text:
Frank O'Hara
Frank O'Hara was a dynamic leader of the "New York School" of poets, a group that included John Ashbery, Barbara Guest, Kenneth Koch, and James Schuyler. The Abstract Expressionist painters in New York City during the 1950s and 1960s used the title, but the poets borrowed it. From the beginning O'Hara's poetry was engaged with the worlds of music, dance, and painting. In that complex of associations he devised an idea of poetic form that allowed the inclusion of many kinds of events, including everyday conversations and notes about New York advertising signs. Since his death in 1966 at age forty, the depth and richness of his achievements as a poet and art critic have been recognized by an international audience. As the painter Alex Katz remarked, "Frank's business was being an active intellectual." He was that. His articulate intelligence made new proposals for poetic form possible in American poetry.
He was born Francis Russell O'Hara in Baltimore, Maryland, to Russell J. and Katherine Broderick O'Hara but moved at an early age to Grafton, a suburb of Worcester, in central Massachusetts. While growing up, he was a serious music student and wished above all to be a concert pianist. He took courses at the New England Conservatory. O'Hara writes: "It was a very funny life. I lived in Grafton, took a ride on a bus into Worcester every day to high school, and on Saturdays took a bus and a train to Boston to study piano. On Sundays, I stayed in my room and listened to the Sunday symphony programs." After service aboard the destroyer USS Nicholas in the South Pacific during World War II, he entered Harvard (Edward Gorey was his roommate), first majoring in music but changing to English and deciding to be a writer. His first published work was some poems and stories in the Harvard Advocate. While living in Cambridge, O'Hara met poets Ashbery, who was on the editorial board of the Advocate, and V. R. "Bunny" Lang. In 1956 O'Hara was one of the original founders of the Poets Theater in Cambridge. On occasional visits to New York, he met Koch and Schuyler, as well as the painters who were likewise to be so much a part of his life, notably Larry Rivers, Jane Freilicher, Fairfield Porter, Grace Hartigan, Joan Mitchell, Michael Goldberg, Willem de Kooning, Franz Kline, and Jackson Pollock. He was the first of the young New York Poets to write regular art criticism, serving as editorial associate for Art News, contributing reviews and occasional articles from 1953 to 1955. He had a long association with the Museum of Modern Art in New York, beginning as a clerk at the information and sales desk in the front lobby, later becoming an assistant curator at the museum and an associate curator of painting and sculpture in 1965, despite his lack of formal training. He was an assistant for the important exhibition, "The New American Painting," which toured eight European cities in 1958-1959. This exhibition introduced the painters of the Abstract Expressionist movement to European audiences. The title of the exhibition was changed when Donald Allen used it as the title of his anthology The New American Poetry. While employed by the Museum of Modern Art, O'Hara was the curator or cocurator of nineteen exhibitions. He was an active and articulate spokesman for the new painting inside the major collecting museum in New York. He performed his administrative and curatorial duties surrounded by ceaseless conversation about art, poetry, music, and dance.
O'Hara's work was first brought to the attention of the wider public, like that of so many others of his generation, by Allen's timely and historic anthology, The New American Poetry (1960). It was not until O'Hara's Lunch Poems was published in 1965 that his reputation gained ground and not until after his sudden death that his recognition increased. Now his reputation is secure as an important and even popular poet in the great upsurge of American poetry following World War II. His influence on the next generation of poets—including Bill Berkson, Alice Notley, and Ted Berrigan—was immense. He did not cultivate academic alliances or solicit editors and publishers. Painter John Button remarks: "When asked by a publisher-friend for a book, Frank might have trouble even finding the poems stuffed into kitchen drawers or packed in boxes that had not been unpacked since his last move. Frank's fame came to him unlooked-for." His recognition came in part because of his early death, the somewhat absurd and meaningless occasion of that death (he was run down by a beach taxi on Fire Island), the prominence and loyalty of his friends, the renown of his own personality, and above all, the exuberant writings themselves. His casual attitude toward his poetic career is reminiscent of the casual composition of many of the poems themselves. One of his poems, "Poem (Lana Turner has collapsed!)," for example, was written on the Staten Island Ferry en route to a poetry reading, and his most important statement of poetics, "Personism," was written in less than an hour while Allen, who requested it, was on his way across town to pick it up. Koch touches upon this particular quality of O'Hara's genius—his naturalness: "Something Frank had that none of the other artists and writers I know had to the same degree was a way of feeling and acting as though being an artist were the most natural thing in the world. Compared to him everyone else seemed a little self-conscious, abashed, or megalomaniacal." When this quality entered his verse, his work was formally inventive and most compelling.
During his lifetime O'Hara was known as "a poet among painters," part of a group of such poets who seemed to find their inspiration and support from the painters they chose to associate with, writing more art reviews and commentary than literary opinion. O'Hara published only two book reviews: one of poetry collections by friends Chester Kallman, Ashbery, and Edwin Denby; the other of John Rechy's City of Night, 1963. His own art criticism, the major portion of which has been collected as Art Chronicles 1954-1966 (1975), helped to encourage the painters he liked best and maintain the public awareness of them, although in itself it is nowhere as brilliant as, for example, Rainer Maria Rilke's writings on Auguste Rodin or Charles Baudelaire's on the Salon of 1846. Professional critics found O'Hara's criticism too subjective and lacking in the disciplines of critical analysis. Hilton Kramer was particularly critical of O'Hara's book Jackson Pollock (1959), claiming that the excessive praise and poetic writing spoiled the discussion of the paintings. O'Hara's poetry itself is most painterly, making the best judgment of painting while participating in the actual techniques of abstract art.
The extent, the sheer volume of his writings, came as a surprise to many of even his closest friends. Most wondered where he had found time to do it all. Ashbery writes in his introduction to the 586-page The Collected Poems of Frank O'Hara (1971), patiently gathered and carefully edited by Allen: "That The Collected Poems of Frank O'Hara should turn out to be a volume of the present dimension will surprise those who knew him, and would have surprised Frank even more. Dashing the poems off at odd moments—in his office at The Museum of Modern Art, in the street at lunch time or even in a room full of people—he would then put them away in drawers and cartons and half forget them. Once when a publisher asked him for a manuscript he spent weeks and months combing the apartment, enthusiastic and bored at the same time, trying to assemble the poems. Finally he let the project drop, not because he didn't wish his work to appear, but because his thoughts were elsewhere, in the urban world of fantasy where the poems came from." Although he published more than a hundred poems in scattered magazines and in a few limited editions, there was no sizable representative collection of poems published in his lifetime. And there were no serious critical studies of his writings such as Marjorie Perloff's, Alan Feldman's, or Alice's Parker's. Before the Collected Poems, and later The Selected Poems of Frank O'Hara (1974), there were only two slight volumes—Second Avenue (1960) and Lunch Poems (1965)— readily available; other books were printed in editions of less than five hundred copies, one in only ten copies, and thus were inaccessible to most serious readers.
O'Hara's poetry, as it developed, joined the post-Symbolist French tradition with the American idiom to produce some of the liveliest and most personable poetry written in the 1950s and early 1960s. O'Hara incorporated Surrealistic and Dadaistic techniques within a colloquial speech and the flexible syntax of an engaging and democratic postmodernism. His special subject was the encounter of the active sensibility with the world about it through extravagant fantasy, a ready wit, and a detailed realism of feelings. The result, a unique blend of elements, has earned him a memorable place in American poetry. He hastened the development of an art form hitherto little practiced in English (The Waste Land [1922], for example, is seldom designated as authored by both Ezra Pound and T. S. Eliot) that was to become popular in the later 1960s and 1970s among younger poets—the collaboration: O'Hara wrote poems with Ashbery, Koch, and Berkson; created "translations" from the French; produced a series of lithographs with Rivers, collages with Goldberg, comic strips with Joe Brainard, "Dialogues for Two Voices and Two Pianos" with composer Ned Rorem, and a movie with painter Alfred Leslie. He was the subject of portraits by many of his artist friends—an indication not only of his association with painters but also of the esteem in which the artists held him. His early death only contributed to his legend and kept alive his memory until the publication of his collected writings confirmed for many what a few, mostly his friends and fellow poets, already knew—that he was an immensely gifted poet.
The collection of his poems by Allen and the arrangement of them in chronological order make it possible to discuss O'Hara's work in the order of its development; however, the contents of the first edition published during his lifetime are not preserved. Two subsequent volumes prepared by Allen, one including O'Hara's earliest poems, mostly from notebooks and unpublished manuscripts among his papers and the other poems overlooked or unavailable at the time of his compilation of the complete poems, supplement the Collected Poems."
O'Hara's earliest poems exhibit much of the promise and brilliance later fulfilled. Despite the somewhat casual method of composition he later became celebrated for and the colloquial air or ease of those poems themselves, O'Hara was from the start a skilled and knowledgeable poet, well aware, if not always respectful, of the long tradition of the craft. Brad Gooch's biography, City Poet: The Life and Times of Frank O'Hara (1993), makes it possible to trace the biographical, cultural, and literary information in the poems. The poems at times can be correctly read as intense personal statements, not just sleight-of-hand performances. A survey of his Early Writing (1977), written between 1946 and 1950 while O'Hara was still a student at Harvard, reveals a striking diversity of forms that includes ballads, songs, a blues (so-called), a madrigal, musical exercises such as a gavotte, a dirge (complete with strophe, antistrophe, and epode), and even more exotic forms such as the French triolet. There are also an imitation of Wallace Stevens (with a touch of Marianne Moore) titled "A Procession for Peacocks"; a strict sonnet; a litany; poems in quatrains; couplets, and heroic couplets; poems with faithful rhyme patterns; and various prose poems. O'Hara's most persistent interest, however, was the image, in all its suddenness, juxtaposed with an equally unlikely image, following techniques not of Imagism but those perfected by the French Surrealists. This period of experimentation and learning (although the imitations and parodies continued) advanced into an interest in post-Symbolist French poetry, especially that of Guillaume Apollinaire and later Pierre Reverdy, along with the big-voiced, roaring surrealism of Vladimir Mayakovski. At the same time O'Hara's innate Americanness was encouraged by writers such as William Carlos Williams and Marianne Moore, together with the colloquial W. H. Auden, whom he felt to be an "American" poet in "his use of the vernacular." O'Hara was alert to all developments in his chosen art. Between 1952 and 1958 he either attended or participated in discussions of the new poetry and the new painting at the Abstract-Expressionist meeting place in New York called The Club. His essay,"Nature and New Painting," indicating a surprisingly early familiarity with Charles Olson's "Projective Verse" essay (1950) before it became widely known later in the decade, was the subject of three panel discussions in January and February of 1955."
Among the poems of this early period, "Oranges" stands out. A series of twelve prose poems (originally nineteen) written while he was home from Harvard during the summer of 1949, they are less the "pastorals" of their subtitle than a decidedly anti-Arcadian surrealistic parody beginning: "Black crows in the burnt mauve grass, as intimate as rotting rice, snot on a white linen field." About twenty copies of the poems, with a painting by Hartigan on the cover, were later published on the occasion of an exhibit of Hartigan's Oranges paintings. As Terence Diggory has demonstrated, Hartigan did twelve paintings for twelve O'Hara poems in the fall of 1952, and by so doing redefined her relationship to Abstract Expressionism and proposed a mode of "collaboration as a dialogue of multiple selves" between poets and painters that influenced poets and painters alike. The poems themselves do not even mention the word of the title, a cleverness the poet was well aware of. O'Hara gives an account of the series in his more justly famous "Why I Am Not a Painter," written in 1956:"
One day I am thinking of
a color: orange. I write a line
about orange. Pretty soon it is a
whole page of words, not lines.
Then another page. There should be
so much more, not of orange, of
words, of how terrible orange is
and life. Days go by. It is even in
prose, I am a real poet. My poem
is finished and I haven't mentioned
orange yet. It's twelve poems, I call
it ORANGES. And one day in a gallery
I see Mike's painting, called SARDINES.
Goldberg did in fact make an abstract painting with the word Sardines written on it as the title. Two other poems written at Harvard--the "Poems," beginning "At night Chinamen jump" and "The eager note on my door"--although among his earliest and having the same daring imagery as the surrealist poems, are exceptional as well for their narrative and dramatic poise. They remain among his finest, and he readily included them in later collections. Following his four years in Cambridge, O'Hara went to the University of Michigan on the advice of John Ciardi, his creative-writing teacher at Harvard, to compete in the Hopwood Awards, winning an award in writing for his manuscript "A Byzantine Place" and his verse play Try! Try! (later produced by the Poets' Theatre in Cambridge, Massachusetts, which he helped found). He missed the activity of New York and returned in 1951, working briefly as private secretary to photographer Cecil Beaton and then at the Museum of Modern Art. During this period the New York School took its distinct shape, the name parodying, according to poet Edwin Denby who was there, the School of Paris, "which also originated as a joke in opposition to the School of Florence and the School of Venice." O'Hara himself describes the milieu in a memoir of the painter Rivers: "We were all in our early twenties. John Ashbery, Barbara Guest, Kenneth Koch and I, being poets, divided our time between the literary bar, the San Remo, and the artists' bar, the Cedar Tavern. In the San Remo we argued and gossiped: in the Cedar we often wrote poems while listening to the painters argue and gossip. . . . An interesting sidelight to these social activities was that for most of us non-academic and indeed non-literary poets in the sense of the American scene at the time, the painters were the only generous audience for our poetry, and most of us read first publicly in art galleries or at The Club. The literary establishment cared about as much for our work as the Frick cared for Pollock and TX O'Hara's poems at this time were still heavily surrealistic, as exemplified by "Memorial Day 1950," "Chez Jane," and "Easter," which prefigured the more ambitious Second Avenue (1960) with its catalogue of random juxtapositions. In "Easter" the images are fully nonreferential, or referential to their own reality alone: "The razzle dazzle maggots are summary / tattooing my simplicity on the pitiable." Only the accustomed syntactic structures prevail--subjects, predicates, clauses--supporting the progression that becomes a tramp of alien, autonomous images over an otherwise familiar bridge. When the images expand out, however, and a narrative occurs, as in "A Terrestrial Cuckoo" from this same time, the results are delightfully comic:
What a hot day it is! for
Jane and me above the scorch
of sun on jungle waters to be
paddling up and down the Essequibo
in our canoe of war-surplus gondola parts[.]
This is O'Hara at his best, combining his voice and personality with the most far-flung word montages."
Among the early poems, Second Avenue, in eleven parts, is easily the most ambitious. It was written in the spring of 1953 but not published in book form until 1960. The artist Rivers recalls how this "long marvelous poem" was written in his "plaster garden studio overlooking" the avenue of the title, with the poet finishing it between poses for a sculpture Rivers was making of him. Koch, who also had some role in the poem's composition, finds it "among the wonders of contemporary poetry," and Albert Cook, the first of the academics to recognize O'Hara, finds it "too perfect of its kind, which it has invented, to induce anyone's strictures." Most readers, however, have found difficulty with it. Perloff calls it O'Hara's "most Byzantine and difficult poem," while even Ashbery in his introduction to the Collected Poems speaks of "the obfuscation that makes reading 'Second Avenue' such a difficult pleasure." O'Hara sensed some of the difficulties and later offered a few thoughts concerning the poem in a letter to a reader or editor who had apparently found it obscure. In his letter he identifies some of the components, including a derisive portrait of "a poetry critic and teacher," a description of painter Hartigan at work, and "a true description of not being able to continue this poem and meeting Kenneth Koch for a sandwich while waiting for the poem to start again." He also insists: "actually everything in it either happened to me or I felt happening (saw, imagined) on Second Avenue"--even though the landscape is neither recognizable nor significant on its own terms. Koch writes elsewhere that the poem "is evidence that the avant-garde style of French poetry from Baudelaire to Reverdy has now infiltrated American consciousness to such an extent that it is possible for an American poet to write lyrically in it with perfect ease," although when he states that the language of the poem resembles William Carlos Williams's in being "convincing and natural," nothing could be further from accuracy. Koch also suggests the chief persona of the poem is "a sort of Whitmanian I," though this is hardly discoverable. Rivers's painting Second Avenue (1958) needs to be mentioned as well."
Second Avenue is a poem of brilliant excess and breakneck inventiveness, beginning: "Quips and players, seeming to vend astringency off-hours, / celebrate diced excesses and sardonics, mixing pleasures, / as if proximity were staring at the margin of the plea. . . ." This is language in love with itself. The poem is dedicated to Mayakovsky, one of O'Hara's great heroes (though an early draft is inscribed to de Kooning), and certainly the images throughout are as wide-ranging and as startling as Mayakovsky's, but they arrive more rapidly and with less continuity, jostling for attention, a bewildering mixture. Moreover, they do not have Mayakovsky's large, carrying, unifying voice. O'Hara himself explained: "where Mayakovsky and de Kooning come in, is that they both have done works as big as cities where the life in the work is autonomous (not about actual city life) and yet similar." Here the result is a highly mosaic-like, patterned surface. "The verbal elements," by the poet's own insistence, "are extended consciously to keep the surface of the poem high and dry, not wet, reflective and self-conscious." But it is perhaps the most difficult of all accomplishments in art, the texture of surface appearance. "Perhaps," O'Hara continues, "the obscurity comes in here, in the relationship between the surface and the meaning, but I like it that way since the one is the other (you have to use words) and I hope the poem to be the subject, not just about it." At this point O'Hara began adapting the processes of surrealism to the conception of poetic form founded on the idea that the poem is an enactment of the actuality of perception and the realization of thinking. The achievement of a form, then, which was also the imperative of Abstract Expressionism, brought O'Hara into the creative ambience of the painters."
This last statement is, in effect, a succinct definition of nonrepresentational art--and in that sense, Second Avenue is an embodiment of the techniques of Abstract Expressionism, the series of strokes that in their totality alone completes a form. There is a cinematic "sleet" of images, colored vaguely by the city's lights and shapes glimpsed from the window on Second Avenue, falling with such rapidity that the dissolves occur before the gestalt-making powers of the mind can focus them. These images are, in the words of the poem, "diced essences"--sharply cut and full of chance. "Butter. Lotions. Cries. A glass of ice. Aldebaran and Mizar, / a guitar of toothpaste tubes and fingernails, trembling spear"--they are hardly full-bodied; rather they are subliminal phantoms, too fleeting even for associations. The poem projects intense energy as it enacts the process of motion, of the eye and the mind moving on and around the urban scene. The area described, the canvas of the poem, is huge, and without a guiding narrator; the poem attempts to allow chance events, the random thought and image, to enter the design. This is a large poem to maintain without a narrator; but, on the other hand, the situation removes the ego of the poem from the process of the poem and then allows a multitude of gestures to run in at all points. It could be called an "action poem." Like Pollock, who created a procedure of entering the field of action of the painting, O'Hara creates the illusion that he has entered the process of writing to such an extent that the surface details in all their seeming discontinuity actually constitute the form of the poem itself. The generation of an idea of form in the poem, then, becomes much more important than a doctrine of composition or a sermon about city life. When the Surrealists left Europe for America just before and during World War II, they injected Surrealism into American poetry and painting. O'Hara's poem of 1953 is the leading example of an attempt to install the European model in contemporary writing, but as Koch writes in his review of The Collected Poems in the New Republic: "For all their use of chance and unconsciousness, Frank O'Hara's poems are unlike Surrealist poetry in that they do not programmatically favor these forces (along with dreams and violence) over the intellectual and conscious. He must have felt the beauty and power of unconscious phenomena in surrealist poems, but what he does is to use this power and beauty to ennoble, complicate, and simplify waking actions." The poem might be said to be, in light of the manner of composition and success of the later poems, overworked, trying too hard to assert the mode of composition. One need only compare the "Poem" beginning "Now the violets are all gone, the rhinoceroses, the cymbals"--the same catalogue of disparate objects--to see how, when the personality takes over, a true, more shareable lyricism flowers. Perloff wisely points out that when the two strands are merged--the surrealistic, with its endless variety and high-spirited inventiveness, and the personal, the spoken American, the colloquial narrative with its charming persona--O'Hara attains his triumph."
As long as the succession of rapid-fire discontinuous images does not extend beyond tolerance, and, further, when there is some attempt to relate those images to an order of reality beyond themselves, O'Hara's surrealism works. In "On Rachmaninoff's Birthday," beginning "Quick! a last poem before I go / off my rocker," the final line-- "You'll never be mentally sober"--comments on the previous assortment of images and relates to the initial "I," rounding out the poem while adding a dimension of self-reflection and conscious control to an otherwise indulgent randomness. (This is just one of seven poems O'Hara wrote for the Russian composer's birthday over the years.) Or where the images are consistent, added to with like elements, as in "Romanze, or the Music Students," beginning:"
The rain, its tiny pressure
on your scalp, like ants
passing the door of a tobacconist.
"Hello!" they cry, their
noses glistening . . .
--almost like an animated cartoon--this is the cleverness that makes O'Hara most appealing.
The lyrical/narrative "I," the "I" with verve and personality, the distinctive O'Hara persona, the "I" of what he himself called his "I do this I do that" poems, makes its appearance as early as "Music," written in 1954. There too the persona is set upon a representational landscape of midtown Manhattan, where landmarks are called by name, as they exist in public reality (the Equestrian statue, the Mayflower Donut Shoppe, Bergdorf Goodman's, Park Avenue itself). Just how personal and lyrical this "I" is can be seen in "To the Harbormaster," a love poem written for Rivers that sustains the metaphor of a ship. Other poems from this period concern images of a different order, including movie stars such as James Dean, both a symbol and a victim of popular culture, to whom no less than four poems are dedicated. There is also the mock-heroic "To the Film Industry in Crisis," addressed "to you, / glorious Silver Screen, tragic Technicolor, amorous Cinemascope, / stretching Vistavision and startling Stereophonic Sound, with all / your heavenly dimensions and rever berations and iconoclasms!" The mock epic continues later with the equally amusing "Ave Maria," beginning: "Mothers of America / let your kids go to the movies!"
A meditative poem such as "Sleeping on the Wing" from 1955 is a further advance and indication the poet's personality has fully emerged; specifically, that he is aware of the precious advantage, indeed the great comfort, of undisguised human "singularity," which he knows to be "all that you have made your own." Interestingly, despite all the appearances of a prolonged, considered meditation, the poem was actually composed with great rapidity, increasingly typical for O'Hara, a sign perhaps of the confidence, embodied by Li Po, of the poet come into his own. Schuyler remembers: "The day this was written I was having breakfast (i.e. coffee) with Frank and Joe [O'Hara's roommate Joe LeSueur] at 326 East 49th Street, and the talk turned to Frank's unquenchable inspiration, in a teasing way on my part and Joe's. The cigarette smoke began jetting from Frank's nostrils and he went into the next room and wrote SLEEPING ON THE WING in a great clatter of keys." "In Memory of My Feelings" (1956) can be thought of as a transitional poem from "Second Avenue" to the "Odes." In the poem O'Hara demonstrates the process of assuming and then rejecting many possibilities of self-definition. The self, in the process of conceiving and reconnecting its emotional nature--the heart is the counter to the evil of life in the serpent--finally recognizes that "the scene of my selves" is constantly moving within the process of endless change. Art cannot grant fixity; it can produce no statues; it can, however, demonstrate the very processes of generating artistic form."
"A Step Away From Them" from 1956 has come to be known as the first of his so-called lunch poems, beginning:"
It's my lunch hour, so I go
for a walk among the hum-colored
. . . .
Negro stands in a doorway with a
toothpick, languorously agitating.
A blonde chorus girl clicks: he
smiles and rubs his chin. Everything
suddenly honks: it is 12:40 of
a Thursday.
The poet is immersed in his mode, his monde. The perceptions and information follow along with the acts of seeing and thinking. The same is true of his poem of determined optimism dedicated to painter Mitchell ("Poem Read at Joan Mitchell's"), where happiness is "the least and best of human attainments," or the cohesiveness of "Platinum, Watching TV, Etc.," preserved in Poems Retrieved (1977), or the equally expansive poem to another painter friend titled "John Button Birthday." These are all poems written when O'Hara was most at home in his world and at the full strength of his style. They are followed by a series of Odes (1960) and continue into his most productive years, 1959 and 1960. When he wrote them, it was another dawning in American poetry and he one of the chief instigators, as he knew himself in his "Poem Read at Joan Mitchell's," when he wrote: "tonight I feel energetic because I'm sort of the bugle, / like waking people up. . . ."
One of the highlights of O'Hara's collected works is Odes, all written in 1957-1958 and originally published in a highly priced limited edition (in a boxed set with similar collections by the other principal New York School poets--Ashbery, Koch, and Schuyler). There are nine odes in the book, along with three prints by Michael Goldberg. Goldberg made the prints after the poems were written, but the large format of the book provided the opportunity for the typography of the poems to emulate the spatial forms of the prints and introduced another basis for understanding a collaboration between a poet and a painter. It is one situation for a poem to refer to a painting, but it is a different act when the processes of making forms are the same in the poem and the painting, or as here, in the prints. "Ode on Causality," the first poem in the book and the poem in memory of Pollock, begins with the line, "There is the sense of neurotic coherence." A young girl in the poem indicates that Pollock is not in his grave but in the woods, that he and his art are part of the process of death and rebirth, conceiving and reconceiving artistic forms. The sense of movement is here, of the flight and motion that were parts of "Second Avenue" and became parts of "Ode to Michael Goldberg ('s Birth and Other Births)," the final poem in the volume. The long ode to Goldberg is more like the Romantic-- specifically Wordsworthian--ode than any of the others. It concerns the growth of both the poet's mind and of his role (as poet), autobiographically moving through memories of childhood toward a confrontation with mortality. The poem is neither celebratory nor congratulatory (it is not, despite the title, a birthday poem for the painter but was written during the three months after his birthday). The poem includes details about O'Hara's life in Baltimore, his trip to the "first movie," observations about "trysts," adventures in the South Seas during World War II, a statement about his first homosexual experience in a hay barn, and his life in New York at the "Five Spot" and around the city. The poem is also dedicated to "Other Births," so it is about the stages of O'Hara's life moving from one birth of consciousness to another as his poetic sensibilty renews itself in experience. Images of movement, transportation, and the journey of life appear and reappear to establish a coherence in the collection of information about history and contemporary living in the poem. The daily activities of motion, of moving from one version of a self to another, integrate the poet's life into the artist's life. It begins with memories first of Baltimore (O'Hara writes of his affinity for the magnolias and tulip trees mentioned in the poem in autobiographical fragments published in Standing Still and Walking in New York, 1975), then of Grafton, where aesthetic as well as sexual awakening occurred:"
Up on the mountainous hill
behind the confusing house
where I lived. . . .
the wind sounded exactly like
I first recognized art
as wildness, and it seemed right
I mean rite, to me. . . .
The allusion to The Rite of Spring is obvious enough. The poem proceeds through recollections of O'Hara's personal life, including wartime days in the South Pacific and psychosexual hints, to the present that must be faced, where "too much endlessness" is "stored up, and in store," awaiting. It is not his alone, but the human and historical condition. There are repeated reminders of the "darkness" at the center of life, but even as that darkness occurs it appears "a glistening / blackness in the center / if you seek it . . . capable of bursting / into flame or merely / gleaming profoundly." Amidst all, the poet has been selected to bear like Prometheus "the gift of fire" to a "foreign land," a "temporary place of light, the land of air." It is this land toward which the poem moves, concluding with almost a historical imperative:"
for flowing
as it must throughout the miserable, clear and willful
life we love beneath the blue,
a fleece of pure intention sailing like
a pinto in a barque of slaves
who soon will turn upon their captors
lower anchor, found a city riding there
of poverty and sweetness paralleled
among the races without time,
and one alone will speak of being
born in pain
and he will be the wings of an extraordinary liberty[.]
O'Hara advances this poem by the spatial relationships of blocks of information and by using different internal voices, which are indicated by indentations and internal margins. He has learned lessons from Rivers, who in a painting like The Wall (1957) or The Accident (1957) spreads derivative images--like O'Hara drawing up blocks of memories from his life--over the field of the canvas and attempts a narrative guided by spatial relationships of the images and not a linear, causal argument. Ashbery is often recognized as the master of telling parables in poems, but here O'Hara demonstrates that he also has mastered the form. From out of the process of death and rebirth "beneath the blue," or living the life of the imagination as Stevens imagined it, a poet will emerge who understands that life is lived within contrary forces--"poverty and sweetness," "pain" and "an extraordinary liberty." Still, he resists oversimplification and insists on discontinuities. Toward the end he offers this quotation and potential hope:"
"the exquisite prayer
to be new each day
brings to the artist
only a certain kneeness"
--not newness, not keenness, but an absurd kneeness. The use of the word might even be a Platonic joke. The artist is brought down to his knees, not just by the prayer for creative novelty, one of the values necessary for his art, but by being reduced to a certain futility and awkwardness. Ironies and apparent contradictions abound: "you pull a pretty ring out of the pineapple [a grenade] / and blow yourself up"; everything is simultaneously "all right" and "difficult"; "wit" and "austerity" are shared; we fall sobbing to the floor with both "joy" and "freezing." Even at the end, in the city of the future, almost a new world, "poverty" and "sweetness" persist as parallels."
The "Ode to Michael Goldberg" should answer any charges that O'Hara cannot sustain a long poem. Drawn from the full flood of childhood memory, it courses up through "A couple of specifically anguished days" of the present which "make me now distrust sorrow, simple sorrow / especially, like sorrow over death." It is perhaps his most encompassing poem, most ruminative, introspective; it includes the darkness at the very quick of his soul that obviously haunted him and that he lived with so cheerfully and so well. And like the configuration of the lines on the page in "Ode on Lust," this poem demonstrates O'Hara's process of writing like a painter with an awareness of the spatial dimensions of language. He lived caught between sweetness and poverty, between longing for love and being rejected in love, but also attempting to keep "the poem 'open'" in the "extraordinary liberty" of the daily enterprise."
Resonance of Whitman and great rolling tones are evident in the opening lines of "Ode: Salute to the French Negro Poets":"
From near the sea, like Whitman my great predecessor,
I call
to the spirits of other lands to make fecund my
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
It is a voice of majesty, announcing a large theme.
The diction is self-consciously exalted, proper to an ode, compared to the breezy familiarity ordinarily expected of O'Hara: Love is "traduced" by shame; "reticence" is paid for by a poet in his blood; "fortuity" is in "the love we bear." O'Hara even forgoes his tendency to wisecrack before the seriousness of his intended theme: "here where to love at all's to be a politician," he writes, threatening sarcasm, and continues with a mocking rhyme, "as to love a poem / is pretentious, this may sound tendentious but it's lyrical." The drift into smartness ("it's lyrical") is checked, however, and the poem is restored to seriousness, even gravity, by what follows--"which shows what lyricism has been brought to by our fabled times"--and elevated diction such as "cowards are shibboleths" and "one specific love's traduced." This ode is actually one of O'Hara's most directly political poems, mounting almost to a rhetoric of defiance: "blood! blood that we have mountains in our veins to stand off jackals / in the pillaging of our desires and allegiances. . . ." The poem is formal even in its line arrangement--a series of long waves of couplets. There is not one drop of silliness or playful avoidance, as he continues: "for if there is fortuity it's in the love we bear each other's differences / in race." It is almost a somber poem, certainly stately, as it moves in assured and measured cadences to its end: "the only truth is face to face, the poem whose words become your mouth / and dying in black and white we fight for what we love, not are." It is a comment on racial relations in his own America at the beginning of the Civil Rights era, an important political and social statement; he is turning his back on the "terrible western world" to invoke such anticolonialist poets as Aimé Césaire. It may even be a noble poem, like "Ode to Joy," in pleading for "no more dying," and in the hurry and demands of the city, to live with love. Mitchell chose Ode to Joy as the title of her triptych in homage to Frank O'Hara, as if she knew that the poet's incessant effort to find love and a bit of peace within the pressure of daily living caught the core of O'Hara's life and art."
The year 1959 was probably O'Hara's best, when one of his most famous poems, "The Day Lady Died," was written. Like Joel Oppenheimer's "Billie's Blues," this poem is a tribute to the jazz singer Billie Holiday. Told in terms of the unconnected events of normal living, with nothing revealed ahead of time, the powerful realization of an ending is suspended until events mount up and force the realization of great loss. The poem demonstrates the process of the poet finding in the non-causal relationships of events that a singular coherence precipitates strong emotions. It begins with a (possibly) feigned and protracted preoccupation with cultural paraphernalia and distractions of the quotidian but moves with suddenness to testify to the sanctity of human life and talent, and the eternality of art that is literally, mimetically, breathtaking. It moves through a series of choices until there are none, until the poet arrives face to face with the unchosen, the uninvited but inevitable, irreversible wonder of loss. Names abound--"Bastille," "Easthampton," "an ugly NEW WORLD WRITING to see what the poets / of Ghana are doing these days," "Miss Stillwagon," "Verlaine"--but "hers" never is (only hinted at in the title, with her own title, Lady Day, reversed). Time likewise is held up or too freely given at the beginning--"
It is 12:20 in New York a Friday
three days after Bastille day, yes
it is 1959 and . . . I will get off the 4:19 in Easthampton
at 7:15 . . .
--but then held suspended, as up a sleeve, until the end, and released when most appropriate, in the natural order of events:"
then I go back where I came from to 6th Avenue
and the tobacconist in the Ziegfeld Theatre and
casually ask for a carton of Gauloises and a carton
of Picayunes, and a NEW YORK POST with her face on it
and I am sweating a lot by now and thinking of
leaning on the john door in the 5 SPOT
while she whispered a song along the keyboard
to Mal Waldron and everyone and I stopped breathing[.]
Death silences the trivia. The last line merges object into subject (at precisely "everyone") in the flux of events in the continuous postmodernist universe. Writing in the simultaneous present, the poet seeks control over both time and timing--the arrival (or denial) of images, the coming (or postponing) of a conclusion, but the conclusion of the value of life and art comes because of the mounting of a series of transactions in the daily enterprise."
O'Hara's level of accomplishment remained at its peak through 1961, through a series of love poems--later published as Love Poems (Tentative Title) (1965). Poem after poem is of a high order of achievement--"Rhapsody," "Adieu to Norman, Bon Jour to Joan and Jean-Paul," "Joe's Jacket," "You Are Gorgeous and I'm Coming," and "Personal Poem." These are all poems with the identifying characteristics of an O'Hara poem, all the same quick-stepping, name-dropping, vivacious, uninhibited narrator (name-dropping because he is utterly at home in his surroundings and in the poem). Artists and their creations continue to decorate the poems as comfortably as they do a sunken living room. John Bernard Myers, the publisher of Tibor de Nagy Editions, remembered: "I waited for these poems for three or four years; Frank could never get himself to type them up. When he did give them to me I couldn't induce him to arrange them in their proper sequence nor give me a title. I wrote 'Love Poems (Tentative Title)' on the first page, then arranged them so that the sequence would show the beginning of a new love, its middle period of floundering, the collapse of the affair with its attendant sadness and regret. Frank liked the arrangement and my 'tentative' title. And that was that." Homosexual love is the subject of the poems. While the poems were written at about the same time, the narrative sense of the book was provided by the publisher. Surrealism is at easy reach but not overshadowing; there is care for what Olson called the "dailynesses," varied rhythms, syncopation gained by restricting punctuation, an organic syntax, the trust to natural speech (although still very much the speech of a dashing sophisticate), the informed chatter, the management of time in a poem such as "Fantasy," the recurrent optimism of "Poem (Khrushchev's coming)." The series of love poems to dancer Vincent Warren--including "Les Luths," "Poem (Light clarity avocado salad)," "Having a Coke With You," and "Steps''--are all affirmative, delicate, precise, poems of frontal immediacy, heartfelt, with feeling no longer hidden behind a bravado of brilliant images and discordant segments. O'Hara moves out of the modernist mode of dada, surrealism, and cubism and into the postmodern advantage: a variety of techniques, which actually incorporate the salient gains of modernism while losing nothing of the flexibility and possibility of openness, the "going on your nerve" of "Personism." At its worst or most excessive, his style lapses into giddiness, or what Stuart Byron calls "Queertalk." While surely not limited to sexual ambiguity, the language of the poems is ripe with in-talk of the 1960s; these qualities are indeed dominant in O'Hara's poems from the start. They also happen to be the reason for their great success."
His last major effort was a long poem titled "Biotherm" (after a brand of skin lotion which Berkson's mother left around and O'Hara found). Perloff praises it as a "great" poem, while other critics understand it as a demonstration of writing as the physical activity of speech--writing and language as part of the physiological response that Olson had advocated. Multu Konuk Blasing uses models from Sigmund Freud, Jacques Lacan, and Jacques Derrida in an attempt to unlock the poem. However complicated it is, the poem also had a strong influence on younger poets such as Berkson, to whom it is dedicated, Berrigan, and Ron Padgett (specifically, their collaborative Bean Spasms, 1967). It was composed over an extended period of time, from August 1961 to January 1962. O'Hara wrote to Allen: "I've been going on with a thing I started to be a little birthday poem for B[ill] B[erkson] and then it went along a little and then I remembered that was how Mike's Ode ["Ode to Michael Goldberg"] got done so I kept on and I am still going day by day (middle of 8th page this morning). I don't know anything about what it is or will be but am enjoying trying to keep going and seem to have been able to keep it 'open' and so there are lots of possibilities, air and such." The structure is complex: images and reference build up on the surface of the poem and are not given order by generalization or summaries. The poem joins eating with the making of language, as a "MENU" for Berkson suggests, but there is also the connection between eating and talking:
oh god what joy
you're here
sob and at the
most recent summit
conference they
are eating string
beans butter
smootch slurp
pass me the filth
and a coke pal
oh thank you[.]
The frame of reference is immense, and there are puns and playful connections on and with French and English. As in the early "Ode to Michael Goldberg," this poems stresses movement, quick passages through the details of life and thought, and in its spread it too engages the spatial dimensions of language. The process of language achieving articulation through the body and then collecting itself in a web of multiple associations finally becomes the subject of the poem. It also engages the process of the painters in that, like the "Odes," it relates information spatially, not always linearly; it uses indentations and internal margins to specify different voices inside the poem. The poem sets out the history of O'Hara's relationship with Berkson, but it also presents around that history remarks or observations on "the music of the fears," of "September 15 (supine, unshaven, hungover, passive, softspoken)," of routines of eating, lists of fantastic favorites, "a long history of populations," and comparisons to the poetry of Wallace Stevens and William Carlos Williams, "pretty rose preserved in biotherm." Like Stevens, in "An Ordinary Evening in New Haven," O'Hara is a poet of the city who concentrates on enacting the processes of the mind as it contacts reality. Perceiving reality and attempting to remodel it in poetic form, he is perceiving and thinking spatially in blocks of information, both personal and referential, as a way to demonstrate that the acts of poetry are fully engaged in the activities of loving people, interacting with historical as well as contemporary events."
on Altair 4, I love you that way, it was on Altair 4 "a happy day"
I knew it would be
yes to everything
I think you will find the pot in the corner
where the Krells left it
rub it a little and music comes out
the music of the fears
I reformed we reformed each other
being available
it is something our friends don't understand
if you loosen your tie
my heart will leap out
like a Tanagra sculpture
from the crater of the Corsican "lip"
and flying through the heavens
I am reminded of Kit Carson
and all those smiles which were exactly like yours
but we hadn't met yet
when are you going away on "our" trip
why are you melancholy
if I make you angry you are not longer doubtful
if I make you happy you are not longer doubtful
what's wrong with doubt
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
favorites: going to parties with you, being in corners at parties with you,
being in gloomy pubs with you smiling, poking you at parties when
you're "down," coming on like South Pacific with you at them
shrimping with you into the Russian dressing, leaving parties with
you alone to go and eat a piece of cloud[.]
In some of the poems following "Biotherm," O'Hara continued using the spatial relationships of language in such poems as "Legend," "The Old Machinist," "Poem" ("At the top of the ring"), for example. Williams's tripartite line and his sense of measure also come into poems like "Walking," "Poem" ("I to you are you to me"), and "Trirème." From "Second Avenue" to "Biotherm" and then to these final poems, O'Hara moved away from the direct influences of Surrealism and projected a process of perceiving and writing grounded in the need to generate poetic forms."
It is not possible to say what direction O'Hara's work would have taken if he had lived--perhaps more social satire or a mock epic like Edward Dorn's Gunslinger, tighter and with more theater in it than "Biotherm." Given the nature of subsequent political and social events, he might have become the Juvenal of his day. It is as unlikely that he would have abandoned the world of art as it is unlikely he would have abandoned poetry, despite the slowdown in production during the last years (he wrote only three poems the last year and a half of his life). He had always said poetry was his life. More likely, his growing recognition among young poets would have spurred him further. The "original decorations" of thirty poems collected by Berkson under the title In Memory of My Feelings: A Selection of Poems (1967) testify to O'Hara's attunement with the vision and process of the new movements in the arts, and Homage to Frank O'Hara (1978) collects many additional drawings, paintings, memories, and testimonies to O'Hara as a poet and advocate for the arts. He left a record of an active intelligence as well as a body of poetry that challenged the norms of poetic form and reengaged the activity of creating with the normal events of the daily enterprise.
— George F. Butterick, University of Connecticut
— Robert J. Bertholf, State University of New York at Buffalo


text: A year ago today I was lying on the couch in our living room watching the Super Bowl. I have no memory of this event but a photo documents my efforts. Today, I'm healthy, happy and ready to check for eggs in the chicken coop no matter the weather. (Today is was -12!) Thank you for all the concern and support you have all shown our family though this journey. I do not recommend cancer (IT SUCKS) but I do recommend waking up each and every morning and being GRATEFUL just for the simple gift of living. Go LIFE! Look for more posts, more recipes and more updates about our summer plans coming soon.

subset: commoncrawl


text:
To commemorate the bicentennial of the birth of Giuseppe Verdi, the Chicago Opera Theater staged a production of Verdi's 1845 rarely-performed opera, Giovanna di Arco (Joan of Arc), which was selected by COT patrons as their choice to honor the Verdian bicentennial year. The opera's libretto by Temistocle Solera plays extremely fast and loose with the facts. In this version of the often-told tale of the Maid of Orleans, Joan's (soprano Suzan Hanson) military victories make her a love interest when she comes in contact with King Charles (tenor Steven Harrison), and her supposed heresies cause her father, Giacomo (baritone Michael Choldi) turn to the enemy to help defeat her. The plot is ludicrous and borderline offensive, though it presages other Verdi operas based on historical events, particularly Un Ballo in Maschera and Don Carlo, that also were historically inaccurate but brought a doomed romance to the forefront and made the actual events a mere backdrop, subject to alteration as needed to suit the (supposedly) crowd-pleasing love story. Yet, despite the shameless plot tinkering, the story has proto-Freudian elements to it, particularly in the way that Joan feels torn between her feelings towards both her father and the state-lover-power element represented by the king, motifs that would be more at home in the operas of Wagner and Strauss.
Musically, the presentation is as superlative of any opera that I have seen live. I had seen Suzan Hanson in COT's earlier presentation of Philip Glass's Fall of the House of Usher, where she was a haunting presence, clearly in possession of a beautiful voice, but limited to the fact that she merely produced a high-pitched note rather than any words, but here, as Joan, she was in excellent voice, and a strong dramatic presence. As the king, Steven Harrison was over-matched by his co-stars for sheer vocal force, but despite his limited vocal resources, he acquitted himself quite well. Place of honor, however, must go to baritone Michael Choldi as Giacomo, Joan's father. Baritones have never been in short supply in opera; however, Choldi's voice and his performance indicate that he would stand out, even in a distinguished group, which is not necessarily a description I would apply to any voice range in opera today. Mr. Choldi possesses a voice of exceptional power and stamina; his performance was not merely special, it is one that I will not forget as long as I attend opera. I feel confident Choldi could step into any baritone role with any opera company in the world and stand up not only any of his contemporaries, but also invite comparisons with great baritones of the past. The performance of the orchestra, a larger one than the COT usually accommodates, under the baton of Maestro Francesco Miloto, was on the whole quite good, though somewhat given to exaggeratedly dramatic playing at times. The COT's chorus was put to extensive use and both male and female ensembles supported the soloists magnificently.
Regular attendees of the Chicago Opera Theater know that their productions are not going to be mundane or conservative affairs, and the abstract production, directed by David Schweizer, was no exception to this rule. Schweizer has conceived of Verdi's opera as one attended to by a male chorus of fundamentalist (?) Christian missionaries and a female chorus of nurses who serve as Joan's inner demons and angels, respectively. Schweizer has instructed Ms. Hanson to play Joan's visions as though they were epileptic seizures, which does add an element of historical conjecture, if not historical fact, to the story of the Maid of Orleans. The opera's visual style seems to be a highly self-aware one, one that almost seems to creating itself in front of our eyes, as the characters are mechanically lifted on forklifts and ladders in front of our eyes, seemingly indifferent to the fact that this is a live production; it almost has the look of a dress rehearsal without sets. Part of COT's appeal is that they aren't afraid to take on unconventional works or unconventional productions, and this staging of Verdi is yet another chapter in their uneven yet adventurous approach, which I must commend.
Giuseppe Verdi's Joan of Arc will be presented by the Chicago Opera Theater at Chicago's Harris Theater, 205 E Randolph Street, on September 25, 27, and 29.
photo credits: Liz Lauren
Published on Sep 23, 2013


text:
The following commentary does not necessarily reflect the views of AgWeb or Farm Journal Media. The opinions expressed below are the author's own.
Kevin Van Trump has over 20 years of experience in the grain and livestock industry.
Not only is South America Corn cheaper, but there continues to be talk of US companies like Tyson importing supplies. There is also talk circulating that US ethanol plants may be considering "extended" annual shut downs in the Aug/Sept time frame as corn becomes tougher and tougher to source. With exports continuing to disappoint and the possibility of corn used for ethanol soon heading south for a brief period of time, we may find it tough to generate many bullish demand side headlines. Several in the corn trade now concerned about new-crop exports as Brazil will be harvesting a massive second crop, but more than likely won't begin shipping much out of the country until early September, right when we begin to harvest and sell cash supplies out of the field. Moral of the story, US producers could be looking at a much weaker "basis" come harvest time. Production estimates for corn obviously remain up in the air and anyone's guess, but let's consider a few scenarios: First and foremost we have to believe corn planted acres are moving lower. Right now I am thinking harvested corn acres here in the US will be between 88-89 million. I also have to believe the yield is heading lower on the late planting, wet conditions and shallow roots. Therefore rather than using the most recent USDA yield estimate of 163.6, let's start by using a yield estimate of 160 bushels per acre. Corn producers who have little to any new-crop bushels priced or hedged have to realize you are essentially betting on sub-140 yields or harvested acreage falling well below 88 million. Any variation of the two could certainly push prices higher. We are still a long ways from the finish line so anything is possible and I will never say never.
To receive my free daily wire Click Here
No comments have been posted to this Blog Post


text:
Interested in PostgreSQL? Try PGCon.
Submissions - Person
Travel / Accommodation
This section lets us know your arrival/depature dates so we can book your travel/accommodation.
If we are paying for your travel, please complete:
The above fields are for your arrival. Please also complete the corresponding fields for your departure.
NOTE: we will try to meet your flight requests and will confirm any changes with you before booking.
The Need travel cost, Travel cost, and Fee fields can be ignored.
If we are paying for your accommodation, please ensure that the 'Need accommodation?' box is checked. If you need accommodation, but do not need travel, please enter your arrival and depature dates in the repsective fields at the top of the page.


text:
|System: Wii (WiiWare)
|Review Rating Legend
|Dev: Oxygen
|1.0 - 1.9 = Avoid
|4.0 - 4.4 = Great
|Pub: Oxygen Interactive
|2.0 - 2.4 = Poor
|4.5 - 4.9 = Must Buy
|Release: July 21, 2008
|2.5 - 2.9 = Average
|5.0 = The Best
|Players: 1-4
|3.0 - 3.4 = Fair
|ESRB Rating: Everyone
|3.5 - 3.9 = Good
It's no secret that pirates have fascinated the collective consciousness for hundreds of years. But, it seems only recently these buccaneers have invaded the world of pop culture and have really had a strong presence in movies, TV shows, and now, video games. Titles like Sid Meier's Pirates! and Pirates of the Burning Sea have given this emergent sub-genre some real quality, but the fact is that most titles really fail to capture the real pirate fervor that other media have been able to conjure up.
Pirates: The Key of Dreams tells the story of a member of the British Royal Navy who has been charged with masquerading as a Pirate in order to infiltrate a prominent Pirate's crew. He'll have to forsake all his training, tactics, and morals in order to fool the other pirates into thinking he is one of them. And what is his motivation behind all this treachery? It has been rumored that these Pirates possess a magic key with terrible power and it will be up to you to get it back for queen and country!
So, how do you accomplish all this? By shooting everything! Basically everything on the map will be a target, and it doesn't really matter whether or not they are a former ally or foe! The gameplay, at its core, is essentially just like any vehicle-based, third-person shoot-em-up. You navigate your way around the map avoiding obstacles, collecting power-ups, and, of course, shooting everything in your sight.
Generally, each map will have five or six different areas, each with a different objective. You won't be able to open the gate to the next area of the stage until you complete each specific goal, which could be anything from gathering a certain amount of plunder to destroying all the other ships on the sea. Along the way, you will also be able to gather treasure as well as pick up other new crew members from ships you have sunk.
The gameplay feels a lot like the Castle of Shikigami arcade series, except the gameplay is much slower and, of course, you are in a pirate ship. However, the main concept of flying through stages and just shooting everything remains in place. Though, there is one major difference between this title and other shooters of its kind: the lack of scrolling gameplay.
I can't particularly say I miss the scrolling aspect of the standard shooter, but I feel I must mention it, as many arcade purists will probably find this new approach a little disagreeable at first. The non-scrolling aspect does make for a lot easier gameplay, make no mistake, but this works well for this title. Because it has a kid-friendly feel to it, and it is a WiiWare title, I can forgive it for being on the easy side, and I think it makes an excellent entry level shooter. Do I think Ikaruga should switch to a non-scrolling format? Absolutely not! But for what it is, the format works very well, and once you get used to setting your own pace, the gameplay feels very natural.
However, there are quite a few issues I have with Pirates: The Key of Dreams. First of all, even though I would classify this as an entry-level shooter, it really misses the mark in terms of enemy frequency. One of the big things people always recall about shooters is the sheer amount of enemies these titles confront you with. Many times, you won't even be able to see the level at all because your screen will be chocked full of enemies. However, this is not the case with this title, and you'll be lucky to encounter more than five or six enemies on screen at a time. Sure, there might be eleven or twelve in the entire section, but there seems to be somewhat of a cap on how many opposing ships can be on screen at once, which really hinders the difficulty of the gameplay as well as its arcade feel.


text:
Serenbe is a wellness community connected to nature on the edge of Atlanta. A neighborhood full of fresh food, fresh air and focused on wellbeing. This community is set among acres of preserved forests and meadows with miles of nature trails that connect homes and restaurants with arts and businesses. Serenbe's architectural planning sets a new standard for community living.
Wine dinners in the garden, animal feeds, hayrides, outdoor theater and culinary classes are just the beginning. Discover what's happening at Serenbe.
Saturday & Sunday
Saturday March 23
Saturday March 23
Saturday March 23
Saturday March 23
Saturday March 23
Sunday March 24
See Events Calendar
Imagine a place where you know your neighbors—and they know you. Where you meet the world out your front door and nature out your back door. Where small-town living meets big-city amenities.
No matter the season, something is always happening at Serenbe. Experience everything from gallery exhibits and artist lectures to world-class dinners and outdoor concerts. Or simply stargaze on a rooftop garden or near an outdoor fireplace.
Imagine a community with a true sense of place. Where design details include distinct and varied architecture, granite curbs and eclectic lamp posts. Serenbe's townhouses, cottages and estate homes honor the beauty of the land and facilitate a closer relationship between you and nature.
The pace is slower at Serenbe: You can stroll or stride. Be or do. Individuality is encouraged — this is not a cookie-cutter culture.
Learn More
"Serenbe is a utopian experiment in New Urbanism being molded out of Georgia red clay."
See More Press


text:
Tim McGraw to Reveal New Song on 'The Voice'
Tim McGraw will reveal a new song on 'The Voice' tonight (May 20).
Excitement continues to build as his upcoming album 'Sundown Heaven Town' approaches. McGraw will sing a not-yet-heard song during the season finale of NBC's hit singing show. It will certainly be an evening full of excitement as McGraw's new song hits everyone's earbuds and 'The Voice' winner is announced.
After McGraw plays, fans will be able to purchase the track at digital retailers, transporting it from their television screens into their homes. He's pumped about the new tunes and the immediate access fans will have to the new tune, saying, "When you finish making an album, all you want is to have everyone hear it as soon as possible."
"I'm in the unique position this year that I'm able to tour ahead of the album and introduce the fans to these songs early. I've never done anything like this before, but in a world driven by immediate gratification, I want to be able to play a song live somewhere and then have it available for download right then. You just never know where new music might pop up over the next few months… It's going to be a fun summer!" adds McGraw.
Robin Thicke, Coldplay, Alabama, OneRepublic, and Ed Sheeran will also perform. 'The Voice' will air Tuesday (May 20) on NBC at 8PM ET.
The 47-year-old has a busy week ahead. Before hitting up 'The Voice,' he'll be on 'The Ellen DeGeneres Show' (also airing Tuesday). Then it's off to the 'Today' show summer concert series on Friday (May 23). He's on his Sundown Heaven Town 2014 Tour, hitting over 30 cities this summer.


text:
In a clear attempt to allay Russia's apprehensions, Prime Minister Manmohan Singh on Monday said it will remain an "indispensable" partner for India's defence needs even as he underlined that the bilateral ties should adapt to changing times to address challenges.
Singh hailed the India-Russia relations, saying it is marked by "abiding comfort with each other" and the warmth and goodwill between the people ensure that the strategic partnership will continue to grow in strength and relevance in the changing world.
He highlighted various elements of partnership covering the fields of nuclear energy, defence, hydrocarbons and trade besides cooperation in international matters to portray the promising future for the relationship.
related story
India, Russia close to deal on Kudankulam project
"Even this brief overview of the fruits of our cooperation should be enough to justify fully the description of our relationship as a special and privileged strategic partnership," Singh said in his address at the Moscow State Institute of International Relations.
Noting that observers may well ask how this relationship could be taken to greater heights," he said, "I am convinced that while the strength and the intensity of our relationship will remain undiminished, it must also adapt itself to the changing times so that we can address the full range of current opportunities and challenges. I am also sure that, as in the past, we shall face these challenges together."
At the bilateral level, the Prime Minister said, "while Russia will remain an indispensable partner for our defence needs, our future defence partnership must be increasingly based on technology transfer, joint ventures and co-development and co-production."
The statement assumes significance as India has lately been looking at new vendors like the US and Israel for its military hardware, creating apprehensions in Russia which has been long-standing major supplier of the defence equipment.
"We also see Russia as a key partner for our energy security. We have an ambitious long-term plan of cooperation in nuclear energy. The programme of cooperation in hydrocarbons that we are drawing up will further intensify our partnership in oil and gas and renewable energy sources," he said.
Acknowledging that Russia has stood by India at moments of great international challenge, when its own resources were limited and friends were few, Singh said, "beyond all the assistance that we have received, it is this last fact that Indians will never forget".
The Prime Minister said that the people of India regard Russian friendship and support as something particularly precious.
Singh stressed that over the past six decades, no country has had closer relations with India and no country inspires more admiration, trust and confidence among the people of India than Russia.
Highlighting the cooperation between India and Russia, Singh pointed out that Russia was the first country with which, in 2000, India signed a Declaration of Strategic Partnership and began the process of annual summits.
Describing India's relationship with Russia as "unmatched by any other relationship", Singh cited examples of defence cooperation like the soon to be commissioned aircraft carrier INS Vikramaditya, the nuclear submarine INS Chakra leased to India by Russia and the joint development of the fifth generation fighter aircraft and the Brahmos Cruise Missile.
"Russia offered us partnership in nuclear energy when the world still shunned nuclear commerce with us...the first unit of the Kudankulam Nuclear Power Plant, built with Russian assistance, went critical in July this year and that the second one should be commissioned early next year," he said.
Singh pointed out that the Indian oil company ONGC's largest overseas presence is in Russia and India's largest science and technology cooperation programme is also with Russia.
Noting that sustained expansion of trade and investment flows had added a new dimension to the bilateral relationship, Singh said, "We should harness the full potential of our two economies to impart even greater depth and dynamism to it." "The unprecedented level of growth in tourism between India and Russia not only brings us economic benefits, but also deepens the contact between our peoples," he said.
Singh highlighted that one of the fundamental foundations of India's foreign policy is its partnership with Russia.
"We are both impacted by developments in our common neighbourhood, making our strategic partnership even more relevant than ever before," he said.
The Prime Minister stressed that there were four areas of particular importance in making the strategic partnership with Russia even more relevant.
The first, he said, were developments in Central and South-Central Asia that were of relevance to the security of both Russia and India.
"Our cooperation can play an important role in advancing peace, stability and economic development in Afghanistan. It can be equally effective in combating the shared challenges of extremism, terrorism and narco-trafficking," he said.
Singh pointed out that the second area of particular importance in making the ties more relevant was peace and stability in the Gulf and West Asia which was in the shared interest of Russia and India.
Thirdly, he said, India regards Russia as an important partner in shaping an inclusive, cooperative and rule-based regional security architecture in the Asia Pacific region, which is the focus of New Delhi's Look East Policy.
The fourth and final point that was crucial to the bilateral ties, Singh said was that as the world becomes increasingly multi-polar and emerging economies grow in strength, cooperation between Russia and India in multilateral forums, including the Group of 20 and BRICS, will assume greater importance.
"We have converging interests in non-proliferation, cyber security and space security. We also appreciate Russia's support for India's membership of international export control regimes and permanent membership of an UN Security Council," he said.
"It is hard to fail, but it is worse never to have tried to succeed."
"Envy comes from wanting something that isn't yours. But grief comes from losing something you've already had."


text:
CHaas necesitaba un nuevo diseño de papelería y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 111 diseños de 25 diseñadores freelance.
I'd like to have a business card for personal/private use, design based on some of my features.
Hey there! For several reasons I finally want a business card for my private/personal contacts, and since I'm not proficient with graphics software nor design and I want something special, I'm making this contest here.
Essentially I'd like to have a card with my basic contact information (name, e-mail and telephone number) but want to boost it with some (graphical) elements of which some are inspired by few of my personal features:
- My domain is called 'sevensuns.at', somehow I'd like to have a stylized light source (a curve line might be enough) with some short, non-straight rays from it; I'm writing 'light source' since it does not necessarily have to be a star (our sun) but might (and should) also be interpreted as light bulb. Note: I don't necessarily mean 'light source' in graphical terms, but the stylized icon of one; Think of the corona the earth has seen from space when the sun comes up...
- I'm a programmer with interest in Sci-Fi (but not StarTrek ;), so elements like binary strings or star maps (watermark?) and what not might fit; Some version number would be good (i.e. "Card Ver.1")
- I'm also attending evening classes to become a audio engineer - a waveform?Re-reading all my thoughts popped up the Voyager Golden Record in my mind, but that's an artifact by its own...
I'm planning to release the final QR Code image (See 'What I want' below) and my telephone number at the end, but since my email address is the 'longest' information that might need special care, I'm giving it here: christian (dot) haas (at) sevensuns (dot) at
- Although I don't have a fixed preference for color scheme, something in Blue would be good; The general tone should be light (both in terms not heavy nor dark)
- 'Standard' business card format (85x55mm); One sided; Two sided only if 'special' enough (Surprise me).
- There must be a space available for a QR Code, that will hold the contact information as well (See here for an online creator) -- This might allow to use the back-side of the card. Important: The code must probably have the size of at least half the height of the card to be readable by computers! -- There is also an online decoder here for tests. It's not a no-go criteria if the code can not be read but the design in sum is great, yet it might be aiding in making decisions in the end...
- Result in some (vector) format I can open in GIMP (svg?) and pdf (>300 dpi for the print, done probably by http://www.print24.de -- please ask if I should translate something what they need technical wise)The information that must be present is:
- Name ("Christian Haas")
- email ("firstname.lastname@example.com")
- Telephone number (Format is "+00 (000) 0000000")
- QR Codeanything else 'readable' should be graphical/background/decoration
- Too 'image' intensive; i.e. I'm (currently) imagining it more stylistic rather than detailed
- The domain itself on the card nor focus on the domain name in the email address; I'll add the link to the domain in the QR Code if I need it.


text:
Weekly Wire: the Global Forum
These are some of the views and reports relevant to our readers that caught our attention this week.
Aid and Beyond: Transparency, Accountability and Results
"As negotiations heat up ahead of the Fourth High Level Forum on aid effectiveness (HLF-IV), many countries are keen to move beyond a narrow aid effectiveness agenda, bringing in a broader range of actors and issues in recognition of the changing development landscape. Emerging economies such as China, India and Brazil are becoming ever more important. The demand for Africa's oil and mineral resources is growing, providing many African countries with new revenue streams. Traditional donors' aid budgets are under pressure. And people are taking to the streets and the twitter-verse to demand more transparent and accountable governance, from north Africa to north America and beyond. However, broadening the conversation to include more actors and issues beyond aid, must not and need not be at the expense of clear, measurable and time-bound commitments on aid effectiveness." READ MORE


text:
Saheliyaan is a story of three college going girls, belonging to different classes but have one thing in common – their dreams. Although all three of them come from entirely different family backgrounds, but they do not follow a practical ideology to live, they follow their dreams and fantasies. They await for a prince who will come and marry them. But Their impractical approach towards life becomes the reason of their shattered dreams.
Director: Ali Hasan
Writer: Samina Ijaz
Cast : Komal Aziz Khan as Maher ,Sundus Tariq as Maira ,Nimra Khan as Noor ,Ismat Iqbal as Ruqaya ,Qavi Khan as Haji Abba


text:
November 2012 Readers' RidesPosted in Features on November 1, 2012
The Lone Ranger
Vehicle: 1994 Ford Ranger
Owner: Ben Lesire, O'Fallon, IL
Tires & Wheels: 37s on recentered H1 beadlocks
Suspension: Custom solid-axle conversion with Jeep Wagoneer front leaves and 63-inch Chevy rear leaves, nets around 4 inches of total lift
Drivetrain: M5OD, 1354 doubler, Dana 60 front, 14-bolt rear, both locked with 4.10 gears
Performance Mods: 4.0L
Other Doodads: Custom exo-cage and bed, frame shortened 14 inches, 113-inch wheelbase
Does everything work the way you want?: Yes
Anything to add?: The truck gets driven to and from the trails, never trailered. The last trip was a 3,200-mile trek from St. Louis to Glacier National Park in Montana. My wife calls the truck the Lone Ranger because it is rare to see anything other than a Jeep on the trails in my area.
Toy Art
Vehicle: 2007 Toyota FJ Cruiser
Owner: Artur Dobek, Skokie, IL
Tires & Wheels: General Grabbers on 17-inch wheels
Suspension: Stock
Drivetrain: Stock
Performance Mods: Stock
Other Doodads: WAAS XS rack, Warn lights, Westin bull bar, sliders, Smittybilt trail jack, Bushwacker flares
Does everything work the way you want?: Yes
Vehicle: 1994 Jeep Cherokee
Owner: Tim Smith, Orem, UT
Tires & Wheels: 33x12.50 TrXus M/Ts on 15-inch American Racing wheels
Suspension: 61⁄2-inch long arm with Rubicon Express coils and leaves
Drivetrain: NP231 with a slip-yoke eliminator, Dana 30 front with a Truetrac, Dana 44 rear with an Eaton E-Locker, chromoly axleshafts
Performance Mods: 4.0L, header, cold air intake
Other Doodads: Tomken bumpers and tire carrier, rock sliders, 32-gallon tank
Does everything work the way you want?: Works great
Anything you would change?: Dana 44 front with a selectable locker, 37s, beadlocks
Junkyard Jewel
Vehicle: 1983 Toyota Pickup
Owner: Jacob Adams, Laporte, CO
Tires & Wheels: 37-inch BFG Red Label Krawlers on 17-inch beadlocks
Suspension: Jeep Wagoneer leaf springs with 12-inch Fox air shocks up front, 63-inch Chevy rear spring with 12-inch Bilstein shocks outback
Drivetrain: Trail Gear doubler, Toyota front axle with a TRD E-locker, Longfield axles, and chromoly hub gears, Rock Assault rear housing with a V-6 third member, spool, and full-float kit, 5.29 gears
Performance Mods: 22RE, header, K&N air filter
Other Doodads: Narrowed body front and rear, suspension seats with 4-point harnesses, '86 dash conversion, cutting brakes, custom exo-cage, gas tank relocation, 109-inch wheelbase
Funniest Wheeling Incident: Breaking my ring-and-pinion in front of Rick Péwé at the Chile Challenge. It was the first time that I had ever broken on the trail.
Does everything work the way you want?: Needs a better suspension
Anything you would change?: 4-link suspension with air shocks
Anything to add?: I bought this truck as a junker for 500 bucks and have done all of the mods myself. I love the magazine and have been reading since before I could drive.
Rocking Rover
Vehicle: 1994 Land Rover Discovery II
Owner: Sean McDonald
Tires & Wheels: 35x12.50 MTRs on 15-inch steel wheels
Suspension: 3-inch Rovertym springs, trailing arms, and shock mounts, Safari Gard front 3-link and crossmember, Rover Tracks track bar
Drivetrain: LT230, Ashcroft axleshafts and drive flanges, ARB Air Lockers, 4.11 gears
Performance Mods: 3.9L V-8, custom exhaust
Other Doodads: Brembo brakes, Superwinch 9.0 winch, Rock Ware sliders, Rovertym bumpers, gas tank skid, ARB fridge/freeze, Power Tank, Corbeau seat (driver only)
Does everything work the way you want?: Everything works great!
Anything you would change?: Custom tube doors, dual batteries, new passenger seat
Zuk Delete
Vehicle: 1985 Suzuki SJ410
Owner: Walter Milton, Roseburg, OR
Tires & Wheels: 35x15.50 TSL SXs on 15-inch wheels
Suspension: Spring-over conversion that uses rear leaves up front, shackle conversion, add-a-leaves, and 3-inch lift shackles
Drivetrain: Toyota 5-speed and axles, 4.10 gears
Performance Mods: 22R, header, Flowmaster exhaust
Other Doodads: Custom cage, high steer
Does everything work the way you want?: Yes
Anything you would change?: Lockers, winch, onboard air, and 5.29 gears
Anything to add?: This was built on a budget of $3,100, which includes the purchase of the vehicle. Completing it took 9 months of wrenching on it after work. At this point it is more Toyota than Suzuki.
Camp & Go
Vehicle: 2000 Dodge Dakota
Owner: Mark Cavaliero and Martha Waterhouse, Eagle, CO
Tires & Wheels: 33x12.50 Goodyear DuraTracs on 15x8 Pro Comp wheels
Suspension: Stock
Drivetrain: Stock
Performance Mods: K&N air filter
Other Doodads: 3-inch body lift, Kennesaw Mountain front bumper, Mile Marker winch, custom rock sliders and rear bumper with tire carrier, Four Wheel Camper, Firestone rear airbags
Does everything work the way you want?: So far so good
Anything you would change?: More suspension lift and wheel travel, remove the body lift, stuff on 35s for a low lift/big tire combo
Anything to add?: We are the original owners of the truck and it's been great. The camper is awesome and the Dakota surprisingly capable off-road. Hopefully more aftermarket suspension companies will move into the market. It would be great to see a solid-axle conversion kit or an affordable way to beef up the IFS similar to the way you guys did with the Ultimate F-150.
The Chief
Vehicle: 1978 Cherokee Chief Sport
Owner: Zac Gargasz, Columbia Falls, MT
Tires: 35s
Suspension: 4-inch with Rancho shocks
Drivetrain: TH400, Dana 44 axles, Detroit Lockers, 4.56 gears
Performance Mods: 360ci, Edelbrock intake and carburetor
Other Doodads: 3-inch body lift
Funniest Wheeling Incident: Getting yelled at by my 3-year-old daughter for getting stuck in the mud
Does everything work the way you want?: Works well most of the time
Anything you would change?: 37s
Mountain Blaze
Vehicle: 2000 Chevy S-10 Blazer
Owner: Mike Peterson, Colorado Springs, CO
Tires: 30x9.50 BFG A-Ts
Suspension: Custom 4-inch with Superlift components
Drivetrain: Stock
Performance Mods: 4.3L, K&N air intake
Other Doodads: Optima battery
Funniest Wheeling Incident: Peeling back the rear diff cover on a rock—in the flats of Kansas, of all places!
Does everything work the way you want?: Yes
Junior San
Vehicle: 1987 Nissan Pathfinder
Owner: Benny Guillen Jr., Las Cruces, NM
Tires & Wheels: 38.5x16 TSLs on 16.5x12 Pro Comp wheels
Suspension: Custom 12-inch via a solid-axle conversion
Drivetrain: 700R4, 241C, Dana 44 front with a mini-spool, Dana 60 rear with a Detroit Locker, 5.86 gears
Performance Mods: 305ci
Other Doodads: Smittybilt winch
Does everything work the way you want?: Yes
Open Country
Vehicle: 2005 Nissan Titan
Owner: John Carter
Tires & Wheels: 35-inch Toyo Open Country M/Ts on 18-inch MB Gunner wheels
Suspension: 6-inch Pro Comp with King coilovers, Total Chaos upper control arms, PRG traction bars, Bilstein rear shocks
Drivetrain: Factory-equipped rear E-locker
Performance Mods: K&N intake with an AEM dry-flow filter, Bully Dog tuner, Flowmaster exhaust
Other Doodads: Road Armor front bumper, Warn 12K winch, RAAW custom sliders, Optima YellowTop battery
Does everything work the way you want?: Yes
Anything you would change?: Dana 60 axles front and rear, and 37s
Family Ford
Vehicle: 1992 Ford Explorer
Owner: Darren Sypriano, Fort Bragg, CA
Tires & Wheels: 33x12.50s on 15-inch wheels
Suspension: Solid-axle conversion using James Duff radius arms and coils, spring-over axle rear
Drivetrain: 5-speed manual, Dana 44 front from an Early Bronco
Performance Mods: 4.0L, K&N air filter, Hedman Hedders, DynoMax exhaust
Other Doodads: Crossover steering
Does everything work the way you want?: Works great and rides better than it did stock
Anything you would change?: Numerically higher differential gears and 35s
Anything to add?: The Explorer was originally my parents' family car until I received it in 2005. Then all the modifications began!
Submission Information
Send us a picture of your ride if you've never done so. We keep a surplus of Readers' Rides submissions, but only one submission per person, and we love all off-road vehicles so send in your entries whether your rig is stock or not. Make sure each digital image is at least 1,600 by 1,200 pixels (or two megapixels) and saved as a TIFF, EPS, or maximum-quality JPEG file. Write to: Readers' Rides, 4-Wheel & Off-Road, 831 S. Douglas St., El Segundo, CA 90245 Email to: email@example.com
Vehicle (year, make, model)
Owner (name, city, state)
Tires & Wheels (size, make, model)
Suspension (lift, springs, shocks)
Drivetrain (tranny, transfer case, axles)
Performance (engine mods)
Other mods
Does it work the way you want?
Anything you would change?
Funniest Wheeling Incident
Anything to add?


text:
A crippled warrior is a sad sight indeed, but a little less sad when they are able to kick some ass!
I have always loved the dreadnought. It's probably my favorite thing about 40k.
I came up with the idea of the leg design in my math class, so I drew a picture of it so I would remember it later.
Originally, I wanted a assault cannon and a power fist, but I got lazy last night and just wanted to finish it. I ended up going with the rocket launcher. I might make a power fist later.
Good view of the legs. feel free to copy this.
The Assault Cannon! My favorite part. I copied it from this;
Actually, I copied a bunch of stuff from this guy. I just scaled it down. Check out his brickshelf http://www.brickshelf.com/cgi-bin/gallery.cgi?f=293606
The back. I'm not done with it. Just had to rush to build it so I could take pictures before I went to my grandparents today.
here it is without the arms. I like how it fits together.
I could build more of these if I wanted. Two Assault Cannons would be cool...
Just for fun, here is a dreadnought I built in 2009
its too big to embed it, so I just posted the link to the gallery.
Hope you guys like it!


text:
Selection Monday is here!
Bids to be announced and discussed on LIVE YouTube video show by NCRHA Coast 2 Coast!March 5th, 2018 at 3:58PM March 6th, 2018 1:19AM
NCRHA Coast 2 Coast will be hosting a LIVE YouTube video show, announcing and discussing all bids to the 2018 National Collegiate Roller Hockey Championships! Tune in at 8:30pm Eastern, tonight! Check NCRHA C2C social media later today for more info.
LINK TO NCRHA COAST 2 COAST LIVE YOUTUBE VIDEO: https://www.youtube.com/watch?v=eluANBUKO34
Bids will be re-posted on the NCRHA website and social media later tonight, and all teams that receive bids will be receiving an email later tonight with registration information.
League News
2019 NCRHA National Championships Event Passes on sale now!
Buy your Event Pass and Program now and SAVE!!!March 13th, 2019 12:52PM
GPCIHL Champions Crowned!
Maryville, Kansas State and Bethel take titlesFebruary 26th, 2019 12:01AM
2019 College Prospect Camp Announced!
Farm Tough and NCRHA teaming up for 2nd straight year!January 22nd, 2019 5:42PM
Site Selected for 2019 National Collegiate Roller Hockey Championships
NCRHA to host 21st annual event on April 10-14, 2019 in Rochester, New YorkDecember 5th, 2018 10:00AM
2018 All-Tournament Teams Announced!
Most Valuable Player, Most Valuable Goaltender, and Playmaker chosen for each division!June 7th, 2018 12:11PM
Off-Season Paperwork - Divisional Applications and Rule Change Proposals
Divisional Applications Mandatory for All TeamsMay 12th, 2018 4:24AM
New College Prospect Camp Announced
NCRHA and Farm Tough team up on player development and recruiting opportunityApril 25th, 2018 4:42PM
Farmingdale State College Wins 2nd Straight Division I Title
Trust The ProcessApril 21st, 2018 11:55AM
RIT! Could it Be?
Tigers Earn their Stripes, Winning DII National Title in 1st year backApril 20th, 2018 6:29PM
Saddleback College wins Junior College Division Championship!
All-West Coast Final does not disappoint!April 20th, 2018 5:52PM
Lions Dominance Continues
Lindenwood / Farmingdale New Rivalry Ensues, but Lions end up on topApril 20th, 2018 11:07AM
Endicott College Roller Hockey, Road to Fargo
Nationals Program Article ExcerptApril 6th, 2018 4:00PM
NCRHA Coast 2 Coast Presents: 2018 Nationals Preview
Nationals Program Article ExcerptApril 4th, 2018 10:30AM


text:
Cameron Park Cleaning Services
Cameron Park Cleaning Companies serving residential and commercial properties. We help you locate 27605 Cameron Park North Carolina full maid service or janitorial cleaning company serving your area, owned and operated locally. FREE QUOTES
27605 Cameron Park, NC cleaning estimates received from our websites are free from fully licensed professionals in the field, who are all trained to do both one time cleaning, maids services, carpet cleaning, upholstery care, office clean-up, apartment turnover, move in / move out cleaners or regular maintenance .
27605 Cameron Park, North Carolina residents will also get cleaning quotes for Emergency Services if anything goes wrong at an inopportune time. You never plan a cleaning problem like an accidental spill, but they always happen at the worst time! So fill up a cleaning estimate form, and get the peace of mind that is available at all hours for you to receive the service you need. Our website provide you with a no-cost, no obligation estimates to assure that you have the right service at the right cost.
Your ads will be inserted here by
Easy Plugin for AdSense.
Please go to the plugin admin page to
Paste your ad code OR
Suppress this ad slot.
27605 Cameron Park, Wake County North Carolina Cleaning Service Providers are:
Solid, on Time and Affordable
Insured and bonded
Locally Owned and Operated
Offer Full-service cleanings
Screened Professionals
West Raleigh, Fairmont, Boylan Heights, Oberlin, Whitaker Park, Edgewood, Hayes Barton, Raleigh, Walnut Terrace, Country Club Houses
More Cleaning services in 27605 Cameron Park
Residential Cleaning Service, Green Cleaning Services, Housekeeping Commercial Janitorial Service, Move-in and Move-out, Carpet & Rug Care Floor Polishing, Upholstery Steam Clean, Construction Cleaners Window and Pressure Washing, Gutters, After Party, Ceiling Air Duct, Blind, Pet Friendly, Organizational & De-cluttering Junk Removal & Bio-Hazard and Crime Scene Cleanup, Hire a Maid Contract Apartment Turnover, Corporate Maid Service, Residential and commercial Offices, Single Family Homes, Condos, Apartments • Showrooms • Retail Stores Design Studios • Galleries • Banks • Schools • Government Facilities Restaurants • Movie Sets • Medical Facilities • Houses of Worship


text:
Alzheimer's disease
Alzheimer's disease (AD) is a neurodegenerative disease that slowly and progressively destroys brain cells. As the most common form of dementia, it affects 60-65% percent of people with dementia. It is named after German neurologist Aloïs Alzheimer, who in 1907 first described the symptoms as well as the neuropathological features of the disease, such as amyloid plaques and tangles in the brain. AD affects memory and cognitive function, which may lead to confusion, changes of mood and disorientation in time and space. It is neither infectious nor contagious.
Most often, AD is diagnosed in people over 65 years of age although the less-prevalent early-onset Alzheimer's disease can occur in much younger people.
Early symptoms, such as memory issues and partial loss of certain cognitive abilities may go unnoticed at first, both by the people concerned and by their loved ones. As the disease progresses, however, the symptoms become more noticeable and can interfere with day-to-day life. Practical difficulties with daily tasks such as dressing, washing and going to the toilet gradually become more severe. Eventually, a person with AD is likely to become reliant on others for support in such tasks.
AD causes a general deterioration in health and is terminal. The most common cause of death is pneumonia, because as the disease progresses the immune system deteriorates and weight loss usually occurs, which increases the risk of throat and lung infections.
There is currently no known cure, although there is a huge amount of research being done across the globe by the scientific community.
Last Updated: Thursday 27 August 2015


text:
Despite global financial turmoil in recent years, home prices in many countries are greater than their historical averages, according to an analysis by the International Monetary Fund released Wednesday.
The IMF compared home prices to income and rent, and found that the ratios are much higher than historical averages in countries such as Australia, Canada and Belgium. For the U.S., where home appreciation has raced higher over the past year, the price-to-rent ratio is slightly above the historical average, while the price-to-income ratio is below the long-term average.
"While a recovery in the housing market is surely a welcome development, we need to guard against another unsustainable boom," Min Zhu, deputy managing director at the IMF, wrote in the post. "Our research indicates that boom-bust patterns in house prices preceded more than two-thirds of the recent 50 systemic banking crises."
IMF released the blog as its launched its new site, Global Housing Watch, that will provide access to the fund's housing -price data and related information.
IMF said Wednesday that policymakers around the world should take a more active role in working to contain housing booms.
"The interactions of various policy tools can be complex. But all this should not be an excuse for inaction," according to the IMF. "The interlocking use of multiple tools might overcome the shortcomings of any single policy tool. We need to move from 'benign neglect' to an 'all of the above' approach when it comes to policy choices."
–Ruth Mantell
Follow Ruth on Twitter @RuthMantell
Follow the Capitol Report blog on Twitter @CapitolReport
Check out these Capitol Report links:
Mortgage applications to buy a home hit 5-month high
Republican leadership vacuum opens door for Hensarling to replace Cantor


text:
Hotels near Opernhaus
Search hotels near Opernhaus in Zurich
Save more with Secret Prices
Get instant savings with Secret Prices
Hotels in Zurich near Opernhaus
Are you looking for a cheap Opernhaus hotel, a 5 star Opernhaus hotel or a family friendly Opernhaus hotel? You just landed in the best site to find the best deals and offers on the most amazing hotels for your stay.
When you search for hotels near Opernhaus with Hotels.com, you need to first check our online map and see the distance you will be from Opernhaus, Switzerland.
Our maps are based on hotel search and display areas and neighborhoods of each hotel so you can see how close you are from Opernhaus and refine your search within Zurich or Switzerland based on closest public transportation, restaurants and entertainment so you can easily get around the city. All the hotels details page show an option for free or paid onsite parking.
If you wish to see the hotels with the highest featuring discounts and deals near Opernhaus, simply filter by price/ average nightly rate. We recommend you filter by star rating and read our genuine guest reviews so you can get the best quality hotel with the best discount.
One of the new features on Hotels.com guest reviews is that also show reviews from Expedia for Opernhaus hotels and the TripAdvisor Opernhaus hotels reviews so you can make sure that you checking with a reliable source. See the review scores on our Zurich hotel information pages.
Make the most out of your family vacation when you book your hotel with Hotels.com – book your hotel near Opernhaus, Zurich after reviewing the facilities and amenities listed for each hotel.
After booking your hotel near Opernhaus, expect to receive your reservation confirmation in the mail in less than 10 minutes. The confirmation email contains more information on all nearby attractions, local directions and weather forecast, so you can better plan the days during your trip.
After getting the best hotel rates you can still save more by winning 1 free night! That's right, stayed 10 nights in any hotel near Opernhaus, Zurich and after you sign up for the Hotels.com Rewards program, you are eligible hotel you receive 1 night free*
The best hotel deals are here: We have Opernhaus hotel deals, Opernhaus last minute deals and offers to get you the cheapest Opernhaus hotel with our lowest price guarantee.
Zurich travel guides
How To Get from Zurich Airport to Zurich City
Zürich airport is one of the main airports in Switzerland. Its small size makes it easy to navigate...
Top 5 Local Dishes in Zurich
Swiss cuisine is mainly known for its cheese dishes: fondue and raclette. Here are the top 5 Swiss...
Top ten cultural highlights in Zürich
Zürich's culture is as rich as Swiss chocolate. Dip in and out of world-class galleries, museums and...