text:
Does anyone say "L7" anymore? Back in my rock & roll days, in '88 or '89, I knew Donita Sparks, the frontwoman in a tough all-female band called L7, which I see is fondly remembered. And I see, following that last link, that Donita in a British show got off one of the great rock & roll lines of all time, though some people won't think it's in good taste. Which of course is one reason it's a great rock & roll line.
Talk about the future of classical music! Pierson, an indie classical musician known for conducting Alarm Will Sound, a pretty astounding new music ensemble, is shaping the orchestra's season almost entirely around Brooklyn composers and Brooklyn communities:
I've never seen anything like this. So I've taken the unusual step of reproducing the entire season announcement press release here, so everyone can see what's going on. What's different about what they're doing? They're not just bringing orchestral repertoire to Brooklyn. They're bringing music that's about Brooklyn, including things that Brooklynites already know.
In this debut "reboot" season, the Brooklyn Phil features the work of generations of great Brooklyn musicians, from Aaron Copland and Lena Horne to Mos Def and Sufjan Stevens. The orchestra will also connect with its own past, through Beethoven's Eroica Symphony--the first work the Brooklyn Philharmonic ever performed, in 1857. In each of the three neighborhoods, one Beethoven movement is presented in a context that speaks to the local community.
"We will become 'Brooklyn's orchestra' like never before." --Alan Pierson, Artistic Director of the Brooklyn Philharmonic
A new vision for the urban orchestra led by new artistic director Alan Pierson
The Brooklyn Phil moves into three Borough neighborhoods
-- Brighton Beach, Downtown Brooklyn, Bed-Stuy --
and performs a series of concerts that reflects the heritage of each,
engaging the community through artistic collaborations, family events and local partnerships
Brooklyn Phil opens its orchestra series accompanying beloved and rare Russian cartoons
[Brighton Beach is a vibrantly Russian neighborhood, full of immigrants, with Russian showing everywhere, on storefronts and signs.]
Chamber Concert: Notes of Freedom with Sergei Dovlatov's New Yorker stories
Gems from Gubaidulina, Pärt, Schnittke, Shostakovich, Zhurbin
Family Workshop: Cartooning & Music Making
[Click "Continue reading" for the rest.]
Premiere of David T. Little choral work based on painting of Brooklyn Village in 1820
Brooklyn Youth Chorus sings new Sarah Kirkland Snider work inspired by the Brooklyn Bridge
Excerpts from indie star Sufjan Stevens' The BQE
Chamber Concert: Living in Brooklyn with author Phillip Lopate
Family Workshop: Shape Note Singalong
Mos Def performs hip hop classics live with orchestra (arr. Derek Bermel)
Orchestra tribute to Bed-Stuy's own Lena Horne
Chamber Concert: Spirituals, Rags & Strings with poet Tyehimba Jess
Family Workshop: Emcee Me
Brooklyn Phil salutes its roots by performing a movement of the Eroica Symphony--featured on the Brooklyn Phil's 1857 debut--in each neighborhood's orchestra concert
Open competition to remix the finale of Beethoven's Eroica;
Brooklyn Phil will play a symphonic realization of winning entry at Bed-Stuy orchestra concert
Plus numerous works by Brooklyn composers, from Bristow & Burleigh to Gershwin & Copland
"I want the Brooklyn Phil to become an essential, dynamic force for music in the borough."-- Alan Pierson
It's not every day a Board of Directors appoints a new Artistic Director and gives that person carte blanche to determine and design the artistic present and future of the organization. But that is exactly what the Brooklyn Philharmonic Board has done in appointing Alan Pierson the eighth Director of the orchestra since its founding in 1857. Pierson, well-known as founder and conductor of the leading new music ensemble Alarm Will Sound, is celebrated not only for his musical skill and intellect but his programming, which is genuinely creative and completely entertaining. The 2011-12 season reveals Pierson's adventurous vision for the Brooklyn Philharmonic: a new programming paradigm, which actively involves communities and engages them in new and exciting collaborations.
Pierson will bring the Philharmonic out into the borough, giving concerts in three vital neighborhoods: Brighton Beach, Downtown Brooklyn, and Bedford-Stuyvesant. Each neighborhood will host three different events--an orchestra concert, a chamber concert with readings by distinguished authors, and a family event--which are influenced by local culture and involve the participation of local artists, organizations, and businesses. All events will be free or low-cost, use a variety of indoor and outdoor venues, and demonstrate the orchestra's ability to make music in a variety of styles and configurations.
Of prime importance to the new Brooklyn Philharmonic is the creation and nurturing of community partnerships in each neighborhood. This season, the Brooklyn Phil's Community Partners include the Brooklyn Youth Chorus (Downtown Brooklyn), Roulette (Downtown Brooklyn), Bedford Stuyvesant Restoration Corporation's Center for Arts and Culture (Bed-Stuy), Children's Talent Development Fund (Brighton Beach), and Brooklyn Public Library, a long time partner (Downtown Brooklyn and Bed-Stuy).
In this debut "reboot" season, the Brooklyn Phil features the work of generations of great Brooklyn musicians, from Aaron Copland and Lena Horne to Mos Def and Sufjan Stevens. The orchestra will also connect with its own past, through Beethoven's Eroica Symphony--the first work the Brooklyn Philharmonic ever performed, in 1857. In each of the three neighborhoods, one Beethoven movement is presented in a context that speaks to the local community.
Says Pierson: "I can't imagine another place where the project of designing orchestra concerts to reflect and speak to the local culture would be as rewarding and stimulating."
Hip hop legend and critically-acclaimed actor Mos Def, the Brooklyn Youth Chorus, songstress Mellissa Hughes and other special guests join members of the Brooklyn Philharmonic in two lively samplings of things to come in 2011-2012. The programs will feature small ensemble versions of music the full orchestra will play later in the season, including Derek Bermel's arrangements of Mos Def's original songs, 19th century Shape Note singing, and works by David T. Little, Frederick Rzewski, and Lev Zhurbin.
Brooklyn Phil & Mos Def at Restoration Rocks Music Festival
October 8, 2011, time TBA
1368 Fulton Street
Tickets: Free
Mos Def, hip hop artist
Brooklyn Phil Chamber Players; Alan Pierson, conductor
Mos Def arr. Derek Bermel, "Life in Marvelous Times" (2008) and other songs
Frederick Rzewski, Coming Together (1972)
WNYC New Sounds Live presents the Brooklyn Phil
October 12, 2011, 7:00 pm
The Winter Garden at the World Financial Center, NYC
Between 225 Liberty Street and 200 Vesey Street
Tickets: Free
Mos Def, hip hop artist
Mellissa Hughes, voice
Corey Dargel, voice
Brooklyn Youth Chorus; Dianne Berkun, director
Brooklyn Phil Chamber Players; Alan Pierson, conductor
Shape Note Singing
David T. Little, excerpt from Winter Scene (2011)
Lev Zhurbin, excerpt from Only Love (2008)
Frederick Rzewski, Coming Together (1972)
Mos Def arr. Derek Bermel, "Life in Marvelous Times" (2008) and other songs
Brooklyn Phil Orchestra Concert:
November 3, 2011, 7:30 pm
Millennium Theater, 1029 Brighton Beach Avenue
Tickets: $10-$55
The Brooklyn Philharmonic launches its yearlong journey through the diverse neighborhoods of New York's largest and most vibrant borough in Brighton Beach. The Brooklyn Phil, local Russian artists, and legendary Soviet animation studio Soyuzmultfilm team up to bring 70 years of great Russian animation back to the big screen and onto the concert stage for the first time. With great scores by Shostakovich and Vyacheslav Artyomov, Russian actors voicing much loved Soviet-era cartoon characters, and an award-winning new Russian cartoon (Only Love) taking a tongue-in-cheek look back at the Soviet era, the first orchestral performance of the Brooklyn Phil's relaunch season promises an entertaining and wholly original concert experience. Advisory: These are adult-themed cartoons; parental guidance suggested.
Singers from the Children's Talent Development Fund
Brooklyn Philharmonic; Alan Pierson, conductor
Gennady Gladkov arr. Zhurbin, One Destiny to Share from "The Bremen Musicians" (film by Inessa Kovalevskaya) (1969)
Dimitri Shostakovich, The Silly Little Mouse (film by Mikhail Tsekhanovsky) (1939)
Beethoven, Allegro con brio from Symphony No. 3 (with Akop Kirakosyan's film "Doom") (1804)
Vyacheslav Artyomov arr. Zhurbin, Boy is a Boy (film by Natasha Golovanova) (1986)
Moisei Vainberg arr. Zhurbin, Winnie Pooh goes Visiting (film by Fyodor Khitruk) (1971)
Lev Zhurbin, Only Love (film by Lev Polyakov) (2008)
Gennady Gladkov arr. Zhurbin, suite from The Bremen Musicians (film by Inessa Kovalevskaya) (1969)
Brooklyn Phil Chamber Concert:
October 30, 2011, 5:00 pm
Shorefront Y, 3300 Coney Island Avenue
Tickets: $12
In 1976, Sergei Dovlatov's first book was destroyed under orders of the K.G.B. Three years later, unable to get his work published in the Soviet Union, Dovlatov escaped to America, where his slyly-humorous stories became fixtures of The New Yorker magazine until his death in Brooklyn in 1990. Dovlatov's widow Elena Dovlatov collaborates with the Brooklyn Phil Chamber Players in a concert that brings together Dovlatov's much-loved stories with music by composers who inspired him and who shared his struggle for artistic freedom, including Alfred Schnittke, Arvo Pärt, Dmitri Shostakovich, and Sofia Gubaidulina.
Brooklyn Phil Family Workshop:
October 23, 2011, 10:00 am
Shorefront Y, 3300 Coney Island Avenue
Tickets: Free
Art and music teachers with the Brooklyn Phil Chamber Players lead children through this exciting and creative workshop for families. A week before the Brooklyn Phil and members of the local Brighton Beach community bring to life the famous 1969 Russian cartoon, families at this workshop will read the original Brothers Grimm story, The Bremen Town Musicians. Participants will learn how to draw cartoons and compose original music using this classic folktale as inspiration. A quartet of Brooklyn Phil musicians finishes off the afternoon with a performance of the children's work.
Brooklyn Phil Orchestra Concert:
Co-presented with the Brooklyn Youth Chorus and Roulette
Two performances: March 23 and 24, 2012, 7:30 pm
Roulette, 3rd Avenue and Atlantic
Tickets: $20
The entire history of the Borough is encapsulated in Brooklyn Village. The Village was born 387 years ago around an ancient Indian trail in present-day DUMBO. This early settlement gradually evolved into what we now call Downtown Brooklyn, the largest business district in the Borough, and a cultural hotbed known the world over. When Artistic Director Alan Pierson and the Borough's oldest orchestra take the stage at Roulette's impressive new space, the stories of this community will unfold in a modern multimedia presentation. The whole show draws inspiration from Francis Guy's 1820 painting "Winter Scene in Brooklyn," which hangs in the Brooklyn Museum (see http://www.brooklynmuseum.org/exhibitions/francis_guy/). All the works on the program have ties to Brooklyn, some depicting sites in the Borough, and most written by Brooklyn residents, including world premieres by David T. Little and Sarah Kirkland Snider.
Mellissa Hughes, voice
Brooklyn Youth Chorus; Dianne Berkun, director
Brooklyn Philharmonic; Alan Pierson, conductor
Ted Sperling, stage director
Royce Vavrek, librettist
Jeff Johnson, research
Beth Morrison, producer
Beethoven, "Scherzo" from Symphony no. 3 (1804)
Sufjan Stevens, The B.Q.E. mvt. 6, "Isorhythmic Night Dance With Interchanges" (2007)
Sarah Kirkland Snider, new choral work on Brooklyn Bridge (2011) (World Premiere commissioned by the Brooklyn Youth Chorus)
George Frederich Bristow, "Nocturno" from Symphony in F# minor, op. 26 (1858)
Benjamin Britten, Carry Her Over the Water for chorus (1941)
Two Shape Note songs for chorus (with audience participation) (early 19th century)
David T. Little, Winter Scene (2011) (World Premiere co-commissioned by Brooklyn Phil and Brooklyn Youth Chorus)
Brooklyn Phil Chamber Concert:
Two performances: March 1, 2012, 6:30 pm
at the Brooklyn Heights Public Library
280 Cadman Plaza West
March 4, 2012, 4:00 pm
at the Dweck Center of Brooklyn Public Library's Central Library
10 Grand Army Plaza
Tickets: Free
Brooklyn-born master writer Phillip Lopate joins the Brooklyn Phil Chamber Players for a concert that explores the Borough's development over the past 200 years, from a bedroom community to a major city of its own. Music will include repertoire by great Brooklyn composers such as Gershwin and Copland (who was born and raised in Prospect Heights), as well as composers living in the Borough today.
Brooklyn Phil Family Workshop:
February 26, 2012, 1:00 pm
Brooklyn Youth Chorus Academy
179 Pacific Street
Tickets: Free
Audiences are invited to perform with the Brooklyn Philharmonic! David T. Little's Winter Scene takes one back in time to the Brooklyn of the 1820s, when the great tradition of American shape note singing was the rage in New York. In a single afternoon, shape note singing expert Aldo Ceresa will immerse participants of all ages in this impassioned, deeply communal American tradition. No experience is necessary, and everyone who participates is invited to sing with the Brooklyn Philharmonic in its May 24 and May 25 performances.
Brooklyn Phil Orchestra Concert:
June 9, 2012, 8:00 pm
Bedford-Stuyvesant Restoration Plaza
1368 Fulton Street
Tickets: Free
A profound and authentic lover of language, renowned Bed-Stuy artist Mos Def is one of the most influential hip hop stars of all time. He joins Artistic Director Alan Pierson and the Brooklyn Philharmonic in bringing together the aggressive energy and charged lyrics of American hip hop, the classic ballads of legendary Bed-Stuy singer and activist Lena Horne, and the revolutionary music of Beethoven, remixed anew by emerging Brooklyn artists (more info about the Brooklyn Philharmonic Beethoven Remix Project is here).
Mos Def, hip hop artist
Leslie Uggams, voice
String players from the Noel Pointer Foundation
Brooklyn Philharmonic; Alan Pierson and Linda Twine, conductors
Beethoven Symphony no. 3, Finale
Beethoven remix, arr. Andrew Norman
Lena Horne tribute:
Cole Porter, "From This Moment On" written for Out of This World (1951)
Fats Waller and Andy Razaf, "Honeysuckle Rose" (1928)
Richard Rogers and Lorenz Hart, "Lady is a Tramp" from Babes in Arms (1937)
Harold Arlen and Ted Koehler, "Stormy Weather" (1933)
Mos Def arr. Derek Bermel, "Life in Marvelous Times" (2008) and other songs
Brooklyn Phil Chamber Concert:
Dweck Center of the Brooklyn Public Library's Central Library
10 Grand Army Plaza
May 9, 2012, 6:30 pm
Tickets: Free
In 1892, H.T. Burleigh became one of the first African-American students admitted into the National Conservatory of Music in New York City. The spirituals he sang inspired the Conservatory's visiting director, Antonín Dvořák, to write several masterpieces based on American themes, and to envision a rich and unique future for American music. Now, the Brooklyn Phil Chamber Players team up with poet Tyehimba Jess in a concert which imagines these artists' lives and stories, and spins out the legacy of this first link between African-American music and the symphonic tradition.
Brooklyn Phil Family Workshop:
with ReadNex and Brooklyn Philharmonic Musicians
Restoration Plaza Community Room
1368 Fulton Street
June 2, 2012, 10:00 am
Tickets: Free
The Brooklyn Phil Chamber Players and Readnex Poetry Squad team up for a workshop that introduces a new generation to the social power and cultural legacy of hip hop and spoken word poetry. Participants will learn how to express themselves through this rich medium, and discover its extraordinary impact.
Brooklyn Museum, 200 Eastern Parkway
January 29, 2012, 2:00 pm
Tickets: $15, $10 for Brooklyn Museum members
Brooklyn Phil's very own concertmaster, Deborah Buck, presents a program of music written during the construction of the Brooklyn Bridge.
Brahms: A Major Sonata (1886)
Vaughn Williams: Lark Ascending (1920)
Bernstein: West Side Story Suite for Violin and Piano
Tchaikovsky: Waltz Scherzo
with the Brooklyn High School of the Arts Choir
Brooklyn Center for the Performing Arts at Brooklyn College
2900 Campus Road
March 13, 10:15 am & 12:00 pm
Tickets: $6 per student
Otis Redding, "Respect" (featuring Brooklyn High School of the Arts choir)
Sam Cooke, "A Change is Gonna Come," (featuring Brooklyn High School of the Arts choir)
William Grant Still, Lenox Avenue (1937) for speaker, chorus and orchestra
Ellington, The River Suite (featuring Jason Samuels Smith, Divine Rhythm Productions (1970)
Galapagos Art Space in DUMBO
May 2, 2012, 8:00 pm
Tickets: $15
The Brooklyn Philharmonic is looking for Brooklyn's great musical wizards. Each year, the Phil's Outside-In program (formerly called the Composer Mentorship Program) recruits exciting Brooklyn music-makers who work outside the classical music world, and collaborates with them to express their imaginations through orchestral instruments. The Brooklyn Phil is excited to present what this year's crop of Outside-In fellows has dreamt up.
Tim Fite, new work
Charlie Looker, new work
Natalie Weiss, new work
When the first conductor stepped to the podium in Brooklyn in 1857 to launch the Brooklyn Philharmonic, Bizet, Wagner and Berlioz were the strident young voices of new music. De Tocqueville had just departed Brooklyn to warn our European cousins about the mad democratic experiment he'd witnessed in America. Abraham Lincoln's wife hurried to attend the Philharmonic's first concert in Brooklyn's newest music hall. And the people of Brooklyn were, as always, defining what it means to really live in our country.
Now 154 years later, the Brooklyn Phil is not only one of the oldest living orchestras in the New World, but with 166 world premiers under its belt, 65 works commissioned from living composers, and the accolades of 22 ASCAP awards, it's also one of the most adventurous and widely acclaimed musical forces in America as well. The New York Times calls it "feisty and provocative. Rolling Stone raves the Brooklyn Phil is "vital" and "inspired."
In 2011 newly appointed Artistic Director Alan Pierson rebooted the Philharmonic, taking it on the road deep into Brooklyn's famed neighborhoods to connect with the deep and vibrant musical traditions of the people who love it most.
Alan Pierson has been praised as "a young conductor of monstrous skill" by Newsday, "commanding" by The New York Times, and "gifted and electrifying" by The Boston Globe. He is the artistic director and conductor of the acclaimed ensemble Alarm Will Sound which has been called "the future of classical music" by The New York Times and "a sensational force" with "powerful ideas about how to renovate the concert experience" by The New Yorker. Alan Pierson has appeared as a guest conductor with the London Sinfonietta, the Orchestra of ST. Luke's, the Brooklyn Philharmonic, the Steve Reich Ensemble, Carnegie Hall's Ensemble ACJW, the Tanglewood Music Center Orchestra, the New World Symphony, and The Silk Road Project, among other ensembles. He is also Principal Conductor of the Dublin-based Crash Ensemble, and was a visiting faculty conductor at the Indiana University Jacobs School of Music. He has collaborated with major composers and performers, including Yo Yo Ma, Steve Reich, Dawn Upshaw, Osvaldo Golijov, John Adams, Augusta Read Thomas, David Lang, Michael Gordon, La Monte Young, and choreographers Christopher Wheeldon, Akram Khan and Elliot Feld. He has recorded for Nonesuch Records, Cantaloupe Music, Sony Classical, and Sweetspot DVD.
Alan Pierson grew up in Chicago. He graduated from the Massachusetts Institute of Technology with degrees in Physics and Music, and from the Eastman School of Music with a Doctorate of Musical Arts in Conducting.
"Incontestably a sensational force...not only extreme virtuosity, but powerful ideas about how to renovate the concert experience."
-- Alex Ross, The New Yorker
2011-2012 Season-at-a-Glance
in chronological order
Season Preview Concert I
Saturday, October 8, time TBA
1368 Fulton Street in Bed-Stuy
Works by Mos Def (arr. Derek Bermel) and Frederick Rzewski
Mos Def, hip hop artist
Brooklyn Phil Chamber Players; Alan Pierson, conductor
Tickets: Free
Season Preview Concert II
Wednesday, October 12, 7:00 pm
WNYC New Sounds Live at the World Financial Center
Between 225 Liberty Street and 220 Vesey Street
Works by Mos Def (arr. Derek Bermel), David T. Little, Lev Zurbin, Corey Dargel, Rzewski
Mos Def, hip hop artist
Mellissa Hughes and Corey Dargel, voice
Brooklyn Youth Chorus; Dianne Berkun, conductor
Brooklyn Phil Chamber Players; Alan Pierson, conductor
Tickets: Free
The Brighton Beach Series
Family Workshop: CARTOONING & MUSIC MAKING
Sunday, October 23, 10:00 am
Shorefront Y, 3300 Coney Island Avenue
Brooklyn Phil Chamber Players
Tickets: Free
The Brighton Beach Series
Chamber Concert: SERGEI DOVLATOV: NOTES OF FREEDOM IN BROOKLYN
Sunday, October 30, 5:00 pm
Shorefront Y, 3300 Coney Island Avenue
Works by Shostakovich, Pärt, Schnittke, Gubaidulina and others
Brooklyn Phil Chamber Players
Tickets: $12
The Brighton Beach Series
Orchestra Concert: RUSSIAN CARTOON MUSIC
Thursday, November 3, 7:30 pm
Millennium Theatre, 1029 Brighton Beach Avenue
Works by Shostakovich, Vainberg, Gladkov, Artyomov, Zhurbin, Beethoven
Films by Kovalevskaya, Tsekhanovsky, Kirakosyan, Golonova, Khitruk, Polyakov
Local actors and singers from the Children's Talent Development Fund
Brooklyn Philharmonic; Alan Pierson, conductor
Tickets: $10-$55
Special Event
Recital: BROOKLYN BRIDGE with DEBORAH BUCK
Sunday, January 29, 2:00 pm
Brooklyn Museum, 200 Eastern Parkway
Works by Brahms, Vaughn Williams, Bernstein, Tchaikovsky
Deborah Buck, concertmaster of the Brooklyn Philharmonic
Tickets: $15, $10 for Brooklyn Museum members
The Downtown Brooklyn Series
Family Workshop: SHAPE-NOTE SINGALONG
Sunday, February 26, 1:00 pm
Brooklyn Youth Chorus Academy, 179 Pacific Street
Tickets: Free
The Downtown Brooklyn Series
Chamber Concert: PHILLIP LOPATE: LIVING IN BROOKLYN
Thursday, March 1, 6:30 pm
Brooklyn Heights Public Library, 280 Cadman Plaza West
Sunday, March 4, 4:00 pm
Dweck Center of Brooklyn Public Library's Central Library, 10 Grand Army Plaza
Works by Copland, Bernstein and others
Phillip Lopate, author
Brooklyn Phil Chamber Players
Tickets: Free
Special Event
School Time Concerts: THE TIME IS ALWAYS RIGHT:
Tuesday, March 13, 10:15 am & 12:00 pm
Brooklyn Center for the Performing Arts at Brooklyn College
2900 Campus Road
Works by Otis Redding, Sam Cooke, William Grant, Duke Ellington
Brooklyn High School of the Arts Choir; Avid Williams, conductor
Brooklyn Philharmonic; Wayne Du Maine, conductor
Tickets: $6 per student
The Downtown Brooklyn Series
Orchestra Concert: BROOKLYN VILLAGE
Co-presented with the Brooklyn Youth Chorus and Roulette
Friday, March 23, 7:30 pm
Saturday, March 24, 7:30 pm
Roulette, 3rd Avenue and Atlantic Avenue
World premiere by David T. Little, co-commissioned with the Brooklyn Youth Chorus
World premiere by Sarah Kirkland Snider, commissioned by the Brooklyn Youth Chorus
Additional works by Sufjan Stevens, Beethoven, Bristow and Britten
Mellissa Hughes, voice
Brooklyn Youth Chorus; Dianne Berkun, director
Brooklyn Philharmonic; Alan Pierson, conductor
Ted Sperling, stage director
Royce Vavrek, librettist
Beth Morrison, producer
Tickets: $20
Special Event
Wednesday, May 2, 8:00 pm
Galapagos Art Space in DUMBO
World premieres by Tim Fite, Charlie Looker, and Naomi Weiss
(Outside-In Composer Fellows)
Randy Woolf, Composer Mentor
Brooklyn Phil Chamber Players
Tickets: $15
The Bed-Stuy Series
Chamber Concert: TYEHIMBA JESS: SPIRITUALS, RAGS & STRINGS IN BROOKLYN
Wednesday, May 9, 6:30 pm
Dweck Center of the Brooklyn Public Library's Central Library, 10 Grand Army Plaza
Works by H.T. Burleigh, Scott Joplin, Dvorak and others
Tyehimba Jess, poet and performance artist
Brooklyn Phil Chamber Players
Tickets: Free
The Bed-Stuy Series
Family Workshop: EMCEE ME
Saturday, June 2, 10:00 am
Restoration Plaza Community Room, 1368 Fulton Street
ReadNex Poetry Squad
Brooklyn Phil Chamber Players
Tickets: Free
The Bed-Stuy Series
Orchestra Concert: MOS DEF, LENA HORNE, AND THE BED-STUY TRADITION
Saturday, June 9, 8:00 pm
Bedford Stuyvesant Restoration Plaza, 1368 Fulton Street
Works by Mos Def (arr. Derek Bermel), Cole Porter, Rogers & Hart, Fats Waller, Harold Arlen, plus Beethoven and the Beethoven Remix Project
Mos Def, hip hop artist
Leslie Uggams, voice
student string players from the Noel Pointer Foundation
Brooklyn Philharmonic; Alan Pierson and Linda Twine, conductors
Tickets: Free
For tickets, the public should call the Brooklyn Phil Box Office at 646-397-2765,
M-F, 12-6 pm beginning July 28 or visit www.bphil.org.
For further information, press tickets, photos, and to arrange interviews,
please contact Aleba Gartner Associates at 212-206-1450; email@example.com
"We used to sell out two nights of Tchaikovsky," says [Wolf Trap president Terrence Jones], referring to the early days when the NSO often offered the same program at Wolf Trap over two or more evenings. "Now we're not even selling one."
That concludes my posts on orchestra culture, in my larger series on whether orchestras play as well as they might. Surely it's clear that orchestras in which the things I've described in this post happen -- no matter how good their performances might seem -- could play better (more spontaneously, more imaginatively, more excitingly, more passionately, more raptly) than they do.The other posts in this series:
Specifically, they are generally dissatisfied with their voice in matters affecting the orchestra, and they are unhappy with the job performance of their music directors.
A more subtle stress musicians face is difficult even to label, much less to quantify. Instrumentalists generally view whatever they produce on their instruments as flawed in comparison with the ideal they have set for themselves. This comes, at least in part, from a system of instrumental education that views anything less than absolute technical perfection as completely unacceptable. Yet it is also the mindset that an instrumentalist, at any level of proficiency, must maintain in order to improve. But most instrumentalists, however good, are never going to reach perfection in their playing or even reach the level regularly achieved by the soloists who stand in front of professional orchestras.
In few other professions are the practitioners forced to confront their own professional failings so regularly, and this constant awareness of their personal limitations can lead to chronic internal conflict between diminished self-esteem and musicians' natural desires to think well of themselves....
[T]he disparity between myth and reality in professional orchestras is extreme and serves as the most powerful source of musician stress and counterproductive institutional dynamics.
[One myth the Levines cite is the myth of the omnipotent conductor. Musicians are the first to know that conductors aren't omnipotent -- and might, in some cases, not even be competent -- but have to pretend that they buy the myth.]
What happens when a member of the orchestra asks the conductor a question is"revealing. (Virtually every communication from a musician to a conductor in a rehearsal is phrased as a question, even when it is really a statement of fact or belief.) One of the authors once heard the principal clarinetist of a major American orchestra ask the conductor whether he wanted the notes with dots over them "short, or like the brass were playing them?" This rather complex statement masquerading as a question conveyed both the musician's lack of respect for the brass players in question and scorn for the conductor's failure to notice the problem. But to fit the myth of the omniscient conductor, the comment had to be phrased as a question, for how could a musician possibly inform an omniscient being? The myth dictates that a musician can only tap into that well of knowledge, not add to it.
Questions from musicians to conductors must be respectfully phrased and, ideally, prefaced with the honorific "Maestro." (This title may be dropped if the conductor is sufficiently young or doesn't speak with an accent.) Such questions must not explicitly challenge the conductor's interpretation of the music or conducting and rehearsal technique in any way.
This arrangement makes matters awkward for the orchestral musician who desires to improve the quality of the orchestral product. The musician must not challenge the conductor's tempi or interpretation; he or she cannot even suggest that there might be a pitch or ensemble problem, much less how the conductor might fix it. Questions are therefore limited to issues of whether the parts agree with the score or how the conductor would like a certain passage bowed. Even the latter has risks, however, as it implies that the conductor didn't see how it was bowed the first time; certainly no self-respecting omniscient being could have missed something as elementary as whether a passage started up-bow or down-bow.
In fact, the myth makes virtually all communication from musician to conductor impossible. (In one major American orchestra, musicians are discouraged from addressing the music director until he addresses them first. Matters are arranged so that the music director never encounters musicians except on the podium or in private meetings which he calls.) This is not to say such communications don't happen, of course, but the farther they venture from simple inquiry, the more uncomfortable they are likely to make orchestra members and the more angry the conductor. Challenging the conductor's omniscience is, quite literally, taboo.
Musicians in a professional orchestra of any significance know quite a bit about music and about what they're doing. So do many conductors, of course; but generally, individual conductors do not know more than the orchestra in front of them knows collectively. In fact, about certain issues, such as the mechanics of string playing, conductors usually know quite a bit less. Most orchestra musicians would agree that many conductors deal ineptly with technical issues such as pitch and ensemble, and that many conductors do not even recognize such problems when they occur, much less address them. Most orchestra musicians, after all, have extensive chamber music experience, in which pitch and ensemble are prominent on the work agenda.
This is actually the fundamental structure of the orchestral workplace. During rehearsals or concerts, musicians experience a total lack of control over their environment. They do not control when the music starts, when the music ends, or how the music goes. They don't even have the authority to leave the stage to attend to personal needs. They are, in essence, rats in a maze, at the whim of the god with the baton.
Much of what is inexplicable to observers of professional orchestras can be explained by stress caused by chronic lack of control and musicians' attempts to deal with it. Musicians' first line of defense is the classic tactic of avoidance. It is no accident that every professional orchestra of any consequence is unionized and that the resulting collective bargaining agreements under which orchestras labor spell out in
exquisite detail the limits of a conductor's authority over the musicians. Such agreements attempt to limit the amount of time musicians are exposed to a situation over which they have no control, as well as expressions of musicians' need to control at least something about the workplace.
If even half of this is true, then of course orchestras -- for all the tremendous skill and devotion that their musicians have -- don't play as well as they could.There is another, more subtle effect of this chronic lack of control on orchestra musicians: infantilization. Forced to play the roles of children, musicians can behave childishly. Musicians who, when not at work, are perfectly responsible adults, can regress to the level of five-year olds at work, especially when the conductor is even less like the mythic omniscient father figure than is the norm for conductors. Moreover, these musicians tend to view their world, much as a child might, as a mysterious and threatening place. The paranoia that some orchestra musicians exhibit towards managers and conductors, and even towards those of their colleagues who serve on workplace committees, is a consequence of this world view. Yet the subjects of this generalized paranoia are not some anonymous "they" off at corporate headquarters; they are people who, on a daily basis, stand in front of these musicians, answer their questions, and find the money to pay them.
My points today:
What I'm starting to get at here is the inner culture of orchestras. I began to touch on that in my "Four personalities" post, in which one of my Juilliard students talked about what her playing is like when she takes orchestra auditions:...precise, mechanical, robotic. In orchestra auditions it is more important to do nothing wrong than to do anything particularly well. They are basically looking for a reason to eliminate you, and "bad intonation" is a lot more convincing than "plays like an automaton."We can decide for ourselves if she thinks orchestras are looking -- in practice, now, not in theory -- for creative musical artists.And I continued down this path in my "No direction home" post, in which I said that orchestras don't -- as a rule; there are exceptions -- really have anyone who's in full artistic control. They don't, in other words, have artistic directors, something you'll find in virtually any other arts organization of any kind, including pop record labels. (If this seems implausible to you, read the post for a full explanation.)But my most important post so far on orchestral culture was the one I called "Atomized," in which -- building on a comment by a musician in the Cleveland Orchestra -- I said that orchestra musicians, by their own admission, can only address the quality of their orchestras' playing in silence, as individuals, or at best in private, small-group discussions. There's no way to do it openly.
...no group we have studied has greater internal motivation than [orchestral musicians]. Yet their overall job satisfaction, and especially their satisfaction with opportunities for continued growth and development, are not pushing the top of the scale. The professional symphony orchestra, it seems, does not provide as rich and rewarding an occupational setting for musicians as one would hope.
This post is getting long. i'll continue it.
But wait. Shouldn't the board of directors be in ultimate charge, artistically? They legally govern the institution. And they're the ones who hire the music director.But in fact most board members wouldn't think themselves capable of taking charge artistically. And, in truth, they wouldn't be. So they won't try to set an artistic direction. Like the CEO, they might make their voices heard -- one of them, let's say, might complain, "Too much new music!" -- though short of firing the music director, the CEO, and the artistic staff, the board has no power to enforce its artistic views.
]]>One last situation. What happens if an orchestra doesn't play as well for guest conductors as it does for its music director? Or sometimes doesn't. Who has the power to address that problem?Well, the music director could. But he or she doesn't hear the concerts, as a rule, that he or she doesn't lead. So does he or she have standing to say the playing wasn't good enough? For what it's worth, I've never heard of a music director addressing this issue, though I'll be quick to say it may have happened. It doesn't seem to be the normal rule.The artistic administrator can't say anything. Well, maybe privately, to a few trusted musicians. But that's the kind of atomized way of dealing with artistic matters that I noted in my last post. It doesn't show the orchestra as a coherent, conscious institution, addressing an artistic problem openly, and as a groupThe executive director, similarly, isn't likely to say anything. The musicians, in fact, might object. They might (as I've heard happen in a different though not unrelated situation) ask if their contract allows the management to talk to them about this subject. And I've been told by musicians that it would be in most cases an outright contract violation for the board to say anything.So the problem -- if it exists -- might well not be addressed, unless the musicians themselves choose to address it. And if they did, again judging from what I discussed in my last post, they'll only do it privately, one on one, or in small groups, atomized, not discussing the situation openly, in any organized way.
I should first say that I respect these thoughts a lot, not least because I know and respect Henry, and because (as I think we all know) the Cleveland Orchestra plays with tremendous care and polish. It's also an orchestra that has had an ethic (so to speak) about playing well. They don't (unlike some orchestras) play their best only with a conductor they like, and only at important concerts. I once heard some of their musicians play a show for kids and their parents, in a school gym. I don't think they'd have played any better if this had been a full orchestral concert, on tour in Vienna.Greg - we talk about performance all the time - it's called rehearsal. While it's primarily led by the conductor, there are always side discussions within sections and sections taking time during rehearsal breaks or after rehearsal to go over passages. And - individual players can focus on their own performance during their own practice, which is informed by years of intense scrutiny. And and - we always talk about the way the orchestra is playing during breaks and between rehearsal and concerts. I think it's a big mistake to leave performance quality and artistic decisions as the sole province of the music director, but my experience is that musicians talk more about quality and the orchestra's shortcomings than any other topic, and we all make artistic decisions every time we put the bow on the string or make the air in our instruments vibrate.
Orchestras, to summarize, do have artistic discussions, largely in private. But they don't seem to be organized as self-directing artistic entities. (Except, of course, orchestras like the London Symphony or especially the Berlin Philharmonic, in which the musicians are legally the owners of the orchestra.)
]]>How bad can this get? I've been reliably told that in one not small American orchestra, there's a violinist who hasn't played a note for years, in rehearsals or performances. He/she plays air violin, miming the gestures of playing, but not producing any sound.And this, I'm told, goes uncorrected, though surely every musician in the orchestra must know about it. You'd think a musician who quite literally didn't play would be fired. You'd think the other musicians wouldn't stand for it. And, let's be fair, in many orchestras, or surely most of them, this situation really wouldn't be tolerated.But that it can exist -- if my information is correct -- in one not small orchestra would seem to demonstrate that artistic matters aren't (strange as this may seem) dealt with in any systematic way.
Which compares to data from past generations, when the classical music audience was no older than the rest of the population. In 1955, for instance, more than half the Minneapolis Symphony audience was under 35. (That orchestra, of course, is now the Minnesota Orchestra.)
If we are to be a creative form, not just a re-creative one, then we must work to attract creative people, as well as nurture the gifts of those already in our orchestras.We need to be asking, what kind of talent must we include to create the musical experiences that will usher in the next generation of people who passionately want us in their lives?Young entrepreneurial musicians, some of them in our orchestras, are finding a following with audiences and funders by performing in small and often unlikely venues.They may cross genre boundaries, or simply rethink their approaches to traditional repertoire, but they thrive on intimacy and audience engagement. If we want -- and I think we do -- this next generation of creative artists involved with our orchestras, our current audition system needs to change to embrace a broader range of talents than just superb musicianship and technique.
I think that in past generations orchestral music wasn't considered at all abstract. Certainly in Mozart's time, people followed it easily, applauding the moment they heard something they liked. There are stories from the early 19th century of audiences -- when Beethoven's symphonies began to be played with anything like regularity -- crying out in wonder when they heard passages that amazed them.And, in past generations, top-rank classical artists used to make up stories that they thought the great instrumental works they played would tell. And the audience did, too. For a wonderfully (and famous) example, look at the passage about Beethoven's Fifth in E.M. Forster's novel Howard's End, in which a family goes to hear an orchestra concert, most of them 20 or younger. One of them makes up a fabulous scenario for the Beethoven symphony. Forster doesn't write as if this was anything unusual. (And also as if the young age of the audience -- plus the way they applaud after every movement -- weren't unusual either. He wrote this in 1904.)So in my view the idea that instrumental works are abstract, and thus need training and preparation to understand, isn't true.
[The commenter talked about Hanslick, the 19th century critic, talking about instrumental works as abstract, but that wouldn't have been anything like a universal view in his time. I think we need to see his thoughts about that against the background, first, of Brahms vs. Wagner. Hanslick was emphatically on Brahms's side, and in fact fanned the flames of the conflict, making it maybe greater than it was. Wagner had thrown out the old forms, and Hanslick, defending them, elevated them to lofty heights they may never have occupied before. And the second piece of background here is the ongoing battle, in the 19th century, between classical music -- understood as Beethoven, Mozart, Haydn, Mendelssohn, Schumann -- versus popular music, understood as opera, especially Rossini. Plus concerts by virtuosi. One way of drawing the distinction was by elevating classical music to a superhuman plane. Hence the talk of abstraction.]
If I'm right in my historical analysis (in brackets, above), and the idea of classical music as something abstract took hold as something defensive, as a defense for the idea that classical music (or some forms of it) were superior to other kinds of music, then it would make a lot of sense -- sad as it is -- that these ideas have such currency today. People fall back on them to defend classical music's unpopularity.And the belief in this causes problems, I think, by (1) encouraging performances to be abstract, so that people don't easily grasp them, and (2) encouraging people to believe that classical music is difficult, that they need to learn a lot before they can appreciate. And, most damaging, (3) by encouraging people to feel that they shouldn't trust their natural reactions to what they hear. Which might well be to make up stories.The classical forms in fact are very simple. Sonata form, which might seem the most difficult (though it can be explained in just a minute or two), is a narrative form, which means that it's likely to result in pieces which naturally shape themselves into stories.And even its more abstract elements may not be too hard to hear. When I worked with the Pittsburgh Symphony, hosting and helping to program a concert series called Symphony with a Splash, aimed at newcomers to classical music, we did the first movement of Mozart's Paris Symphony. Mozart wrote a letter to his father about that piece, explaining just what he did to get the audience to applaud (during the music, of course). I told our audience that they were free to applaud anytime they wanted, as soon as they heard something they liked.So they applauded while the piece was going on, and did it often. And the most striking thing was that the applause from one moment to the next changed a lot in its volume and quality. The most vehement applause came at the moment when the recapitulation diverges from the exposition. This was an audience that doesn't know sonata form. But they could hear that something new was happening. So they understand, on a gut level, one of the supposedly most subtle aspects of sonata form. Which means, I think, that these things are far less abstract and difficult than many of us think.
Now, maybe this more directly relates to how students play, than to how orchestras play. But I think we can see the connection. If students are encouraged to do, in their playing (and in their auditions) only what other people want, will that make them creative once they start working professionally.A lot of us, especially those of us who are still in school, place too much importance on playing perfectly at the expense of thinking about the audience. Of course a certain amount of technical precision is necessary to make a piece recognizable and enjoyable, but what is most noticeable to audiences is whether or not someone approaches the work with joy and spirit! As a result I've pretty much developed 4 ways of playing.1) The way I play in orchestra auditions - precise, mechanical, robotic. In orchestra auditions it is more important to do nothing wrong than to do anything particularly well. They are basically looking for a reason to eliminate you, and "bad intonation" is a lot more convincing than "plays like an automaton."2)The way I play in juries/other auditions - there's a little room for flexibility and personality here, but not much. I still know that I will get more points off for making a mistake than being boring, but they will notice if I'm totally phoning it in. It's especially hard to play Bach in juries because everyone has his or her own opinion as to how it should be played. I generally just play it as middle of the road as I can so that no one loves it but no one hates it.3)The way I play in performances which my teacher is attending - I have two very wonderful teachers here at Juilliard and they both allow me a lot of artistic freedom. But every once in a while, they put their foot (feet?) down. If I really (and I mean REALLY) don't like what they want me to do, I will just pretend that I don't understand what they are asking me to do. (I'm pretty sure they know what's going on though.) If I'm ok with it but prefer my own way, I play it their way when they are listening. And I can't help but think that it probably sounds a little unconvinced, but while I'm still studying with them I feel like I owe it to them to use their ideas when they really think it's important. Do I really owe it to them? I don't know. But I'm graduating in two weeks so HA!4)The way I play in any other performance - I try to just have fun! Especially when playing on stage with friends, I think the audience has the best time when we really interact with each other and show that we are committed to the performance. If something goes wrong, all the better! It's also important for the audience to see that we are humans. It's not easy to be so vulnerable in performance - I'm generally a little bit of a nervous performer. I usually try to remember what someone told me (I don't remember who) which is that when you get noticeably nervous in a concert it's almost better because the audience roots for you more.Anyways, hopefully my multiple personality disorder will one day be resolved - hopefully I'll have it down to 2 or 3 next year as I will be just performing and taking orchestra auditions. And once I get a job and tenure, who knows! I could very well finally become myself!
And -- a footnote to the above -- it used to happen in classical music, back in the days when an adoring Vienna crowd lined the railroad tracks when Toscanini left town. And when (as I've blogged) Geraldine Farrar gave her farewell Met performance, and her fans strung banners from one side of the balcony to the other.Can we bring those days back? (We'll need stars who get us excited enough.)Sondheim's lyrics (to quote him, earlier in the song, "no rose can compare"):
]]>Careful,Here's the home ofBeautiful girls.Where yourReason is undone.BeautyCan't be hinderedFrom taking its toll.You may lose control.Faced with such LoreleisWhat man can moralize?


text:
Let's be honest, error handling is not fun. We like to spend time on the functionality right? The cool stuff that people see or use and then remark how good your software is! Error handling is like sweeping the roads or emptying the bins - necessary but very dull.
So two things have happened recently that has taught me the hard way about trying to see potential errors and handling them properly. One of them more serious than the other. You should know that I do have error handling. For instance, all of my database functions will catch exceptions, log them and then return some kind of error code but this is not enough!
The big, bad experience I had was with a worker task that is designed to delete unused images from our cloud storage. It works pretty simply, every 4 hours it queries the database for images that are referenced and then queries the storage for images that are stored and then any on disk that are not in the database are deleted. Easy right? How many errors could you possibly see and what effect could they have? How can I improve it? Well, there were no sanity checks anywhere so when anything failed, it just threw an exception, pretty much ignored it and then waited another 4 hours. However, one weekend, the database connection failed temporarily and so the query returned 0 entries. The code then decided that 'if not images are referenced in the database, I need to delete everything from the images storage', which it did! Every user's uploaded profile image was deleted - just like that.
It wasn't the end of the world, I had to edit the database and set everyone's profile picture to a placeholder than included text describing what had happened and how they needed to re-upload an image.
The second issue was a raft of errors that were logged to my error logs (and emailed to me!) and which meant that the database connections were being forcibly closed, which SQL Server is known to do when it feels like it. I don't know how this works on SQL Azure which is essentially VM style databases on a shared host but what I do know is that I don't want people to see generic error messages which mean nothing and which make the problem my fault in their eyes.
I realised I needed more. I firstly needed some more checking for conditions external to my system: did the query suceed? How can I tell if it succeeded? How many rows were returned because I would expect a few thousand - certainly not zero. What should I do if this happened? Log the error? Disable the worker? Instead of deleting the images, perhaps I could move them to another folder so they could be restored if required (for perhaps a month?).
The second thing I needed was for the users to know that when a database connection fails, it is not my fault and they can try again soon. I can also automatically retry calls to the database if they fail for a reasonable amount of time until the user would get annoyed and then either display a "sorry, it's not my fault" page or even just a "please wait, the system is attempting to re-connect to the database".
In conclusion, I get annoyed as a user when something on a site crashes - even when it shows you a nice message to say it has gone wrong. I therefore need to realise that my users will also get annoyed if I don't correct prevent and/or recover from errors in the system - whether code bugs or network issues. Logging is also essential so that these errors are quickly tracked down and resolved.

subset: commoncrawl


text:
All urls found in this thread:
Dood WEED
i was looking at it ironically and now it's everywhere and it's upsetting
420 plase it
???: I think I'm actually gay now
???: I blame you
You were banned from DBZ dreams
I don't listen to you.
you are a gay force of nature
Nobody really does.
Actually I take that back. There are a few who care to.
Like a hurricane.
You're at the bottom of the food chain.
I guess so.
13.5K damage and a gold for it to as D.va.
Probably stinks down at the bottom.
i accidentally cut my finger with my knief, luckily nothing dripped on my page btb
Drip some blood into my mouth please.
okay fixed.
I guess it's okay if you get used to it.
A hurricane of dicks.
I'm a 5000 year old vampire loli and its the only way to keep me alive.
And crusty semen.
I think I would be overly flustered to have a finger sucked on. It would be too embarrassing.
Oh right, because thats too embarrassing for you.
Well I would imagine it to feel the same as the time someone licked/sucked on my neck. I was a mess.
You don't need to remind me.
Also you still did that.
Did what?
You let them suck on your neck even though you couldn't handle it.
I wonder how worse it will get when that is done to other areas.
I was unaware of the affects it would have had on me.
It was maybe half as alright. I'd say the neck had more embarrassing results.
How is everyone today?
Good and tired, thank you. How are you?
Kinda tired myself. It's that crumby kinda weather out that makes you feel like you have extra weight on your shoulders :(
Whoever did it sounds like he is inept at it.
I'm serious. How was I supposed to know if it was never done before.
Solution: stay cosy indoors.
It was their first time.
I rest my case.
Are you feeling any better yet?
I am now. I had to get some food at the corner store first^^ There's an Archer marathon on right now haha
a little
Lucky. I am planning to try and marathon RIck and Morty when I'm not busy.
You worry me so much when you get like that.
I have to check that show out more.
theres really no reason to be
I've seen a few episodes and I can already tell that you can read into it a lot and derive a better story.
lazy cunt
Wake up you fucking lazy cunt.
shut up
don't wanna.
I've already won this.
That reminds me. I need to make a photoshop for my October avatar.
whatever nerd you suk
Yet you steal all my pictures.
got this link to my gardevoir folder. guess I'll just keep it. hmph!
no tokai. that's not normal.
not all of them. and I like never post nonon pics these days. in other words, shut up.
what would you know?!
I'm pretty sure I watched you post them a few days ago, retard.
fine fine.
I know that while fun, licking a girl's hand out of nowhere is not normal.
maybe one or two. hardly ever though. I mainly post betty, gardevoir and kyouko sakura.
I licked my sister's face out of nowhere once.
It wasn't very normal
I need to know why.
you ought to rename all those to Evil Betty (##s)
Gardevoir is a shit Pokemon.
We were battling in the backseat during a family vacation.
There may or may not have been Twizzler whipping too .///.
but why? she's not evil, she's perfection.
big fat tummies is a shit fetish.
asgore is a shit goat
Cause Kung Pow
pff yeah right
and randomly rubbing someones thigh isnt normal either
the blush at the end makes this seem more lewd than I know it must have been.
you're silly.
oh, lol duh. maddie you're double silly.
get fucking rekt nerd.
Well i'm happy to you moved onto worse things.
it's not, but that is fun as well.
I'll remember this.
happy to you
I thought I deleted that part of my original post.
yeah you would, nerd.
what a good pokemon choice.
Having bad taste in Poke
im beginning to see now..
you're the weird one
so you're saying you want me to randomly rub your thigh?
thank you
you always disapprove of my choices
you are welcome.
wow dont be weird
I am jealous of and resent my sister but she's cute so le blushy face.
It's complicated.
*licks nuts*
no you
yeah except you are insanely cute and you blush an almost absurd amount at the slightest of teasing. sooo
tokai you are such a brat
you win. I can't find a proper response to this.
As you do mine.
kill her and wear her skin
Nuu, that would make her upset :(
but if imma brat
what are you?
not nearly to the same extent
wow i'm amazing.
Now tell me how great I am.
I mostly just take issue with Leto.
a brat tamer.
you're so great ban.
Yeah thats the stuff keep going
I'm not that blushy.
can't find a proper response to this.
"don't forget the shaft"
but you can't tame tokai the great
If he could temporarily tame Welma, he can most certainly tame you, Tokai.
you wont accept my pronouns
you're just so awesome. no one here is even half as cool as you ban. how can we even compete.
I have text logs that say different.
oh that would have been good.
I'm sure I could give it a good try.
Accept mine.
do ho ho
That's Grim-tier shenanigans. Just sayin'
can't get em all
Your only option is to worship me.
I would never post them. but you know I know what a blushy cute you are.
everything is the worst.
eh. maybe if I'm horny enough later.
in vain
*consolatory pets*
If you say I'm cute then I'm cute I guess.
What happened with Rin?
lucky for you someone else has claim to that job, so I get to just tease you and kick back.
uuh. thanks.
damn right. if I say ur cute ur cute.
want me to call you a dog or something
I'm only a little cute though~
strongly disagree.
hmm? how do you mean?
Exactly~ so I can bully whatever I wanna
Implying you don't already
pew pew
but what if I bully you back?
disgusting, truly.
mada mada
it was mostly for me but you're welcome
okay user.
what is the issue then
also this folder just oozes sluttiness
ill tell a special someone
..or photoshop like some time
it does not shut up you ungrateful mutt.
you're bored at everything though.
rin does not mind if I bully you. she thinks you deserve it.
this is the first image in the folder
healing stream engaged
I think I should stop and go to sleep. Goodnight or day, everyone.
I just haven't been inspired in a long time.
and it's a perfectly innocent picture of a poor gardevoir being hit with a string shot attack. what is your point?
nerf deez nuts
goodnight goggles.
you need to find yourself a cuteboy.
sounds like you totally are.
this is pure propaganda
But they are all whores.
iunno you tell me
I think anyone who enjoys being bullied should be bullied relentlessly.
That includes you specifically, Cupcake.
shh. no names.
Ur whore
I'll be a whore for the low price of $300
Nah, I need rent.
ill donate semen to the welma fund
o-okay ♥
it's pure truth.
that is true, but isn't that what you like?
that picture is just a gardevoir eating a banana. you have a pretty twisted gutter mind if you think these images are lewd.
oh hello rin. missed you yesterday.
but I didn't call you one. even though I think I know who you might be.
there there.
That's worthless.
Louboutins for whore?
No I hate it.
it has high nutritional value.
this picture just makes me laugh.
oh. well sucks for you LOL
it's all i have
you are twisted
Well in one way it sure does.
I resemble that remark.
The cavalry hahah!
not according to my sources
everyone thinks they know
do ho ho
your sources are fabricated.
I think we're talking somewhere else.
yeah that's for lewd implication purposes for sure.
i fucking dont and you never told me
that's cosplay. dumdum. it says right in the filename.
thats a social construct
you can't keep using this as an argument it's not real.
its obviously lewd
how deep do you like it~?
ever since my sociology classes I know that every thing is a social construct
its a running meme
These please daddy
Oops. so excited I forgot the link
ya got me
if you don't have it all the way down your throat with your tongue out licking the balls why even bother?
but only a little.
no, it's a disgusting cancerous thing that some idiots actually think.
knew it.
Hate might of been a strong word.
Its like 50% bad and 50% good.
maybe im misreading things
hmm well I mean..
those kind of thoughts, they make sense.
but they're a social construct
say something mean to the other me
you probably are, like some kind of weirdo.
you love to hate it.
tokai you stop this right now.
Wowsers trousers
Damn fabulous
I'll be sure to swallow then
said it.
im losing my fucking mind
not all of it. some going all over the face is nice.
psh. you call that mean?
Pretty pleaseeeeeeeee
I like seeing butts but I hate having my butt show other people its butt.
why does it cost 800 dollars
there. take that.
this is a negative affective connection you're projecting
you'll be fine.
that is a confusing statement
tokai FFS
y u do this
i will have to change or die
just change your dramaturgical perspective and you'll see
fishy url
you can tell cup is awake because the thread is 300% more about sucking dick than before
nah, you'll be fine
tokai no. stop this.
you can tell guero is awake because SHUT UP
No wonder you are here too.
Its not really that complicated.
Well, if you are good
kinda have to, cause that's all I got from the classes.
What is your definition of good?
I will actually follow rules for those.
those classes were total junk.
thats what they all say
nobody knows nobody cares
hello darwin <3
aren't you the most clever boy
came up with that ALL ON YOUR OWN?
I did, thank you.
you know I care about you.
Hello, Tristan. <3
Tell me everything.
wait, I forgot the important parts.
I think we all would for those divine foot clothes
Beweare every hetero male. These threads are created by reptillian jews pushing their homosexual agenda.
Ignore these threads and go about your daily routine. Don't fall for their trap! Remember to avoid all anime OPs.
Good job.
About what? I know nothing
haha yup.
I was hoping for some sort of a list of Scoots rules to follow lol
It worked !
there couldn't have been important parts
Maybe i will have to knock some up after work lol
One time, I fell down the stairs in public and then pretended I did it on purpose because I was embarassed
there were, but I just remembered the memes.
at least the constitutional law classes are super easy
well that's something.
and I enlisted for the congress commission, if they take me I can organize meetings and cool stuff.
and bug important people to speak at it.
Emilia vs Aoba
You're gonna knock me up?~
oh, that's cool. hopefully that comes in useful for you.
do you have a felix folder or is just the one image
I do have a felix folder but it wasn't mine originally so I cannot share it.
if it works it opens a lotta doors.
so that excite lifts me to glorious friday
I don't want it anyways
it's fitting, though.
[behaves self]
So what's new, people? Gimme deets.
friday is so far away, you poor thing.
how was school today by the way?
oh, well thanks.
[behaves self]
school was okai, just that meme, relaxing in a hammock with some friends, and then some project work.
but the journey home was god awful.
what happened on the way home that was so bad?
I bet Remi's piss tastes like miso soup. This has to be a trap to lick a youkais poison urine and be their next meal and I might fall for it
Holy shit these guys give instant support
oh geez. that sucks, sorry tokai. at least you made it home in one piece.
hi neko neko chan. what's the matter?
that's good, right?
you never even post him.
Were you intoxicated?
I've had worse rides.
Yeah, I was REEEEEE-ing because my artifact packaging failed, where it worked just 6 hours ago. Posted here before I saw that reply.
Turns out they updated stuff.
Neat! I'd pay money for that.
well that's a bummer. public transport is a bitch.
do you have to pay money for it?
stream playing pokeyman go in new york at night
get mugged by a nigger
Make America safe again
I don't have him on my computer
but all for free!
this is why we need trump
so what's the problem? plus I barely ever post him.
you get what you pay for.
Who knows
she's racist because they said so online. grr
hey others have to pay for it, it'd cost me 10 EUR a day if I weren't a student
I was covered in kitties earlier it was the best
but I think I might be allergic ;~;
my nose is all stuffy now
time to leave for school, hmmph
I wanna fuck the cat boy.
Whats even worse, fuckin' kotaku posted it and I made the mistake of calling that criminal nigger a nigger
my fagbook is blowing up
Felix is kawaii af x_x
It may be in the cards. Gotta get my documents and passport fixed first though hehe
She always makes it all about her on her show interviews. Like, I get it, you have a tv show, but jeesh
other than the allergic part that sounds like pure heaven. kitties are the best.
oh. you freeloader.
bye neziwezi.
have a good day.
me or felix?
Probably Felix
Post a pic of you
yeah she's a bit full of herself, but she's pretty cool all things considered.
yeah felix is amazing~
hahaha. wow. why even use fucking failbook man?
Yo is that thing a boy
I thought its a loli
Fuckin' hell Japan why
it was
they were adorable
Glorious martyr Pim Fortuyn got us free travel, might as well use it.
lolis can be boys too you know.
dummy cis scum
yeah felix is a female (male)
kitties are just the cutest.
well go for it, I suppose
female (male)
lolis can be boys too
I don't want to live on this planet anymore
Its cutting my phone bills to 0
No, but if I did I would not be regretting it!
not like I can afford something else.
fair enough
well that's good then!
free is definitely the most affordable.
get rekt
Yeah that one.
You're a cat boy?
my stomach hurts
I ain't called neko for nothing
maybe you need tummy rubs.
well I mean, it's free as long as I get my diploma within 10 years, otherwise I gotta pay it back.
Neko, post selfie
pay it all back at once? oof.
Show me your tail and ears.
nah prolly goes to the student debt row.
Sounds like a grand idea
I would rather not
Tell me anime name so I don't watch it by mistake pls
You first
hello kisskiss. how did you sleep?
ah. well that sucks.
better finish school then.
re: zero
Pfft. Lame-o
Fuck if I know. I don't watch anime.
Oh, didn't know that
re zero
oh great
now the darwin fanboy is back
what makes you say that
because you're cute.
Jack, post turtleneck
I don't have any.
dont got much choice do I
I don't feel like shaving and stuff and I'm really drunk so I can't take a nice pic rn
Drunky :(
none at all in fact.
I slept pretty alright, cat only woke me up once when she decided my chest was where she needed to sleep.
How was yours?
Good afternoon to you too.
Well then I'm not going to show you mine
I rarely ever drink
*shows my tail and ears*
that filename
that's adorable. my cat was snuggled up to me while I fell asleep last night as well.
it was okay. but then it ended and I woke up, so ugh.
do ho ho~
proof pls
slave to the system
do ho ho
fight the powers that be, tokai
ho do ho
mexicans niggers and jews
the government?
but im being trained to work for them
this seems counterproductive
you gotta get into the system and fight from within tokai. it's all up to you.
Yeah that one.
You're a cat boy?
Yeah that one.
You're a cat boy?
Yes that is always the worst part. I would have liked to sleep another hour or so but I need to make sure I am awake come time for work.
What do you have lined up today?
a big fat load of nothing. how about yourself?
oh like you don't love it.
you're silly.
yes, mi amor
no bully!
A bit of work, cook dinner for someone, then I follow your plan of absolutely nothing.
Oh my
dinner for who?
okay okay, sheesh
My boring step brother.
I'm off at my other parent's house and he's staying home alone meaning I am required to go cook for him and check up on him. Otherwise he would eat nothing but nutella.
awh sweet
I'm hard.
ah. you're a good brother. that's adorable.
what a perv
Step brother
we're not actual family
what a cruel thing to say. do you two not get along usually?
no. hush.
These short hair pics make me feel sick x_x
look away maddie. delete it.
I know the feeling to an absurd degree
sweet sweet sweet sweet
We get along alright, I just do not count him as if he were my actual sibling.
Though he would say otherwise about me.
3:07 PM - Spooky: do I play dota
3:07 PM - Spooky: or osu
HOW DO I DELETE IT!?LKFJp;oiuahvp;wuh
There's a cool graduation pic though. I had my NAHS cords and stuff
My posts don't work and they show up 15 minutes later.
that makes it even more cruel. you are a monster.
play a gun and shoot yourself
I don't remember how to delete the account for good. I haven't had a facebook account since 2011.
steam then
Here is a picture of me firebreathing from when I was 14ish lol
d-don't bah me
banned from commenting and chatting
wow that's actually super cool
this from you
what are you gonna do to stop me, nerd?
there was no tortillas so i made my own
i am god
You wake up and see Hideyoshi, Hime and Ferris sitting around you, waiting eagerly for something. What will you do?
I watched 3d cuck porn today
Cry probably.
I'm so sorry.
Yeah I know.
If I told him that he would be very upset so I keep it to myself, though my mom knows how I feel vaguely.
y-yeah it was an accident
yank at your shirt so you quit
is this the cooking channel
i wanted brownies
how can you be so callous?
that sounds like it wasn't an accident.
that's adorable.
what a slut.
but will it work?
This game seems like RollerCoaster Tycoon on crack.
And I mean that with the utmost of respect.
I'm none of those things.
I have a heart 3 sizes too small.
It causes all kinds of health problems and makes me very irritable.
I am not beyond repair at least
if I wasn't so bad at being creative in games like this I might consider it
you poor thing.
I'll stick to watching this guy be creative so I don't have to.
where do I acquire this
ugh now its no use
Are you just going to sit in the corner as this plays?
that's the way to do it.
you're everything!
oh wow thanks none of us knew it was you before this
This is actually kinda fitting for what I'm doing atm.. :/
Creativity is for Artists and Autists.
usually both at the same time.
did you get my link rinrin
shower. back in a bit.
its not certain
bluh, now I actually gotta figure out city skylines.
do you have that one?
My life is suffering.
You'd know all about that, wouldn't you?
I almost forgot you were a pervert for a moment.
Then was going through images.
I do not.
But it seems neat.
Kind of extremely depressing.
Don't go full Luka and just sit there in sadness.
Weather should be cooling off; take a long walk or jog to just clear your head instead.
omg I I am not a pervert
you know how fucking fattening those are?
we can't all have ridiculously high metabolisms tokai. some of us can't drink 3l of wine a night and stay flat as a board. some of us can't sit around all day in sheer hosiery and eat fucking cakes you shit.
my first play was neat, but also a lotta frustration cause I didn't get a lot of stuff.
I mean, who actually reads tutorials.
I looove flat tummy privilege
Some of your tastes say otherwise.
Best to just own up to it.
Tutorials are for women and fags.
flat tummy privilege
Isn't that just called "not being a fat piece of shit"?
like what?
saving lewds and nudes of an avatar
Fucking deplorable.
Nah, I have to finish the task at hand. Might be chilling with a homie later too, so.
I mean, my city should be glad about those 6 nuclear reactors, how else do they get power.
hows your day been?
I guess I fit that category
was meant at
Being fat is the direct result of laziness.
Alright then.
In ten years, you're going to be one of those people falling out of their fatty scooter screaming "Help! I fallen and I can't get up!"
Been alright.
Just reading 5.0 books still.
that's really an american exclusive.
is that a series?
I wonder what would happen if you just told them that they will die in fuckin' 10 years
Is that lifespan shaming?
Clearly fat people are only American.
That was a stroll down memory lane with icky pictures. Deleting old FBs is such a process.
DnD 5.0.
nice outdated source.
that also says nothing about the severity of fat.
ohh like a new rule book?
Somehow that's being a bigot to state unobjectionable facts for...some reason.
family is dutch
almost everyone is huge
2012 report stating that 60% of men and 44% of women are overweight or obese
I'm sure all of them lost astounding amounts of weight are models of perfect health in four years after a lifetime of poor decisions that made them fat.
I didn't even realize
Watching the world burn is bigot privilige
Not like we can do anything about it
An entirely new edition of rulebooks that I've never really interacted with before.
You're more Kapitalist Amerikanski than the USA themselves!
I'm interested in what percent of those people are actually obese
"overweight" as a classification doesn't really mean much. You can be in perfect physical health and be overweight on the BMI scale
I don't even get why "fat glamorizing" is a thing.
It's fucking gross and one of the weirdest parts of "political correctness gone awry".
I don't even
But what I re-
for years I was classified underweight but always in good health, I was above average in tests.
but enough about health and statistics, that was my entire college day already.
Enjoying the new stuff?
..I kinda want to know more of dnd now I've seen it but I fear the number game
Weirdest part indeed. Letting them living their shitty delusion can actually cost their lives, something this rabid PC madness tries to protect at all costs. Makes no damn sense at all
let the dm handle all the numbers
Yo, waddup
But what I re-
That's not as bad but still pretty horrible. A lot of these studies are over exaggerated/inflated because of the overweight designation on the body mass index
Not to say that obesity isn't literally (ha) a huge crisis in first world countries, but BMI is just a little old and fucked up like that
my fat cock.
It seems interesting, and a lot more fluid, and open.
The numbers in 5.0 are streamlined a lot, so it's less worrisome.
If you're going to do that, you better be prepared to have dice thrown at you.
I don't want to be a bother
ending the sentence and refering to gueros comment
That's abstractly really inviting.
so like, no difficult equations?
It feels like I was awake all night and rolling around but I know I slept because I remember biking up to cedar rapids and I know thats just not something very likeley or even probably possible for me to remember
/Especially because i remember my friend telling me i went up ot his house and let me borrow a green lantern
None of the equations I see are really... difficult...
Nor are, like, any of the ones I've done in 3.5...
The 2011 statistic is self reported so it should be under the actual.
The 2008 didn't specify but I'm guessing it wasn't self reported to be such a marked change in three years.
BMI isn't an end all about how fat someone is but it's a decent ballpark. The people that use the "body type" or "it's all muscle weight" aren't the ones whose muscle mass would skew their BMI that much and are just traditionally overweight. It's not the people that go to the gym once or twice a week and say they're athletic that are that affected by it.
Don't underestimate my sucking at maths.
Charming as ever.
it certainly sounds like it is
wow rude. I'm not autistic and I'm certainly not artistic.
wow rin lewd
wow rude. I'm not autistic
lol bmi is stupid
you made it this way
It seems a lot harder than it is because most of the numbers are given as dice.
Which you roll.
It's Neko's picture.
Only posted as evidence of his perverse nature.
Unless it's like, frozen.
true. some of the stuff in his kyouko folder is shockingly lewd.
..I might
I just might have overestimated the numbers.
those cool multiple side dice right?
May God save you from the 'tisms.
Then it's ice.
and may god save america from the 'isms
So much weed. What am I supposed to do with it all?


text:
BizStore » Books » Networking All-in-One For Dummies
List Price: $39.99Manufacturer: For Dummies
Our Price: $59.85
Availability: N/A
Publisher: For Dummies
Author(s): Doug Lowe
Product Description:
Binding: Paperback
Brand: imusti
Edition: 6
Feature: Wiley
Item Dimensions: Array
Label: For Dummies
Languages: Array
Manufacturer: For Dummies
Number Of Items: 1
Number Of Pages: 912
Publication Date: 2016-02-23
Publisher: For Dummies
Studio: For Dummies
Product Features:
• Wiley
Editorial Review:
Are you ready to build a network, but aren't sure where to start? Networking All-In-One For Dummies, 6th Edition walks you through the basics. With nine self-contained minibooks that feature the latest updates on networking trends, including revised content for Windows 10 and Windows Server 2016, as well as updated coverage of broadband technologies, storage, and back-up, this fully-updated text will become your go-to guide for network development. This easy-to-understand guide gives you everything you need to dive into the network development game.
Networking entails the connection of two or more computers, allowing them to share resources and exchange data. This is essential in the workplace, and has become highly popular in home settings as more and more people are connecting their home computers. Whether you're a network administrator or someone who wants to create a home-based network, understanding how to build your network effectively is critical to your success.
Networking All-In-One For Dummies, 6th Edition is the best-selling resource you need to catch up on the latest networking tools and trends.
Related Items
• TCP / IP For Dummies
• Cisco Networking All-in-One For Dummies
• Introduction to Networking: How the Internet Works
• Hacking For Dummies (For Dummies (Computer/tech))
• IT Architecture For Dummies
• Network Security For Dummies
• Linux All-in-One For Dummies, 5th Edition
• CompTIA A+(r) Certification All-in-One For Dummies(r) (For Dummies (Computer/tech))
• Active Directory For Dummies
• Troubleshooting and Maintaining Your PC All-in-One For Dummies
Based on Amazon Store Manager Copyright © 2005 - 2019 Nuke Business Resources
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text:
because you threw it all away one day a long time ago.
because you chose to be a coward instead of following your heart.
because you chose the safe path instead of the road less travelled.
because you did not listen to the cry of the spirit, the ache in your soul.
and so now you anguish over what is
you say it has no connection to the past
but what you are beginning to see
is that it is all connected to it
it is your present because of it
it will be your future
if you continue with those choices above
learn courage
learn to listen
learn here
learn now
and learn to cry no more.
Tuesday, April 25, 2006
gypsy in my soul
Posted by The Ten O' Clock Habit at 4/25/2006 07:48:00 PM
2 comments:
Subscribe to: Post Comments (Atom)


text: I have an iBook. my buddy has an ipod where he has his collection, which he previously stored on his xp desktop. I guess he uses itunes for xp, but I don't know. Anyway, he has a few songs that I would like to transfer to my ibook? Ethics aside, how do I do this? Anything special I need? Thanks.


text:
What is Suboxone?
Suboxone is a prescription medication that comes in a sublingual (under the tongue) tablet or sublingual film. Suboxone contains 2 ingredients: buprenorphine and naloxone.
Suboxone is prescribed to treat opioid (painkiller) dependence. In other words, it is used to treat addiction to narcotic drugs like codeine, morphine or Oxycontin. Suboxone is also commonly used to treat heroin addiction. It was approved by the FDA in 2002 and is a product of Reckitt Benckiser Pharmaceuticals, Inc.
Suboxone Tablets and Film each come in 2 strengths:
- 2mg/0.5mg (buprenorphine/naloxone)
- 8mg/2mg (buprenorphine/naloxone)
The "film" is the latest dosage form, approved in 2010. Patient surveys indicate that it tastes better, dissolves faster, and is generally preferred over the tablet version. Ahhh...the beauty of progress!
UPDATE: The tabs were withdrawn from the market, as the manufacturer claimed they were less safe than the film. The tablets are, however, now available in a generic form.
Substance addiction is a serious problem. Studies done not too long ago indicate that upwards of 2.4 million persons aged 12 and older had used pain relievers for "non-medical purposes" in the past year. "Non-medical purposes" means they were intentionally using the pain reliever NOT for pain relief...but rather for other euphoric effects. To put it bluntly, they were looking to get "drunk on drugs."
Although this article is essentially about Suboxone, I also want to communicate the fact that I know how devastating substance addiction can be. Pharmacists are not exempt from this problem, and I have seen the lives of more than 1 friend destroyed by addiction. If you are personally facing this problem, I want to encourage you to stick with the plan. I'm cheering you on!
Now, for those who want to know a few more details about what Suboxone is, please keep reading.
Suboxone does 3 things:
FIRST, Suboxone prevents a patient from the uncomfortable withdrawal symptoms that would be experienced when abruptly stopping an addictive narcotic drug. The ingredient that does this is buprenorphine. Did you notice that this drug ends with "orphine" much like the drug "morphine?" That is because they are closely related. Buprenorphine actually has a much stronger attraction to the same "receptors" stimulated by narcotics. Thus, Suboxone is typically begun in a patient just as withdrawal symptoms begin to appear.
Another way to explain it is this: Narcotics, and similar drugs, make the brain happy. Like a child with a toy. When you take away the toy...the child gets angry! When you suddenly stop narcotics, the brain also gets angry! And it isn't pretty! In fact, it can be quite painful...and in severe cases, even fatal. Buprenorphine is like a "substitute" toy for that child. You take away the real toy, but you put a different (less harmful) toy in his hands...and he is okay with that. Your brain accepts "buprenorphine" as a reasonable substitute for the narcotic, and thus doesn't get angry with you.
SECOND, Suboxone blocks the effects of ingested narcotics on the brain. Buprenorphine accomplishes this also. Think of buprenorphine like a lock on the "pleasure" receptor in the brain which would be stimulated by narcotics. If a person tries to take such a substance, like Oxycontin for example, it will result in little to no effects. The narcotic cannot "break through" the effective "lock" put on those receptors in the brain. Buprenorphine does provide some amount of "euphoria" itself, but to a much lesser degree. To return to our "toy" example, buprenorphine is like putting a very fun & sticky toy into the child's hands. So sticky...he cannot put it down to play with any other toy, nor does he want to. Other toys have no influence...he is entirely committed to this new "sticky" toy.
THIRD, Suboxone has a special ingredient to prevent abuse, known as naloxone. Although buprenorphine produces very little "euphoric" effect when dissolved orally under the tongue, it could produce a much more potent effect if crushed and injected. To prevent this, the manufacturer has included naloxone. Naloxone, if injected, will produce immediate and severe withdrawal symptoms in someone who has been taking Suboxone or other narcotics. Naloxone, just to complete our "toy" example, is like a bully that comes along and takes away that sticky toy (bupenorphine) AND will not allow any OTHER toy into that child's hands either. The child gets VERY ANGRY! Welcome to instant withdrawal symptoms!
Suboxone may be taken as a single daily dose. This makes Suboxone more convenient than using methadone for opioid addiction, which is typically taken 3-4 times daily.
The usual maintenance dose of Suboxone is 16mg/4mg (thus, 2 tablets or films of the highest strength formula).
Initiation: Often a patient will begin Suboxone therapy in a clinic or doctor's office. Sometimes therapy will begin with a product called Subutex (buprenorphine) which has NO naloxone, and thus is less likely to produce withdrawal.
Length of Therapy: A physician and patient will discuss how long therapy on Suboxone should continue. Often 3-6 months is considered appropriate, although longer or shorter treatments may also be appropriate.
Discontinuation: Therapy with Suboxone should be discontinued only under the advice and with the careful plan of your physician. Tapering is usually necessary.
If you are asking "What is Suboxone?" then I suppose you may be considering this drug with your physician. In that case, let me give you a few final words about Suboxone side effects and some other important information.
SIDE EFFECTS: Side effects from Suboxone include loss of feeling in the mouth and tongue (temporary), headache, constipation, insomnia, pain and withdrawal. Remember...some of these "effects" are likely to actually be just a reaction to stopping the narcotics. The transition will still be uncomfortable for some patients.
SCHEDULE: Suboxone is classified as as Schedule III controled substance by the DEA. This means there will be some restrictions on the number of tablets/films that can be prescribed, and the number of refills that can be given. This will vary by State.
PRESCRIBERS: Only doctors who have been properly licensed for treating opioid addiction, according to the Drug Addiction Treatment Act, may prescribe Suboxone. To find such a doctor locally, visit the Suboxone website and click on FIND A DOCTOR.
INSURANCE: Not all insurance plans cover Suboxone. If not, you may need to pay for it yourself. Other insurance plans DO cover Suboxone, but sometimes require your doctore to complete a "Prior Authorization Request" in order to pay for the medication. This may take several days, and your pharmacy will contact the doctor about this.
I have been taking suboxone for four months now. I'm now using it for pain management. Eleven years ago I was in an accident which led to my addiction to norco. My pain was so far beyond the scale provided by the Drs and up until 5months ago I didn't do much. Now using suboxone my pain is manageable. Life is worth being a part of.
again great hubs, and I just commented on your latest one on Darvan.
I had a question about HCl (Hydogen Chloride) I notice this in a lot of prescription drug.
Is it used to administer the drug, or is it an active ingredient for property of the drug. That is does it complete the effectiveness of the drug.
Thanks for a great presentation on suboxone.
I hope that I will never have to use this drug, but if I did this hub would be very useful to me.
What is your thought on the Darvan decision by the FDA?
Thanks rated this hub up and useful.


text: I just received the 100th Issue of Mac Addict this weekend and included in the regular CD they issue (I believe to subscribers only) was the "Ask Us OMatic" a searchable data base of ALL 874 questions ever asked of the Ask Us section. There's a Lot of FAQ Here and some good answers. http://www.macaddict.com/ Their calling it a "Collector's Edition" so if you can get a copy. Sparky


text:
It seems a long time since I have blogged and looking at the date of the last post it certainly is. What have I been doing in the interim? Firstly a tabletopper for Halloween. While Halloween is not celebrated much in Australia I did see this fabric with bats on it and thought that it would make a cute tabletopper.
Secondly a tablerunner for DS and DDIL for their new dining table. I like the fact that no matter which side of the table you sit on you see Christmas trees. I found the tutorial to make the runner at the Missouri quilt company.
Next were the tabletoppers below for 3 very good friends. I chose bright cute fabric as they all have grandchildren.
And last but not least is the set below which I made for my BIL and SIL. They both like the "beachy" look so I thought that the shell fabric would be appropriate for them. I made a tabletopper along with hexagon shaped placemats for dinner plates, entrée plates and coasters.
I do have another tablerunner and matching placemats as a WIP but more on that later on.
Now that I am on holidays for the next couple of weeks I hope to get some more time to blog and sew.
Until next time happy sewing and I look forward to blog hopping and seeing what everyone has been up to.


text:
Remembering the good times.
22 June 2013 - Walks in the rain.
As per routine, I parented Tilly on Saturday morning. This was the weekend of wild woolly weather. This was the weekend of wet, cold, and rain. Most of the weather completed on Thursday and Friday, so I thought that Saturday was a good time to go for a walk.
Saturday morning was a good time to go for a walk, as Daddy was still feeling the effects of being ill, and we needed breakfast brought into the house.
I persuaded Tilly to go for a walk to the local bakery. This persuasion took probably an hour. He was an enthusiastic participant by the time we walked down the front steps. He had on his gumboots, his rain jacket, and held the folded up shopping bag. I had on my boots, and Daddy's jacket, and held a purple umbrella.
We sauntered, forthwith. Tilly looked so cute, so serious, holding the folded shopping bag by its handles.
On the walk, he found one of the pockets on his jacket. He put his hand into his jacket to keep it warm. It was a cold day.
We bought several buns from the bakery.
Tilly toddled outside, and insistently clambered onto a chair, and sat expectantly. I overrode my first concern to bring food to Daddy, and acquiesced to my current concern of not disappointing Tilly. I gave him half a sultana bun. I ate the other half. He munched on his. Occasionally he would say "Shoo bird" at the gathering sparrows. They paid no mind.
The rain had stopped, and the sunshine was warming up the glass table and chair and me and Tilly. It was nice.
When Tilly finished, I persuaded him we needed to share the remaining buns with Daddy. Tilly acquiesced. We sauntered back home. Tilly had to walk all the way without being carried, as my hands were fully occupied with the bag of buns, umbrella, and holding onto Tilly's hand.
We had second breakfast at home.
After our weekly grocery shopping trip, Tilly still wasn't settling for a nap. So, this was a good time to visit the local wetland/pond/ducks.
Preparation felt like it took 30 minutes. Dressing Tilly, dressing parents, getting pushchair, prepping pushchair for wet weather, getting out the frozen stale bread (yay! more freezer space!).
We strolled. I remarked on the changes in the neighbourhood.
At the pond, the birdlife was plentiful gathered on the sodden grass. Ducks, geese, pukekos, sea birds.
We had fun feeding the birds on the grass. The rain came, so I volunteered to hold the umbrella so other people could continue feeding the birds.
We fed the birds in the rain.
Eventually the rain stopped. Eventually we ran out of bread.
We walked home. Tilly napped.
23 June 2013 - Kelly Tarlton's Sea Life Aquarium
This place has changed since we last visited. The entrance is now in the polar area - more room for queues. There is no more snowcat ride. Shame.
Tilly was very quick. He walked quickly through the Explorers' hut, not wanting to stop for anything. He stopped for the live penguins exhibit. He was fascinated.
We were there for a bit of time. Not as long as when Tilly was watching seals at the zoo. Sufficient to sate his desire for penguins.
He'd had enough, and pulled parental units onwards and upwards.
(Did we pass the 12mo Giant Squid? "Biiig!")
This was then the open cafe area, with rock pools, larger aquarium of fishes, rays, kid's section. He had fun. I was ho hum, and had fun watching Tilly.
He mucked around for a while in the kid's section. He was gentle with the turtle shell. I was proud of him for showing some respect to a dead animal part.
After 15 minutes or so, he pulled parental units onwards. Past the rays, past the shark models. Past the resting rays.
Into. The Tunnel.
Tilly really enjoyed the Tunnel. We went through it twice.
I rested at the eel area.
Tilly and Daddy went through the Tunnel four times. Tilly came back and thought I ought to enjoy the Tunnel too.
We went through a couple more times. I persuaded the family to retire to the cafe area for sustenance. Oh that was a nice break.
We went through the Tunnel a couple more times, then parental units insisted it was the end of Tunnel and it was time to visit another exhibit.
Sea horses, sea dragons, puffer fish, live octopus, etc. Exit via shop area. Exit to carpark.
"Next time, Tilly. We'll come back another time."
highlights of this weekend: walking in the rain, Tilly's enjoyment of Kelly Tarlton's.
Brexit: Where could we go from here? - Ignore the no confidence vote; it doesn't really matter who's in power for what follows. Let's assume that the EU is prepared to extend things to allow tim...
22 hours ago


text:
CRESTVIEW � A week and a day. That's how long Debbie Campione and her family were given to move out of their home.
CRESTVIEW � A week and a day. That's how long Debbie Campione and her family were given to move out of their home.
Today was the deadline.
Campione, her daughter, Crystal Pryor, Pryor's five children and their affectionate chocolate Labrador, Mocha, had just eight days to vacate their Lee Avenue home, find a new place to live and move.
Habitat for Humanity will demolish the mobile home in which the family had been living rent-free. It plans to build a new home � one of six planned for Crestview � on the property.
Phil Bowman of Fred Bowman Realty, which sold the property, has been helping the family find a new home, but apart from a pair of unheated, leaky one-bedroom trailers, the search has been fruitless.
A call to Habitat for Humanity for comment was not returned.
Campione said the family has applied for one of the several new Habitat for Humanity homes planned for Crestview, had an interview with the organization Wednesday, and is awaiting word.
If the family's application is accepted, Campione said the main challenge will be finding a place to live until the house becomes ready.
"It takes months to build a house," Campione said.
More challenges
Pryor is disabled and receives Social Security benefits, Campione is still recuperating from injuries related to a car wreck, and her 11-year-old granddaughter is mildly autistic.
"Our stress level is out there," Campione said. "My 20-year-old grandson was put on blood pressure medicine Monday."
The family has been frugal with their income, which is supplemented by Pryor's boyfriend, a building contractor who helps pay the bills, Campione said.
While they have enough money to meet the $800 monthly rent for a home they looked at earlier this week, they have only been able to put away $350 toward a security deposit.
Campione said her family appreciates Bowman Realty for letting them live rent-free in exchange for fixing up the trailer, and for helping them find a new home.
"They're very nice," she said.
Campione said she has tried seeking help from resources including the Homeless Coalition, Salvation Army, Catholic Charities and United Way, but without success.
With the Thanksgiving holiday in the middle of their eight-day grace period, finding assistance has been difficult, Campione said.
"I just don't know what to do. I really don't � especially this time of year," she said. "This is supposed to be a time of miracles. Someone has to have a heart somewhere. We're not looking for a handout. We just want a roof over our heads. That's all."
Contact News Bulletin Staff Writer Brian Hughes at 850-682-6524 or email@example.com. Follow him on Twitter @cnbBrian.


text:
Bangor's Davies named on UEFA list
Les Davies, a winger for Bangor City, has made been named on the 32-man list of players nominated for UEFA's best player in Europe award.
Davies, 27, is rubbing shoulders with the likes of Lionel Messi, Andres Iniesta and Cristiano Ronaldo on the list with the award ceremony to take place on August 30 in Monaco.
The list was drawn up by one selected journalist from each UEFA member country voting for their five best players, and even a single nomination - believed to be from the Welsh journalist who voted - was enough to earn Davies a place on the long-list.
Davies admitted he was stunned to be included among such illustrious company. "I'm flattered and honoured to be on such a list. I can't get my head round what's happened in the last few days,'' he told Sky Sports News.
"I don't think it is going to sink in for a long time...to be on the list with those people is unbelievable. Just to be nominated in the 32 is fantastic. I'll take that - I don't think I've got much of a chance to make the top three!''
The 32-player list in full: Aguero (Man City), Xabi Alonso (Real Madrid), Balotelli (Man City), Blaszczykowski (Borussia Dortmund), Buffon (Juventus), Casillas (Real Madrid), Cech (Chelsea), Coentrao (Real Madrid), Davies (Bangor), Drogba (Shanghai Shenhua), Fabregas (Barcelona), Falcao (Atletico Madrid), Hart (Man City), Ibrahimovic (AC Milan), Iniesta (Barcelona), Kagawa (Man Utd), Kompany (Man City), Lampard (Chelsea), Messi (Barcelona), Modric (Tottenham), Ozil (Real Madrid), Pepe (Real ), Pirlo (Juventus), Ramos (Real Madrid), Raul (Al-Sadd Sports Club), Ronaldo (Real Madrid), Rooney (Man Utd), Silva (Man City), Torres (Chelsea), Y Toure (Man City). van Persie (Arsenal), Xavi (Barcelona).
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text:
Cheng Chin Yuen
Fruit juice anyone? Spoilt for choice!
Cheap food by the streets
That's my future occupation after the course!
Believe it or not, these are soap carvings!
Marley in the making...
Talent in Chiang Mai's Night Bazaar
Temple dog
Littlle Lao Food Summary
Room Notice in Chiang Rai's Lotus GH
Literally GRUB!
karen's blog
Friday, November 04, 2005
Toying with saturation.
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