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As 2012 comes to a close, I thought I'd reminisce about some of my favourite memories from the past year. I've put together a bunch of my favourite pictures from 2012, I hope you enjoy.
Girls nights! Of which there were many.
Summer evening drives.
Catching up with my best friend after not seeing him for a month.
Music Festivals; the year I first got introduced and subsequently am now obsessed with.
New friends; the kind that make you wonder how you ever went about living without knowing them.
Catching up with old friends, something I hope we never stop doing.
The year of many 21sts; costume parties included. Can you guess who we are?
(Katy Perry & Russel Brand – pre-divorce)
My first time at the Races!
Cotton On 1000 Stores Party.
"Hiking" in Apollo Bay.
My 21st; one of the best nights of my life.
2012 was a year of a lot of firsts; it kind of felt like a continuation of 2011 in a way, but a more grown-up version. It's kind of like I knew the ropes a bit better until I realised that in actual fact I am only twenty-one and really don't know them at all.
I think as time goes on I'll find my footing, but for now, I kind of like not knowing where I'll be in another years time. Not that I really have a choice, as I am seemingly incapable of making my mind up about things (unless it's an impulse buy – that I seem to be very good at).
Now to the future…
2013 is all about challenging myself, working hard and achieving all the goals I've been putting off for so long.
2013 is about believing in my capabilities.
2013 is about change, breaking free of routine, travelling, making plans.
2013 is about taking care of my body, making smarter decisions, and respecting myself.
2013 is about breaking free of the bubble I have been living in for so long and experiencing all the intricacies this world has to offer; the good and the bad.
Wishing you a Merry Christmas and a Happy New Year blogger babes, I wish you all the best for the next year!


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A Truly Rare Early Vintage Hardy Uniqua 4'' Wide Body Salmon Reel. With apologies to reelsmith USA. Two way Ratchet Quick Release Spool with Rim line Drag Control Ribbed Brass Foot with pattern number 272409 Model Uniqua Salmo 4'. Hardy Bros Made in England. There are many Uniqua trout reels for sale but rarely will you find this wide body salmon reel It is a rare collectors item but better still it is a powerful fisher of such quality that it will never let you down, it can carry an enormous amount of backing, the real itself weighs just a little over 300 grms.
See photos for visual information on condition. The item "A Truly Rare Hardy Vintage/Antique Uniqua 4'' Wide body Salmon Reel" is in sale since Tuesday, April 17, 2018.This item is in the category "Sporting Goods\Fishing\Vintage Fishing\Reels". The seller is "lewis1422g" and is located in Ashbourne. This item can be shipped worldwide.

subset: commoncrawl


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You're thinking of investing in another home. You can rent it out to tenants and make some extra money, hardly without any work or effort on your part! Seems like a dream come true. But is it really? What can you expect out of an investment home? What are the benefits, and what do you need to be careful of? In short, when are investment homes worth the investment?
A Long Term Investment
The first thing to be aware of is that investment homes aren't a get rich quick scheme. The process can take decades. It needs to be well-researched and planned out in advance, so that you know exactly what you're getting into. What kind of home are you buying, and what's the neighborhood like? How much can you reasonably charge in rent? How long will it take to make back your investment and yield a profit?
Make sure you also know exactly how much of an investment you're making. It's more than just buying the home and paying the mortgage. You may need to spend money fixing it up before it's ready to rent out. Then, once the tenants have moved in, maintenance and repairs are your responsibility. There may also be legal and accounting fees involved, as well as vacancy periods, wherein rent isn't covering mortgage, utilities, and other expenses.
A good rule to keep in mind for investment homes is the 50% rule. It states that, on average, the expenses on your property will total about 50% of your income on the property—not including the mortgage payment. This ratio may go up and down over time, long term, it will total about 50%.
Benefits of Investment Properties
If you can do it right, though, and go in knowing what you're doing, and with a clear plan for how to do it, investment properties can yield a number of great benefits, such as…
- Extra Income. No, an investment home isn't a get rich quick scheme. But still, the rent you collect can yield a nice, regular supplement to your regular income. After the mortgage and other expenses, it may be only a couple of hundred dollars per month, but that's still a couple of hundred dollars you didn't have before.
- An Appreciating Asset. Even if you're not making huge amounts of money in rent, your home will go up in value over time, so that, if you sell the property, say, a decade or so later, you can make a significant profit from your initial investment.
- A Tax Write-Off. The expenses on your investment property may seem daunting while you're making them, but come tax season they'll be a great boon. Everything from mortgage payments to insurance payments to maintenance and repairs to travel expenses (getting to and from your property) and more are tax deductible. Talk to an accountant to see just how much you can deduct come tax time.
Investment homes shouldn't be purchased on a whim. If you're just looking to make some quick cash, and don't really know what you're getting into, then think again before investing. But if you're willing to put the effort, the money, and most importantly, the time into an investment property, then it can be a profitable and rewarding experience for years to come.


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It is possible to show that functions of the form $f_{1}(kx-\omega t)$, $g_{1}(kx+\omega t)$, $f_{2}(\omega t-kx)$ and $g_{2}(\omega t+kx)$ are all solutions of the wave equation $\dfrac{\partial^{2}y}{\partial x^{2}}=\dfrac{1}{v^{2}}\dfrac{\partial^{2}y}{\partial t^{2}}$ for $v=\frac{\omega}{k}$, although we may write a general solution to the wave equation as a superposition of either the first two functions, or the latter two functions. There is, as far as I can tell, no real difference between the two choices.
Suppose we have a semi-infinite string extending from $x=-\infty$ to $x=0$, with a mass $m$ terminating the string at $x=0$. If the oscillations in the string are small, then we may take the tension $T$ in the string to be constant, in which case we have the boundary condition: $m\dfrac{\partial^{2}y}{\partial t^{2}}\vert_{x=0}=T\dfrac{\partial y}{\partial x}\rvert_{x=0}$. If we want to find the relative amplitudes of the incident and the transmitted waves, then it is typical to substitute a function of the form $y(x,t)=Ae^{i(\omega t -kx)}+A^{\prime}e^{i(\omega t+kx)}$ into the boundary condition and then solve for $\frac{A^{\prime}}{A}$. Although this is perfectly doable, what I don't understand is why instead substituting $y(x,t)=Ae^{i(kx-\omega t)}+A^{\prime}e^{i(kx+\omega t)}$ into the boundary condition doesn't produce an equation involving $A$ and $A^{\prime}$ that doesn't involve $t$, as the other choice of function did. If there isn't a difference in how they describe a wave propagating along a string, why should it make a difference to analysing wave reflection at a boundary?


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The Nokia 6280 is a joy to use and with a vivid, bright and clear display. The key features include a MP3 player, PTT (Push To Talk), dual integrated cameras with video calling and email with attachment support. The 6280 includes a 64MB miniSD card in the package and this should be enough storage. The phone provides an ideal platform for 3G services such as real time video sharing and two way video calling. The phone creates a natural, user friendly conventional camera experience by operating the photography function in a horizontal landscape mode.
Pictures and videos taken with Nokia 6280 can be viewed directly on the screen and then shared with others via MMS or email. The 2 megapixel camera of Nokia 6280 snaps stills of good quality in daylight and adequate quality in darker environments. More features are Bluetooth dial-up networking, MP3 ringtones, 6 MB of onboard memory, miniSD memory card expansion, 64 MB card bundled, headset and printing support, USB 2.0 connectivity with PictBridge support, Tri-band GSM with EDGE support, Stereo FM radio. When it comes to adding extra software, Java is supported and if you want to synchronize with a PC, you get both the software and a cable that allows you to get good sound output both from the radio and the music player.
The Nokia 6280 mobile phone has a classic feel to it. The solid built frame only weighs 115g, lighter than other 3G phones from Nokia. The phone runs on WCDMA and tri band GSM, supporting video calls at a high speed of 384kbps. The push to talk (PTT) technology allows you to instantly talk to other people following a PTT phone on the same network just by the push of a button.
Nokia 6280


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"Cubism must have developed when the artist considered how much of his sketch must be finished. Finishing involves a stupidity of perception." – Guy Davenport, Narrative Tone and Form.
"The raw, unexplained dream still has its power; the dream with legible symbols is a spent force. Hence the liveliness of Ernst, the dullness and triviality of Dalí." – Guy Davenport, Ernst Machs Max Ernst.
True to one of Davenport's recurring themes, that of the transformation of ideas across time and sensibility, I'd nailed together the above two quotes in my head some years ago. I only realised my mistake this evening, when I tried to look up the composite sentence that had never been written.
For all of its technical skill, there is a barbarity lurking behind so much mimetic art: a fearful reverence for "the real" has supplanted knowledge of the workings by which reality is created. Too many artists have tried to fill up every perceived hole in their work with "research" – pettifogging justifications for the audience's disbelief, already held in suspense.
On Saturday night I heard the London Sinfonietta play Mauricio Kagel's The Pieces of the Compass Rose in its entirety. Kagel disarmingly refers to this collection of eight pieces as "salon music", pre-empting accusations of cultural appropriation or misrepresentation.
The music is playful and beguiling throughout, even at its most raucous. This deferential charm distracts from a second, more insidious game in play. The salon culture of misinterpreting artefacts from the four corners of the world has itself been taken captive and repurposed by Kagel.
Like a true inhabitant of the postmodern era, Kagel's reference point for his compass keeps shifting to suit his subjectivity: the East is Slavic, the South is Mediterranean and the North-East is Brazilian. He reassures us that the Andean tribe's procession in North-West is purely imaginary.
No salon band would have access to dozens of percussion instruments and found objects, culminating in the percussionist chopping at a log with an axe. At the end of each section descend into torpor, like a hand-cranked gramophone winding down. Even the artifice is artificial.
Is the joke on the musicians or the audience? Is this like one of Nabokov's literary snares, where the better you are at decoding such situations, the worse you become entangled in it? While you're kept guessing you'll listen to a lot of rich, evocative music on Kagel's terms, with no time to stop and check his cultural credentials.
A lot of good things came together on the night of 9 March. A bit over five years ago I first heard of Dennis Johnson and his piece November, when Kyle Gann described it in some length on his blog: a minimalist piano piece written in 1959, which La Monte Young remembers being about six hours long but survived only as a wonky 2-hour tape from the early Sixties. Gann's blog post gives a good rundown on what makes this forgotten piece of music so fascinating, particularly in the way it embraced so many neglected musical ideas that soon came to dominate new music over the next fifty years. Ever since first hearing about 'the minimalists' I'd been intrigued about other, lesser-known composers outside the three or four Big Names*, and Dennis Johnson's mammoth piano piece sounded almost too good to be true.
Nearly two years later I heard a recording from a piano recital by R. Andrew Lee, which he'd uploaded, with a superb performance of Tom Johnson's minimalist puzzlebox An Hour For Piano. I immediately became a fan and soon after started following his Twitter feed, largely in the hope of glomming onto some more mp3s.
Meanwhile, Gann announced that he had almost finished analysing and transcribing November. In 2007 he was trying out various, ultimately unsatisfactory methods of notation, lamenting that "we can't ask Dennis Johnson about it: he's disappeared." By 2009 he'd discovered that November was more than "a kind of crazy, off-beat experiment… instead I'm thinking we'll be unveiling a whole new formal paradigm that deserved to have more of an after-history than it's had." In the meantime, Daniel Wolf had provided a contact for Dennis Johnson, who in turn had sent the score.
Another two years later, I read some exciting news. Andy Lee has a copy of the score to November. I immediately forwarded it to a friend of mine, Mark Harwood at Penultimate Press, knowing that he gets excited about obscure and rediscovered artists, and wonky old piano recordings. We'd both heard and loved the recordings of November made by Kyle Gann and Sarah Cahill when the finished transcription was presented at a conference in 2009, as well as a rip of that old 1961 tape. The prospect of Lee recording November seemed unlikely, but tantalising.
On 9 March this year I finally got myself somewhere regular to live (still without regular internet) but I was more interested in being at Cafe Oto to hear and watch Lee play November in its entirety, as part of its joint release on CD by Penultimate Press and Irritable Hedgehog.
Over five hours, the music works a strange effect on the listener. The intervening decades of minimalist and ambient music have made us familiar with the concepts of long durations, tonal stasis, consistent dynamics, repetitions, but November uses these techniques in an unusual way. The sense of continuity is very strong, but there is no fixed pulse and few strict repetitions. The slowness, spareness and use of silence, with an organic sense of rhythm, make it seem very similar in many respects to Morton Feldman's late music. The harmonic language, however, is very different. Johnson's piece uses clear, familiar tonality to play with our expectations of the music's ultimate direction, whereas Feldman's chromatic ambiguity seeks to negate any feeling of movement in harmony or time.
The semi-improvised nature of November adds another element to a performance. It was interesting to watch Lee relax as he moved from the fully-notated transcription of the piece's first 100 minutes, into the more open notation that made up the next three hours of playing. He seemed to go into a serene state of focused timelessness, perfectly matching the music he was playing. The music itself takes on the aspect of a musician feeling their way through the material, venturing into new areas then circling back onto familiar ground, adding new parts along the way to reveal older material in a different light. Lee's interpretation of the open notation took on a similar character, meditative at times, almost casual at others, building up the strong impression of of a unified whole, gradually revealed. In effect, the music sounded like a inspired burst of improvisation, a fleeting run of chord changes and leading tones, slowed down 100 times to linger over every sensuous detail.
As I said before, it sounds almost too good to be true: a forgotten composer with a very short career (if it could even be called that), who disappears after writing a work of vast scale and great precedence, with said work languishing unknown for fifty years before it is rescued from obscurity, reconstructed and performed to great acclaim. The thing is that November is a truly great work, beautiful and captivating, which holds the listener's interest more than could be hoped from a novel gimmick stumbled upon by a dilletante, and with far more substance and longevity than a piece of purely historical or musicological interest.
About twenty minutes into the performance Harwood held his phone out towards the piano for a while. He'd dialled Dennis Johnson's number in California. Earlier that evening he'd told me a bit more he'd learned of Johnson's career in mathematics: some of his work had gone into the Mars Curiosity rover programme.
I spent Saturday afternoon in an empty art gallery in Camden listening to a live performance of Morton Feldman's For Philip Guston. In a high-ceilinged back room of the gallery, twenty folding chairs were set out in front of the musicians from the Guildhall School: Siwan Rhys playing piano and celesta, Alasdair Garrett and Martha Lloyd tag-teaming on the flute parts, and finally George Barton on the tuned percussion (once he'd finally turned up, wearing an inside-out jumper and clutching a stack of a hundred-odd dog-eared pages of the score.)
The first four notes sound almost too hushed, like one voice heard amongst the hubbub of the crowd in the other rooms of the gallery. Eventually, but quite quickly, all other noises from the rest of the gallery fade away. I'm assuming everyone else has left us alone, musicians and audience, in the back room. The playing is beautiful and I relax, knowing that I'm going to be hearing a piece of music and not a bystander in an Art Stunt. At times the playing is a little rough around the edges. I can only assume that in writing such unforgiving parts, and making the whole piece four hours long, human frailty must be considered as part of the work itself. The piccolo sections – all soft, sustained notes – must be especially Not Fun.
Every time I hear For Philip Guston I hear something else. Last time I noticed how the piece fell into large sections that repeated the same process, of starting in an even flow and then gradually winding down into stasis. This time I hear how Feldman tricks you into hearing individual sounds outside of their continuity. There's always the suggestion of those opening four notes returning – and they do, but never in quite the same way. As the pattern gets passed from one instrument to another, you find yourself waiting to hear each sound, and then weighing it in your mind.
The two flautists take one-hour shifts, which unfortunately signposts the passing of time. On the other hand, the sky outside is getting steadily darker and the room starts getting cold, so this feeling is inevitable. I start dozing off a little about an hour into the piece, but that feeling passes and for the rest of the piece I'm more attentive than before. The ensemble passages are beautifully written but today I'm less interested in these more complex effects and become transfixed when the music dwindles to nothing. For minutes on end the piece can be silent, articulated at intervals by a single, repeated note. So little needs to be done. Polyphony sucks.
I think John Cage first described Feldman's music as heroic, and there is something heroic in the way he can break away from such simple silences after lingering on them for so much time. A minimalist could build a career on them. When the sky is dark and the audience is chilly and the music finally ends it's like a blanket's been taken away. Everyone hovers uncertainly in the silence, a little apologetic that it's over, a little embarrassed that we can't bring ourselves to applaud. Not just yet, just a little bit longer.
I've complained about the piano at Cafe Oto before. Just about everybody has, particularly John Tilbury, who refused to come back until it was replaced. The new piano's been there for a while now; there's just the question of paying for it.
Tuesday night's Tilbury concert was intended as a fundraiser for the instrument. Instead of angling for broad, populist appeal, the programme consisted entirely of Tilbury playing Morton Feldman's early solo music. With the exception of his last piano piece, Palais de Maris, and an arrangement of Madame Press Died Last Week At Ninety, all of the music was from the Fifties. Before playing, Tilbury announced he would be playing the entire programme without a break and requested no applause between pieces. The chairs had all been gathered around closer than usual, in a tight huddle around the piano and away from the bar. This was a Serious Concert.
Amazingly, for a freezing, foggy December night in London, no-one in the audience had a cough. It was like the end of the John Cage Prom all over again.
At the start of the evening Tilbury said something that I'm sure a lot of us were thinking: that Feldman is still an overlooked composer in that attention is focused almost entirely on those long, late works from the last decade of his life. He added that "early" Feldman was where he started with this music and mentioned ruefully that "you can't make a career out of playing early Feldman."
Cafe Oto is not the best place for concentration, but everyone knew that they needed to give full attention for this music to be heard properly (even the punter in front of me who fell asleep during Palais de Maris.) The first piece began abruptly – short notes, isolated, no pedal, so that it sounded accidental – inconsequential but obtrusive all the same. Hearing Feldman's early music is a reminder of the idea in the air at the time, as expressed by Cage, that this music existed in the now-moment alone, where all you can do is suddenly listen.
The sounds are simple in themselves, but the effect they produce is complex – both reasons working against this music as a career vehicle. So much of the music's affect comes from the placement of the sounds in a given place and time, instead of the usual uninterrupted flow of musical rhetoric that tries to shut out its surroundings.
I've heard Tilbury play the last two pieces on this programme before. This night's performances were very different; more restrained, less variable, less… not less romantic, less demonstrative. Interpretations can change over six years, but it seems likely that this is music to which the performer intuitively responds and allows to emerge differently, as clear as possible in consideration of its surroundings.
All the elements were in place for a disaster. Cafe Oto can be hot and stuffy in the best circumstances but after several intense summer days, followed by an evening of clouds and rain, the room became a sweaty, airless torture chamber. The musicians were jet lagged, having flown in from mid-winter Australia the day before. They'd had about 40 minutes of rehearsal since arriving, which is about half the length of the piece of music they were meant to play. Outside, a DJ was entertaining partygoers on the rooftop of the building next door.
On top of all that Patterns In A Chromatic Field is one of Feldman's most recondite pieces. Added to its length and awkward rhythms, which are to be expected, the texture abruptly switches back and forth from relatively frenetic thickets of notes to prolonged moments of absolute torpor. The cello part demands extended passages of artificial harmonics, written in perverse note spellings that seem to insist on microtonal inflection. Finally, as mentioned before, the piano at Oto is frankly b0rked.
Was it rough around the edges? I suppose it was, in a way. The players themselves certainly thought so. But then the venue's pretty rough too. This is no concert hall, what with next door's party leaking through the windows and a bar still serving punters at the back of the room. I don't think anyone went to the bar during the performance. One or two loo breaks, a couple of people going out for fresh air; apart from that, no-one in the place moved once Golden Fur started playing. As everyone settled in, musos and punters alike hooked into the same concentration, the same determination, and never let go. There's no need for signs here like at the old Luminaire telling everyone to shut up.
Patterns has always been seen as an anomaly in Feldman's oeuvre. It seems that Feldman wasn't entirely happy with it, and this may have been down in part to the wrong-headed performances it received in his lifetime. Whatever the flaws Golden Fur perceived in their performances on the night, they were quite rightly overlooked as trivial by everyone else, in favour of the understanding and interpretation the musicians brought to such a contrary score. If he could forgive the conditions, Feldman would probably not have regretted staying to listen.
Really sloppy notes here, sorry. Part 1 is here.
I remember when I first heard Frank Zappa's songs. The singing felt forced and goofy, with straining falsettos and dopey bass vocals. Then I heard the original doo-wop records which inspired him and realised that his comedy mugging is absolutely faithful to the earnest material it imitates. "No no, we do it straight," he enjoins his singers shortly into a cover version on one of his live albums. In the next breath, he admits, "It's hard, I know."
This was the same feeling I got watching Europera 3 performed. At first it all feels like a colossal joke, and the punter is left wondering at whose expense the supposed fun is made: at us for our pretensions, the singers for their dedication to the ridiculous enterprise, or Cage himself for his impertinence for devising such an absurd collage and expecting it to be taken seriously as an operatic experience. True, each opera is a comedy, although in each a different kind of comedy is in play.
The singers in Europera 3 seemed at first too eager to please, and too pleased with themselves for being in on the wheeze; but then, as with Zappa's doo-wop homages, I began to realise that this playing to the audience is an essential part of traditional opera. Despite whatever pretensions opera may have to the highest of high culture, it sure ain't subtle. If anything, Cage's score seemed to constrain the singers too much.
I'm assuming it's Cage's score for Europera 3 that assigns a fixed location for each singer's aria, as I assume that it was the director's decision to assign these locations to the front of the stage, which tended to give the production the feel of a procession of entrances, presentations and exits. How ever it is produced, I can't help feel that Cage fundamentally misread a crucial aspect of opera in Europera 3, in that there is no allowance for interaction between the performers. Europera 3 is one of those occasions when Cage's idealism gets in the way of his aspirations. In seeking to distil opera to its basic elements of music and theatre, he forgot that opera is an impure, messy, pandering, superficial, gossipy, star-struck and fashion-obsessed artform, and what Cage perceived as flaws are essential to its survival.
Having said all that, what has Cage given us other than music, singing, costumes, theatre – is that not opera? The silliness of the incongruous costumes seen plain, the gesticulations stripped of dramatic context, are subsumed in the richness of talented singers presenting great arias against a backdrop of opera on LP and piano reduction (cultural legacy in portable, domestic form). It sort of resembled an opera, but more an opera rehearsal, or an opera school, with multiple distinct and disciplined activities each directed to an immediate aim, taken as a glorious whole.
What amazes me is that such a simple collage of available elements from the repertory can provoke so many contradictory reactions to Cage's art and to opera itself. Whatever weaknesses it may have, Europera 3 certainly succeeds in demonstrating Cage's strength for showing, not telling, when raising questions about music, aesthetics and the nature of art.
After the interval, Europera 4 raised different issues again. Europera 4 was conceived as a pair with Europera 3, and I was surprised by how much it differed. I had thought the resources for both operas were largely the same, but that in Europera 4 Cage had skewed the odds in his chance operations to favour less rather than more. It was actually closer to Europera 5 in scale. Two singers, soprano and baritone, instead of six; one pianist instead of two (sometimes shadow-playing); and the one Victrola instead of the six turntables and crates of LPs.
Some, but not all, of the productions differences were down to direction. No costume changes, and the lighting changed only in intensity. (No sudden dusk eclipsing the Queen of the Night this time around.) Unlike Europera 3, Europera 4 began in quite an affective and haunting way, with the soprano singing a vocalise while the baritone, as yet unseen, sang far away backstage. As with Europera 5, a dramatic interpretation was imposed upon Cage's score, and maintained a coherent conceit throughout from this initial, accidental duet.
The singers appeared as perpetually doomed lovers, fated never to meet and yet to die in wonderfully operatic fashion after each and every aria, only to rise, sing, and die again. I suppose it could be called a perverse re-imagining of Cage's opera as it played out like a consciously constructed absurdist drama. I do enjoy it when someone turns Cage against himself and makes it work in is own right, and it doesn't happen nearly often enough. I don't know what all those balloons were about, though.
One other effect Einstein on the Beach had on my life was that it made me a sucker for wacky opera. After Einstein, John Cage's Europeras may be the most notorious wacky operas around, so I had to go to Cologne to see the final three (of five) performed in one night.
First obvious question answered: is it a real opera? Of course it is. Someone in the foyer smelled faintly of wee. QED.
What I found most immediately interesting about the performances on the night was the liberties that had been taken by the director, sometimes to the point of disregarding Cage's score. From Berg to Glass, any opera composer specifying more than the words and the notes is asking for trouble sooner or later, and Cage's use of chance-determined collage in the Europeras extends to stage movements, scenery, costumes and lighting.
The "free" interpretation by Oper Köln was most blatantly different in Europera 5. One of Cage's last compositions, it pares the constituent elements of its predecessors to the barest minimum. In the space of an hour, two singers sing five arias each, unaccompanied. Half a dozen operatic 78s are played on a wind-up gramophone. A pianist occasionally mimics playing transcriptions of scenes from romantic operas, hitting keys only by accident. From time to time, a radio plays, a television (silent) is switched on. A rumbling passes by in the far distance.
In Cage's score much of the action, such as it is, consists of changes in lighting, with specific instructions for multiple (unspecified) lighting sources to be turned on or off at chance-determined intervals. In Cologne, the lighting was an even mid-grey throughout. The scenario may very well have been drawn from Samuel Beckett; but I'm not convinced that Cage and Beckett are the most agreeable of stage companions.
The production drew a definite interpretation from Cage's indeterminate collage, depicting a scene of great age, infirmity and decay. This conceit was evidently used to account for the extremely slow movements Cage's score prescribes for his singers, from one part of the stage to another. The Victrola only added to the air of age and obsolescence. The feeling of openness and quiescence that Cage so often aspired to in his music was here supplanted by a bitter, ironic humour.
Soprano and mezzo-soprano, both entirely grey, walked with stiff, pained movements, finishing each aria with bows and blown kisses to imaginary fans like opera diva Norma Desmonds. The old gent in the bathrobe also stands and bows after each phonograph has finished. Cage instructs each singer to wear an animal mask at a given point, but the mezzo insists on donning her bear's head each time she acknowledges the invisible audience.
Beckett admitted that he had no real fondness for opera, so he may have enjoyed the bleak comedy in the presentation of these denuded fragments. I'm not sure that Cage had anything so confrontational in mind when he talked of giving opera back to the Europeans, but then Verdi and Rossini couldn't have anticipated the reconceptualisation of their works in Regieoper, either.
Cage's music deserves to be played at least as well as Verdi's – as it was here, although none of the notes were actually written by Cage. I suppose if people are going to accept him as the great composer that he was, it's only fair that he be interpreted as wilfully as Verdi, too.
Europeras 3 and 4 raised different concerns, about whether or not Cage had succeeded in making a good opera, but that can wait until next time as it's late and time for my Ovaltine.
There's a bunch of stuff I need to catch up on but first I have to talk about the Charlemagne Palestine and Oren Ambarchi gig at Cafe Oto last week. I really have a problem with this type of "hey let's take two musicians who have never worked together before and y'know like throw them together and then sit back and like watch the Magic totally happen" gig. It's too much like there's a curator in the background hoping to pick up the kudos if it somehow works. Never mind; I fuelled up on Beerlao from the cornershop and went anyway, largely because I had no idea what was going to happen.
Yeah yeah, there were the obligatory stuffed toys and glasses of brandy, but the music had to be different. For starters, the piano at Oto ain't no Bösendorfer Imperial. The evening began while the punters were filing in, with Palestine playing a steadily-building tidal wave of noise from his laptop. For the concert proper he played with his distinctively animalistic mix of single-mindedness and capriciousness. In between the expected periods of drumming away at sustained harmonic intervals on the piano, there were more laptop collages, occasional extended drones on cognac glasses, and in one or two places some La Monte Young/Terry Riley type singing.
Ambarchi, as he freely admitted afterwards, really had no idea what to expect coming in to this setup. His response to being put in this situation is what made the gig work so well. Both experienced musicians, displaying all the craft they've spent years developing, refused to bend too far from what they do best. Ambarchi would build up layers of amplifier hum and electrical crackle under Palestine's piano, and then seize upon the slightest pause and shift the frequencies and harmonics, forcing Palestine to retreat momentarily, and then start over on a new tonal centre.
Throughout the gig Ambarchi kept provoking Palestine, most entertainingly when the older man at the piano tried to play conductor, barking at Ambarchi "Drums!… Drums!… Drums!" The latter took his sweet time about it, before finally reaching over to gently tap one of his cymbals.
An old man is walking slowly through the room. At one end of the room a bird is twittering. Not a real bird; it's an electronic bird call. The man walks slowly towards where the sound seems to be coming from. We can hear the bird, but we can also hear what the man hears: he's wearing microphones over his ears. The sounds he can hear are played through loudspeakers in the room, so that we can hear the bird from our position, and the bird from his position, as projected from a third position. The man can also hear what he hears relayed from those loudspeakers. Inevitably, feedback occurs.
The feedback produced is a high, whistling sound which complements the bird nicely. The man tilts his head a little to one side, or hunches down a fraction. The feedback shifts to a new note, the tone becomes reedier. The slightest adjustment to how the man listens can completely change the sound we hear. Even the bird's repeated call changes: its chirping amongst the feedback causes heterodyning, creating the illusion of other, differently voiced birds chirping in chorus.
On the weekend I got to see and hear Alvin Lucier perform his 1975 piece Bird and Person Dyning, as part of the Cut and Splice festival at Wilton's Hall. The above description gives some idea of how a simple setup can create a complex sonic environment. In a single, unified action it reveals how the subtleties of sound depend on how we listen, our position in space, the size and shape of the room. There were some good pieces on the weekend, and more poor pieces, but Lucier's music still stood out for having both a depth and a transparency that the others lacked.
(Video and audio of Bird and Person Dyning is on UbuWeb.)
I missed the concerts dedicated to Morton Feldman, my second-favourite composer, at the Huddersfield Festival last month. I'm not exactly sure where Huddersfield is – I suspect it's Up North somewhere – and events conspired to keep me confined to London throughout.
The Guardian published a neat little overview and discussion of Feldman's career, including this interesting comment:
There are those who hear in Feldman little more than a sort of high-art easy listening. The music is quiet, it's quite repetitive, it uses pretty sounds, so how is it different from any of the other ambient soundscapes that help people to chill at the end of a busy day? The Huddersfield retrospective should help to clear up the confusion. For anyone prepared to listen in the attentive way that Feldman expected, his work is full of surprises, the flow of events enigmatically unpredictable and the grain of the music always changing – the antithesis of easy listening.
This description of the mishearing of Feldman's music is accurate as far as it goes, but the misconception of Feldman as a proto-New Age holy minimalist can be partly blamed on the way some performers play his music these days. Over the years, as Feldman has become more popular, more performances and recordings have been made and many of them prefer to play his music as if it were, in fact, "high-art easy listening."
Yes, Feldman's favourite instruction on his manuscripts was "as slowly and softly as possible", but too many people are interpreting this as a licence to play pretty and precious, pious and bland; warping his unique style into an imitation of the more homogenous idiom of later, more conspicuously popular composers.
(To a certain extent, this has happened to a lot of post-war avant-garde music: recordings of performances from the 1950s and 60s tended to sound sharp, spiky and "difficult". The same pieces played today tend to sound softer, serene, and meditative. John Cage, in particular, seems to get a lot of this treatment in his more austere, contemplative pieces; as though he were a Zen guru first, and composer second.)
Earlier in the year, I went to a concert of Feldman's music given as a book launch for a collection of Feldman's lectures and interviews. It was an old, small hall in Holborn, used as the headquarters of the London Free Thought Society, so the corridors were posted with flyers advertising forthcoming talks such as "The Middle East Crisis: Education or Barbarism? by Mr Elijah Sittingbourne (B.Div., Cantab.)". The hall itself bore an inscription across the proscenium, quoting, apprarently without irony, Polonius' "To thine own self be true."
One of the musicians in the concert was the pianist John Tilbury, who had first met and worked with Feldman on his first visit to the UK in the 1960s, and on several subsequent occasions. He first played an early work of Feldman's, Piano Piece 1952, a slow, steady succession of single notes, each identically notated with the duration of exactly one and a half beats. Yet Tilbury made no attempt to disguise that he was giving a very different emphasis to each note: some were dramatically prolonged, others almost rushed, relatively speaking.
A purist would sniff that this was an erratic, indulgent performance; but here was a musician who had known and worked with Feldman. Could we presume he knew first hand what the composer wanted? I have a recording of Roger Woodward playing Feldman's Triadic Memories: his rhythms are nothing like those Feldman carefully notated. Yet Feldman had dedicated this piece, amongst others, to Woodward, and had previously praised his playing.
Perhaps, as we would expect of interpreters of music from the romantic era, these performers are comfortable taking liberties with the score, understanding the idiom well enough to take license with what is written down to get closer to the music the score represents, instead of retreating from the music's challenges into a sound-world more familiar and comfortable. Tilbury didn't take the score literally (every note to be played the same), but grasped at the truth behind it (every note is to be treated as a unique, independent event). In music, there's a difference between accuracy and authenticity.
Tilbury also played a very late Feldman piece, Palais de Mari (1986), which I heard Rolf Hind play last year. My notes say I was surprised at how "overtly beautiful, even romantic" it was. Tilbury's performance added more drama and expressivity, presumably straining the limits of what was permitted in the score – the hint of restrained climaxes and crescendoes, in a composer who treasured the "flat surface" in his work. It also had a better sense of phrasing and overall shape than Hind's interpretation: without that, so much later Feldman can sound like just one damn little thing after another.
As far as "wrong" performances go, it's worth mentioning that at the book launch there were readings from Feldman's essays and lectures. It was very strange hearing his classic Brooklyn turns of phrase spoken in a plummy English accent, particularly once you've heard Feldman's distinctive Noo Yawk speaking voice. (Note to self: post some soundbites of Feldman talking in 2007. He was good value as a guest, so long as he didn't take an immediate dislike to you.)
Has anyone made a comedy map of Britain? I don't mean a map indicating clubs and the birthplaces of comedians; I mean a map marking the real locations inhabited by fictional comic characters, haunted by absurdist conceits. The more anonymous and duller a place is, the more likely it is to have been infused with significance by generations of comic minds: dormitory suburbs, brownfields, dead ends, postwar nowheres. Balham, Putney, Hendon, Cheam: London and the counties are held together in an invisible network of bathetic, negative landmarks. The enervated traveller crossing these liminal spaces is suddenly seized with a numinous inversion of meaning with which the no-place has become invested. What ley-lines connect these psychogeographical lacunae; do they awkwardly bisect the zones of conscious importance, or sneak behind and between through forgotten territory?
Last Friday night a self-selected cross-section of Londoners and American tourists were sharing a small frisson at finding themselves congregated outside a bingo hall in Cricklewood, reminding each other that The Goodies lived in Cricklewood. This wasn't the reason we were all there; we had come to see a different British institution, of similar cultish appeal. We had come to see The Fall; or not see The Fall, as the case may be.
The Americans amongst us were hopeful of seeing a real, genuine Fall gig, having been repeatedly exasperated at home by the nominal band's touring habits: either gracelessly imploding on stage or working a setlist top-heavy with interminable ten-minute dirges about supermarket car parks in Salford. (Mark E. Smith has his own appetite for psychogeographical nullity.) Perhaps they didn't know that the band's London gigs tended to be equally perfunctory: it seems anything south of Birmingham is much of a muchness, as far as Smith is concerned.
To get an idea of the venue, take a look at their website (proletarian visions of prosperity). No really, it's priceless. A gilt-edged coffin for Punk's corpse, WMC Blobs laid to boozy rest with Celtic troubadors and cowboys from Carlisle. As a harbinger of the muzzy haze of regression that threatened, the opening act was John Cooper Clarke, preserved like Sharon Osbourne.
Perhaps it was the faded premises on the cultural and subcultural margin that made the band turn up and play. The band, such as it is, all vestigal entity outside of Smith himself having long departed and now routinely replaced with such regularity that even fans can't keep track of the musos' names, has a reputation for only partly turning up, in body or mind; with Smith himself late, drunk, or a no-show. Instead of a vicarious trainwreck thrill we got the embodiment of a Rock Band at Work, of performance as routine.
Smith, famously looking 20 years older than his real age, stumbled round the stage snarling and hollering incoherently as usual, into one or two mics, as usual, dropping one or picking up the other, peripetetically bemused by their technical failings, nonconsensually futzing with his bandmates' gear, as usual. Performance as routine, stripped of its romance and mythology when seen plain on stage as schtick – in the same way that he refuses to play any songs more than a few years old, Smith's performance denies his fans the delusion of shamanism, of recollection of an intangible psychic resonance. What is left is form and technique, with no invocation of the past, to impress the punters – not appeals to faith. (My companion for the night, oblivious to The Fall's history and significance, attested to this.) The conventional becomes experimental.
The band confined themselves to solid riffs, one per song, starting out OK and then locking into a tighter groove that propelled the music and voice into the higher levels, into the lower reaches of the transcendent state a good rock gig can give. After this peak it was in the recoil of the interval, ebbing into a slower, muted rhythm, "Blindness", its protracted disorientation nudging the punters into a dreamlike semiconsciousness. Smith himself had delayed his entrance onstage, like Elvis in Vegas, but then disappeared early as well, before and after the encore, effacing himself backstage inconspicuously, not to return. It seemed over too soon.
Catching the band in an upswing of collateral cool thanks to John Peel's untimely death, the crowd was a mixture of disoriented tourists, middle-aged punks in mufti, prematurely-aged anoraks comparing notes on Tuesday night's gig (and observing that one band member had been sacked in the interim), curious students, a mosh pit, bright young things their dowdy finest, a pair of them dancing like frenzied muppets on the balcony behind the band, alternately irritating and amusing the more sombrely dedicated punters. And of course, the indifferent regulars up the back getting their pints in all the while.


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Archaeological and Historical Assessment of One Bridge On State Route 130, Log Mile 1.64, Over West Fork Creek, Coffee County, Tennessee (Apr)
Author(s): Andrea B. Shea
Year: 1987
This resource is a citation record only, the Center for Digital Antiquity does not have a copy of this document. The information in this record has been migrated into tDAR from the National Archaeological Database Reports Module (NADB-R) and updated. Most NADB-R records consist of a document citation and other metadata but do not have the documents themselves uploaded.
If you have a digital copy of the document and would like to have it curated in tDAR, please contact us at firstname.lastname@example.com.
Cite this Record
Archaeological and Historical Assessment of One Bridge On State Route 130, Log Mile 1.64, Over West Fork Creek, Coffee County, Tennessee (Apr). Andrea B. Shea. 1987 ( tDAR id: 151238)
This Resource is Part of the Following Collections
Site Type
Investigation Types
Archaeological Overview
Geographic Keywords
47031 (Fips Code) • Coffee (County) • North America (Continent) • Tennessee (State / Territory) • United States of America (Country)
Spatial Coverage
min long: -86.28; min lat: 35.289 ; max long: -85.869; max lat: 35.706 ;
Individual & Institutional Roles
Sponsor(s): Department of Transportation; Tennessee Dept. of Transportation
Prepared By(s): Environmental Planning Office, Nashville, Tn
Record Identifiers
NADB document id number(s): 476761
NADB citation id number(s): 000000066274
General Note: Sent from: Environmental Planning Office, Nashville, Tn
General Note: Submitted to: Tennessee Dept. of Transportation


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The search found 4 results in 0.011 seconds.
Winter 2016 Vol. 15 No. 1
Evidence is important. Even the most skeptical rely on tested and re-tested scientific certainty every day. And good sociologists hold scientific evidence suspect even as we use the best we have to make the decisions we must.
Fall 2017 Vol. 16 No. 4
Feature articles include "Virginia is for Lovers", "Marijuana's Moral Entrepreneurs, Then and Now", "Commuter Spouses and the Changing American Family", "The Queer Work of Militarized Prides", "Accountability after Genocide", and "Race, Class, and the Framing of Drug Epidemics."
Persons experiencing addiction may be at very high risk of infectious disease like COVID-19 due to high rates of smoking, recent imprisonment, conditions like HIV/AIDS, and high-risk behaviors (Ezzati et al. 2002; Farhoudian, et al. 2020). During the COVID-19 pandemic, most courts have shuttered, and treatment center admissions have halted, yet the opioid crisis rages on. Addiction intersects with material hardship, trauma, broken institutions, and human frailty in a multidimensional web of disadvantage (Desmond and Western 2018)—a process illustrated by COVID-19.
To slow the spread of the coronavirus, schools across the United States are expecting students to continue learning at home. That means attending real-time class meetings, completing worksheets and online modules, and even taking exams online. Unfortunately, some schools are also holding students accountable for at-home learning, basing grades, course placements, and college eligibility on work completed at home. That accountability, I will argue, has the potential to exacerbate longstanding inequalities in school.


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13 funniest military memes for the week of May 19
Another week down, another flurry of military memes from the comedy blizzard that is the internet.
Here are 13 of the funniest we found:
1. Huh. Didn't know "Queen of the Bees" was a new MOS (via Pop smoke).
A couple of stings will remind you that you're alive pretty quickly.
2. Guess someone is rucking home (via Team Non-Rec).
And that's not how you carry a helmet.
ALSO SEE: 7 things you should know before joining the infantry >
3. Sure, you'll look fabulous until that first splash of hot coolant or grease (via Sh-t my LPO says).
Oh, and you don't look fabulous. You look like an idiot.
4. Pretty unfortunate fortune cookie (via Sh-t my LPO says).
Especially if the cruise gets extended.
5. It's a rough gig. Ages you fast (via Sh-t My Recruiter Said).
Not sure how he lost that eye, though.
6. Seriously, every briefing can be done without Powerpoint (via Why I'm Not Re-enlisting).
And if you choose to use Powerpoint, at least punch up the briefing with some anecdotes and keep the slide number low.
7. Think the platoon sergeant will notice? (via Team Non-Rec)
Just keep your eyes forward and only the 2nd, 3rd, and 4th ranks will see it.
8. God, Romphims took over the military pretty fast (via Weapons of Meme Destruction)
Photoshoppers must have been working overtime.
9. We're all the same. Except for these as-holes (via Weapons of Meme Destruction).
"Would've joined the military but ..." never ends well.
10. It's all fun and games until someone has to clean up (via Valhalla Wear).
Did anyone else notice the uniform change in this meme? You're Marines while you're shooting, but you're Army when you're cleaning up.
11. Oh yeah? You completed selection and training but decided against the green beret? (via Decelerate Your Life)
You can't refuse Special Forces until they offer you the tab, and no one turns it down right after earning it.
12. "Headhunter 6? Never heard of her." (via The Salty Soldier)
"Try another number."
13. You poor, stupid bastard (via Why I'm Not Re-enlisting).
They're all equally bad.


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In about 50 years, we have grown from a pioneer of natural foods into one of the market leaders for organic food with around 140 employees. It motivates us all and combines the enthusiasm for organic food. For biological and bio-dynamic agriculture is the better alternative for nature and man. We commit ourselves to this conviction on a daily basis.
Juicy cake or bread mixes, sweet fruit pulp, wholefood cereals or savory such as pizza, falafel and burgers mixes, gluten-free, wheat-free or vegan - today there are around 140 products under the Bauckhof brand. Bauckhof stands for traditional recipes that are easy to prepare and taste the whole family.
|Additional information
|Unit:200 g
|Nutritional information (100 g):energy 1584 kJ/373 kcal, fat 1 g, of which saturates 0,2 g, carbohydrate 83 g, of which sugars 0,5 g, fibre 3,1 g, protein 6,6 g, salt 0,43 g
|Controlled by:Biokontroll Hungária Nonprofit Kft. HU-ÖKO-01
|Storing instructions:Store in a cool, dry place.


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The next seminar of the Faculty of Mechanics and Mathematics was held03/04/2018
Using the pseudo-Riemann metrics and pseudo-complex structures, a definition of the anti-Kahler-Codazzi manifolds is introduced in the report. In addition, the properties of structure-preserving connections on manifolds of this type are presented.
Further, speaker answered the questions of the seminar participants.


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This book is in the Cambria Studies in Classicism, Orientalism, and Medievalism book series (General Editor: Nickolas A. Haydock).
Watch the video about this book from Cambria Press
Contemporary Western society is in the midst of an efflorescence of medievalism, from political rhetoric to the names of sports teams, advertising, and themed restaurants, to the pages and screens of popular culture. Medievalism in the twenty-first century is layered, folding into itself the practices, processes, and representations of earlier eras, as well as those of the time and place in which it is produced. Reimagining history for mass consumption has as much, if not more, to do with the needs and wants of the present than with any historical reality. Profit and pleasure define popular culture, and genres are a major framework organizing the making of both: creative industries use them to make the former, and consumers to help find the latter. When the Middle Ages are reimagined in popular-culture contexts, they are shaped by the genre in which any individual creative work is produced and consumed. The nexus of medievalism and popular genres is the focus of this collection, which interrogates the interplay between past and present in mass culture.
Studies of popular culture medievalisms have not, to date, examined the interconnections of the two in any organized fashion, yet genre is a major framework structuring representation, production, consumption, and the making of meaning in popular culture. The conventions of any genre shape, even if they do not entirely circumscribe, what is possible in any constitutive creative work—this is as true of medievalism as it is of any other element—while genres themselves are shaped by the anxieties of the society which creates them. Given that a high proportion of today's popular culture medievalisms are filtered through genre, this volume's exploration of their interconnections sheds light not only on the nature of both, but on social issues and identity constructs of the present cultural moment.
Rather than focusing on the medievalism of a single genre, this volume puts multiple genres in dialogue and considers both medievalism and genre to be frameworks from which meaning can be produced. Chapters in it explore works from a wide range of genres—children's and young adult, historical, cyberpunk, fantasy, science fiction, romance, and crime—and across multiple media—fiction, film, television, video games, and music. The range of media types and genres enable comparison, and the identification of overarching trends, while also allowing comparison of contrasting phenomena.
As the first volume to explore the nexus of medievalism and genre across such a wide range of texts, this collection illustrates the fractured ideologies of contemporary popular culture. The Middle Ages are more usually, and often more prominently, aligned with conservative ideologies, for example around gender roles, but the Middle Ages can also be the site of resistance and progressive politics. Exploring the interplay of past and present, and the ways writers and readers work engage with them demonstrates the conscious processes of identity construction at work throughout Western popular culture. The collection also demonstrates that while scholars may have by-and-large abandoned the concept of accuracy when considering contemporary medievalisms, the Middle Ages are widely associated with authenticity, and the authenticity of identity, in the popular imagination; the idea of the real Middle Ages matters, even when historical realities do not.
The Middle Ages in Popular Culture: Medievalism and Genre will be of interest to scholars of medievalism, popular culture, and genre.
See also
Fantasy and Science-Fiction Medievalisms: From Isaac Asimov to A Game of Thrones


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In the past few years there have been countless and countless examples of how gender has shaped our conversation, and how a lot of men and society are working to have this conversation around masculinity. #MeToo has ignited that conversation ten fold. For this episode I wanted to go back to those instances and talk about that……but then a perfect little storm happened when Gillette focused their new ad campaign tackling Toxic Masculinity
We will explore the ad and the discussion around it with Al Harris, Nick Sandor, and Elliott Tanti.
We also used clips from the FBE series Reaction as well as Gillette's original commercial


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Redbrick Companies
Jump to navigation Jump to search
Once upon a time there were a lot of former RedBrick people starting companies, particularly in the professional services area. Do any of these companies still exist and if so, where do I find them? -- fergus
You can find them right here!
In present operation
- Vade - Web Hosting & Development: kyper, phreak and ryaner.
- Callisto - IT Vendor: halenger.
- Jeebers - E-business solutions: jeebers.
- Cliste - Consultancy: colmmacc and x.
- Beanbag Ltd - Consultancy: shimoda.
- Terminal4 - Enterprise Content Management: piero and bubble.
- Eolach - Open Source consulting: hyper, thalia and fergus.
- RFC-Networks - Web dev, hosting, consulting, open source: phil, mark and noelfitz.


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|Clinical data
|Other names
|Routes of
|oral administration rectal administration
|ATC code
|Legal status
|Legal status
|CAS Number
|PubChem CID
|CompTox Dashboard (EPA)
|Chemical and physical data
|Molar mass
|348.534 g·mol−1
|3D model (JSmol)
|(what is this?) (verify)
MT-45 (IC-6) is an opioid analgesic drug invented in the 1970s by Dainippon Pharmaceutical Co.[1] It is chemically a 1-substituted-4-(1,2-diphenylethyl)piperazine derivative, which is structurally unrelated to most other opioid drugs. Racemic MT-45 has around 80% the potency of morphine, with almost all opioid activity residing in the (S) enantiomer (the opposite stereochemistry from the related drug lefetamine).[2][3] It has been used as a lead compound from which a large family of potent opioid drugs[4] have been developed, including full agonists, partial agonists, and antagonists at the three main opioid receptor subtypes.[5][6][7][8][9][10]
Recreational use of MT-45 has been associated with hearing loss and unconsciousness.[11][12]
MT-45 became a class A drug in the UK on 11 March 2015[13]
MT-45 is banned in the Czech Republic.[14]
The Canadian Controlled Drugs and Substances Act was amended in 2016 to include the substance as a Schedule I substance. Possession without legal authority can result in maximum 7 years imprisonment. Further, Health Canada amended the Food and Drug Regulations in May, 2016 to classify MT-45 as a restricted drug.[15] Only those with a law enforcement agency, person with an exemption permit or institutions with Minister's authorization may possess the drug in Canada.
In the United States the DEA placed MT-45 in Schedule 1 of the Controlled Substance Act. This took effect January 12, 2018. [16]
See also[edit]
- Diphenidine
- Diphenpipenol
- Ephenidine
- Fluorolintane
- Lanicemine
- Lefetamine
- Methoxphenidine (MXP)
- Metonitazene
- Remacemide
- ^ US patent 3957788, Haruki Nishimura, Hitoshi Uno, Kagayaki Natsuka, Noriaki Shimokawa, Masanao Shimizu, Hideo Nakamura, "1-Substituted-4-(1,2-diphenylethyl)piperazine derivatives and their salts", published 1975-15-01, issued 1976-18-05
- ^ Natsuka K, Nakamura H, Uno H, Umemoto S (December 1975). "Studies on 1-substituted 4-(1,2-diphenylethyl)piperazine derivatives and their analgesic activities. 1". Journal of Medicinal Chemistry. 18 (12): 1240–4. doi:10.1021/jm00246a014. PMID 1195277.
- ^ Nakamura H, Shimizu M (May 1976). "Comparative study of 1-cyclohexyl-4-(1,2-diphenylethyl)-piperazine and its enantiomorphs on analgesic and other pharmacological activities in experimental animals". Archives Internationales de Pharmacodynamie et de Thérapie. 221 (1): 105–21. PMID 962421.
- ^ US Patent 4080453
- ^ Natsuka K, Nakamura H, Negoro T, Uno H, Nishimura H (December 1978). "Studies on 1-substituted 4-(1,2-diphenylethyl)piperazine derivatives and their analgesic activities. 2. Structure-activity relationships of 1-cycloalkyl-4-(1,2-diphenylethyl)piperazines". Journal of Medicinal Chemistry. 21 (12): 1265–9. doi:10.1021/jm00210a017. PMID 722735.
- ^ Shimokawa N, Nakamura H, Shimakawa K, Minami H, Nishimura H (January 1979). "Studies on analgesic agents. 1.1a Preparation of 1,2-diphenyl-2-(4-substituted 1-piperazinyl)ethanol derivatives and structure-activity relationships". Journal of Medicinal Chemistry. 22 (1): 58–63. doi:10.1021/jm00187a014. PMID 106119.
- ^ Nakamura H, Ishii D, Yokoyama Y, Motoyoshi S, Natsuka K, Shimizu M (September 1980). "Analgesic and other pharmacological activities of a new narcotic antagonist analgesic (−)-1-(3-methyl-2-butenyl)-4-[2-(3-hydroxyphenyl)-1-phenylethyl]-piperazine and its enantiomorph in experimental animals". The Journal of Pharmacy and Pharmacology. 32 (9): 635–42. doi:10.1111/j.2042-7158.1980.tb13020.x. PMID 6107365. S2CID 27764413.
- ^ Nozaki M, Niwa M, Imai E, Hori M, Fujimura H (1983). "(1,2-Diphenylethyl) piperazines as potent opiate-like analgesics; the unusual relationships between stereoselectivity and affinity to opioid receptor". Life Sciences. 33 Suppl 1: 431–4. doi:10.1016/0024-3205(83)90534-9. PMID 6319898.
- ^ Natsuka K, Nakamura H, Nishikawa Y, Negoro T, Uno H, Nishimura H (October 1987). "Synthesis and structure-activity relationships of 1-substituted 4-(1,2-diphenylethyl)piperazine derivatives having narcotic agonist and antagonist activity". Journal of Medicinal Chemistry. 30 (10): 1779–87. doi:10.1021/jm00393a017. PMID 3656354.
- ^ Natsuka K, Nishikawa Y, Nakamura H (December 1999). "Roles of two basic nitrogen atoms in 1-substituted 4-(1,2-diphenylethyl)piperazine derivatives in production of opioid agonist and antagonist activities". Chemical & Pharmaceutical Bulletin. 47 (12): 1790–3. doi:10.1248/cpb.47.1790. PMID 10748722.
- ^ A. Helander; M. Bäckberg & O. Beck (2014). "MT-45, a new psychoactive substance associated with hearing loss and unconsciousness". Clinical Toxicology. 52 (8): 901–904. doi:10.3109/15563650.2014.943908. PMID 25175898. S2CID 37311206.
- ^ McKenzie, Craig; Sutcliffe, Oliver B.; Read, Kevin D.; Scullion, Paul; Epemolu, Ola; Fletcher, Daniel; Helander, Anders; Beck, Olof; Rylski, Alexia; Antonides, Lysbeth H.; Riley, Jennifer; Smith, Shannah A.; Daeid, Niamh Nic (2018). "Chemical synthesis, characterisation and in vitro and in vivo metabolism of the synthetic opioid MT-45 and its newly identified fluorinated analogue 2F-MT-45 with metabolite confirmation in urine samples from known drug users". Forensic Toxicology. 36 (2): 359–374. doi:10.1007/s11419-018-0413-1. ISSN 1860-8965. PMC 6002428. PMID 29963206.
- ^ "Circular 003/2015: a change to the Misuse of Drugs Act 1971: control of MT-45 and 4,4'-DMAR". UK Home Office. 20 February 2015. Retrieved 11 March 2015.
- ^ "Látky, o které byl doplněn seznam č. 4 psychotropních látek (příloha č. 4 k nařízení vlády č. 463/2013 Sb.)" (PDF) (in Czech). Ministerstvo zdravotnictví.
- ^ Regulations Amending the Food and Drug Regulations (Parts G and J — Lefetamine, AH-7921, MT-45 and W-18)
- ^ "2017 - Final Order: Placement of MT-45 into Schedule I".


text:
Simon Bailey
Tommy DeVito
Training: National Youth Theatre of Great Britain.
Theatre includes: Tommy DeVito in Jersey Boys; Liam O'Deary in I Can't Sing! – the X Factor Musical (London Palladium); Romeo and Juliet – the Musical (Piccadilly Theatre); Pharaoh in Joseph and the Amazing Technicolor Dreamcoat (New London Theatre); We Will Rock You (Dominion Theatre); Enjolras in the 21st anniversary cast of Les Misérables (Queen's Theatre); Raoul in The Phantom of the Opera (Her Majesty's Theatre); Lieutenant Torrasso/Count Ludovic in Passion (Donmar Warehouse); Heathers workshop (the Other Palace); Whisper House (the Other Palace); Bat Boy (Southwark Playhouse); Marry Me a Little (St James Theatre) and the British premiere of Striking 12 (Waterloo East Theatre). Simon played Officer Starnes and Tom Watson in the critically acclaimed Parade (Southwark Playhouse), for which he was nominated in the 2011 BroadwayWorld UK Awards in the Best Featured Actor in a Musical category. He has also played Zack Mayo in An Officer and a Gentleman workshop (Leicester Curve); Thompson in Once Upon a Time at the Adelphi (Liverpool Playhouse); Blue in Naked Flame (England) and Ringo Starr/Freddie Mercury in Rock Legends (South Africa).
Simon is also a founder member of theatreland's first supergroup, Teatro. Teatro achieved gold status with their eponymous debut album after just three weeks, making them one of the fastest-selling musical theatre acts of all time. Teatro performed in Los Angeles, New York, Dubai and all over the world, along with performing for Her Majesty The Queen at the 2007 Royal Variety Performance at the Liverpool Empire. Simon has also done a lot of concert work, taking him all around the world. Most recently, he has performed in Florida (USA), Kuala Lumpur, Athens, Egypt, The Phantom of the Opera 25th anniversary concert at the Royal Albert Hall and many concerts all over the UK.
Twitter & Instagram @SimonBailey1210


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Pastry-Centric Project to Replace Birchwood Kitchen
Housemade ice cream is just one reason to be excited for the still-untitled collaboration
Throughout Wicker Park and beyond, hearts shattered when breakfast and lunch darling Birchwood Kitchen closed its doors last October. Well, spring is a time for new beginnings and as such, a fresh tenant aims to breathe life back into the space at 2211 West North Avenue next season.
Longtime friends Nancy Silver and Chris Pappas are behind the yet-to-be-named project, and they're both kind of a big deal: Pastry pro Silver has a résumé that includes Blackbird and Charlie Trotter's. Most recently, she'd been churning out her own line of ice cream, Snookelfritz, selling it at farmer's markets, and toying with the idea of opening an ice cream shop.
Pappas, who currently owns the Winchester and formerly served as general manager of Sepia, approached Silver over the holidays with the idea of collaborating. Since then, the two have worked fast and furiously to plan a casual, European-inspired café where sweet and savory pastries take center stage, and a full food menu, plus wine, apértifs, and housemade ice cream mean there's reason to drop by any time of day or evening. "We both loved the idea of a place that could be a lot of different things, which is something you see overseas more than here," says Silver, who adds that she has worked abroad and both she and Pappas have traveled extensively.
Though Silver and Pappas plan to add a small bar and make some aesthetic tweaks, much of the space will remain unchanged. You have to think good ol' Birchwood would have wanted it this way.
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Women in Leadership Seminar Series
Our signature 2020 Women in Leadership (WIL) Seminar Series is a monthly program that provides a small group forum for female leaders to interact with each other and with inspirational and successful leadership role models, thought leaders, and other experts. Read highlights from past seminars.
TLG's monthly Women in Leadership seminar series occurs either the third or fourth Friday of each month at the Commerce Club at 191 Peachtree Street (49th floor). Breakfast and networking begin at 7:30am and the presentation begins at 8:00am. Directions.
For information on attending or purchasing 2020 WIL subscriptions, call Hope Sonam at 770-270-1723 or email firstname.lastname@example.com
Click Here to Print 2020 Schedule
Learn what WIL participants have to say about the seminar.
Women in Leadership 2020 Seminar Series
7:30 – 10:00 a.m. / The Commerce Club / 191 Peachtree Street / 49th Floor
January 24: "A Celebration of WIL #200: Reuniting with Past WIL Speakers While Envisioning the Future" featuring 20 (or more) of the most admired and inspiring leaders who help make ATL a great place to work and live. The actual list is a secret but it's going to be "epic." Imagine having many of your favorite speakers and leadership character role models together at one time! Imagine the Integrity, Respect and Responsibility – not to mention the Energy and Engagement – they collectively represent! Expect an update on women's progress, more career and leadership insights and plenty of interaction. So kick the year off in style and join the TLG staff in gratitude for 17+ years of WIL "inspiration, invigoration and information."
February 21: "Educating the Next Generation of Leaders: Women Presidents Share their Vision" featuring Dr. Philomena Mantella, President of Grand Valley State University, Grand Rapids, MI and Leocadia Zak, President of Agnes Scott College in Decatur, GA. Dr. Mantella (Philly) joined GVSU in 2019,the 5th president and 1st woman president. She has 30+ years in higher education, is nationally recognized in her field, and has held leadership positions in institutions in NY, NJ, MI, & MA. Coming to ASC in 2018, President Zak (Lee) is the college's 9th president and is a non-traditional leader in her role. She was Phi Beta Kappa at Mt. Holyoke, a women's college and received her law degree from Northeastern University. Her impressive career includes attorney, professor, global economic advisor, and director of a U.S. government agency. Two powerhouse leaders!
March 20: "Leadership, Partnership & Friendship: A Gift From Canada to Atlanta & the Southeast" featuring Nadia Theodore, Consul General of Canada for the US Southeast. With 20+ years of experience in the Canadian federal public service, CG Theodore (Nadia) has built a reputation for forging strong partnerships with government and business leaders, building strong multidisciplinary teams and supporting global conversations on diversity and inclusion. Her experience and expertise include Global Affairs and international trade policy and negotiations. Serving on the Carter Center Advisory Board, the United Nation's CIFAL Advisory Board, and as a Global Advisor for G(irls)20, Nadia has also been recognized as a "Most Influential Diplomat" by Global MIPAD. Locally, she's highly engaged in anti-human trafficking initiatives and youth programs. Nadia holds a Bachelor of Laws from the U. of London and a M.A. in Political Science from Carleton University.
April 24: "Agents of Change for Women's Advancement & Leadership" featuring Elba Pareja-Gallagher, Director of Finance, UPS and Founder & President, ShowMe50.org and Robbin Jorgensen, Founder & CEO, Women Igniting Change. With over 20 years of experience at UPS, Elba's now part of a Business Intelligence & Analytics team; Chairs the UPS Hispanic BRG (Crecer); and leads an impactful 'Lean In' non-profit organization. She holds an M.S. from FL Institute of Technology. Robbin leads a global purpose-driven strategic consulting company; has a 25+ year corporate background; is a highly respected author, keynote speaker, human rights activist and UN Champion. She's also Co-Chair, Board of Advisors, Center for Leadership & Service, SUNY Albany.
May 29: "An Innovative Approach to Bringing People Together and Changing the World – Civic Dinners" featuring Jenn Graham, Founder & CEO of Civic Dinners. An activist, designer and civic tech entrepreneur, Jenn started a social experiment and turned it into a global engagement and digital platform. She's enabled 1,300+ dinners and conversations around the world. Her goal: a million people conversing at the table by 2021. Honored by the ABC in 2019 with the Small Business Person of the Year Rising Star Award, Jenn's also received national recognition and has engaged with organizations like Facebook, The King Center, Sierra Club, & Teach for America. She's a 2019 Center for Civic Innovation Fellow and Women's Entrepreneurship Initiative Entrepreneur. In addition to helping make the world a better place, Jenn's also a wife and new mom.
June 26: "Women's Entrepreneurship: Alive and Accelerating in ATL" featuring Monica D. Hooks, MBA and Executive Director of Atlanta's Women's Entrepreneurship Initiative (WEI) – A graduate herself of WEI's inaugural class and winner of the 2017 Microsoft Innovation Bots and Cognitive Services Award, Ms. Hooks (Monica) currently leads the city's premier women's business incubator. Responsibilities include innovation policy, workforce programs, financial capacity building, recruiting and developing early entrepreneurs. She has 20+ years of success in content marketing and brand management (Sony) in regions from Africa to Asia. She's also Founder/CEO of The Marketing Oracle whose mission is to connect business, media, technology and culture. Monica received her M.B.A from The Wharton School and her undergrad degree at Dartmouth.
July 24: "Helping Women Dream BIG: It's Your Time, Your Turn" featuring Tricia Dempsey, Career Strategist / Creator of Digital Courses & Thrive-Her. Tricia Dempsey is the former Founder & CEO of Agile, a highly successful recruiting company that she created and ultimately sold in 2015. Now living in SC and having found her new calling, she's living her dream role – started a 'movement' helping 4000+ women in group coaching programs like Pinpoint Your Purpose. As an entrepreneur and 8-figure CEO, Tricia's honors are many, e.g., WIT Woman of the Year, Small Business Person of the Year, Power Women Award, etc. She's also Past President of WIT, serves on the Board of Susan G. Komen for the Cure, and the TAG Healthcare BD of Advisors. Tricia's also a cancer survivor whose personal and professional story is nothing less than awe-inspiring.
August 21: "Augmented Reality (AR) and Artificial Intelligence (AI): Future Impact on the Workplace and Your Life" featuring Dr. Blair MacIntyre, Principal Research Scientist at Mozilla & Professor in the School of Interactive Computing, Georgia Tech. An expert especially in the field of AR, Dr. MacIntyre / Blair designs software for "non-geek" people and creates interactive experiences that appear to live around them in the physical world. He's widely published, consults with The MacMynatt Group, is involved in W3C's Immersive Web Community Group, and created and runs GVU Center's Augmented Environment Lab. Receiving degrees at the U. of Waterloo in Canada and Columbia University, in NY, he's taught at GT since 1999 where he's also an adjunct faculty member in the School of Literature, Media and Communications.
September 25: "Leaders Living Their Purpose: Voices Against Hate" featuring Dr. Allison Padilla-Goodman, SE Regional Director at the Anti-Defamation League and Jill Savitt, President & CEO National Center for Civil and Human Rights. Allison is a veteran social justice advocate, community organizer and a voice against racism and anti-Semitism Orleans. In New Orleans she received a Distinguished Service Award for her work against extremism and hate crimes and for LGBT and immigration rights. Prior to ADL, she was Sr. Fellow in Hong Kong's Center for Service and holds a PhD and M.A. in Sociology from City University of NY. Jill Savitt is a human rights advocate with special expertise in genocide prevention. Previous roles include the US Holocaust Memorial Museum in Washington, D.C.; founder /director Dream for Darfur; and Communications Director, Ms. Foundation where she ran "Take Our Daughters to Work" campaign.
October 23: "What Makes a Fortune 100 Best Company to Work For: Try Culture, Trust, Camaraderie and Pride" featuring Joanne Smith, EVP and Chief People Officer for Delta Air Lines. Under Joanne's leadership, Delta was named one of the F100 Best Companies to Work for in 2017, 2018 and 2019. She's responsible for preserving this iconic Atlanta-based company's culture of positive engagement with its more than 80,000 employees and all of its myriad human capital programs and policies. Joining Delta in 2002 as VP – Marketing and Customer Service, Joanne's also held other key roles including SVP – In-Flight Service leading a team of 20,000+ flight attendants etc. Outside her company, she serves on the Board of Trustees for Agnes Scott College and Advisory BD of the Breast Cancer Research Foundation. Joanne has also received significant recognition from the YWCA Academy of Women Achievers to the WSJ's Top Women to Watch.
November 20: "Never Stop Learning: Lessons from Life and Leadership" featuring Hala Moddelmog, President & CEO of the Metro Atlanta Chamber (MAC). In Jan 2014 Hala became the first female to lead MAC following a highly successful corporate and nonprofit career. She's a 'rock star' and trailblazing leader, e.g., in 1995 as president of Church's Chicken, the first woman to lead an international restaurant company; also as president of Arby's Restaurant Group; and President and CEO of Susan G. Komen for the Cure. Hala serves/has served on numerous public, private advisory and nonprofit boards and her honors / awards are equally numerous, e.g., Honorary doctorate from GSU and YWCA Academy of Women Achievers. In Oct., 2020, Hala will be honored with a Lifetime Achievement Award presented by the Turknett Leadership Group at its 14th Leadership Character Awards event.
December 11: "Leading in a Disruptive World Requires Analytics, Agility, and Authenticity" featuring Kathleen Edge, EVP, Operations at Southwire. Honored in 2019 by the Atlanta Business Chronicle as a 'Woman Who Means Business,' Kathleen has broad managerial experience in HR, Operations and Finance – as well as 28+ years in industrial manufacturing. She is widely respected as a change agent; a collaborative and inclusive leader; a strategic thinker; and for her focus on a process driven culture. Prior to her current role at Southwire, she was the SVP of HR. Her experience also includes VP of HR Americas Division, Exide Technologies and VP, Talent Management with Oldcastle. She serves on the Board of Communities in Schools of GA and holds a Masters of Accountancy from the U. of Alabama.


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Executive Summary: The Department of Treasury has posted a statement on its blog indicating that the volunteer hours of volunteer firefighters and volunteer emergency medical personnel do not need to be included in determining whether the employer meets the 50 employee threshold for the Affordable Care Act's (ACA) shared responsibility provision.
Under the ACA's employer mandate, an employer with 50 or more full-time employees generally must offer minimum essential health coverage that provides minimum value and is affordable to its full-time employees or it will be assessed a penalty (the shared responsibility payment) if one or more full-time employees obtains coverage from a state or federal health insurance exchange and is eligible for a subsidy or cost-sharing reduction. The Department of Treasury and the IRS published proposed regulations on the shared responsibility provision in 2012 and received a number of comments suggesting that these rules should not count the volunteer hours of nominally compensated volunteer firefighters and emergency medical personnel in determining full-time employees (or full-time equivalents). Subsequently, the Department of Treasure published a blog post stating, "the forthcoming final regulations relating to employer shared responsibility generally will not require volunteer hours of bona fide volunteer firefighters and volunteer emergency medical personnel at governmental or tax-exempt organizations to be counted when determining full-time employees (or full-time equivalents)."
The Department states that the upcoming final regulations are intended to provide timely guidance to the volunteer emergency responder community. We will provide more information when the final regulations are published.
If you have any questions regarding this Alert or other issues relating to the ACA, please contact Tiffany Downs, email@example.com, who is a partner in our Atlanta office and head of our Employee Benefits Practice Group. You may also contact the FordHarrison attorney with whom you usually work.


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I believe love does not allow us to pause for long here on earth, and besides Saint John of the Cross says so definitively; he has a wonderful chapter in which he describes the death of souls who are victims of love, the last assaults He gives them, then all the rivers of the soul, which are so immense they already resemble seas, go to lose themselves in the Ocean of divine love. Little sister, Saint Paul says that "our God is a consuming Fire." If we remain always united to Him by a simple, loving gaze of faith; if, like our adored Master, we can say at the end of every day: "Because I love my Father, I always do what pleases Him," He will really be able to consume us, and like two little sparks we will lose ourselves in the immense Furnace, free to burn there for all eternity.
Saint Elizabeth of the Trinity
Letter 293 to Clémence Blanc (excerpt)
Beginning of July, 1906
Excerpt from Letter 293, The Complete Works of Elizabeth of the Trinity volume 2: Letters from Carmel Copyright © 2003 by Washington Province of Discalced Carmelite Friars, Inc. Published by ICS Publications, Washington DC


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Our next webinar is scheduled for Thursday, May 17, 2018 12:00 PM – 1:00 PM EDT, featuring Elizabeth A. Edwards.
SiREM's webinar series features guest speakers who are subject matter experts to provide the latest information on technology advances in environmental remediation and site characterization. The webinars will combine recent research and development activities for new and emerging contaminants and technologies with real word applications to characterize and remediate contaminated sites.
We hope you will join us for our next webinar:
30 years of Anaerobic Benzene Biodegradation – where are we now?
Anaerobic toluene and benzene biodegradation was first reported in a paper in 1980 in studies of the Amoco Cadiz oil tanker spill that occurred off the coast of Brittany in 1978. During the 1980's further reports emerged documenting anaerobic transformation processes for hydrocarbons, but none were truly believed at the time. How could highly reduced aliphatic and aromatic hydrocarbons in crude oil be oxidized without oxygen? And if they were degraded anaerobically, how do we explain that we still have oil reserves that have been underground for millions of years? In the past 30+ years, some remarkable enzyme-catalyzed reactions have been discovered that do in fact bring about the seemingly impossible task of oxidizing hydrocarbons without molecular oxygen. In this webinar these unique reaction mechanisms will be described, and their implications for natural attenuation and enhanced bioremediation will be discussed.
The Presenters:
Elizabeth A. Edwards, PhD, P. Eng., Professor, Department of Chemical Engineering and Applied Chemistry, and Cell and Systems Biology (Status only), University of Toronto. Dr. Elizabeth Edwards holds Bachelor's and Master's degrees in Chemical Engineering from McGill University, Montreal, and a PhD degree (1993) in Civil and Environmental Engineering from Stanford University. She is internationally known for her work on anaerobic bioremediation, the application of molecular biology and metagenomics to uncover novel microbial processes, and the transition of laboratory research into commercial practice to develop bioremediation and bioaugmentation strategies for groundwater pollutants. She is also the founding director of BioZone, a Centre for Applied Bioscience and Bioengineering Research at the University of Toronto and a Tier 1 Canada Research Chair in Anaerobic Biotechnology. In 2016, she was awarded the Canada Council of the Arts Killam Prize in recognition of outstanding career achievements.
Sandra Dworatzek
Ms. Dworatzek is a Senior Manager of SiREM and an environmental microbiologist with advanced technical experience in laboratory treatability studies. Over the past 23 years she has conducted and overseen numerous bench-scale studies examining enhanced in situ remediation in groundwater. She has specific technical experience in the design of laboratory treatability studies, the scale up of growth of anaerobic microbial cultures for bioaugmentation laboratory and field pilot tests, and evaluation of aerobic and anaerobic bioremediation, zero valent iron and chemical oxidation technologies in the laboratory.


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Source: LeBron starts process of evaluating suitors
LeBron James has begun to assess teams outside the Miami Heat that have expressed an interest in signing him in free agency, a source close to the process told FOX Sports Ohio on Wednesday.
James has not visited with any suitors, and sources said interested parties have been unable to connect with him directly. Instead, James is having Cleveland-based agent Rich Paul conduct behind-the-scenes talks based on James' preferences.
The source told FOX Sports Ohio that James is not likely to go through the meet-and-greet scenarios of 2010, when he entered free agency as a member of the Cavs. Instead, the source said when James does reach a decision, he will make it known in a manner "that is likely to be bam, this is where I'm going."
James and fellow Heat stars Dwyane Wade and Chris Bosh opted out of their contracts last week. Initial reports stated Wade and Bosh did so with intent to re-sign at significantly lower salaries and enable the Heat's star nucleus to remain intact.
However, a source told FOX Sports Ohio that Bosh is seeking a deal worth up to $90 million over five years. With James reportedly demanding a maximum contract that would pay him more than $20 million next season, the Heat's plans to add significant help to the roster could be in jeopardy.
Also, while it's been reported James, Wade and Bosh opted out to give Heat president Pat Riley time to improve the team, "the reality is LeBron is watching all the teams that interest him," the source said.
Cavs officials have said two maximum contracts, or near-max contracts, are possible in the right scenario.
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At the heart of the Basque Country in northern Spain lies Bilbao, a city with medieval origins that has become a popular destination for both art and nightlife lovers. Sleek modern buildings standing alongside medieval structures line the brick streets. The city is home to the Guggenheim Museum, an icon of art and architecture that has driven many to book flights to Bilbao each year.
Many who travel to Bilbao spend the majority of their stay near the Guggenheim, affectionately called the 'Googen' by locals, so there is plenty of undiscovered territory for the adventurous tourist. For another sampling of fine art, visit Museo de Bellas Artes, which features more than 10,000 works. Get a taste of the local cuisine at Mercado de la Ribera, a food market on the banks of the river. Take at least a day to lose yourself in the Old Town, where you'll find several attractions including St. James Cathedral, Plaza Nueva, and the Basque Museum.
You'll find cheap hotels in Bilbao near the museums and the city's historic old quarter. Tourists are encouraged to purchase a Bizkaia Card and Sightseeing Pass, which covers the cost of tickets to Bilbao's museums and other major attractions, as well as offering unlimited access to public transportation and discounts at several shops and restaurants.


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Kukla's Korner Hockey
A Season Of Loss
by Paul on 11/18/05 at 12:40 PM ET
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A new book, entitled A Season of Loss, A Lifetime of Forgiveness by John Manasoo looks at the crash and its aftermath and finds that the Snyders looked to their Mennonite beliefs to not only cope with the death of their son, but to also reach out to Heatley. "I grew up in the Mennonite Chuch...I struggle with the word religion sometimes," Dan's father Graham Snyder told Canada AM. "I'm not a church-going person for the most part, but a lot of the values that I learned came from there, and as John (Manasoo) talks about in the book a little bit, some of the main tenets of that faith are forgiveness and passivism...I just believe that it felt like something that we've always strongly believed in, is treating others as you would like to be treated, and so I think we used that as a basis for how we reacted."
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Budget and Management
October 16, 2019
CHESTERFIELD COUNTY, VA — Chesterfield County has been honored by the Virginia Government Finance Officers' Association with the 2019 VGFOA Innovations in Government Finance Award. The county was recognized for excellence in two categories: 1. e-Government and Technology and 2. Budgeting and Financial Planning.
The 2019 VGFOA Innovations in Government Finance Award was presented to staff of the county's Budget and Management Department on Thursday, Oct. 11, at the 2019 VGFOA Fall Conference in Richmond.
Within e-Government and Technology, the county was recognized for innovative development of Bluefield Chesterfield, a brand centered upon an engaging, interactive new website designed to share and host strategic conversation with the community on key topics related to budget, planning and programmatic services and investment.
Within Budgeting and Financial Planning, the county was recognized for in-house development of a new dashboard tool to provide more advanced, accurate projections in real time. Featuring drill-down capability using PowerPivot in Excel, the tool allows the department to use transactional level data from 2009-present across county funds to identify trends in revenue and expenditure patterns, monitor department budgets and project future spending and budgetary needs.
"The Budget and Management team has made great strides in our efforts towards greater accuracy in financial forecasting," Meghan Coates, director of the Budget and Management Department, said. "We also have placed significant emphasis on collaboration to better communicate our work to Chesterfield residents. We are pleased to have earned recognition from VGFOA for our innovation and we are thankful for a Board and County Administration that encourage us to challenge the status quo."


text: BREAKING NEWS – Washington, D.C. – Both Ted Cruz and John Kasich are beginning to show signs of what many political pundits call "desperation", in attempt to stop Donald Trump from getting the nomination. They have now contacted the RNC Chairman Reince Priebus, requesting that nomination rules be immediately changed. They want the new rules to retroactively disqualify anyone that has ever given their political rivals unflattering nicknames, or publicly laughs at their opponents after sweeping them in at least five states in one night.


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North Carolina
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Did You Know...
Migraines can be hereditary? They seem to run in families. A child has a 50 to 75% chance of having migraines if one or both parents have a history of them, too. Headache disorders are one of the most common disorders of the nervous system. The World Health Organization (WHO) cites migraines alone to be the sixth highest cause worldwide of years lost due to disability.
At HydraFuse, our doctors and nurses offer migraine and headache treatment solutions designed to achieve better results faster. Our treatments range from hydration services to ketamine therapy for qualified individuals.
Please note we do not treat "worst headache of my life" or first time migraines.
Ketamine infusions are administered by board-certified anesthesiologists.
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