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Definition of cheer up
- They cheered up at the mention of her name.
- Cheer up—things will get better!
: face
: facial expression
: state of mind or heart : spirit
: to instill with hope or courage : comfort
: to make glad or happy
: to urge on or encourage especially by shouts
: in or into a higher position or level
: from beneath the ground or water to the surface
: from below the horizon
: risen above the horizon
: standing
: being out of bed
used as a function word to indicate motion to or toward or situation at a higher point of
: up into or in the
: in a direction regarded as being toward or near the upper end or part of
: one in a high or advantageous position
: an upward slope
: a period or state of prosperity or success
: to rise from a lying or sitting position
: to move upward : ascend
used with and and another verb to indicate that the action of the following verb was either surprisingly or abruptly initiated
Britannica English: Translation of cheer up for Arabic speakers
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having an air of easy unconcern
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Taylor 410e LTD Baritone-6 Dreadnought Acoustic Guitar Tobacco Sunburst
Taylor 410e LTD Baritone-6 Dreadnought Acoustic Guitar Tobacco Sunburst
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Taylor 410e LTD Baritone-6 Dreadnought Acoustic Guitar Tobacco Sunburst
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Out of stock
Acoustic Guitars
410e Baritone 6
An acoustic built to shake the walls, this is the 2017 Taylor Limited 410e Baritone, a dreadnought tuned B to B, built with Engelmann spruce for the top matched with African ovangkol for the rims with a Tobacco Burst finish to the top. Ovangkol's sonic characteristics resemble those of rosewood — featuring deep lows and sparkling highs — with a bit more control and midrange balance, which fits the baritone's personality well. Together with the spruce top, the guitar yields a powerful response with appealing complexity. Meanwhile, using the onboard Taylor Expression System 2 electronics, which includes an active preamp, allows the 410e to be used in a great variety of situations: stage, studio, coffee house, even campfires.
Includes: Hardshell Case and Paperwork
- 4 lbs. 8 oz.
- Tobacco Sunburst Gloss Finish
- Dreadnought Body
- African Ovangkol Back and Sides
- Engelmann Spruce Top
- Tropical American Mahogany Neck with Satin Finish
- Ebony Fretboard
- 4mm Italian Acrylic Dot Fretboard Inlays
- White Binding
- Three-Ring Rosette
- 27" Scale Length
- 1.75" Neck Width
- 19 Frets
- Tortoise Pickguard
- Taylor Gold Tuners
- Taylor Expression System 2 Electronics
- Ebony Bridge Pins
- Tusq Nut
Taylor 410e LTD Baritone-6 Dreadnought Acoustic Guitar Tobacco Sunburst
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subset: commoncrawl


text:
LEARN TO SCREENPRINT with Nick & Geordan
Session 2 - Print your Own T-Shirts
Learn the basics of screenprinting with Geordan Moore from the Quarrelsome Yeti www.yetifight.com. and Nick Greeno from Backstage Printing In this two session course you will learn how to:
- Set up artwork for screenprint.
- Prepare screens using photo emulsion
- Print Your Own T-shirts
- Setup a print station at home!
Thursday April 5th- 630pm-9pm
Learn the basics and prepare screens
Thursday April 12th - 630pm-9pm
Setup screens for printing & print print print!
Cost: $135 Materials included (1 blank t-shirt supplied, but you are welcome to bring more to print)
UPGRADE and get 12 extra blank shirts for $60
Location - Rosedale Art Parlour 18 Rosedale Drive - Unit 4


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Werner Blaser
I travelled widely in Japan and the details reflect the influence of that world. And since the competition was anonymous, the jury presumed that I was a Japanese designer, while I was actually from Basel!".
Heritage Collection
Molteni&C is re-examining its own history with an eye to the future. The 80!Molteni exhibition, the creation of the company's historical archive and its recently inaugurated Molteni Museum have provided an opportunity for revival, from the origins of modernity.
Official hashtag: #MolteniHeritageCollection
Great new classics
Intriguing traces have emerged from a past that turns out to be contemporary, ripe for a re-think today. Unique pieces that can step straight out of their museum showcases and into our contemporary homes.
"It was thought that architecture should be purely functional, with very little margin for decoration. But the Italian genius could not help but create architecture with a more human face, which we call the Latin touch"
The Plancharts commissioned Gio Ponti to design their home, on top of a cerro overlooking Caracas. For them, refined art collectors and Italy lovers, Ponti designed everything, from the structure to the furniture. This armchair is a shell to accommodate precious friends. It is a sculpture among sculptures and an art work among the art works.
"I am grateful to Anala and Armando Planchart for letting me honour their home with Italian art works, alongside the works of Venezuelan and international abstract artists and those of the great Venezuelan master Reveron (...). These range from Morandi paintings to those of Campigli, Melotti and Rui, the Venini and Seguso glasses, Gambone ceramics, and Ferrari silks..."
Gio Ponti, Domus 1961
The best designs are timeless and this revisited edition respects that, by renovating and reviving the project's soul. New technologies, materials, functional solutions, with respect for its original – exactly as Gio Ponti would have wanted.
Designed in the 1950s for M. Singer&Sons, one of the most important furnishing companies in New York, this small table is part of a collection for the American market. The combination of different shapes and materials testifies to Gio Ponti's diversity and innovative power.
"Recreating pieces that were never produced, (because Ponti used to design more than what he could have produced) or re-editing forgotten pieces, gives us the opportunity to better understand his personality, work and role in an important moment of Italian architecture"
Salvatore Licitra, Gio Ponti Archivist
The drawer unit designed in different variations between 1952 and 1955, is based on the original drawings kept by the Gio Ponti Archives. The art direction of this new edition was entrusted to Studio Cerri & Associati.
Molteni&C proposes the forms of the objects Gio Ponti designed and built for his house in Via Dezze in Milan. His small table, library, and armchair show that there was no gap between his personal appeals and his architectural vision. This is living according to Ponti.
Molteni&C re-launches folding chairs designed by Gio Ponti in 1970 with a new and surprising look.
"To be comfortably seated while crossing your legs, little sitting and much backrest, tilted just like this, are necessary."
Gio Ponti
"The metal tube chair and table have an absolute original form, clearly distinguished from any of the traditional frames. They have a new practicality and elasticity, closer to the modern essential requirements. At the same time, their series-construction, can guarantee their form's absolute perfection of beauty, in absolute conformity to the first model created by the artist."
Gio Ponti, Domus, 1939
"The modern architect, the academic architect, should learn from the craftsmen: marble workers (shiny surfaces, polished, stone hammered, bush-hammered, and scaled), carpenters, stucco workers, blacksmiths, from all the workers and craftsmen (that is so beautiful)"
Gio Ponti, Amate l'architettura
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text:
Wedding Venues help
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June 12th, 2006, 09:14 AM
Posts: n/a
Hi, SunnyMomma!
Good question! But first of all, congratulations - what an exciting time for your daughter and entire family! Palm Springs is indeed a magical place and many feel the same way your daughter do...which is to say, whichever venue you decide upon - reserve it quickly!
Living so far away, my first recommendation would be to find a reputable wedding coordinator who can be your eyes and ears in the Palm Springs area. He or she can arrange the catering, flowers, provide invaluable feedback, etc. - basically all the nitty, gritty work, and save you time AND money.
Secondly, on venues, you need to decide where you want to be. Palm Springs proper? Rancho Mirage? Palm Desert? Indian Wells? La Quinta? etc? All wonderful area with much to recommend them. Shoppers like Palm Springs with its Palm Canyon Drive:
or Palm Desert with its El Paseo:
Then there are your golfers to consider, foodies, architecture buffs, etc. The Palm Springs area really does have it all!
Some recommendations off the top of my head (where you could host both ceremony and reception) would be the Miramonte, in Indian Wells:
, the Lodge at Rancho Mirage:
, or, for something truly authentic, the Del Marcos Hotel:
offers a separate, private vintage 1957 Alexander House (spacious house and grounds) available for rental for your daughter's big day!
Best of luck to you both, and most of all - enjoy this very special time!!


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Richard Wagner on the Practice and Teaching of Singing
By Peter Bassett
Weber and Beethoven were still alive when Wagner was a teenager, and their long shadows, together with those of Mozart and Marschner fell on all of his early projects. His first completed opera Die Feen, composed in 1833 when he was just twenty years old, was never performed in his lifetime but, even if it had been, it wouldn't have sounded as good as it does in the best recorded versions we know today. The type of singing familiar to Wagner was far from ideal, and many German singers of his era were poorly trained and had unsophisticated techniques. His sternest critic, Eduard Hanslick had something to say on the difference between German and Italian singers at that time: 'With the Italians' he said, 'great certainty and evenness throughout the role; with the Germans an unequal alternation of brilliant and mediocre moments, which seems partly accidental.' Wagner had to entrust his major roles to inadequately trained singers in many cases, which must have been challenging to say the least. He worked hard to improve matters, pouring much time and energy into the preparation of performances. 'I do not care in the slightest' he once said, 'whether my works are performed. What I do care about is that they are performed as I intended them to be. Anyone who cannot, or will not, do so, had better leave them alone.'
David Breckbill has written that 'The differences between the singing which Wagner knew and that which we hear today are considerable. In his day, the best singing was far from straight-toned … but the continuous vibrato which has long been an element in present-day operatic singing [designed to project and colour the voice] was entirely foreign to him.' Wagner died in 1883, long before the invention of sound recording, but three of his chosen singers made recordings when the technology was in its infancy. One was Hermann Winkelmann who created the role of Parsifal in 1882. His voice was recorded in 1905, as was the voice of Marianne Brandt who was Waltraute in the 1876 Götterdämmerung and Kundry in the 1882 Parsifal. The third, and vocally most assured, even in later life, was Lilli Lehmann who also became a famous teacher. Her book of 1902, published in English as 'How to Sing', is still available in print and online, and her account elsewhere of the 1876 Ring rehearsals gives us a glimpse of Wagner's skill and energy as a stage director. He selected her for the roles of the Rhine Daughter Woglinde, the Valkyrie Helmwige and the Woodbird in the first complete Ring. During her long career she sang 170 roles including Isolde and Brünnhilde, and was equally at home with Mozart and Bellini. One of her surviving recordings was made in 1907 when she was 59. Obviously her voice is more mature than it had been in Wagner's time, but her performance of 'Du bist der Lenz' from Act I of Die Walküre is a fascinating record, especially since it is 108 years old.
The transition to a warmer, more emotive sound since Lilli Lehmann's time may have been influenced by Italian operatic practice, especially after radio and phonographic recordings brought the ringing tones of Italian singers into homes throughout the world. Sir Roger Norrington, champion of the so-called historically informed approach to performance, asserts that the fashion for vibrato arrived with Hollywood, aerodynamic car design, radio, ocean liners and the early days of flight. I wonder though, if was also perhaps a continuation of the allure of all things Italian in opera, exemplified by an historic preference for Italian libretti and even Italian stage names. Ludwig Leichner for instance, who sang the role of Hans Sachs to Wagner's satisfaction, was better known to his audiences as Raphael Carlo. Opera companies from London to Rio de Janeiro, including the court opera in Dresden whereWagner spent part of his youth, were designated Italian opera companies and, in the second half of the 19th century, Wagner's works were customarily sung in Italian in non-German speaking countries. In Mein Leben, Wagner records a discussion on the subject that he had with Queen Victoria and Prince Albert during his visit to London in 1855. When Lohengrin was first performed in Australia in 1877 it was sung in Italian, prompting Wagner to urge the singing of his works in English – in English-speaking countries. Would he have approved of a continuous vibrato in the modern style? Adherents of the historically informed approach say no, because the written evidence is that he treated vibrato as a special effect, restricting its use in his scores to specific functions. They also insist that continuous vibrato constrains dramatic flexibility and impedes a vivacious delivery of the text – both issues of considerable importance to Wagner. It would have been unfamiliar to him but my sense is that, as with everything else to do with performance, he would say that dramatic need, not inflexible rules, should dictate musical expression.
'Dramatic need' – now there is something that Wagner came to appreciate in one particular woman whom he first saw in his youth. In Mein Leben he recounts the story of the formative theatrical impression made by the dramatic soprano Wilhelmine Schröder-Devrient. His recollection was that she had been performing the role of Leonora in Fidelio in 1829 and a few years later he saw her again in Bellini's I Capuleti e i Montecchi. It was not her voice as such that impressed the young Wagner but her ability to take on the whole dramatic persona of her character through a combination of music, clear delivery of text and acting. His ecstatic reaction has no parallel in his writings: 'When I look back across my entire life' he said, 'I find no event to place beside this in the impression it produced upon me'. Later he was to have some misgivings about the actual lyrical capacity of her voice, but he dismissed these in favour of the larger significance of her theatrical personality. In his 1872 essay 'On Actors and Singers' he admitted: 'No! She had no 'voice' at all; and yet she knew how to work her breath so beautifully and to project with such a truly feminine soul that one ceased to think any more about singing or voices at all! … 'My entire understanding of the actor's mimetic art I owe to this great woman, a lesson that allows me to view truthfulness as the essential foundation of that art.' He noted the extraordinary effect created by her innovation of speaking rather than singing the final word in her threat to Pizarro: 'Just one sound and you are dead!' The terrific effect of that gesture, said Wagner, was the sudden and shocking return from the ideal world of music to 'the naked surface of dreadful reality'.
Clearly, the encounter with Schröder-Devrient set the benchmark for his ideal singing actor, or is that acting singer? She had performed Leonora in front of Beethoven himself in 1822 when she was just 18. It is reported that Beethoven was not at all happy about his exalted heroine being entrusted to 'such a child'. But her father Friedrich Schröder was an accomplished operatic baritone, and her mother Sophie was one of the most celebrated German actresses of her day, famous especially for her depiction of Shakespeare's Lady Macbeth. She coached her daughter, and so the young Wilhelmine was trained in that combination of singing and acting that appealed so much to Wagner and, as it turned out, to Beethoven. The latter had attempted to conduct the dress rehearsal but since he was almost completely deaf at that time, it descended into chaos. Persuaded to watch the performance from the front row of the audience, he was transfixed by Wilhelmine's characterisation and, afterwards acknowledged that he had found his Leonora. In 1823 she was conducted by Carl Maria von Weber, and subsequently she created the roles of Adriano in Rienzi, Senta in The Flying Dutchman and Elisabeth in Tannhäuser for Wagner. To have been conducted by Beethoven, Weber and Wagner – who can imagine such a thing?
It is interesting to compare Wagner's views on the connection between acting and singing with Verdi's remarks on a proposal to engage the soprano Eugenia Tadolini for the role of Lady Macbeth in Naples in 1848. Verdi was quite clear that for this role he wanted dramatic authenticity rather than beauty of delivery. `Madame Tadolini has a wonderful voice, clear, flexible and strong, while Lady Macbeth`s should be hard, stifled and dark. Madame Tadolini has the voice of an angel, and Lady Macbeth`s should be that of a devil….The most important numbers in the opera are the duet between Macbeth and Lady Macbeth and the Sleepwalking scene…. And these two numbers definitely must not be sung. They must be acted and declaimed, with hollow, masked voices.'
Amongst those who have questioned Verdi's motives was Birgit Nilsson, a radiant Lady Macbeth, who claimed that Verdi was having an affair with another singer at the time and so wanted to present Tadolini in a poor light. 'What lovely-voiced singer with any self-respect' said La Nilsson, 'would take on a role in which her voice should sound as hard and hoarse as a devil's?' With all due respect, I suggest that what motivated Verdi was not the desire for wilful distortion of the voice, which would be just as arbitrary as the most mellifluous rendering regardless of context, but truth of characterisation; and in pursuing this goal he was close to Wagner's aesthetic values.
Because of the Schröder-Devrient experience, we can understand why Wagner went to such lengths to achieve convincing acting and to avoid a situation where singing became detached from the other aspects of stage craft. He really was after a total work of art. This isn't to say that he didn't value beautiful singing – singing that cultivated a beautiful tone – he did, greatly; along with a firm vocal line and precision in musical detail. It's just that such singing was not an end in itself for him. He wanted flexibility and conviction of utterance that simulated heightened speech. 'In my operas' said Wagner, 'there is no difference between phrases that are 'declaimed' and 'sung,' but my declamation is at the same time song, and my song declamation.' In his vocal style, the melodic accent always falls on the proper accent of each word, and this certainly helps with clear enunciation. He emphasizes important syllables by dwelling on them, and when Tannhäuser was first staged in Dresden, he actually had the words of the text copied into the parts of all the orchestral players, so that they could follow the phrasing of the singer. It would be a mistake to assume that Wagner cared more for the orchestra than he did for the voice, which is one accusation often levelled at him. On the contrary, he once remarked that 'the human voice is the oldest, the most genuine, and the most beautiful organ of music – the organ to which alone our music owes its existence.' In describing the relationship between singer and orchestra in Tristan, which is the most musically driven of all his works, he begged the reader to observe how, in the third act, the gigantic orchestra seems to disappear, or, more correctly speaking, becomes a constituent part of what Tristan is singing.
The orchestra as 'a constituent part of the song' sums up Wagner's intentions very well. Consider an especially beautiful example of how this merging of orchestra and voice works to create the impression of a single sensory experience. The second act of Tristan is an apostrophe to the night and to that 'unity of being' which lies beyond the world of illusion, yearning and suffering – the harsh world of 'day'. Almost everything in Tristan und Isolde is viewed from the perspective of the two lovers, including the warning call of Isolde's maid Brangäne – more lullaby than alarm as it floats through the night. We hear it, so to speak, through the ears of a man and a woman for whom no world exists beyond themselves. The total effect is ravishing.
There were at least five occasions on which Wagner set out to improve standards of performance through formal education and training. The first occurred when he was a young man in Dresden in the 1840s, occupying the position of second Kapellmeister at the Saxon court. He proposed some entirely reasonable reforms to the conditions and payment of the Royal orchestra but ran up against the insecurities of his superiors and the resentment of others. He then submitted a 'Plan for a National German Theatre for the Kingdom of Saxony' in which he advocated the removal of the theatre from the control of the court, the creation of a democratic association of dramatists and composers which should elect the director and determine artistic policy, and the foundation of a theatre workshop to train young artists, producers and technicians. Again, nothing was done and this report was left to gather dust. The whole experience was an early and depressing brush with bureaucracy, and fed the fires of his revolutionary inclinations.
His next attempt at major reform came in Zürich where he had fled after the failure of the 1849 Dresden uprisings. He wrote a paper entitled 'A Theatre in Zurich', calling on the town fathers to reshape their theatre from top to bottom. He insisted they should hire singers who were also trained actors; train them on a year-round basis; actively recruit German poets and composers to develop works; limit performances to no more than three per week (so that singers would not be burned out by exploitation); and found a Commission of Theatrical Affairs to govern the institution. As always he conceived his plans in the context of a reformed world of opera. In Zurich, he drew parallels between what he wanted the theatre to become and folk-like activities such as village festivals and the singing societies in German towns. This was too novel for the staid burghers and, again, nothing came of it, but the seeds of Die Meistersinger were being sown in his mind even at that early date.
He wasn't discouraged, and the next opportunity to do something came in March 1865, when he was living in Munich under the patronage of the young King Ludwig II. The king commissioned him to prepare a report 'On the Foundation of a German Conservatoire in Munich'. Once again Wagner called for a school in which singers would be better trained in the theory and practice of music than was usual at the time. He urged the development of performance and production practices for an individually German art. But exclusivity was never part of his plan. After all, he had had considerable experience of conducting the operatic and symphonic works of other composers. Between the ages of 20 and 23 he had conducted or prepared no fewer than seventy-seven operas by most of the major operatic composers of the 18th and early 19th centuries – German, French and Italian. Like Hans Sachs he was aware that tradition and inspiration are not mutually exclusive but mutually enriching.
By the time of Lohengrin in 1850 and, certainly, by Tristan in 1865, the centre of gravity had begun to shift. Gone were the days when even composers were at the mercy of headstrong singers, who would count the bars of music allocated to various roles and either demand extra ones to outdo their rivals or just insert additional music themselves. Rossini once complained that while he didn't mind some changes, 'to leave not a note of what I composed – even in the recitatives – well, that's unendurable'.
In respect of Wagner's proposals for a school in Munich, he argued the need for a new type of poetic text that took account of the particular attributes and constraints of the German language – so different from the Italian. From such a text, he said, would emerge a dramatic, declamatory vocal line, often un-lyrical and un-vocal to the point where the human voice was treated almost as an instrument of the orchestra. The committee charged with giving effect to Wagner's report met once or twice, scratched its collective head and decided that his proposals were too expensive. So that was that. They might also have had trouble dealing with his daunting prose style, and one wonders whether the lengthy report was actually read to its conclusion.
Tristan und Isolde was performed in Munich in June of 1865, having been completed six years earlier and already declared un-performable in Vienna after seventy-seven rehearsals. Wagner came to regard his first exponent of the role of Tristan, Ludwig Schnorr von Carolsfeld, as a model interpreter of his works, and was hugely impressed by his intelligence, artistry and musicianship – notwithstanding his corpulence. Schnorr, who was just 29, had been borrowed from the Dresden court theatre. His wife Malvina (who was eleven years his senior and from a Brazilian family) had come too to perform the role of Isolde. Towards the end of the first series of performances, Schnorr felt unwell. There was a fourth performance of Tristan on 1 July, and then he participated in a staging of The Flying Dutchman and in a royal concert at which he sang excerpts from Siegfried, Die Walküre, Das Rheingold and Die Meistersinger, none of which had been staged at that point. He and Malvina returned to Dresden where he attended a rehearsal of Don Giovanni. The next day he fell seriously ill, and on 21 July he died. Rumours spread that he had died from the exertions of the role. Talk of a 'Tristan curse' resonated with the gullible because of the length and strangeness of the work and Tristan's harrowing delirium and death on stage. It was a case of life imitating art. It seems most likely though that the overweight tenor had died from rheumatic complications which caused a stroke. Schnorr's death at 29 was a calamity that Wagner lamented for the rest of his life. He was, in the composer's view 'the' singer, and we can add his name to that of Schröder-Devrient as having had a profound effect on Wagner's concept of how his roles should be performed. In this case it was the tenor's musicianship and intelligence rather than his physical gestures that delivered a convincing portrayal of the role. Clearly there was more than one way to give a totally convincing performance. It is fair to say that Wagner learnt as much from his singers as they learnt from him.
When in 1872 Wagner laid the foundation stone of his festival theatre – not in Munich as the king had wished but in the provincial town of Bayreuth – he also began work on a long essay entitled 'On Actors and Singers'. In this he elaborated his ideas on the fundamental importance of gesture, mime and improvisation, and he lamented the disappearance from the modern theatre of a true improvisatory art which, in his view, only survived in elements of popular culture. The salvation of dramatic art, he concluded, lay in the selfless collaboration of the dramatist and the singer or actor.
The improvisatory quality of Wagner's staging comes out very clearly in the detailed records made of rehearsals for the first Ring in 1876. It was noted that all the things Wagner did at the rehearsals created the impression of having been improvised. He kept changing his mind from day to day, altering not only blocking, stage movement and gestures, but also the musical tempi. Needless to say, this drove the singers mad but he was giving effect to his own maxim about improvisation. He sought to liberate the singer and never to impose his own personal characterisations. He believed that every artist of stature brought something inimitable to a role, and he only stepped in when he came upon a lack of understanding or superficiality. His only demand was that the singers abandon their personal identities to the role.
In respect of the technicalities of singing, Wagner coached his performers in declamation, intonation, phrasing and dynamics, and urged the greatest clarity in presenting a character's emotions. His famous last instruction to his cast before the first Ring performance was: '!Clarity! The big notes will take care of themselves; the small notes and the text are the main things.' Audibility of words was a recurring problem, and Wagner's view was that the orchestra should support the singer as the sea supports a boat – rocking but never upsetting or swamping. It was a point he made over and over again, and one that today's conductors and composers would do well to heed. Despite the huge size of the Ring orchestra, in the main it supports and punctuates rather than overwhelms the vocal line. In Parsifal Wagner achieved near perfection in combining maximum orchestral expressiveness with vocal clarity.
In 1877, a year after the first Bayreuth festival, Wagner began looking again at the prospect of establishing a school for the training of singers and actors and the development of other theatrical skills. He contributed an article to the local newspaper, Bayreuth Leaves that had been set up to support the festival. This article, entitled 'Proposed Bayreuth School' was a thoroughly practical statement of arrangements, outlining courses of study for the years 1878 to 1883. He intended to supervise personally the activities of the school, which would be open to male and female graduates of existing music schools, or singers and musicians who had reached an equivalent level. Students would have to commit to remaining in Bayreuth each year from 1 January to 30 September, and the academic year would be divided into three terms. During the first year, 1878, the dramatic works of German composers other than Wagner would be studied under the guidance of a special singing-master. Given the pre- determined level of vocal expertise, the focus of the course would be on interpretative and performing skills. Piano studies would also be undertaken by experienced pianists, which would lead to the conducting of orchestral performances. It was hoped that sufficient instrumental musicians would be available during the final three months to form an orchestra or, failing this, that musicians on holidays from the court orchestra would be able to fill any gaps. During the second quarter, attention would be paid to string-quartet playing. How interesting that Wagner felt that the four 'voices' of a string quartet had something to teach human singers about expressive relationships! Throughout the year there would be lectures focusing on cultural, historical and aesthetic matters towards an appreciation of German performing styles.
In the second year, 1879, a similar course would be followed, but now the focus in the last term would be on Wagner's own dramatic works, particularly his earlier operas. The third year, 1880, would culminate in complete stage performances of the earlier works – if possible The Flying Dutchman, Tannhäuser and Lohengrin. Tristan und Isolde and The Mastersingers would follow in the fifth year, 1881; The Ring of the Nibelung in 1882, and the first performance of Parsifal in 1883. He recognized that not all those who enrolled for the first year would still be involved in the sixth, but he hoped that a sufficient number would continue from year to year to form a nucleus of experienced students who might be able to assist with teaching and serve as models for later intakes.
A feature of this scheme that strikes me as particularly interesting is that Wagner intended to train students in the performance of his works and employ them in the festival theatre, including for a second performance of the Ring in 1882 (six years after the first) and the premiere of Parsifal planned for 1883. He was determined, it seems, to prepare up-and- coming singers, repetiteurs and conductors in a music school environment rather than rely on the ad hoc engagement of outsiders in the traditional way. It was an audacious plan that crystallised once it was clear to him that another festival could not be mounted in 1877. Now he would create a cadre of especially prepared singers and instrumental musicians. After all, his motivation for the Bayreuth experiment from the outset had been to present ideal performances in ideal surroundings, using singers who truly understood his intentions. This was what would distinguish Bayreuth from other opera houses. While many of his singers for the first festival had been the best available, the reality was that they had come from busy careers in the wider world of opera, were wedded to old habits which were not easily thrown off. He was particularly annoyed by the attention-seeking Franz Betz, his Wotan, who had been peeved that he could not take curtain calls whenever he wished and had, as Wagner noted, hammed up his part in some places, especially at the beginning of the Valkyrie. Wagner was inclined not to invite him back and, for his part, Betz declared that he would not come anyway.
To his great regret, Wagner was unable to proceed with his school and create the model productions he desired. The first Bayreuth Festival had left an enormous deficit, which was hardly surprising given that the composer had not only staged the huge four-part Ring for the first time but had also built an entire theatre in which to perform it. There was no way he could mount a new festival in 1877, and so he set about giving concerts in the hope of raising funds. When these concerts generated only modest returns, other ideas were floated, including the sale of the entire enterprise to either the Imperial or Bavarian governments, or relocating the Festival to Munich. These ideas came to nothing and he eventually released the Ring for general performances throughout Europe. This would at least generate royalties, but any hope of creating ideal performances seemed gone forever. The financial crisis was finally settled in 1878 with the intervention of the King who arranged for the Munich Court Theatre to pay royalties until the debt was wiped out.
From a paper presented by Peter Bassett to the 8th International Congress of Voice Teachers on 13 July 2013.
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Mary Beth McCue, RD, LDN, CDN
ACTUAL WEBSITE IS: www.SaratogaNutrition.com
Integrative and Functional Nutrition
Registered Dietitian, NY State Clinical Certified Nutritionist, MA Licensed.
Over 20 years Experience.
FOR MORE SPECIFIC and UPDATED INFORMATION,
ACTUAL WEBSITE IS: www.SaratogaNutrition.com
BLOG: www.Saratoga.com/nutrition-blog
Contact: email@example.com
Phone: 518.257.6530
We accept both Insurance and CASH Clients
Practice Location:
ECS Psychological Services Therapy Farm, 683 Lake Ave., Saratoga Springs, NY
Mary Beth McCue RDN, CDN
Registered Dietitian Nutritionist in Integrative and Functional Nutrition
NYS Certified Dietitian Nutritionist
- Integrative and Functional Nutrition Certified - ifnacademy.com
- FirstLine**Therapy® *Certified Lifestyle Educator - Metagenics.com
- Food as Medicine Certified - Center for Mind Body Medicine - cmbm.org
- Mind, Mood, Food Certified - cmbm.org
- AFMCP - Institute for Functional Medicine - Institute for Functional Medicine - Functionalmedicine.org
- Reiki Certified, Certified Meditation Leader
Treatment of the Individual
- Lifestyle Breakthroughs/Integrative Health Coaching
- Personalized Nutrition /Professional Grade Supplements
- Functional Medicine Labs, and Physicians
- Workshops, Lectures and more
Individual Counseling
- General Wellness and Body Balancing
- Healthy Body Composition & Weight Control
- Healthy/Anti-Aging
- Eating Disorders
- Treatment and Healing of Common Chronic
- Conditions such as:
Inflammatory Disorders: Arthritis, Fibromyalgia, Food Intolerance/Allergies. Cardiovascular Disease, Digestive Disorders. Adrenal Fatigue/ "Burnout", Blood Sugar/Insulin Conditions, Diabetes, Depression and more.
Customized Interventions
- Mary Beth's Interventions Promote Results within several sessions of:
- Assessing your body's unique needs & biochemical make-up
- Formulating a personal plan for nutritional intake
- Offering practitioner grade supplementation
- Diagnostic Recommendations (optional)
- Tracking progress, and revising your Nutritional Practice as your health transitions toward vitality.
Additional services include: Bioelectrical Impedance Analysis (BIA) Body Mass Analysis, Personal Computerized Diet Analysis, Complementary "Youthful Living from the Inside-Out" Home Parties, Corporate Wellness Programs, Customized Prescriptions for Practitioner Grade Nutricueticals and Swiss Skin Care lines... and more.
All services involve: A Biochemical Assessment & Balancing of your bodys' unique needs; Individually tailored interventions to restore physiological, psychological, and structural balance. Mary Beth's methods are based on researched and tested methods used for many decades and performed by conventionally trained health care practitioners seeking, practicing, and teaching better methods for medicine and health care.
Why see Mary Beth?
Mary Beth is a Certified Dietitian/Clinical Nutritionist (CDN) in New York State, a Licensed Dietitian/Nutritionist (LDN) in Massachusetts, and a Registered Dietitian (RD) credentialed by the American Dietetic Association. These credentials are recognized by all Health and Medical Profesions. She has been formally studying and professionally practicing nutrition since 1980. Her formal study and training is ongoing to maintain her credentials. Her practice style has been formulated from a range of holistic study, experiences and practices.
Mary Beth has a long-standing personal and professional relationship with nutrition. She experienced eating disorders and obesity during her teens and early 20s. Later in her profession, she had several common chronic health conditions that led her to seek many types of healing modalities, and the study and practice of Integrative and Functional Nutrition (FN). This practice was very instrumental in providing her with the tools to resolve her conditions, regain her health, and heal. These experiences have enhanced her ability to understand her clients and assist in their success.
In order to build on her conventional style of practice, she acquired further professional education, training and experience in Complementary Nutrition & Medicine, with a focus on Integrative/Functional Nutrition, through various University's, Medical & Integrative Health Settings and Integrative Research Institutes. Some of these include The Institute for Functional Medicine, Duke University's' Center for Integrative Medicine, Crayhon Research, Designs for Health, The Marino Center Medical Clinic for Progressive Health - associated with Harvard Medical School, and the Harvard Medical School/Department of Continuing Education: Complementary & Alternative Medicine Program and The Healthy Community Institute.
In addition, her personal and professional experiences, and practice with therapies such as Chinese/Herbal Medicine, Integrative Manual Therapy, Massage, Yoga, Personal and Professional Coaching, Reiki, and Spiritual/Personal Growth Training allow her to better offer clients an holistic approach; suggesting other healing modalities they may desire to combine with nutrition.
Mary Beth's clinical career and training since 1985 - allows her to create customized holistic health and healing solutions by building on conventional medicine and nutrition practices combined with Integrative/Functional Nutrition to find the solution that is right for you.
Repair, Restore and Reestablish your health by utilizing Realistic approaches based on Researched, proven methods to Reverse chronic conditions. The success of Mary Beths' Clients prove her methods provide Results that show Recovery and Reactivation of health and vitality. Clients experience a Restoration of balances in all aspects of their lives.
Here's what people are saying...
"...Astonishing results compared to the amount of time I had been on the diet. I had forgotten all of the symptoms
that had plagued me! I felt peace, freedom, hope and pure joy all at the same time. A BATTLE WON! I am no longer taking 19-20 pills a day."
Lariaine Peeylak, Westerlo NY
"You are a true holistic healer."
Ed Z. The Gazette Newspaper, Schenectady, NY
"She has an ability to connect with her clients in an effective way that I have rarely experienced."
David S. MST, Master in Sacred Theology, Troy, NY
"After years of seeing nutritionists without any success, I've had NO DERAILMENTS with Mary Beth. I FEEL LIKE A MILLION BUCKS. I have lost 62 lbs in 6 months!"
Barry Rice, Saratoga Springs, NY
"I respect and admire your loyalty to your clients and they are lucky to have you as their advocate."
Dr. Tanya Lehine, DO Doctor of Osteopathy, Saratoga Springs, NY
"Mary Beth has a wealth of knowledge in integrative and functional nutrition that must be shared."
Kathie Madonna Swift, MS, RD Nutrition Director
for Food as Medicine, Center for Mind-Body Medicine,
Washington, DC, Dietitian @ ULtraWelless Center and Kripalu.
"Mary Beth has a natural engaging style; interacting with her audiences in a friendly, open manner. With a passion for her subject, Mary Beth is very inspiring and generates enthusiasm and commitment in others to begin the journey of learning more about yourself and how to make healthier food choices that ultimately led to a healthier life. I would highly recommend her as a speaker and consultant."
Cathy Crosky
Williamstown, MA Chapter Chair Women's Presidents Organization
What is an Integrative Nutritionist?
One who practices within the concepts of Integrative Medicine. This is a "healing oriented" practice that takes into account the whole person in reference to mind, body, spirit, and all aspects of lifestyle. It is based on a partnership between patient/client and practitioner, within which the best of conventional, complementary, and alternative medicine practices can be explored & considered, in a holistic approach to health care and healing. More specifically, Functional Medicine (FM) looks at the (chronic) dysfunctions many people are burdened with — who are without direction as to how to overcome them, and rebalance the body to more positive levels of vitality. These dysfunctions are the center of the work involved to bring one back to healthier functioning. FM is a science-based health care approach that is well known and has been practiced and researched for decades. In many cases, clients resolve what conventional health practitioners view as "complex chronic disease/symptoms". The FM system focuses on the biochemical assessment of each patient, and individually tailors interventions that help restore physical, mental, emotional and structural balance.
These conditions are numerous and can include but not limited to: fatigue, intestinal disturbances, body weight imbalances, depression, hormone imbalances and much more. Most experts agree the majority of Integrative/Functional Medicine involves nutrition intervention because at a biochemical and cellular level - we can heal the body largely through nutritional means of a specified diet and supplementation plan. Further, every process of the body is driven/dependant on some type of nutrient, enzymes, protein, etc. Balancing these substances to meet individual's specific needs promote levels of health many have not experienced for decades. In almost all cases — much of the prescribed supplementation is very temporary during the rebalancing stage. It is very short- term in comparison to the duration of the condition(s) one has been burdened with. Although positive foods are the foundation of health and healing, supplementation provides the additional support the body needs to achieve a positive transition in health.
Functional Medicine is a science-based field of enhanced health care that is grounded in the following principles:
- Patient/Client Centered vs. Disease-centered: Personalized health plans are developed between the practitioner and client/patient, which addresses initial concerns and longer-term goals.
- Assisting the Body in Facilitating Natural Healing: Each individual's unique ability to gain optimal vitality and wellness — to levels they choose — are maximized.
- Biochemical Individuality based on genetic and environmental uniqueness. Looking at what is uniquely happening and why (origin of problems) allows for a more thorough resolution of problems.
- Safe and Effective Healing: Based on currently practiced and/or researched knowledge.
- Health Viewed as a Positive Vitality: Not merely the absence of disease.
- Promotion of Organ Reserve: As a means to enhance health span.
- Web-like Interconnections: There are connections between the mind, body, spirit, and community in the interplay of health and disease including physiological, environmental, immune and inflammatory, energy production, gastrointestinal, detoxification, structural, and hormonal.
In addition, research has proven through the Human Genome Project (http://doegenomes.org) that we can positively affect our genetic expression (phenotype) by lifestyle choices — diet and nutrition intervention being a major component. As our population achieves an ever-increasing life span in an increasingly fast-paced and demanding society, a positive, comprehensive, and dynamic health care plan for optimal well-being, with a full range of healing resources, becomes increasingly apparent and of utmost importance.
Certifications and Professional Education
Mary Beth holds a BS in Foods and Nutrition from the State University of New York, a program specifically developed by the American Dietetic Association (ADA). In addition, she completed a national dietetic internship program offered to successful graduates of this BS degree. While undertaking her internship and graduate classes at Sage Graduate School, she worked in diverse clinical, community, and food management settings. Upon successful completion of her studies and the registration exam, she became a Registered Dietitian (RD).
Mary Beth is a Licensed Dietitian/Nutritionist in the state of MA (LDN), and a NYS Certified Nutritionist (CDN). She attends professional seminars on a regular basis to meet the guidelines to maintain all these credentials and to remain current in the best practices. Her passion and dedication to Complementary Medicine and Integrative/Functional Nutrition led her to develop her ADA Professional Development Portfolio, with a focus on Integrative/Functional Nutrition as her Specialty. As of 2003, Mary Beth is amongst several RDs, globally, who have completed an intensive training program taught by the Institute for Functional Medicine (IFM): "Applying Functional Medicine in Clinical Practice" (AFMCP).
As a Certified Aerobics Instructor, Mary Beth directed and taught spa and hospital based aerobic programs; as a Certified Spinning Bike Coach, she introduced a "Spinning-Bike Program" as a joint effort between a Health Care System and the YMCA; as a Certified Reiki Practitioner, she developed and initiated RNs and Reiki Masters to practice massage and Reiki in a hospital setting.
More About Mary Beth
Since 1985, Mary Beth has provided nutrition, wellness, and integrative health programs to diverse individuals, groups and organizations with a wide array of health concerns and wellness goals. Her approach blends conventional medicine and diet therapies with the selective use of natural, science-based therapies, using a Functional approach. Customized designs and recommendations, including use of diet, vitamins and minerals, botanicals, medical foods and other dietary supplementation protocals are offered and based on comprehensive nutrition assessments. Use of supplementation provides the additional support the body needs, in addition to diet, for a positive transition in health — especially with the long-term chronic conditions many people have. Mary Beth works with the client to establish individual goals, which set the pace and direction of the work and create the end results toward enhanced levels of health and vitality.
As the Integrative Health Coordinator of a Community Health Care System, Mary Beth created and initiated the first formal professional group of holistic health and healing professionals. She introduced and marketed this group to the local community and hospital where she arranged for all their services to be offered and practiced to the community in the actual hospital setting. She is a member of The Institute for Functional Medicine and a current and founding member, and former Chair of External Funding of the ADA Dietetic practice group Nutrition in Complementary Care, and is a member of the Hunger and Environmental Nutrition practice group.
Mary Beth is dedicated to the transformation of health care from a disease-oriented, physician, and technology centered model into a wellness, patient-centered, healing/recovery and integrative orientation: a model that empowers the integration of body, mind, spirit, and community in healthcare to bring about healthy function and healing once again.
Mary Beth knows that much of the risk of chronic disease is due to modifiable lifestyle practices. therefore, a great deal of attention must be paid to lifestyle change. This means that what you eat, how you exercise, what your spiritual practices are, how much stress you live with and how you handle that stress are all elements that will be addressed in a comprehensive approach. When clients work in partnership with a trained & formally educated practitioner in functional medicine- they realize the initial importance of making dietary, activity & life-style changes combined with nutrients targeted to enhance specific functional needs. Pharmaceutical herbal medicines, detoxification protocols, (recommendation for) physical medicine interventions and stress-management strategies may also be used. These provide patients with tools to positively impact their health and affect the outcome of disease.
The vast numbers of diets that saturate the health industry fail to address the unique health profiles people have and therefore can not provide individuals with the nutrition plans they need to resolve health issues and progress throughout the stages that will bring them back to their natural state of vitality. What might work for one person does not necessarily work for everyone — even if "conditions" and/or "diagnosis's" are the same. We all live our lives differently, and arrive at our state of health based on different histories and thus progress to vitality differently.
To Schedule an Appointment:
- Saratoga Springs, NY
- E-mail @ firstname.lastname@example.com
- Phone Consultations available
- To Contact Mary Beth directly: ph. 518.257.6530
ACTUAL WEBSITE IS: www.SaratogaNutrition.com
Insurance reimbursement is the responsibility of client and insurance company.


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Metafit classes last 30 minutes and uses bodyweight exercises which target the largest muscle groups in the body for greater effect. There is no need to use any equipment. This is not an endurance class so there's no need for you to pace yourself to avoid looking like the least fit person in the room. Everyone should be putting in their maximum effort. There is no choreography so don't worry if you don't know your left from your right.
What this means is that while long distance running, cycling etc will improve your fitness and body composition (fat loss) but it will take a long time for it to happen. It will take around 15-20mins at least to get your heart rate up high enough and you need to maintain that for at least an hour to make any significant difference. HIIT will get you better results in a much shorter space of time. Not only that, but this style of training will raise your metabolism meaning that you will continue to burn calories long after the workout has finished. Raising your metabolism will improve your ability to burn fat.


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Debian - Mono is not in our default installation
In response to the open letter written by free software guru Richard Stallman about the Mono problem, Alexander Schmehl, Debian developer and spokesperson for the GNU/Linux distribution has pointed out that Debian has no plans to include the controversial programming environment in the default GNOME installation.
Stallman, who opened his letter with "Debian's decision to include Mono in the default installation, for the sake of Tomboy", had suggested that Debian were including the Mono libraries for anyone using Debian with GNOME.
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Games: Planetary Annihilation, La-Mulana 2, SteamOS
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Wine 3.14 Released


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Parts & Accessories
Brush - Cleaning Brush (Regular)Used to clean inside the screen tubes. Please note ! When pulling the cleaning brush out of the screen housing(tubes), DO NOT PULL OUT STRAIGHT ! To avoid the breakage of brush handle, Slowly pull the cleaning brush out while turning clockwise under the running water. Learn More$15.00
Brush - Premium Brush (Scrubbing Bristle)Bristle for scrubbing the surface of screens, corners around the screens and pulp outlets. Learn More$15.00
Bushing (for Extracting Housing)White poly sleeve(round cap/dual) on the end of the extracting(screen) housing. Learn More$8.00
Bushing (for Free Wheel Gear)White poly sleeve(round cap) on the free wheel gear. Learn More$8.00
Extracting Screen Housing - Standard (SUS-304 Food Grade S.S.)Dual 3-stage screen housing handles most fruits & vegetables Learn More$240.00
Extracting Screen Housing - Standard (SUS-316 Surgical Grade S.S.)Made of surgical grade stainless steel SUS-316. Dual 3-stage screen housing handles most fruits & vegetables Learn More$390.00
Extracting Screen Housing for Soft Fruits (SUS-304 Food Grade S.S.)Extracting (screen) housing for juicing soft fruits, such as citrus, grapes, strawberries and cucumbers, etc. OPTIONAL ITEM Learn More$240.00
Extracting Screen Housing for Soft Fruits (SUS-316 Surgical Grade S.S.)Extracting (screen) housing for juicing soft fruits, such as citrus, grapes, strawberries and cucumbers, etc. Learn More$390.00
Fuse - Pair (2 ea)Fuse box(holder) is located underneath the power cord connector. Learn More$7.00
Grinding Housing for Nut Butters (SUS-304 Food Grade S.S.)Grinding housing for making nut butters, baby food, dessert, frozen fruit sorbet and also, for grinding soaked grains and boiled beans. It is exactly same as the standard screen housing in shape but no holes on the screens, the solid stainless steel panel. OPTIONAL ITEM. Learn More$240.00


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Unsafe foods infested with microorganisms or chemicals
Foods may contain harmful bacteria, viruses, parasites or chemicals, and causing more than 200 diseases from diarrhea to cancer. On the occasion of World Health Day, the World Health Organisation (who) has launched the first digit of a broader study on the impact of contaminated foods. The study will be published during the month of October 2015.
According to who annually over 350,000 people die due to Vasily Stalin in consumption of certain foods contaminated with chemical agents or pathogens. Thus, most of the deaths were caused by Salmonella typhi (52 000 deaths), e. coli (37 000) and norovirus (35 000). Also, more than 40 percent of people suffering from enteric disease caused by contaminated foodstuffs were children aged under 5 years. The most numerous cases have been reported in Africa and Southeast Asia.
But not just from poor areas populations of the globe may face this threat. Unsafe foods pose risks, too, and for economies considered powerful, especially in a globalized world. In 2011 the outbreak of e. coli from Germany caused economic damage estimated at over us $1.3 billion.
"The production of food has been industrialised, and trade and their distribution has been globalized. These amendments shall enter the equation more possibilities like food to be contaminated with harmful bacteria, viruses, parasites or chemicals. A local issue in food safety can quickly become an international one. Investigating an outbreak of Community rules is more complicated when a food contains ingredients from many countries, "said who director general Margaret Chan.
However, efforts to prevent such emergencies may be strengthened by developing robust food safety systems and public action for the protection of collective food against chemical or microbial contamination. Consumers also play an important role in the promotion of food safety and hygiene of the hands up to the cooking mode, mainly of meat products.
"Often it takes a crisis of collective conscience concerning food safety. The impact on public health and the savings can be huge, "said Kazuaki Miyagishima, Director of the who Department of food safety.


text: The odd time moonshell 2 runs and I go to the mshl2wrap folder and load the rom link and it fails saying "resetMemory2Load ARM9 NoBIOS". if I load it staight from the ARDSi firmware I get the same error. If I try and load it from YSMenu, well I can't load any .nds files it says unsupported DLDI name even if they are patched. Am I doing it wrong?


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Blurb: I make my living as a hustler, and I'm great at it.
I don't have a single tell and I use that to my advantage to manipulate any situation.
I've always known what a person is about to do before they've even decided.
That is, until I met Penelope.
I can't get a read on her, and what's worse, she doesn't want anything to do with me.
Which only makes me want her more.
Now I'm in for the hardest hustle of my life.
Somehow I have to convince her she belongs with me.
Good thing I'm always up for a challenge.
Review: OMG this collaboration was so damn good! I had the opportunity to read this a little early and I devoured it in one sitting. I've never read anything by Jessica Prince but we all know how much I love Meghan Quinn. Funny thing is, I couldn't figure out who wrote what…hmm. I guess that's a good thing, although I'm willing to bet an E-copy of this book that Meghan wrote this Just in case you didn't get the hint…if you follow Meghan or Jessica on Twitter or Facebook and can get one of them to confirm or deny it I'll gift a total of 3 Kindle editions of this book, even if Meghan didn't write it. **a screen shot of their twitter or facebook handle confirming or denying will be the deciding factor, upload it in the comment section below**
So Gavin Saint(H) is a poker champion and a cocky s.o.b. He lives for the challenge and he just isn't getting it anymore so now he plays poker occasionally and instead spends most nights watching the security cameras for cheaters at the hotel/casino he lives in. Watching a High Roller games for cheating; he sees a new waitress, Nell(h), who intrigues him. She isn't like the other female staff and he can tell that by just observing her. Oh yeah, I forgot to mention that he reads people…no, not like Ms. Cleo psychic reading, but body language reading. It's how he's been so successful at poker for so long. Anyway, Nell is in Vegas trying to make ends meet and help her folks out back home. Thank goodness she doesn't hook or strip which is such an easy trap to fall into in Vegas.
I love the push and pull of their courtship. I call it that because Gavin is a f*ck 'em and chuck 'em kind of guy; but Nell isn't falling for that. She makes him work for it, even though she is falling head over feet in love with the guy.With their quick wit and snarky banter you get a kick out of reading both POVs. Usually I adore reading from the male POV more but with this novel I loved them both equally. But I didn't expect nothin' less from Ms. Quinn, since I am a forever fan of hers…and after reading this I need to check out some of Ms. Prince's work as well. So 5 stars for this great collaboration.
Read free on Kindle Unlimited or purchase via Amazon here


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Catastrophe modelling company JBA Risk Management yesterday opened its company in Singapore as its Asia Pacific hub. The Singapore office will strengthen JBA's presence in Asia Pacific, working closely with existing offices in Cambodia and Australia.
JBA Risk Management (Singapore) Managing Ddirector, Dr Iain Willis, said: "For JBA, it was an obvious step to open our new company office in Singapore. We've been supporting individuals and businesses alike for a long time from our UK headquarters but we didn't feel that was enough, and perhaps more importantly, we're well aware of the enormous need for improved flood risk management in the region.
"As we look forward in this current decade and further into the 21st century, we perceive this trend as increasing further – for lots of different reasons.
"Population increase and urban infrastructure development throughout Asia Pacific have been dramatic in the last 50 years. With new developments encroaching further onto floodplains, increasing evidence of climate change on precipitation and sea level rise, and mega city land subsidence, lots of factors are playing a pivotal role in increasing flood risk potential."
Climate change impacts in the Mekong River Basin
In conjunction with the opening of the Asia Pacific hub, JBA Risk Management presented its study, "Climate Change Impacts in the Mekong River Basin", which assesses the impact on the six countries which the Mekong River runs through. The Mekong River remains a key source of livelihood for approximately 37 million people living along its banks.
The study states that as a result of increased carbon dioxide emissions in a future climate; extreme and severe flood events will be a more common occurrence, effectively putting an additional 2.2 million people at risks from floods. Vietnam could be the worst hit with a potential increase of up to 1.1 million people exposed to flood, according to the study.
The catastrophe modelling company is calling for greater flood risk management from both public and private sectors.
Commenting on the study's findings, Dr Willis said: "What this research highlights is the need for a greater flood risk management – both from the public and private sector.
"If you look at natural hazard risk in Asia Pacific, there have been more than 1,800 large flood events in the region since 1970. These events have impacted nearly 3.5 million people and for Asia Pacific, with flood dominating more any other hazard in terms of its overall scale and impact."
JBA Risk Management is part of the UK-headquartered JBA Group, one of the world's largest specialist flood modelling companies with over 400 staff. They specialise in providing flood map data and catastrophe models widely used by leading reinsurers and insurers across the world, and additionally by property search companies, local authorities, utility companies and the legal profession.
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" We've achieved this through multiple avenues: constantly challenging our process efficiency and effectiveness, offshoring, investment in IT and automation and introducing hubs so that we don't necessarily have to process everything in every country."
- Ms Sinead Browne, COO of Allianz Global and Corporate Specialty (AGCS)
Ins Communications Pte Ltd 69 Amoy Street, Singapore 069 888 Tel: (65) 6224 5583 Fax: (65) 6224 1091 | © 2015 All rights reserved.


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Coraline Directed and adapted for the screen by Henry Selick From the novella by Neil Gaiman More often than not, big-screen adaptations of well-known literary works pretty much fall into two different camps, proving what I call 'The Potter Principle.' If a screenwriter and director try to follow the original book too closely, you get Harry Potter and the Sorcerer's Stone. On the other hand, if a filmmaker tries to push the envelope a bit, while staying true to the spirit of the source material, you get something like Harry Potter and the Prisoner of Azkaban. If you're a fan of Neil Gaiman's creepy 2002 children's novella Coraline, you're probably wondering what to expect from the upcoming theatrical version, which has been adapted by Henry (The Nightmare before Christmas, James and the Giant Peach) Selick. I'm happy to report that this film falls squarely into the latter category. While it stays faithful to the original in just about every way that counts, Selick isn't afraid to put his own distinctive stamp on it either. That fact is evident from the opening credit sequence, which follows a rag doll being dismembered and subsequently rebuilt by an unseen creature whose nature is hinted at by the giant spidery hand seen performing the operation. We don't really know what's going on here, but the sequence is still as unsettling as hell. Cut to the arrival of rebellious teenager Coraline Jones (voiced by Dakota Fanning) and her parents (Teri Hatcher, John Hodgman) arriving at their new digs in the Pink Palace apartments somewhere in the rain-soaked Pacific Northwest. While Mom and Dad immediately break out their laptops to start working on an upcoming garden catalogue that's nearing deadline, Coraline is left to her own devices and starts going stir crazy within about five minutes. She's not happy about leaving her friends behind, and is none too thrilled with her new neighbors, which include an annoying kid named Wybie (Robert Bailey Jr, a character added by Selick), a beat-up black cat, an aging pair of burlesque performers named Miss Spink and Forcible (Jennifer Saunders and Dawn French) and a seven-foot, beet-eating Russian acrobat called Mr. Bobinski (Ian McShane) who appears to be training an entire circus of unseen jumping mice in his upstairs apartment. With her parents still entrenched in their respective computers, Coraline explores the rest of the house, eventually discovering a papered-over door in the living room, which when pried open reveals nothing but bricks on the other side. But later that night, after following a mouse downstairs, Coraline finds that the door is in fact open, and after following a strange tunnel through it, she emerges in a world that is virtually identical to her own. Well, not really. In this alternate world, which is brighter and a hell of a lot more colorful, she discovers that her Other Dad is totally cool; a gardener and musician with a great sense of humor. The Other Mom cooks all her favorite foods and appears to be absolutely devoted to her newly-arrived daughter. They might be the dream parents that Coraline always hoped for, if not for the somewhat disturbing fact that both of them have large black buttons sewed over their eyes. Over the next couple of days, Coraline pays further visits to the Other Home, discovering new and wonderful things each time. There's a less-annoying version of Wybie, mainly because his mouth his sewn shut, but the cat can talk (voiced by Keith David) and begins to hint that all may not be as it seems. But Coraline is too busy exploring her dad's stunningly beautiful garden, or visiting Mr. Bobinski's mouse circus, or sitting in the audience of a performance by Misses Spink and Forcible to notice. It's not until the Other Mother and Father show her the one thing she has to do to stay forever- handing her a box containing a pair of buttons ('Black is traditional!') and a very sharp needle- that this alternate universe begins to lose its charm. It turns out that the Other Mother is in fact a child-stealing creature that has created this entire world out of her own monstrous mind in order to ensnare her would-be daughter, just as she's captured several other children over the past several generations. But she hasn't counted on the resourcefulness of Coraline, who matches wits with the creature in order to return home along with the lost souls of the other missing children… Okay, I've kept details of the final two acts deliberately vague, because I don't want to spoil the surprises for anyone who's been waiting to see the film, and anyone who has read Gaiman's original story pretty much knows what's going to happen. But make no mistake; this is Selick's film from beginning to end. His extra touches range from the sublime (including the wonderful sequence in which Coraline helps the Other Father plant his garden while riding on a combination praying mantis/helicopter/tractor) to the ridiculous (such as Miss Spink and Miss Forcible preserving the memory of their beloved Scottie dogs by having them stuffed and mounted with angel wings on the wall). The Mouse circus sequence is a delight, as is the acrobatic burlesque show, which again I'm not going to spoil for you here. That attention to detail also filters down to the smallest detail in the art design. Look closely at the various sets in Coraline's house and the Other House and you'll see that they first appear to be the same. Look at them further though, and the 'real' sets are deliberately smaller and more cramped to heighten the illusion, while the 'other' sets are wider and more comfortable. The characters even move differently in one set versus the other. If you're a stop-motion geek like me, this stuff will blow your mind. Did I mention that Coraline is also being shown in 3D? Or that this is the first 3D film that didn't give me a headache? Selick knows his way around the 3D arena, but he doesn't beat the audience over the head with it with over-intrusive, objects-sticking-out-of-the-movie-screen crap that one normally has to suffer through in these films. I'm still not convinced that 3D is the wave of the future, but I can now at least see some of the implications of its use. Finally, before I forget a word about the voice actors who were cast in this film. One of my pet peeves with a lot of high-profile animated films in recent years is the use of star names that seem to have been enlisted purely so they can shill for the project on Jay Leno. In this case, I was hard-pressed to say, 'Gosh, that sounds like Teri Hatcher, or the guy from the MAC vs. PC commercials!' A good actor is supposed to remain invisible even when playing an animated character. As I said, I don't want to spoil anything by giving too much away, and I'm sure future reviewers will have a lot more to say on this site in the coming weeks. Suffice to say that if you're a fan of Gaiman, Selick, stop-motion, jumping mice or stuffed Scotty dogs with angel wings, this is the film for you. If not, you probably gave up reading this review about a dozen paragraphs back anyway, so it doesn't really matter. Submitted for your approval, Gaspode
Dec. 17, 2008, 8:35 a.m. CST
by ECUPirate71
2 for 2
Dec. 17, 2008, 8:36 a.m. CST
by Shan
I don't think anything will be on the scale of the Delgo debacle but I have to say that I haven't really heard about this film at all. I guess the question that I'll never understand are films where a lot of money is spent on them but then the makers give up on the extra investment needed to market their film, often effectively writing off most of the money that they've already spent. I guess in some of those cases though, they know there's no point.
 Hopefully this film will do OK to justify the expense.
Dec. 17, 2008, 8:49 a.m. CST
by DerLanghaarige
..."seven-foot, beet-eating Russian acrobat called Mr. Bobinski (Ian McShane)"
 That would be a cool name for a band, by the way. "Now in stores: The new album from Seven-Foot Beet-Eating Russian Acrobat Called Mr. Bobinski (Ian McShane)"
Dec. 17, 2008, 8:53 a.m. CST
by filmcoyote
from Jack Skellington to Steve Zissou's tiger shark he's great. I'll be there. So looking forward to this and Jonze's Where The Wild Things Are in 09
Dec. 17, 2008, 8:56 a.m. CST
by Garbageman33
And the BNAT crowd only got 20 minutes? Uh-oh, I better stop. I'm in danger of sounding like an "overentitled cunt.
Dec. 17, 2008, 9:22 a.m. CST
by yodalovesyou
The same one from 'The Daily Show'?
Dec. 17, 2008, 10:10 a.m. CST
by beastie
Wasn't a fan of James and the Giant Peach and Monkeybone sucked, so it's been a while for him.
Dec. 17, 2008, 10:29 a.m. CST
by Mel Gibsteinberg
What happened with BNAT? Its now Wednesday following the big event, and still no article from the big guy, or Moriarty (and he's leaving as well?). Sounds like some were dissapointed and trying to put on a good face.
Correction, they were not dissapointed in the outcome, yes yes, there was good stuff, just dissapointed in what it could have been and what ended up dropping out.
Dec. 17, 2008, 10:30 a.m. CST
by Rupee88
not sure how it will work on live action films but it's great for CG ones and it probably works well for this.
Dec. 17, 2008, 11:02 a.m. CST
by BigFo
Good review Gaspode. I'm not sure I'd have the grapes to send anything in with the blood still in the water from the whole Doughboy incident.
Dec. 17, 2008, 11:38 a.m. CST
by I am the most horrible
Reminder that Selick will be a guest on Live Wire! radio variety show Friday Dec. 19th at the Aladdin Theater in Portland OR.
 Details at livewireradioDOT org
Dec. 17, 2008, 11:57 a.m. CST
by Cap'n Jack
the book takes place in the fucking UK.
Dec. 17, 2008, 12:01 p.m. CST
by Photoman
Just curious. Looks like CGI made to look like traditional. I know of quite a few plug-ins for various CGI packages that actually put in the stop-motion strobing effects. And of course any good Renderman programmer can do this.
Dec. 17, 2008, 12:33 p.m. CST
by BrooseTheScharuk
Are you unfamiliar with Henry Selick? Maybe you're just trying to be funny or stir shit up. What you're saying is like suggesting that some respected guitarist actually just created all of his solos note by note on some drag-and-drop music creation software.
Dec. 17, 2008, 1:49 p.m. CST
by Egheaumaen
Actually, Broose, Henry Selick directed the short animated film "Moongirl" up at Laika, and that was CG. So he has experimented with the form. However, if you take a look at all those "Coraline" behind-the-scenes videos that were posted on Rotten Tomatoes a couple of months ago, it's clear that this movie is stop-motion.
Dec. 17, 2008, 2:35 p.m. CST
by elektralyte
I've been wanting to see Coraline for a while now. I misread the review. I thought it said that David Keith was doing the voice of the cat and I thought "Hey he really does disappear in his voice work..."
Dec. 17, 2008, 3:22 p.m. CST
by seppukudkurosawa
At least I theeenk so. This is CG-simulated stop-motion, not the real McCoy. Not that I'm necessarily against that if it gives Selick more tricks to fath around with.
 Great review, Gaspode! And I'm not just saying that in comparison to a certain someone's Spirit write-up. When you're creating your own little world like Selick, it's pretty fucking important being able to write your own script and go wherever your imagination takes you. So I'm kinda glad this steers away from Gaiman's book a little. Especially considering it doesn't do so to homogenize the material, but more to add more colour (is that the right word for something this murky) to the world.
Dec. 17, 2008, 3:38 p.m. CST
by RK_Maroon
What part of "stop motion" don't you understand?
Dec. 17, 2008, 4:29 p.m. CST
by seppukudkurosawa
Easy tiger, I said I wasn't sure. I just remember an interview here with Selick where I thought he said it was CGI stop motion, as opposed to him just playing with dolls.
Dec. 17, 2008, 4:36 p.m. CST
by DOGSOUP
They changed so much. BUT I still think this will be excellent. It's good enough for Neil it's good enough for me. Keith David!!!!!
Dec. 17, 2008, 5:49 p.m. CST
by IAmMrMonkey!
You see how it's done? You don't need a rambling epic. Get in, tell us enough about the movie to get our mouths watering, give an opinion and then get out.
I will see this.
Dec. 17, 2008, 6:14 p.m. CST
by subtlety
hope its as good as all that, we'll all be very happy
Dec. 17, 2008, 6:32 p.m. CST
by estacado1
I'm not a fan of stop motion.
Dec. 17, 2008, 7:59 p.m. CST
by Blue_Demon
if by "CGI-Stop motion" they mean cgi-enhanced stop motion. Aren't most movies now enhanced with one form of digital effects or another? Extended sets and all that?
They may have animated genuine puppets and simply extended the sets with cgi or they may have scanned maquettes and moved them digitally, who knows? Guess we'll have to wait for the Cinemagic article. Regardless, this looks great.
Dec. 17, 2008, 11:50 p.m. CST
by criticalbliss
You have to change his books to make a proper film. So far, nothing derived from his work has been any good. I don't have much hope for this. Gaiman's characters seem to be puppets of plot and gimmickry rather than real people. I'd love to be wrong and for this to be good, though.
Dec. 18, 2008, 1:07 a.m. CST
by tolomey
I'm afraid you are mistaken when saying that nothing derived from Gaiman's work has been any good. Neverwhere was turned into a tv show by the bbc in the 90's and was excellent - probably a bit dated now, but I enjoyed both the book and the show
Dec. 18, 2008, 1:43 a.m. CST
by criticalbliss
I haven't seen Neverwhere. You might be right.
Dec. 18, 2008, 9:50 a.m. CST
by Snake Foreskin
His vision takes the creepiness out of the story altogether. The art direction and animation is all wrong. It does not do the book justice AT ALL. What a missed opportunity.
Dec. 18, 2008, 11:28 a.m. CST
by Fart_Master_Flex
Sorry, I always wanted to call someone out as a plant. I didn't even read the fucking review. Ha ha.
Dec. 18, 2008, 11:40 a.m. CST
by ArcadianDS
and the little puppy is all sad!
Dec. 18, 2008, 12:57 p.m. CST
by gotdane
it was a work in progress but it was even beautiful to watch then. I can't wait to see the final product (especially what they end up doing with the burlesque scene as it was pretty risque for a kids film) even though the subject matter wasn't really up my alley.


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Definition of conversant
- conversant with modern history
- is conversant with the operating system of the computer
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She's conversant in several languages.
a world traveler who is highly conversant with the customs of foreign cultures
These example sentences are selected automatically from various online news sources to reflect current usage of the word 'conversant.' Views expressed in the examples do not represent the opinion of Merriam-Webster or its editors. Send us feedback.
The adjectives "conversant" and "conversational" are related; both are descendants of Latin conversari, meaning "to associate with." The earliest English meaning of "conversant" in the 1300s was simply "having familiar association." One way to associate with others is to have a conversation with them - in other words, to talk. For a short time in the 19th century "conversant" could mean "relating to or suggesting conversation," but for the most part that meaning stayed with "conversational" while "conversant" went in a different direction. Today, "conversant" is sometimes used, especially in the United States, with the meaning "able to talk in a foreign language," as in "she is conversant in several languages," but it is more often associated with knowledge or familiarity, as in "conversant with the issues."
First Known Use: 14th century
in the meaning defined at sense 1See Words from the same year
abreast, acquainted, familiar, informed, knowledgeable, up, up-to-date, versed, well-informed;
ignorant, unacquainted, unfamiliar, uninformed, unknowledgeable;
insensible, unaware, unconscious, unmindful;
blind, oblivious, unknowing, unwitting;
at home, in the know;
: able to talk in a foreign language
Thesaurus: All synonyms and antonyms for conversant Spanish Central: Translation of conversant Britannica English: Translation of conversant for Arabic speakers
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