and has excellent cartography of New Hampshire features, including roads (indicating type of surface) and geological features. Earlier versions contain markings for structures, some cemeteries, and churches. Although it is slightly oversized for easy carrying, its usefulness outweighs this hindrance.
Statewide nineteenth-century maps are also excellent. D. H. Hurd and Co., Town and City Atlas of the State of New Hampshire (Boston, 1892) indicates occupants' names for structures and treats each town on a separate page with close-up maps for more populated areas. Saco Valley Publishing, 76 Main St., Fryeburg, ME 04037, has been reprinting excellent county editions of these in a handy notebook size.
Early folio-size maps were published by H. F. Wallings and Charles H. Hitchcock in Atlas of the State of New Hampshire (New York, 1877). Although individual structures are not shown on these maps, such detail can be found on the large county maps done by Wallings, Chase, and others in the 1850s.
As with other New England states, obtaining a copy of the town's lotting map (the way land was divided before being granted or sold) can be extremely beneficial in solving genealogical problems. The most comprehensive collection of these can be found at the New Hampshire Records and Archives. The layouts are catalogued by town, and include the numbering process of lots and, in many cases, name of the original proprietor, which can help backtrack land holdings and provide a chain of title for problem solving. Many of these are found in the New Hampshire State Papers (see Background Sources for New Hampshire) as well.


text:
Ah, I see. Yes. The algorithm in Section 2 is designed to be re-usable in other specs. For example, HTML 5 could reference this spec. Implementations might need to have funny behaviors for things like file:// URLs. Letting them return an implementation defined value here (and supporting it in Section 3) helps them do that. Adam On Sat, Apr 11, 2009 at 12:26 PM, Bil Corry <firstname.lastname@example.com> wrote: > I wasn't clear, apologies. I'm confused why Section 2 Step 3 requires the UA to return an implementation-defined value for Origin, then turn around and required it be sent as "null" when it's sent to the server (Section 4.2 Step 1). If it will be sent as "null", then why not just have Section 2 Step 3 skip the implementation-defined value and instead set it to "null"? Or is there another use client-side for the implementation-defined value? > > > - Bil > > > Adam Barth wrote on 4/11/2009 11:46 AM: >> I don't understand what you're requesting. The spec already says that >> in Section 4.2, step 1. Requirement 1 of paragraph 3 of section 5 is >> to ensure that all POST requests (including those generated by the >> browser itself) contain a sensible Origin header. >> >> Adam >> >> >> On Sat, Apr 11, 2009 at 5:27 AM, Bil Corry <email@example.com> wrote: >>> But if it never gets sent to the server, is there some other purpose for a UA to calculate the Origin string? Couldn't the draft simply state that to calculate the Origin, if it isn't a (scheme, host, port) tuple, it's "null" since that's all that gets sent anyhow? >>> >>> - Bil >>> >>> Adam Barth wrote on 4/10/2009 1:01 PM: >>>> This is to support things like data URLs that can't be represented as >>>> a (scheme, host, port) tuple. >>>> >>>> Adam >>>> >>>> >>>> On Thu, Apr 9, 2009 at 9:48 AM, Bil Corry <firstname.lastname@example.com> wrote: >>>>> I wanted to clarify something in the IETF Origin draft[1], which is now going to serve as the basis for HTML5's Origin. >>>>> >>>>> Section 5 requires that when a user agent provides the Origin header, it must either send "null" or the ASCII serialization of the origin. ASCII serialization (and Unicode serialization) stipulates that if an origin is not a scheme/host/port tuple, then it must return "null". Section 2 allows implementations to define other types of origins in addition to the scheme/host/port tuple. So my question is, if a user agent defines another type of origin, but is required to send "null" for it in the Origin header, is there some other use for defining other types of origins? >>>>> >>>>> >>>>> - Bil >>>>> >>>>> [1] http://www.ietf.org/internet-drafts/draft-abarth-origin-00.txt >>>>> > >Received on Saturday, 11 April 2009 19:49:33 UTC
This archive was generated by hypermail 2.4.0 : Friday, 17 January 2020 18:12:53 UTC


text: Thursday, August 22, 2013 MoveForwardPT.com Seeks Applicants for Editorial Board Positions APTA is seeking members to help develop and review content for MoveForwardPT.com, the association's official consumer website. Two vacant positions on the MoveForwardPT.com Editorial Board are waiting to be filled. New members will join the current editorial board, which helps write, edit, and review content, such as the detailed symptoms and conditions guides, according to their area of expertise. Board members also facilitate content development and review with other physical therapist experts in the field. Applicants must be APTA members with a strong clinical background, proven writing skills, and a keen interest in developing evidence-based, consumer-friendly content. Read the full position description. If interested, send a curriculum vitae, letter of intent, and appropriate writing samples to Katie Kissal, senior web content specialist. Please do not volunteer for this position in the comments section of this article. The application deadline is September 21.


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text:
This is a highlight of my year and highlight of ministry opportunity for me and I am a man under orders to share it with you, the Word of God. That's a divine mandate and I am also under another mandate from Rick to open the Word of God to something I've been preaching on for the last five weeks, or more, and that is the familiar story of the Prodigal Son in Luke 15. I hope we have enough house light out there, maybe we can open up a little bit so you can see your Bible. I just want to point you to the Scripture, so you're going to need to be able to see that if we can get a little more light in the house it would really be helpful, I think, for everybody.
The text before us, like so many texts, a very familiar text and yet there are so many unfamiliar elements to it, and that's the genius of our Lord as a teacher. Anybody who knows this story knows the story that we call the story of the Prodigal Son. You might be interested to know that it has been considered by some people, no less that Charles Dickens, the greatest short story ever written. Also by Ralph Waldo Emerson, the greatest short story ever written. Now that makes you think about...what am I missing? Is there something there that I haven't seen? And there really is.
To get us into the story a little bit, I just want to remind you of some of Jonathan Edwards resolutions, if I may. Resolution number one that Jonathan Edwards made was, "I am resolved to do whatsoever I think most to the glory of God." Resolution number four, "Resolved never to do any manner of thing, whether in soul or body, less or more, but what tends to the glory of God." Resolution number twenty-three, "Resolve frequently to take some deliberate action for the glory of God or if I find it not to be for God's glory to repute it as a breach of number four." Number twenty-seven, "Resolve never willfully to omit anything unless the omission is for the glory of God and frequently to examine my omissions."
I think we know Jonathan Edwards enough to know he was consumed with the glory of God. And Edwards also understood that God's joy is connected to His glory. God rejoices when He is glorified. He infinitely values, says Edwards, His own glory and finds infinite joy in that glory. Amazing thoughts. Edwards also understood that God's joy is greatest where His glory is greatest. And in human history, that is in the work of the salvation of sinners. God has, writes Edwards, greatly glorified Himself in the work of creation and providence. All His works praise Him and His glory shines brightly from them all. But as some stars differ from others in glory, so the glory of God shines brighter in some of His works than in others. And amongst all these, the work of redemption is like the Son in His strength. The glory of the author is abundantly the most resplendent in this work of redemption. God's glory is greatest in redemption and therefore God's joy is greatest in redemption.
Further, Edwards said, "Christ has done greater things than to create the world. What greater thing? To obtain His bride and the joy of His marriage to her." Edwards said that God's single end in redemption is His own happiness and joy. And I might add, the more sinful the sinner has been, the more joyful God is in His salvation.
To live your life to the glory of God and the joy of God, you must be involved in the work of redemption. That's what this story is really all about. Let's look at it.
Background, a little bit, verse 35 of chapter 14, Jesus says at the end, "He who has ears to hear, let him hear." This is a call on the part of our Lord to those ho are willing to listen to His message, His message of Kingdom salvation. And just who was listening? Chapter 15 verse 1, "Now all the tax gatherers and the sinners were coming near Him to listen to Him." It was the outcasts, it was the scum, it was the riff-raff, it was the lowlifes who listened believingly, penitently and savingly. And really these are two categories that are used sort of in a general way to describe the worse of the worst. Tax collectors were the lowest people socially, religiously in the life of Israel. Why? Because Rome occupied Israel and Rome sold tax franchises. Greedy Jews who didn't care at all about their own people, who had no religious passions whatsoever and could somehow benefit from pagan idolatrous, Gentile occupation bought those tax franchises and strong armed people out of their money, taking what Rome required and everything else they could get. It became a way to occupy a criminal operation. They were sort of the Israeli mafia. They were surrounded by thugs, people who could extract the money out of people to fill their coffers. They were unsynagogued. They were disassociated from society. They were put out families. They were considered to be outside the purposes of God. They were the traitors of all traitors, hated by the people.
And then there's the term "sinners" which just collects the thugs that went along with the tax collectors, as well as all the lowlife criminals and prostitutes that occupied the base level of immoral activity in Israel. These are the kind of people of whom the rabbis said, "Let not anyone associate with such people, not even to bring them near to the Law of God." But they were the ones who came to Jesus. They were the ones who heard and listened. Verse 2 says, "And both the Pharisees and the scribes began to grumble or murmur saying, 'This man receives sinners and eats with them.'" These are the self-appointed elite. These are the religious leaders of Israel. They had plied their legalistic religion through the local synagogues and so they really had the ears of the people. They were in every town, in every village and every neighborhood through the synagogue. They really owned the synagogue layout and that's what dominated the life of Israel. They were self-righteous. They believed that you earned your way into God's Kingdom by being moral on the outside, fulfilling all the ceremonies that were required of you. They were the in people. They were the pure and the holy, far too pure and too holy to be polluted by any association with sinners. And when they saw Jesus associating with sinners, they drew one single conclusion...He is satanic because He hangs around Satan's people. These people were the people who were self-appointed, religious, holy people who looked down on Jesus and this was a malicious attitude they had toward Him in which they assigned Him a place with Satan and the kingdom of darkness. They said He does what He does by the power of Satan.
This sets up the scene. Jesus is doing the work of God which is the redemption of sinners. That's what glorifies God. That's what gives God joy. They see it as the work of Satan. That's how far from God they were. You can't get more far from God than that, that's 180. His response to their self-righteous anti-evangelism was to unmask them as very far from God, very distant from God, knowing nothing of His glory and nothing of His joy.
He explains what He's doing in three stories. The first one, verses 3 through 7, is a story about a man who finds a lost sheep. It's in a rhetorical question, I won't read it. But the end of the story is verse 7, the man goes, he finds the sheep, he rejoices with his friends because the sheep has value. Verse 7, "I tell you in the same way, there will be more joy in heaven over one sinners who repents than over 99 righteous persons who need no repentance." Heaven rejoices over one sinner's repentance. They didn't get it. This was the work of God that brought Him joy.
He tells a second story about a woman who lost a coin, again that has value. She finds the coin, she calls her lady friends together. "Rejoice with me," verse 9, "I found the coin." The application, verse 10, "In the same way I tell you, there's joy in the presence of the angels of God over one sinner who repents.
The point is, you are so far from God you don't get it. God's joy is found in the salvation of one sinner. That generates joy in heaven. God is not waiting for ten thousand sinners to start the party. He's not waiting for a thousand or a hundred or ten. The celebration in heaven goes on over one sinner who repents. This is the point of the whole chapter, the joy of God.
Now we come to the story I want you to look at with me, verse 11. But I need to tell you just a couple of things. This is a different culture. This is Middle Eastern village peasant life, okay? Different culture, Middle Eastern village peasant life, we don't know about that...no Middle Eastern village had this kind of music, or anything close...very different life. But for us to understand the story, we've got to begin to think the way they thought. And simply, you just need one thing and that is this, they were dominated by a shame/honor paradigm. Everything related back to what was honorable and what was shameful. And they had a very, very clear, almost sub-conscious understanding of shame and honor. This is huge to them. You did what brought you honor, you never did what brought you shame. And by the way, if that was true in Middle Eastern peasant life, it was particularly true among the Pharisees and the scribes. The scribes, by the way, were the textual experts that informed the religion of the Pharisees. They worked hand in hand, but they both believed the same things. And shame and honor were big stuff, they're always big stuff to hypocrites. And you have to understand this, the story Jesus tells is a bizarre unbelievable, incomprehensible, wild, wacky, ridiculous story of non-stop shame that nobody could understand. Everything Jesus talks about in this story is counter to their intuitive thinking. It is against the grain of their society. They do not function this way. They do not think this way. The level of outrage just continues to escalate. This is a head-shaker and an eye-roller. The Pharisees must have been going...Whoa!! This was just way over the top because everything was so shameful. Shocking stuff from start to finish.
Let's begin, a shameful request, verse 11. By the way, it's not a story about a son, it's a story about a certain man who had two sons. So there's three characters, a father and two sons. "The younger of them said to his father, 'Father...'" That's very respectful by the way. "'Give me the share of the estate that falls to me.'" And at this point, they would step back. "What? That's unthinkable. The younger son is asking the father for his share of an inheritance? He's out of rank." There's a pecking order. If he's younger, somebody's older. This is not only out of rank, this is disrespectful, this is selfish. You get the estate when the father dies. This is like saying, "Father, I wish you were dead. You're in the way. I want what's mine and I want it now and I'm tired of waiting." He sees the father as an impediment, as a restraint, as an unwelcome point of accountability. He doesn't want the father around. He doesn't want accountability. He wants freedom, independence. He wants his money and he wants it now. This is totally disrespectful. This is, of course, a violation of the commandment to honor your parents. He wants nothing to do with an ongoing relationship to the family. I want you to notice something very important. He says, "Give me the share of the estate," tas useios(???), give me the property and the goods. He didn't want to take over his inheritance and begin to develop it and use it for the good of the family in the future, he wanted the cash. I want the goods. I want the property. I want it now. I want no future with his family. I'm not asking you to let me manage what is rightfully mine and would be mine at your death, and just give it to me early and let me take over the management. He wants nothing to do with the father, nothing to do with his brother, nothing to do with the family ever again. And there is no precedent in Jewish society for this. This is an absolute outrage. This is a shameful request. And the village, as well as the Pharisees listening, if there were village people in the story, they would expect one thing...the father would raise his right hand and slap that young man right across the chops. And then he would punish him as severely as it could happen, a beating publicly because the father must protect his honor at all costs.
The shameful request, however, leads to a shameful response. I want you to see what the father did, end of verse 12. "And he divided his wealth between them." What??? What? The father is supposed to protect his honor. He does exactly what this willful, rebellious, hateful son asks. This is absurd. You're supposed to wait till he's dead and then the younger gets one third, the older gets two thirds...but not until. You might assume that a father would do this for a good purpose, but to fund the rebellion of a hateful, disrespectful son? The father should do everything to protect his own honor. He's been publicly embarrassed by this son and he needs to take the high ground and preserve his honor. But he does the very opposite. He acts in a shameful, disrespectful way toward himself. This is a dishonorable, ridiculous father. First of all, no boy would ask that. Secondly, no father would do that. The whole thing is an outrage.
Somebody might say, "Well the father must really love the boy." Yeah, but it's a silly kind of love from a human viewpoint. It's a foolish kind of love. This is not tough love. This is ridiculous kind of thing, giving him his freedom, letting go of this boy when you know he's the kind of boy he is. You'd want to do everything you could to pull him in tightly.
By the way, just as a footnote here. The older son had the job in the family of protecting the father's honor and protecting the younger siblings from doing foolish things. But the older son never appears here, never shows up in the story. Some of those people, so the Pharisees would be saying, "Well where was the older brother here? His duty is to preserve the father's honor if the father doesn't protect himself Where is he? His duty is to protect the younger brother from doing foolish things. Where is he?"
So there's a sense in which even the older brother appears shameful in the story. But the estate is split, and that means the older son got his two thirds, the younger son got the one third that was coming to him. And that launches a shameful rebellion, verse 13, "Not many days later," this is to indicate how fast this young man acts. He is driven by lust and passion and evil desire and there's no delay possible, he wants to move as fast as he can. And what he does, it says, "The younger son gathered everything together." In the Greek that simply means he turned it into cash. Now how do you take an estate that's been accumulating for really generations, family building, a very large estate, this is a very large estate because there are servants, there are hired men, there are hired musicians, there's a fatted calf, all the stuff that shows up in the story indicates a very wealthy man. How do you liquidate that rapidly? Well you can do that but you're going to have to sell it at a...what?...at a discount. So he trivializes the value of this thing, he wants to turn it into cash. Now, in Jewish culture even if you bought it, you couldn't take it till the father died. So somebody was willing to buy a future. The reason they would buy a future is because they would get it at a discounted price, so he gets the cash, turns the property over to some buyer who will take that property when the father dies.
This is stupid, sacrificing your future on the altar of the immediate. He goes on a journey into a distant country. That was the whole point, get as far away from home as you can, far away from accountability as you can, far away from restraint as you can, far away from anybody's scrutiny as you can. Get out there where you can live exactly the way you want to live and nobody that cares about you is going to know.
By the way, there would be a funeral, a family would have a funeral. That's why later in the story the father says, verse 24, "This son of mine was dead." He was dead to the family. A shameful rebellion, he squandered his estate with loose living, so driven by lust and sin and evil desire, he just wastes it, absolutely wastes it. This is where prodigal comes from, it's a term that means wasteful. He scatters his future and has nothing to show for it. Loose living is dissipated, debauched, irresponsible living.
Later on in the story, his older brother verse 30 points out that he wasted a lot of it on prostitutes. All that was his fault. There were some things that weren't his fault, verse 14, when he had spent everything, a severe famine occurred in that country and he began to be in need. Not his fault, but that's how life is. And what happens in a famine? You can read some fascinating things about famines in ancient history, people eat garbage, they eat sandals, they eat stray animals. During famine times in Israel went under siege, the Jewish people even ate the afterbirth. This is life at the bottom. And he becomes a beggar, verse 15. "He went and attached," interesting Greek word here, kollao, it means to glue. That's what beggars do. If you've been in Third World countries, man, it's hard to get rid of beggars. They stick their hands in your pockets, they pull on your clothes, particularly young ones. So he does this, he attaches...he finds some citizen in this far country which would assume to be a Gentile country and he glues himself to this citizen and the guy can't get rid of him. So finally he sent him into the field to feed swine. It wasn't really a legitimate hiring, I guess he thought it was, but it wasn't, it was just a way to get rid of this relentless beggar.
Now you can understand the outrage. The shame of approaching the father this way, the shame of the father in funding the rebellion, the shame of selling the estate cheap, the shame of turning it into cash, funding your gross immoral living, the shame of becoming a beggar attached to a Gentile and now to be sent to feed pigs. And, you know, they're just rolling their eyes saying, "This...this...nobody is going to do that, no good Jewish boy is going to do that. Are you kidding?" And it gets worse. Verse 16, he's out there ostensibly to feed the pigs. Guess what? He's longing to fill his stomach with the pods the swine are eating because nobody was giving anything to him. He went out there maybe thinking he had a job, nobody gave him anything and now to survive, he has to fight the pigs for the carob pods that the pigs eat. I mean, this is just bizarre. I mean, you go from wealth to trying to stick your face in between snouts and eat carob pods with pigs in a Gentile place? I mean, the shame is beyond comprehension. And even so, he is starving to death. Verse 17 he says, "I'm going to die of hunger." He can't do it. He can't beat the pigs to the pods.
What is this? What is Jesus talking about here? Well this is desperation. This is the sinner, poor, destitute, hungry, hopeless, debauched, dissipated, dying. This is desperation. And the lesson? Sin is rebellion against God and God will give you the freedom to choose your sin. You can choose it, He'll give you freedom to take your sin as far in any direction as you choose to take it. Here is the rebellion of one who had no relationship to the one who gave him life, no relationship to the one who gave him life, no relationship to the one who held all the riches he ever could have needed all his life. No relationship to the one who could give him a future as well as a present. That's how it is with sin, it is disdain for God's person, God's rule, God's authority, God's will, God's goodness, God's resources. Sin is a desire to run from God to avoid all responsibility, accountability to God. It is to deny God any place in your life. It is to dishonor God, to take all the loving gifts that are available and squander them as far away from God as you can get. It is to waste your life in self-indulgent dissipation, unrestrained lust, shunning all God's goodness. It is reckless evil. It is selfish indulgence that takes you to the brink of death. Sin looks for fulfillment outside and away from God and never finds it. It leaves the sinner exhausted, emptied, hungry, hopeless.
The picture is extreme, no question. Not everybody is this bad. But the question is, how is the father going to deal with somebody who is this bad? Jesus really has invented the ultimate sinner. This is as bad as you can get...disrespect to parent, disrespect to community, dissipation of your own body, immorality to the max, violating all your cultural conformities, going to a despised place and attaching to despised people. This is the pits. This is not skid row, the skid is over. This is the bottom. This is the ultimate sinner and not every sinner is that bad, but it's pretty important to find out how this father's going to deal with one who is.
And the shame is not over. A shameful repentance follows, verse 17, "When he came to his senses..." By the way, that's always the start of repentance, when you begin to assess your true condition. He said, "How many of my father's hired men have more than enough bread?" I'm dying here of hunger. Just a little note here that Jesus speaks with an economy of words that's always staggering to me. He says, "More than enough." Wow, let me tell you about a hired man. The social structure, of course you had the land owners, the people with the money, and then you had the tenant farmers who rented little pieces of it and worked the land and you had the little shop owners who had maybe their own little business here and there, little craftsmen who did certain things. Then you had servants. Servants was a category of people who basically were part of the family. They were hired, you housed them, you fed them and they did service and they really were part of the family. Then you had what are here called misthos, hired men. They were day laborers, they hung around, they just hung around hoping somebody would hire them, like the parable where Jesus, you know, talks about the man who had a harvest and he went into town looking for people at 6 a.m., and 9 a.m., and twelve and then three, trying to find people who could come and work for the day. Back in Leviticus it says when you hire a day laborer you have to pay him at the end of the day, can't keep his wages over night because, he says, he sets his heart on that. He's got to feed his family, he works one day at a time. These are the low people on a pole. And some of them did very menial...most of them the menial unskilled work, although some were craftsmen of some kind.
But there's something about the father here that's really interesting. He says, "How many of my father's hired men have more than enough?" You know what that tells you about this man? Because hired men barely eked out an existence. They were just a little bit above the destitute and he is saying, "My father gives the low people on the economic ladder more than they need. What does that tell you about the father? That he is merciful, that he is generous, that he is good. And this is where he begins to realize the goodness of his father...he's good, he gives more than enough and I am dying here with hunger. And he begins to trust in his father's goodness and trust in the mercy and compassion and love of his father which he scorned once but which he recalls was characteristic of his father. Verse 18, "I will go, I'll go to my father and I will say to him, 'I'm going to trust my father's mercy, I'm going to trust my father's goodness and compassion, evidence in the way he treats the lowest people that I can go back to him and he will in some way receive me. This is what I know to be my father's nature.' And I will say, 'Father, I have sinned against heaven and in your sight. I'm no longer worthy to be called your son, just make me as one of your hired men.'" Wow, this is embarrassing. He's not only got to go to his father and face his father and the way he's treated his father in the past, he's going to face his older brother, he's got to face the village. The father has been shamed, but so has the son and he's going to get the scorn and the ridicule and the mockery and the disdain of the village because it was required to give him that. That was part of the cultural punishment for this kind of misbehavior, to uphold the honor of the father and the village.
Not only that, he's looking at years of hard labor. How do you earn back a third of a massive estate as a hired man? At low wages this will take years and years and years and years and only after it's all been earned back, restitution complete, will there be hope of reconciliation. He knows his sins are great, verse 18, "I have sinned...literally in the Greek...into heaven." It's another way of saying what the Old Testament says, "My sins are as high as heaven." There's no holding back here, he knows what he has become. He asks for no privileges in his mind, no rights, he's forfeited them all. He can make no claim. He doesn't ask to be in the father's house. He doesn't ask to be a family member. He doesn't ask to be a servant in the father's house, not at all. All he wants is the father to be merciful enough to him to let him work as a day laborer, paying minimum wage for as many years as it takes to earn back everything he lost and the hope that there could be a reconciliation. He sees now that when he's exhausted his options away from his father, all he got was death. And he will pay any price for the life his father possesses. He'll take the punishment, he'll take the humiliation, he'll take the hard labor. What a picture.
Here is a sinner in true repentance. He's come to desperation, who realizes that this is the path of death. He wants reconciliation, he's willing to confess that his sins are as high as the heavens. He knows he has no rights and no privileges and can lay no claim to anything. He wants reconciliation at any cost, even a life of hard labor. Boy, that's the real kind of repentance.
What a picture...what a picture. At this point the Pharisees and the scribes are saying to themselves, "Well, that's exactly what that boy should do." This is the first thing that had any sense to it. That's what he should do. And he did. Verse 20, "He got up, came toward his father, walked back in his filthy swine-smelling, stinking clothes, trudged back toward the village."
Now what can we expect the father to do when he gets there? Well the Pharisees would know exactly what the father would do. Finally this father has an opportunity to sustain his honor and to do what he should what is right and just and honorable and what the father should do is stay up in his estate and when somebody says your son has come to town, the father says, "I'll see him in four days. Let him sit in his stinking clothes and take the scorn and the mockery of the village heaped upon him as discipline." And then after four days, I will see him. The father would expect him to come in, bow down, kiss the father's feet and take punishment from the father, maybe even a lashing and then get ready to work for decades. And if he could sustain it for decades and decades and decades, then maybe reconciliation, but reconciliation comes only because of restitution...so said the rabbis. There is no reconciliation without restitution.
But if you think there's been shameful behavior now, here is the most shameful behavior yet. Verse 20, a shameful reconciliation. "While the young man was still a long way off," still outside the village, maybe there was a gate, there was a dusty road leading to the village, maybe there was a gate, maybe there was just sort of a defined place where the first little buildings were, while he's a long way off, "His father saw him." Now we're okay up to here, and now the whole thing becomes ridiculous, "and felt compassion for him and ran and embraced him and kissed him." Oui-uvay(?) are you kidding me? What a fool this father is, his father is a bigger fool than his son.
So much here...still a long way off, that must mean the father is looking. I suppose we could assume that this was a regular thing for him, to look for that son. Saw him...the father was the seeker. Felt compassion...and those Pharisees are saying how weak is this man? Can't he ever respond in a righteous honorable way? And then he did the unthinkable...he ran. Middle Eastern noblemen don't run. It's not just something you don't do because physically you can't do it. There's an entire body of literature, Jewish literature written about the fact that you don't run if you're a man. They wore robes down to the ground and that was so that their legs were not seen. It was a shame to let your legs be seen, that is, of course, the case still for some folks when you get to a certain age, keep those things covered up is probably a good idea. But...but the bottom line in that culture was, if you ran you had to pull it up and to show your legs was shameful. In fact, literature says that even a priest when he's offering sacrifice cannot lift his robe off the ground to keep it out of the blood. There was one rabbi who condemned a man for lifting his robe above his knees while walking through thorns to keep from getting it caught. You just didn't run. You didn't run, first of all, because it wasn't dignified. You didn't run because you move in a graceful stately manner. And you didn't run because it would be a shame if anybody saw your lower body. And if you pulled them up high enough and ran hard enough, they could see more than your legs. This word "ran" in the Greek is the word for sprinting in a race. This man came out of his house and sprints down the middle of town toward this son and the people in town in a Middle Eastern village would have been appalled, this indecent shameful thing. The rabbis said a man shouldn't even jump for fear somebody might see your lower leg. In fact, robes were called middabute(???) which means that which gives me honor.
So what is he doing? He's running through town bringing shame on himself, shame on himself, taking the abuse. This is selfless. This is self-emptying condescension. Why is he doing this? Because he wants...listen to this...to get to the son before the son gets to the village because as soon as that son enters that village, he's going to be mocked and scorned and heaped upon with shame and ridicule. And the father runs through town, takes the shame to embrace the boy before he receives the shame. This is downright crazy behavior for a Jewish Middle Eastern nobleman. He embraced him, hugs the pig-scented rebel and kissed him...in the Greek, kissed him repeatedly, customary to kiss him all over the head, just kissed him all over the head, full reconciliation, full reconciliation. No shame for the boy, the father has taken the shame. The father came out of his palatial home, came down, came to the village, sprinted through...took all the scorn and the shame...threw his arms around the boy, kissed him all over the head and everybody knew...he's received him fully as a son.
No shame for that boy. He should have been beaten. He should have had to sit there and take the shame. That's what they thought. What is this? I'll tell you what it is in one word....grace....and they didn't get it. It's grace and they didn't get grace. He got it because in verse 21 the son said to him, "Father, I have sinned against heaven and in your sight, I'm no longer worthy to be called your son..." and he stopped. What did he leave out? What did he leave out of his speech? Go back to verse 19, what's his last line in verse 19? "Make me one of your hired men." But he doesn't say that. He planned to say it but he doesn't say it because he doesn't need to say it because he doesn't have to earn back his father's love. He doesn't have to earn the reconciliation, he gets grace. He leaves out the hired man part, that would have been an insult to his father's compassion, an insult to his father's love, an insult to grace. He just repents, he entrusts himself to the mercy of his father and that's all a sinner ever needs to do. And this, of course, is what outraged the Pharisees all the time, Jesus gracing sinners...Jesus embracing sinners, kissing them all over the head and reconciling with them. This young man receives reconciliation, restoration, forgiveness, sonship and all he does is trust his father and repent of his sin. He has no plan for restitution, no works. This is grace. The gift of loving, merciful, compassionate father.
So what do we learn about the father? The father really is God in Christ, coming down from heaven to the dust of our towns to seek and save the lost sinner who comes to Him. God initiates, He's the seeker. He sees the sinner before the sinner sees Him. He finds the sinner before the sinner finds Him. And He runs the gauntlet and takes the shame. His love is lavish. His pure grace is limitless. And here we see the point, God finds His joy in the salvation of one lost sinner whom He runs to embrace, to kiss and restore.
We have a lot of views of God, that's normally not one of them. We're not used to seeing God so eager, so effusive, so lavish, so loving to the worst sinner. The son got it...he got it, he was reconciled. A shameful reconciliation though in the mind of the Pharisees, shameful. A father is just breaching just, righteousness, honor. And, of course, the Jews have never understood the condescension and the suffering of God for the love of sinners.
Well shameful reconciliation is followed by a shameful rejoicing. Look at verse 22, this is really something. "The father said to his slaves, quickly..." I love it, tachuin the Greek, quickly. Salvation is an instant thing, isn't it? Not a long process of restoration by works and ceremony, it's an instantaneous thing, quickly, right now all the privileges, get the best robe. Oh a wealthy family like this would have one robe, by the way, the father's robe and it was used for those maximum kind of occasions of great grandeur and importance. Get the robe, get the best robe. This would be a beautiful embroidered robe, the best the family had, worn by the father and perhaps his father, heirloom kind of thing. Get that robe, he says, quickly, let no time pass and put it on him. He doesn't say to this young man, "Now go get yourself cleaned up." He treats him like he's a prince. He treats him like he's a king, calls all the servants together and says, "Take care of him, clean him up, dress him up. He's just going to stand there while you do this to him." He's just going to lavish him. Put the robe on him. What is that? It's the robe of dignity. He shared the full dignity of the father, the full majesty of the father.
Put a ring on his finger. The rings weren't just for looks, they were used to stamp in soft wax the family symbol on official documents. This is authority, to act in behalf of the father. He can signify the father's will in any document. It's like getting the keys to the kingdom.
Put shoes on him. Slaves and hired men and the poor didn't wear shoes. Shoes were for people who had responsibility. Give him dignity, give him authority, give him responsibility. He has my dignity, he has my authority and he has a share in my responsibility. This is full sonship. My how grace triumphs over sin. My how grace triumphs over sin. Grace gives to us when we come the full dignity of God as we are clothed with his own righteousness, the full authority of God to act on his behalf, consistent with his revelation and responsibility to carry on his work in his name in the power of his spirit. And once the son had been given all these things lavishly, verse 23 says, "And bring the fattened calf."
Wealthy people had one calf that they kept, usually for the marriage of the older son. But you used it for the best and biggest occasion, kill it. That would be an operation in itself, take a little while. And by the way, they didn't filet it, put it on a big huge spit. I've been to some things like that where that's in the way of doing it. They chopped it into steaks and chops and everything else and cooked it in their bake ovens, their bread ovens. Kill the fattened calf and let's eat and be merry. We're going to have a party.
Now go back to verse 7. There's more joy in heaven over on sinner who repents than 99 righteous persons who need no repentance...verse 10...joy in the presence of the angels of God over one sinner who repents. This is that in this story. The celebration begins.
Now I just want to point out one thing, we don't have time to develop it all, but the celebration is directed at the father. It's not directed at the son. The son received the robe and the ring and the shoes. But the party is a party in honor of such a gracious father. Let's all eat.
Now a calf could feed anywhere from a hundred to two hundred. They didn't eat a lot of meat. They didn't eat meat every day. Meat was for special occasions. And this could be a hundred to two hundred people to dig into this thing. They're going to do it, verse 24 says, for this son of mine was dead. We could talk about that. God knows who His sons are and in His wonderful providence and sovereignty, He has His times when He will raise them from death to life. This son of mine was dead and has come to life again. He was lost and has been found and they began to be merry. They began because the party will never end. The celebration over the redemption of every sinner will go on forever. And the object of the celebration will be God...God...God...God, the saving God.
Well this is another outrage to the listening Pharisees and Sadducees, the whole thing is now getting beyond bizarre, it is becoming irritating. It is becoming agitating. There...this is like fingernails down a blackboard. This is just too contrary and shameful. The father is now acting stupidly, giving all of this to the son and then having a celebration as if some honor had been earned. No character has existed like this in their world, there weren't any sons like this, there weren't any fathers who would do this. They knew no sons like this and fathers like this. And there is their unmasking. They didn't know God.
Well we come to an amazing conclusion, a shameful reaction. Verse 25, we'll cover this in just a few minutes. "His older son was in the field and when he came and approached the house..." By the way, wouldn't you think the older son was supposed to plan all these big events? It was his responsibility. His father never even consulted him on it, didn't tell him about it, didn't send a messenger to get him. Why? He knew he had no relationship with him either. He hated his father also. He was alienated from his father also. He just stayed around the house but he had zero relationship to his father, that's why he didn't defend his father's honor in the beginning and he didn't try to protect his brother from doing something as stupid as he wanted to do. This man played no role in anything because though he was at the house, he had no relationship to the father. The father knew that he cared not for his brother and he knew that he had no interest in his own joy. And so he was not a part of it. He's out in the field, he wasn't working, he was just making sure people do. His father left him there till he came home at the normal time at the end of the day. By then the party has started. He came, approached the house, heard music and dancing. Summoned one of the servants, actually paidion,boys, these would be village boys who were outside, you know, the young people would hang around while the adults were in having the party. He comes to one of the young boys, he begins inquiring what these things might be. He's totally in the dark. He doesn't get it. He has no part in this whole redemptive scheme. And this boy in verse 27 says, "Your brother has come. Your father's killed the fattened calf because he's received him back safe and sound." That little phrase "safe and sound," whole...actually it's connected to shalom, he received him back shalom. He's at peace with his father, full reconciliation.
Now you might think, "Wow," and he would celebrate. Oh no. Verse 28, "He became angry." Hmm, guess what? The Pharisees and scribes just appeared in the story. This is they. They just appeared in the story. They were angry that God in Christ was embracing sinners. That's what ticked them off. And here they are in the story. They are, by the way, referred to as the 99 who need no repentance, never seeing themselves as sinners. He became angry, was not willing to go in. "I will not be a part of anything like that it is shameful." The father is shameful. The son is shameful. The village people who are celebrating are shameful. This is no time to honor the father. The father is a fool. You don't give honor to a man who is a fool. Shameful reaction.
No, he had been home, hanging around the house. He had zero relationship to his father. He is as lost as his brother. And the Pharisees and the scribes were just as lost as the tax collectors and the sinners, just a different kind of lostness. Some are lost in the far country. Some are lost around God, around the church. And you know, if the truth were known, legalists lie this, religious people, superficially religious people are jealous of prodigals because inside they have the same lusts but they're never fulfilled. They have the same hankering for sin and iniquity and they are jealous and envious of those who play those out to the max and don't care what people think. They do because their approach to get the stuff is to conform outwardly. And so here they are in the story.
But, you know, from their viewpoint they would be saying, "Finally a sensible guy. Finally a guy who gets it. Hey, this is righteous indignation, we like this guy." This is the Pharisees and scribes guy because this is them.
And if that's not enough shame, how about this? More shame, a shameful reply by the father, verse 28. "His father came out and began pleading with him." This is just unbelievable. The father comes down again, a picture of condescension, leaves the party, leaves the celebration where he's the guest of honor. "Excuse me, folks, I have to go." Comes down into the night, into the dark, finds this hypocrite who hates him and begs him to come to the party. This is another ridiculous shameful act. Isn't that father willing to punish any son that insults him? And by the way, he entreats him in a prolonged way. There's no public slap, no beating. The father is begging.
But the response, verse 29, "He answered and said to his father, 'Look,'" That's an eye roller. You don't say that to a father, you say, "Father, father." You don't say, "Look," complete disdain, complete disrespect. This is his "I wish you were dead, too." "Look, for so many years I've been serving you." That's how it is with legalists. They do it, it's a duty. It's a grind. It's bitter. I have never neglected a command of yours." Boy, there's a deception. This is like the rich young ruler who said he had kept all the commandments. That's how it is with religious phonies and hypocrites, they don't want to admit their sin. "I have been grinding this service for you to get the estate that I want. I never neglected a command. You never gave me a goat, let alone a calf, that I might be merry with my friends." He wanted a party of his own, but not with the father and not with the brother, he had other friends. He had his own group, hypocrites hang with hypocrites.
And the father, verse 31, says,...verse 30 says, "When this son of yours came who devoured your wealth with harlots, you killed the fattened calf for him." And the father says to him, "My child." Wow...wow. From the Pharisees standpoint even though they would agree with the older son having the just attitude, they can't understand a man who appears to be this weak. Slap that guy. But he says, "My child," not huios, that's been used eight times, the word for son, now it's teknon, my boy, you've always been with me. All that's mine, it's always been yours, just had to come and have a relationship with me. You're never going to get it the way you're going, you're not going to earn it that way. And verse 32, we had to be merry, we had to rejoice, for this brother of yours was dead and has begun to live and was lost and has been found. What are we going to do, we have to celebrate?
What do you see in this story? Two kinds of sinners. The profligate, debauched, open, immoral, irreligious sinner and the hypocrite in the house, around the church, religious, superficially moral and both are extreme sinners. And a father who entreats both, who offers both everything he has. And the point is this, young people, listen to me, the extreme sinner falls within the purview of God's grace. Not everybody is that extreme on either end, but that's good news for all of us in between.
And why does God do this? Why does He do this? Because He rejoices when one sinner repents and all the holy angels and glorified saints rejoice with Him. But, you know, the story doesn't have an ending, it just stops. And after you've read verse 32, you're looking for verse 33 because what happened? What does the son say? Come on, what did he do? It just stops.
Well how about if I write an ending? I'll do that. "The older brother seeing the compassion and mercy of his father and desiring a reconciliation, confessed his sins of hypocrisy and asked his father for forgiveness and was embraced and kissed and taken into the banquet and seated at his father's table." I like that ending. I like that ending.
But I can't write the ending. The ending has already been written. That's right. Here's the ending. "Upon hearing this, the older sons being outraged at his father picked up a piece of wood and beat his father to death." That's the ending.
It would be only a few months before the Pharisees would kill him by nailing him on the wood. And they would congratulate themselves that what they had done was an act of honor that protected their people, their nation, and their religion from one who came to shame it. In the language of the parable, the son was striking the father with crushing, killing, blows, saying, "You are evil, you are shameful, you are evil, someone needs to end the shame and bring honor to this family and I will do it by ridding this family of such a shameful father." And he says it as he beats him to death.
That's how the story ended. And the final irony is that the father who should have beaten the son is beaten to death by the wicked son in the greatest act of evil ever. And they thought they were righteous and they didn't understand love, mercy and grace. Yet God the saving gracious Father in Christ uses that murder as the means by which He purchases our salvation. It all ends at the cross where He in Christ endured death, despising the shame for us. He took the shame so you could be at the celebration that brings him joy. Let's pray.
We've covered a lot today, Father, in this session. We thank You for the richness of this teaching by our precious Lord. Help us to be gripped in our hearts by its wonders. For those who do not know Christ, for those who do not know God in Christ, for those sinners in the far country at the end of their resources, for those hypocrites in the church at the extreme ends of the poles, may there be an understanding that grace awaits, no sin is too bad, no hypocrisy too determined to be abandoned and grace received. We thank You that the worst that could be done to you became the best, as in dying You purchased our life. Do Your work in every heart, we pray. Make us grateful for such a Father, in the name of Christ. Amen.
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Giuseppe VERDI (1813 - 1901)
Great Operas: Ernani, I due Foscari , Rigoletto, Il trovatore & La
see end of review for contents
rec. 1973-91
DOCUMENTS 233617 [10 CDs: 615:26]
It is nice to see the three Verdi operas with Franco Bonisolli back
in circulation again - and at such a give-away price! Originally these were
soundtrack recordings to German TV-productions and released on LP by Acanta.
They have also been available on CD, not long ago, on Arts. The quality of
the recording is good with the voices more forward than ideal but not
disturbingly so. With top-notch German orchestras - Staatskapelle Dresden
and Staatskapelle Berlin - conducted by some of the foremost Italian opera
conductors of the period and two of the most prestigious European opera
choruses, the prerequisites for successful end-products are well cared for.
So let's see what swings and roundabouts there may be concerning
Franco Bonisolli had a reputation for being the typical Italian
tenor with voluminous long-held top notes, eccentric behaviour and
temperamental tendencies - at least during the latter part of his career. I
heard him several times in the late 1980s. In particular at the Arena di
Verona he sometimes lived up to his nickname "Il Pazzo" (The
Madman). He still had a marvellous voice, and in the 1970s, when these three
operas were recorded he was at the height of his powers and actually very
In Rigoletto he introduces himself as a virile Duke of Mantua
in Questa o quella and when he meets Gilda in the second scene he
sings E il sol dell'anima with warmth and sensitivity. The
pianissimo end in unison is very well executed and he bids farewell with a
thrilling Addio!
In the second act Ella mi fu rapita he tends to over-sing,
but he is far from un-nuanced and his brilliant high notes are as thrilling
as those of any other tenor. There is glow in Parmi veder but the
cabaletta is rather heavy-handed. In the third act La donna e mobile
lacks the elegance of Bergonzi and Kraus but it is gloriously sung in terms
of sheer volume and brilliance. The quartet is excellent.
Rolando Panerai was one of the best Italian baritones during the
second half of the 20th century, having made his debut in 1947
and having appeared as Germont in a French TV-production of La
traviata in 2000 when he was 76. As recently as 2011 he sang Gianni
Schicchi in Genova, aged 87. As Rigoletto he doesn't seem quite as
inside the character as his colleagues Gobbi and Taddei but is far more
involved than the stentorian Bastianini. His Cortigiani is deeply
felt and in the previous act he is sonorous and intense, both in Pari
siamo and in the long duet with Gilda - intense but with a lack of
nuance. Back to the second act - his Piangi in that duet with Gilda
is more like a public proclamation than a private rage over the Duke.
It's gloriously sung but I miss some softer undertones. Si,
vendetta is suitably furious. The caring father is more present at the
beginning of the last act and the horror when he finds that it is Gilda and
not the Duke that is in Sparafucile's sack, is movingly depicted.
His daughter Gilda is competently sung by Margherita Rinaldi, who
has solid technique but a not very pleasing tone. She is sensitive in her
phrasing and negotiates the coloratura with aplomb in Caro nome. Most
memorable is her Lassù in cielo in the final scene.
Bengt Rundgren is an imposingly malicious and ominous Sparafucile
and Viorica Cortez is a classy Maddalena in the last act. This is in fact
the best singing on this set and one wishes that the role had been much
In the minor roles Antonin Svorc's Monterone is worth noting
while some others are rather mediocre. Molinari-Pradelli's conducting
is highly professional - he recorded the opera a decade earlier for EMI with
Cornell MacNeil and Nicolai Gedda - but not in the same league as Serafin,
Solti and Giulini.
Il trovatore was one of Bonisolli's signature roles and
he recorded it twice, the second time for EMI under Karajan with Leontyne
Price as Leonora. Karajan's Berlin Philharmonic are the Rolls Royce
among orchestras but Staatskapelle Berlin, the orchestra of der Staatsoper
Unter den Linden, is at least in the Bentley class. Under the eminent
Bartoletti, associated with Lyric Opera of Chicago for 51 years and for some
periods artistic director of the Rome Opera and Maggio Musicale Fiorentino,
they play with gusto but also refinement. Bartoletti, whose Manon
Lescaut with Caballé and Domingo I praised recently, again shows
good feeling for the ebb and flow of the music. This is no hard-driven
run-through of a score that has its fair share of blatant rum-ti-tum - the
galley years are not so far away after all. It is however a flexible
reading, where he is lenient with the singers' wish to expand a phrase
here and press ahead there. Bartoletti was underrated, otherwise there would
have been many more recordings with him.
The level of the singing is more constantly on a higher plane here
than in Rigoletto. In fact there is not a weak link in the line-up.
Giancarlo Luccardi is an expressive Ferrando when he relates the background
to his fellow soldiers.
Raina Kabaivanska's Leonora is superb. She never possessed the
alternately creamy or smoky seductiveness of Leontyne Price, but she could
make every word tell in a way that was second only to Maria Callas.
Everybody who saw her filmed Tosca opposite Domingo will know what I mean.
Tacea la notte is wonderfully phrased and the cabaletta is a tour
de force.
Giorgio Zancanaro is a vital Luna, a role he later recorded also for
Deutsche Grammophon under Giulini with Domingo, Plowright and Fassbaender.
Il balen is manly and nuanced and his scene with Leonora in the last
act (CD 8 tr. 5) finds both singers on top. This is Verdi singing at its
Viorica Cortez again shows what a tremendously magnificent and
charismatic singer she was. Her Azucena ranks with the very best. Just
listen to her Stride la vampa (CD 7 tr. 4) in act II and the rest of
that scene and again in the long finale (CD 8 tr. 6).
In act II Bonisolli also shows what a great singer he was in his
heyday. Mal reggendo has rarely been better executed and in act III,
when his show-off moments come, he is not exactly well-behaved - Manrico is
a soldier. That said, it is a deeply infatuated man who sings Ah, si ben
mio with lyric inwardness to begin with and then with glowing expansion.
Di quella pira is what one expects: a leather-lunged commander
signalling an imminent attack and his magnificent voice is just as
bloodcurdlingly heated as the flames rising at the horizon. The unauthentic
high C cuts through the air like a welding flame. No subtleties here; just
lots of emotion.
'All you need for a successful Trovatore is the four
greatest voices in the world': a famous remark attributed to Caruso.
What we have here may not be exactly that, but very close. To me this
recording now joins the top five Trovatores.
With the same Berlin forces under the baton of one of the foremost
Verdi conductors of the post-war years, Lamberto Gardelli, the prerequisites
for an above average La traviata are also well furnished. This is the
earliest recording of the three and Bonisolli, who started out singing roles
like Nemorino and Alfredo, is here at his most lyrical and youthful. He has
a lightness of approach that totally eluded a singer like Richard Tucker,
who managed to bark through the role and crush the frail Anna Moffo on an
RCA recording from around 1960. Bonisolli is flexible and human and it is
only in parts of his act II aria that he attempts to put more weight on the
music than necessary. On the other hand it is sheer gain to have spinto
resources for the big outbreak in the Flora scene in the same act. The
reunion with the dying Violetta in act III is also well handled.
In this opera the tenor unavoidably plays a secondary role to
Violetta, and Mirella Freni's reading is second to none. On my
shortlist I have Callas, de los Angeles, Scotto and Cotrubas as finalists,
with the likes of Sutherland, Caballé, Sills, Moffo and Scotto II
eliminated in the semi-finals. Freni is a definite candidate for the
shortlist. A marvellous Mimi in La bohème she is also ideal
casting for the other consumptive heroine in the world of opera. She blends
so well with Bonisolli in their duets. She manages the big act I aria with
the changes of moods in exemplary fashion. The distraught Violetta in the
Flora scene is greatly touching. In the last act, where she gradually leaves
this world but has a last eruption of life and hope before she dies, had me
struggling to stem the tears. The real greatness, however, lies in the long
scene with Giorgio Germont in act II. This is one of the most
psychologically credible scenes in all opera and she catches every facet.
Moreover she is at her creamiest vocally speaking, which makes this a
recording to return to over and over again - together with the other
The third main soloist is also an asset. Veteran Sesto Bruscantini,
best known for his many buffo parts, was probably chosen for the film at
least as much for his acting abilities as for his singing. His vocal acting
is also considerable and though it can't be denied that his many years
in the limelight had begun to take its toll on his vocal cords, resulting in
a slight unsteadiness, this is no serious drawback for the elderly gentleman
that Giorgio Germont is. The Violetta-Germont confrontation in act II,
referred to above, becomes uncommonly intense and charged with emotion in
this reading.
The various secondary roles are ably taken by German singers and by
the once famous Czech baritone Rudolf Jedlicka, who is an expressive Baron
The remaining operas are live recordings of two relatively early
works. Ernani, premiered in March 1844 was a great success and was
Verdi's most popular opera until nine years later when it was
superseded by Il trovatore. It was also in 1904 the first opera to be
recorded complete. I due Foscari was first seen in November 1844 and
was also quite popular, though not in the Ernani class.
Live recording almost invariably means that there are intrusive
noises, caused by stage activity, audience reactions and so on. Movements of
the actors can also result in imbalance between stage and pit, when a singer
gets too far from the microphone. In this Ernani these problems are
almost negligible, the orchestra well recorded and the singers life-like.
The opera as such is a bit uneven but there is quite a lot of top drawer
early Verdi. In particular his orchestral writing is far more sophisticated
than in the earlier works. The prelude to act III is so beautifully
orchestrated (CD 2 tr. 6). Giuliano Carella chooses sensible tempos -
nothing extreme. It seems that the work is in safe hands but not very
adventurous - not necessarily a bad thing.
The solo singing is also attractive. Vincenzo la Scola is musical,
intelligent and smooth-voiced but vocally a little weak. This is most
noticeable in his opening aria Mercé, diletti amici ... Come
rugiada al cespide (CD 1 tr. 3), where I have been used to larger voices
like Bergonzi, Domingo and the stentorian but thrilling Mario Del Monaco. By
their side he tends to pale, but in his own right he is still an asset and
in the last act's scene with Elvira, Cessaro i suoni (CD 2 tr.
14) both he and Daniela Dessì are at their lyrical best. Dessì
has her great showpiece Surte è la notte ... Ernani involami
also in the first act (CD 1 tr. 5-6). Technically she is excellent but there
are signs of strain. Michele Pertusi as Silva is also rather lyrical and
sings his showpiece Infelice (CD 1 tr. 11) very well, but his
voice is more baritone than true bass - the lowest notes are sketchy. The
best singing comes in the third act when Paolo Cono, (Don Carlo) has
his great moments in Oh de' verd'anni miei (CD 2
tr. 8). He sings like someone from the golden age with admirable legato and
thrilling top.
For those seeking a library recording of Ernani this offering
is not the answer, though it is well worth a listen. Thomas Schippers'
RCA recording from 1967 with Leontyne Price, Carlo Bergonzi, Mario Sereni
and Ezio Flagello is probably the best - at present not available separately
as far as I have been able to find out; only included in a 30 CD Verdi box
from Sony. A more modern alternative, which is available, is a La
Scala recording under Riccardo Muti (EMI) with a dream cast of Mirella
Freni, Placido Domingo, Renato Bruson and Nicolai Ghiaurov.
The recording of I due Foscari from Torino is also noisy but
the sound in itself is clear and allows the listener to enjoy the many
touches of mastery in the orchestral writing. Here, in the mid-1840s, Verdi
was making advances for every new opera - unless he had too little time at
his disposal and resorted to more routine writing.
Maurizio Arena, who fittingly enough has been a recurring conductor
at the Arena di Verona, is a good advocate for this opera, which is a good
deal better than its reputation. The singers are more variable. Lorenza
Canepa, a soprano hitherto unknown to me, makes a shaky start, but later
turns out to have a quite beautiful voice, albeit a shade uneven. Nicola
Martinucci, one of those longstanding favourites at the Arena, is strong and
confident. Never the subtlest of singers he still has a brilliant voice of
the type that we seldom encounter today. Pertile, between the wars, and Del
Monaco, Corelli and Bonisolli come to mind. Martinucci and his close
contemporary Lamberti were also able to fill the enormous space of the Arena
with golden tone. Just listen to Martinucci in Brezza del suol
natio(CD 3 tr. 3) to get a hint of his greatness. Just as in
Ernani it is the baritone who offers real greatness. Renato Bruson
was, for sure, approaching his fifties when this recording was made, but his
marvellous voice was still in wonderful shape. Eccomi solo alfine ... O
vecchio cor, che batti (CD 3 tr. 6) with its evocative orchestral
introduction, is Verdi at his early best, and the music here is unmistakably
Verdian. The aria has probably never been so well sung, at least not in
modern times. In the act I finale Bruson also inspires the otherwise
variable Lorenza Canepa to surpass herself.
There are more good things to come in the other two acts. The deep
strings of the opening introduction to act II are atmospheric and
Jacopo's aria that follows (CD 3 tr. 8) is another highlight in this
overlooked opera. Martinucci sings it with heroic conviction. Canepa veers
between squalliness and true spinto tones in the following scenes, but the
tenor and baritone both offer Verdi singing of distinction. There is some
quite good comprimario singing in the act II finale. In the third act Bruson
seems a bit off form - his vibrato is markedly wider. I don't know
whether he tired or whether this act was recorded at another performance.
The soprano is however just as shaky as before.
Martinucci and Bruson should definitely be heard but for a library
version I would unhesitatingly advise readers to get the Gardelli recording
from 1977 with Ricciarelli, Carreras, Cappuccilli and Ramey. This is also
included in an even bigger Verdi box with 75 CDs but luckily also available
separately, at some dealers anyway.
None of the recordings in this box are really top contenders, though
Trovatore and Traviata should satisfy discriminating
listeners. At the price - 10 CDs for little more than one full price CD, and
I have found the box advertised on German sites for 10 Euros - impecunious
readers can get five operas in decent sound and with several world class
singers in top shape.
Göran Forsling
CDs 1-2 [73:42 + 65:49]
Vincenzo la Scola (tenor) - Ernani; Daniela Dessì (soprano) - Elvira;
Coni (baritone) - Don Carlo; Michele Pertusi (bass) - Silva; Marina Giorgio
- Giovanna; Diego Cossu (tenor) - Don Riccardo; Riccardo Ristori (bass) -
Coro da Camera di Bratislava, Orchestra Internazionale
rec. Live, 28-30 July, 2-4 August 1991
CDs 3-4 [76:46 + 32:35]
I due Foscari
Renato Bruson (baritone) - Francesco Foscari; Nicola Martinucci (tenor) -
Foscari; Lorenza Canepa (soprano) - Lucrezia Contarini; Armando Caforio
- Jacopo Loredano; Redente Comacchio (tenor) - Barbarigo; Maria Gabriella
(mezzo) - Pisana; Aurelio Faedda (tenor) - A servant of the Council of Ten
of the Senate; Bruno Marangoni (bass) - A doge's servant; Orchestra e
del Teatro regio di Torino/Maurizio Arena
rec. live, December 1984
CDs 5-6 [62:21 + 51:31]
Franco Bonisolli (tenor) - Duke of Mantua; Rolando Panerai (baritone) -
Margherita Rinalsi (soprano) - Gilda; Bengt Rundgren (bass) - Sparafucile;
Cortez (mezzo) - Maddalena; Ilona Papenthin (mezzo) - Giovanna; Antonin
(bass) - Count Monterone; Horts Lunow (baritone) - Marullo; Henno Garduhn
- Borsa; Peter Olesch (bass) - Count Ceprano; Maria Corelli (soprano) -
Ceprano; Silvia Pawlik (soprano) - a page; Chor der Staatsoper Dresden;
Dresden/Francesco Molinari-Pradelli
rec. 1977
CDs 7-8 [68:50 + 63:05]
Il trovatore
Franco Bonisolli (tenor) - Manrico; Raina Kabaivanska (soprano) - Leonora;
Luccardi (bass) - Ferrando; Viorica Cortez (mezzo) - Azucena; Gisela Pohl
- Ines; Giorgio Zancanaro (baritone) - Count di Luna; Johannes Bier (tenor)
Ruiz; Chor der Deutschen Staatsoper Berlin; Staatskapelle Berlin/Bruno
rec. 1975
CDs 9-10 [57:08 + 63:39]
La traviata
Mirella Freni (soprano) - Violetta Valery; Hania Kovicz (mezzo) - Flora
Gudrun Schäfer (soprano) - Annina; Franco Bonisolli (tenor) - Alfredo
Sesto Bruscantini (baritone) - Giorgio Germont; Peter Bindszus (tenor) -
Rudolf Jedlicka (baritone) - Barone Douphol; Heinz Reeh (bass) - Marchese
Hans Joachim Lukat (bass) - Dottore Grenvil; Chor der Staatsoper Berlin;
Berlin/Lamberto Gardelli
rec. 1973


text:
We've seen them before — the commercials.
"For less than a cup of coffee, YOU can change an orphan's life today!"
But instead of picking up the phone to sponsor a child, we probably picked up the remote and changed the channel.
And yet, the next channel is a televangelist preaching about the kingdom and asking you to buy a copy of his autobiography.
But did you ever hear the story of the day the orphans entered the kingdom? It was shortly after the King Himself shouted "It is finished!" on the cross.
King Jesus loves the orphans so much that He has made them royalty through His death and resurrection.
We are all orphans without the Lord.
The paralytic in Luke 5:17-26 was an orphan. He couldn't stand, just like we aren't able to stand without the strength and healing power of Christ.
Help Families Affected
Families in poverty have no safety net in times of crisis. Help provide food, medical care and support during this pandemic.
Yet as the faithful brought the paralytic to Jesus, believing that He could perform a miracle and allow the man to stand, we need to follow this example and bring the orphans to Jesus.
During the last three years I've been able to bring three innocent children to the feet of Jesus, through Compassion, so that they could stand. I have also encouraged family members to sponsor multiple children and create blessings out of sorrows.
Receiving letters from my sponsored children is more special than celebrating any special day. I see their crayon drawings, their favorite Bible verses, and the joy in their lives that only Jesus can provide.
"It is with lots of love in my heart that I send you this message. I learned that God loves me and that He is always with me. When I grow up, I would like to be a doctor so that when you are sick, I will be able to heal you. I would like you to know you're my best friend. I say good-bye with affection. I love you very much."
Only Jesus can rescue a child from an orphanage and give the child a heavenly mansion. But we need to bring them to His feet.
This is not a commercial. This is also not a script. This is a calling.
Will you stand for the orphans and bring them before the King?
They will stand before Jesus, but first, we need to stand for them. And when we do this, we prove that we stand for Christ.
"The King will reply, "Truly, I tell you, whatever you did for the one of the least of these brothers and sisters of mine, you did for me.'" — Matthew 25:40, NIV
We are cold no more. We are hungry no more. We are orphans no more. We are His children — lovingly, royally and eternally.
ABOUT THE AUTHOR: Terry Ghali became a sponsor in 2008 and now sponsors three children. He is a Technical Account Supervisor at an IT support company and resides north of Philadelphia, Pa.


text:
When your in NetBeans and your designing a JFrame you click preview design and it shows the frame with NO look and feel. This is what I want.
But when the actual program is run look and feel applies. I'm certain that NO look and feel is being used anywhere in my code. I commented that out and should have no effect but it does.
Basically I want something that look's like a plain window's application, that has NO look and feel. What do I do?


text:
ckv815 brauchte ein neues Logo Design und hat einen Wettbewerb auf 99designs gestartet.
Aus 155 Designs von 29 Designern wurde eine Gewinner gewählt.
GFX Heat Xchanger
GFX Heat Xchanger (Gravity Film Xchange) is a drain water heat recovery system (DWHR). A heat exchanger. "YOUR GREEN Savings Xchange" (tag line). It is a green renewable energy product made of all copper. It is the size of an existing drain pipe (3 or 4 inch diameter and up to 60" long) and has a coil wrapped around the outside. It captures the heat lost down the drain while you are taking a shower. It uses no energy, but saves energy- (created by electricity, natural gas, or oil), water and money. Provides an endless hot shower, more hot water for no additional cost, cuts water heating costs up to 60%, reduces carbon footprint/green house gas emissions, invented in 1980 and built in America. I want to focus on benefits to the consumer not technical features. Comfort, Convenience, Conservation. See our website at http://www.gfxtechnology.com for more information; right now it is too focused on the technical aspects; and planning on a new website soon. GFX also stands for graphics, which wasn't too prevalent in 1980/90 when we started; need to re-brand but keep "GFX", although we are undecided in keeping "Heat Xchanger" attached to logo.
Energy conscience. Green builders. Conservation programs. Residential, commercial, industrial, government. Renewable Energy Groups.
We have had our existing logo and website since the late 1990's .
We are launching a marketing campaign and think it is about time for a rebrand, including in the near future a new web site, etc.
We need a new logo which can be used for stationery, business cards and web sites.
We would like the logo to convey a professional established company that provides leading edge Green technology solutions for residential and commercial customers. The logo should try to convey comfort, convenience, conservation benefiting the consumer, green products, and energy conservation.
3 pictures attached so you can see it- actual unit (2), small sample unit and diagram of installation
Finden Sie heraus, wie ein Designwettbewerb funktioniert, oder lernen Sie mehr über unsere Logo-Design-Angebote.


text:
A re-design of the ICAA and Documents Project is coming soon.
El nuevo diseño del sitio para el Proyecto Documentos y para el ICAA está por salir.
The ICAA Documents of 20th-century Latin American and Latino Art digital archive provides access to primary sources and critical documents tracing the development of twentieth-century art in Latin America and among Latino populations in the United States. Recovered texts provide a much-needed intellectual foundation for the exhibition, collection, and interpretation of art produced along this cultural axis. Countries featured in the first phase of this multiyear project include Argentina, Brazil, Colombia, Chile, Mexico, Peru, Puerto Rico, Venezuela, and Latino USA. The ICAA Digital Archive reflects the findings of this monumental digitization project and is now available, free of charge, to the research and teaching community as well as to the public at large. The uploading of documents to the archive is an ongoing process. Please visit us often.


text: North Carolina Sen. Thom Tillis joined Roll Call's Alex Gangitano for breakfast at his favorite local spot, The Market Lunch in Eastern Market. Eating a low-carb breakfast of eggs and sausage, Tillis talked about using diet and exercise to move past the freshman 15 weight-gain he said afflicted him and some of his Senate colleagues. Below is a transcript of the video.


text:
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text:
Fine Dining Menus Reading
Enjoy exceptional modern French cuisine, exquisite wines and a very warm welcome in the elegant and relaxed surroundings at L'Ortolan restaurant Reading.
Head Chef Tom Clarke injects his own creative style into the food focusing on full flavours and modern techniques. In his words..
Head Chef Tom Clarke injects his own creative style into the food focusing on full flavours and modern techniques. In his words..
I like to hit all the notes on sweet and sour, savoury and salt to produce a mouthful of complementary flavours.
Head Chef, Tom Clarke
exceptional modern French fine dining
Tom's cooking is impressive, showing technical adventure and accomplishment.
Simon Carter, editor of The Fine Dining Guide
Clarke has brought some welcome freshness, invention and "focused flavours" to proceedings.
Please note that on Friday and Saturday evenings we only offer our 7 course Gourmand Tasting Menu (£79 per guest) and our 10 course Discovery Tasting Menu (£105 per guest)
Good Food Guide 2016
For more adventurous diners our Chef's Table seats up to 4 people in the heart of the kitchen where you can soak up the restaurant atmosphere during a busy service and enjoy a succession of exquisite food and wine pairings.
Vegetarian dishes at L'ortolan ReadingAt L'Ortolan we cater for vegetarians with an A La Carte menu, 7 course Gourmand Menu and 10 course Discovery Menu. When we are designing vegetarian dishes for all the menus the first thing we look at is seasonality and from this we create the dishes using different techniques classic and modern when thinking for a tasting menu we try to use different techniques throughout the meal and also making sure we use different produce in each dish.
A lot of the vegetables we use are local to us but if we find better further afield we are not afraid to use as it boils down to the best quality and consistency for what we are looking for. Each dish we do has to enhance the flavours of what we are doing whether its preserving, fermenting, pickling, roasting, slow cooking to help and aid in another flavor and texture to the end dish. Like all other dishes we try to hit the 5 taste senses bitter, sweet, salty, sour, and umami. Read more about Restaurants Reading.


text:
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text:
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text:
Center Publication
States as Employers-of-Choice—State Research Highlight
by Tay McNamara, Michelle Wong, Melissa Brown, and Marcie Pitt-Catsouphes
March 2009—State Research Highlight 1 examine information from the Center's States as Employers-of-Choice project, contains valuable information concerning the effective management of an aging workforce for employers in both the private and the public sectors.
Both public and private sectors will face increasingly similar age management concerns, as both groups face growing numbers of employees remaining in the workforce past traditional retirement age. However, the public sector, and more specifically the workforce of the state agencies studied in this research highlight, is aging more quickly than the private sector. This trend indicates that the private sector can learn by examining the problems state agencies are now facing with the issues of recruitment, engagement, and retention of employees from different life and career stages.
The States as Employers-of-Choice research highlight examines the policies of state agencies in 25 states and the private sector from three vantages: "their assessment of the aging workforce, their awareness of late-career workers, and their actions in response to today's multigenerational workforce." Our findings show that state agencies excel in the areas of assessment and awareness, but the private sector has been slightly ahead in terms of action. The public sector, then, would benefit from rethinking policies in recruiting, engaging, and retaining a diverse age group of employees. In turn, the private sector "can learn from the approaches that state agencies have taken…in terms of their assessment and awareness of older workers within their labor forces."
» Read more findings in State Research Highlight—States as Employers-of-Choice