text:
Search results for 'Lifeproof iphone 4'
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Peli™ is synonymous with hard-hitting quality. Drop your phone? Don't panic! Protective cases that withstand the most extreme conditions on earth are our specialty and the design-forward Peli™ Adventurer is no different. Expertly crafted to create the slimmest, impact-absorbing case on the market, our soft-grip HPX technology teams up with a rigid outer shell to provide dual-layer protection without compromising functionality. The Adventurer is 23% more impact-absorbent and will move any shock away from its precious cargo: your phone. Whether you're trotting around the globe, or the neighborhood, this sleek and resilient case will keep your phone safe. The Peli™ Adventurer is backed with a Lifetime Guarantee. You break it, we replace it…forever.™Learn More
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Real Madrid 2004 polo shirt in dark marine/argentine blue.Features open collar with with 1/4 zip closure.Embroidered team crest on the left and Adidas logo on the right.100% polyester.
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subset: commoncrawl


text:
As a brother in arms when it comes to mmorpg love, i always loved getting hyped by watching trailers top 10s and stuff.
Some time ago i decided i should make a top 10...one that could be called Epic!
I think i did it!But i need ur opinion!
Things to expect :
- Innovating Games
- Gorgeous Games
- Kawai(cute) Games
- Epic/suspenseful/action music that blends with the clips in a spine chilling way
Here it is!Hope u like it!I sure did making it
If u like it please do share or help however u can!Since the channel is very fresh any kind of help is appreciated!


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text: Crushed Faux Suede Blazer Style: 570060565 Out of Stock Love it? Everyone else did too. This item sold out! Use our search tool, chat online or call 1.888.855.4986 to find something equally desirable. The sueded blazer gets texturized with purposeful crinkles that create an elongating effect and relaxed fit. Hand pockets. Subtle shoulder pads. Length: 24" to 27". 100% polyester. Unlined. Machine wash. Imported. Read More… Share on Facebook Tweet Pin


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East Asian Studies Honorary
Epsilon Alpha Sigma was founded on the Wittenberg campus in the spring of 1983. It is the first honorary in the United States dedicated to the recognition and advancement of excellence in East Asian Studies at the undergraduate level. Membership demands a high degree of academic achievement as well as endorsement by two faculty members who look for candidates to have a record of extra-curricular involvement in EAS activities along with excellence in their classroom work.
East Asian Studies Journal
Completely written, edited, and published by undergraduate students from across the country, Wittenberg's East Asian Studies Journal is the only publication of its kind in the United States. "It features research articles and creative writings related to East Asia, written from a Chinese, Japanese, Korean, or integrative perspective.
East Asian Studies Student Club
The purpose of the East Asian Studies Student Club is to increase and strengthen the awareness of East Asia among Wittenberg students. It provides students who have an interest in East Asia with the opportunity to gather and socialize, draws students from East Asia into a closer relationship with American students, brings attention to the presence of the East Asian Studies academic program on the Wittenberg campus, and sponsors East Asian programming through films, speakers, and exhibits. Activities include the Moon Viewing Festival, Chinese New Year Dinner, East Asian Studies Banquet, and a film series. Membership is not limited to EAS majors--all are welcome to join.
Wittenberg Martial Arts Club
The Wittenberg Martial Arts Club offers instruction in Tae Kwon Do and Aikido. Tae Kwon Do is a highly aerobic and offensive martial art, while Aikido is a defensive art focusing on using the attacker's energy against him or herself. Membership is open to all students. The club offers opportunities for competition in tournaments and demonstrations.
Wittenberg Anime Club
The Wittenberg Anime Club is for students who are interested in Japanese-style animation such as Black Cat, Full Metal Alchemist, or the films of Hayao Miyazaki (Princess Mononoke, Kiki's Delivery Service, Spirited Away, etc.).


text:
is this like cabal view?
is this like cabal view?
The hell is this?
i suggest you youtube some vids of the game.
Not at ALL dude.
nuff said~ I advice you to use youtube like everyone else. Cuz I really really hate Cabal online.
i heard this game got number one place for "Top Ten Worst MMO games of 2008"
No, this is nothing like Cabal.


text: Legislature restores evergreen clauses The state Legislature gave final approval on November 17 to a bill backed by the MTA and other labor organizations affirming the legality of "evergreen clauses," which extend the terms of public-sector collective bargaining agreements after they expire while unions and employers negotiate new agreements. Governor Deval Patrick signed the bill November 22. The MTA played a leading role in a coalition of labor organizations that advocated for the bill. "We are extremely happy that the Legislature has approved this bill," said MTA President Paul Toner. "It is important that state lawmakers are reaffirming what we've always believed – that public employers and employees may agree that their contracts will remain in place if they are still negotiating when the existing contracts expire." The bill was filed in response to an October 2010 ruling by the state Supreme Judicial Court in a case involving the Boston Housing Authority. In that case, the court ruled that evergreen clauses were not permitted under the state's Labor Relations statute, G.L. c.150E, which has a provision limiting the duration of contracts to three years. Many, but not all, public employee contracts in Massachusetts contained evergreen clauses when the BHA ruling was issued. The decision raised several concerns, including questions about how disputes would be resolved while successor contracts were being negotiated. The chief sponsors of the bill were Representative Marty Walsh (D-Dorchester) and then-Senator Steven Tolman (D-Watertown), who has since become the president of the Massachusetts AFL-CIO. Senators Katherine Clark (D-Melrose) and Ken Donnelly (D-Arlington) led the effort in the Senate to ensure passage before the end of the session. Senate President Therese Murray (D-Plymouth) and Speaker of the House Robert DeLeo (D-Winthrop) both strongly backed the bill. Supporters of the bill argued that: Evergreen clauses are a common, established feature of public-sector labor relations. Since 150E was enacted in 1973, there has been widespread and uncontroversial acceptance of evergreen clauses by the Commonwealth's public employers and labor unions, as well as by the Department of Labor Relations. Evergreen clauses are voluntary. Like all contract terms, evergreen clauses must be approved by both labor and management during collective bargaining negotiations. Evergreen clauses provide essential continuity during negotiations. As acknowledged by the SJC in the BHA case, evergreen clauses provide "a continuing code of conduct while parties negotiate a new bargaining agreement." Such continuity is important during contentious periods in labor relations, when a contract is about to expire or has expired; it is particularly crucial during times of severe economic strain. Evergreen clauses are common in the private sector and are legal under the National Labor Relations Act. Evergreen clauses provide the means for efficient and effective conflict resolution during contract negotiations. Significantly, evergreen clauses are necessary to permit employers and labor unions to continue to utilize arbitration to resolve disputes over the terms and conditions of employment after a contract expires and the parties are bargaining for a new agreement. There is no appropriation required for this bill. It contains an emergency preamble and will go into effect shortly after it is signed.


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Project Description:
Shiksa Lara St. John, VIOLIN, Matt Herskowitz, PIANO
Available on iTunes on November 6, 2015
Release Date: November 6, 2015
Recording features traditional folk tunes from the Jewish Diaspora, Eastern Europe, Balkans, Caucasus and Middle East, reimagined by today's composers.
1. CZARDASHIAN RHAPSODY (6:07) Hungary/M. Kennedy
2. VARIAIUNI ("BAR FIGHT") (3:22) Romania/L. St. John
3. ČOČEK (4:27) Macedonia/ M. Paranosic
4. NAFTULE SHPILT FAR DEM REBN (3:50) Yiddish/L. St. John
5. AH YA ZAYN (7:49) Palestine/J. Kameel Farah
6. MISIRLOURI (3:31) Jewish Diaspora/Y. Boguinia
7. SARI SIROUN YAR (4:30) Armenia/S. Kradjian
8. NAGILARA (7:57) Israel/M. Herskowitz
9. KOLO (3:09) Serbia/L. St. John
10. FIVE LADINO SONGS (6:51) Judeo-Spanish/D. Ludwig
11. OLTENIAN HORA (2:43) Romania/L. St. John
12. MOSCOW (5:11) Russia/G. Pritsker
13. THE PAIN WILL FIND US (5:04) Greece/J. Psathas
14. CA LA BREAZA (2:37) Romania/M. Atkinson
"What is truly remarkable is the way in which St. John effortlessly and completely captures the sound, style, mood and flavour of these evocative works; Shiksa may be a Yiddish term for a non-Jewish woman, but there's no hint here of St. John's being an outsider or anything other than totally and genuinely immersed in this music – you get the feeling that she's playing these pieces from the inside out."
"No other classical player can play with this kind of real gypsy style, and while gypsy players' technique can dazzle, St. John's virtuosity is on a whole other planet entirely. Its as if she has managed what both classical and gypsy fiddlers both aspire to but can never totally achieve in their reach to the other side."
"As she so often does, she has released a recital that doesn't resemble anything else that I have heard, and it is consistently refreshing to listen to. Superb sound as always from Ancalagon."
SHIKSA featured on Minnesota Public Radio's Top Picks for New Hits!
"Shiksa has St. John and Herskowitz delivering heritage music with passion, furor, and spectacular extemporization."
"As my mother would say 'That's not a Shiksa, that's gotta be a Yiddishe Maidl because the heart and soul of that girl is amazing.'"
"Truth is, St. John can play anything, from the most classical of classical music pieces, to things that are waaaaay out in left field, and she does it all without a hint of pretentiousness or stuffiness. In fact, she knocks the stuffing and the stuffiness out of music in the best possible way.....a great new CD"
"Mix in the talents of jazz pianist Matt Herskowitz, and you have the perfect storm of scintillating and passionate close-to-the-roots native song with a breathless improvisatory feel."
"An irresistible new CD"
Five-star Review: "St. John magnifies this approach, building a monument to the folk center of Babylon"..."The music here is densely conceived and performed. There are layers of pathos and ethos to be discovered. St. John's tone and double-and triple-stops are pan-virtuosic while Herskowitz' muscular approach is well suited to the peasant origins of these pieces. Music like this is beyond imagination and talent. It exists only in the loosely-held molecules found on the razor's edge of Creation."
"On her new album, released on her own Ancalagon label, St. John displays nearly superhuman technique as well as a vast appetite to learn, assimilate and advance music of many cultures. With the ideal performing partner and inspired arrangers, this Shiksa is a storm of perfection."
"Indeed an idiosyncratic, but enchanting illumination of Franz Schubert's sound cosmos in an unusual coloring. What an impressive and stimulating project."
| Read Full Article (German) |
"Violinist Lara St. John has become a special brand of raconteur in the classical music business. Her early Bach recordings are quite exceptional, but St. John has cleared a path with some well-conceived projects like her recent Bach Sonatas with harpist Marie-Pierre Langlamet and coupling of Vivaldi and Piazzolla over The Four Seasons. Entitled simply Schubert, St. John programs a recital of Schubert pieces from early and late in the young composer's life, using the unique format of violin, cello (Ludwig Quandt), harp (Langlamet) and soprano voice (Anna Prohaska). The vocal selections are songs based on Goethe. St. John's daring pays off in a highly listenable recording that has much to teach us about performance and interpretation."
"...absolutely fascinating and engrossing. St. John's relaxed and friendly presentation is perfect, and her commentary always apposite and perceptive. It's absolutely indispensable stuff for student violinists, and offers fascinating and revelatory insight for anyone interested in how concert performances are built."
"As I have said before, Ancalagon continues to demonstrate first rate production values present in high class and informative booklets with texts and translations, and superior as-good-as-you-can-get SACD surround sound. This recital, redolent of the type of soiree that Schubert engaged in so often, will provide a boatload of pleasure. Five out of five stars."
"I have found each and every selection and performance to contain intricate detailing of not only Schubert's personality, but the musicians also successfully imbed their own unique voices to naturally meld themselves into Schubert's world. The smile on my face broadens with each listening until it hurts and I must stop the music in order to recover my senses!."
"Most striking is a set of three Impromptus drawn from Op. 90, and all played on the solo harp with remarkable dexterity and sensitivity. Released on St. John's own Ancalagon Records label, the collection is beautifully packaged, with a mesmerizing cover image of a ship under a moody sky."
"Ms. Langlamet manages these Impromptus in positively gorgeous fashion, gliding effortlessly through each number. You'll feel you're being carried away on a cloud on a spring day the way she plays them. .....What a thoroughly lovely disc."
"I love everything about this disc. Thanks go out to Lara St. John, not only for her fine job with the Sonatina for violin and piano Op. 137, but for her creativity and vision."
"Violinist Lara St. John and harpist Marie-Pierre Langlamet interact with seamless elegance. The playing is polished and animated, full of subtle shadings."
Project Description:
Polkastra's uproarious knee-slapping wild ride of a wedding soundtrack!
Featuring all the classic ceremony processionals and recessionals, the most beloved international wedding dances for the party, and a musical wind-down for those who had too much fun.
"Polkastra is obviously having a blast in what feels like the most good-natured wedding ever".
Grade: A
"Would that most wedding parties were fortunate enough to have the quality of these musicians! For what they give moves beyond focusing on the specificities of one musical type to the quality of cross-breeding into other music as well, sometimes with astonishing results. All of the magic and merriment of a wedding ceremony are captured to rabid effect"
"Formed in New York by violinist Lara St. John and recording on St. John's label, Ancalagon (named after St. John's pet iguana), Polkastra follows up its 2009 album, Apolkalypse Now, with this delightful collection of wedding songs from around the globe."
"'I Do': The Wedding Album benefited from the raging triumvirate of sharp talent, a sharper sense of humor and the sharpest of themes. It is likely that this will be the finest recording of its kind (whatever that blissfully is) this year."
"Lots of classical musicians try to kick back and do something just as a joke. Few do it well. Violinist Lara St. John and a group of friends, including soprano Isabel Bayrakdarian, out do themselves, and anyone else I have heard, with this klezmer/polka/slow drag group."
"The perfect album for any couple entering an 'altared' state!"
"Great musicians, great arrangements, the Wedding Album is so much fun - Polkastra is Spike Jones and his City Slickers for the 21st Century."
"Wildly idiosyncratic..a reminder that musical comedy works best when the musicianship is first-rate."
"The group attacks the genre with genuine gusto, evoking the dizzy, sweaty revelry of a Bohemian beer hall."
"cleverly put together and musically superb"
"..here we have an intense, enjoyable, and madcap foray into the world of the international polka."
"A classical-world-roots supergroup"
Project Description:
Lara St. John and Marie-Pierre Langlamet
Featuring Sonatas by J.S. Bach Performed on Violin and Harp, released February 14, 2012.
This winter, celebrated violinist Lara St. John and Marie-Pierre Langlamet, principal harpist of the Berlin Philharmonic, present an album of J.S. Bach sonatas offering a new perspective and performed on violin and harp. Always a thought-provoking musician, St. John raises the question of authenticity and performance practice on this new disc. Bach was a prolific composer, but also an inveterate arranger of his own work and that of others. The adaptability of this music, its capacity to be reinterpreted in new contexts, by different instruments, is perhaps its most authentic quality. It is in this spirit that the pieces are performed.
Bach Sonatas Album Reviews
St. John pulls from her 1779 "Salabue" Guadagnini a tawny sound and subtle but wild interpretive concept that's both highly addictive and totally authentic.
St. John and Langlamet particularly use this command of the eternally romantic violin and harp genre to exploit the music's alternating moods of minor-key seriousness and major-key joy and exaltation."
'Right from the melancholy beauty of the opening Adagio of "Sonata No. 1 in B minor", it's a successful translation, with the subsequent Allegro revealing the dragonfly poise, beauty and manouverability afforded by the combination. The Adagio Ma Non Tanto section of "Sonata No. 3 in E minor" confirms a perfect, nuanced relationship between the two instruments, Lara St. John adding brief sprays of pizzicato at crucial moments. Faithful, yet innovative.'"
'These are amazingly cool performances in temperament that generate warmth as the two instruments unite synergistically. On Bach Sonatas, St. John finds a musical soul mate and continues to cultivate her unique approach to making old music new again. The harp is a perfect foil for her crisp interpretation of Bach and Langlamet fully fits the bill as its driver. This prepares Bach for the parlor, that time-tested tradition of intimate performance among close friends.'"
'Violinist Lara St. John and harpist Marie-Pierre Langlamet interact with seamless elegance. The playing is polished and animated, full of subtle shadings.' Grade: A."
St. John's finely-played performance deserves focus as she clearly has an affinity for the cadence of Bach. The more subdued keyboard part isn't necessarily a bad thing, either; Langlamet is a first-rate musician and her harp breathes a lilting freshness into the pieces. Its timbre also lends an appropriately stately aura."
Seldom has Bach sounded more delightfully autumnal. What I had initially pegged as a great relaxation album (which I'm sure it is) also contained a poetic allure, in its slow movements, which imbued everything with wonder."
The joy of the recording is the simple, unusual setting; these sonatas are usually done with harpsichord or piano, and hearing the works performed with harp accompaniment make them seem fresh, delicate and wholly new."
MULTICHANNEL DISC OF THE MONTH ***** (five stars)
"When the music is as brilliant and sparkling as we have here—Bach would certainly be thrilled—there simply remains no excuse under the sun to avoid acquiring this disc immediately. This composer oozes from the souls of these two performers."
....this is a refereshing take on Bach that shows some rethinking of the issues of historically informed practices of versus modern performances and shows there are more than just two ways to interpret the music.."
...the two of them give the music an impressive range of dynamics and textures. This is music of melting loveliness..."
The presence of harp instead of harpsichord (or piano) imparts a somewhat folk-like inflection and buoyancy, giving JSB's tunes a nice, palpable contrast with St. John's soulful, plaintive yet commanding violin. **** 1/2 (4 and a half stars)"
" Serene. Passionate. Powerful. Restrained. Thoughtful. Abandoned..."
" Indeed, after hearing just the first sonata, I couldn't imagine wanting to hear it any other way......The results are not just enchanting but sometimes stunning, turning familiar tunes into welcome new creations"
" Lara St. John happens to be a volcanic violinist with a huge, fabulous tone that pours out of her like molten lava. She has technique to burn and plays at a constant high heat. She is uninhibited, sometimes strikingly so.....But what makes her unique is the way she puts everything together. She has utter command of the material and the instrument. And she has seemingly utter spontaneity...."
Project Description:
The Knights
Eric Jacobsen, conductor
New Album dedicated to Schubert and Minimalism, featuring two Schubert symphonies paired with music by Erik Satie, Morton Feldman and Philip Glass. Released as an iTunes Exclusive February 28, 2012, with SACD/CD Hybrid on April 3, 2012
First American tour in April 2012
NEW YORK, NY – February 15, 2012 –
This spring, celebrated ensemble The Knights under the direction of Eric Jacobsen present "A Second of Silence," a new album juxtaposing the works of Schubert with examples of minimalism from Satie, Feldman and Glass. The album will be released as an iTunes digital exclusive on February 28, 2012, with a wide release to all retailers on April 3, 2012. This release marks the ensemble's second appearance on the Ancalagon label. Their first, a release of Mozart concerti with Lara and Scott St. John, won the 2011 Juno Award for Best Classical Album (Soloist with Large Ensemble).
In April, The Knights will embark on their first American tour. This eight-concert event will feature Copland's Appalachian Spring together with music of Ives, Dvorak, Golijov and Gaby Frank. The appearances take the ensemble to Troy, NY; Akron, OH; Granville, OH; Sewanee, TN; Columbus, GA; Athens, GA; Amherst, MA; and Rockville Centre, NY (tour details below).
"That kind of hovering, as if you're in a register you've never heard. That's one of the magics of Schubert." – Morton Feldman
An ensemble that strives to bring a new perspective to familiar works, The Knights present the music of Schubert next to contemporary sounds. The works featured on "A Second of Silence" all evoke in some measure the tranquil "hovering" described by Feldman. They are not merely tranquil - quiet meditations are frequently interrupted by violent gesture - but dissolution into silence remains their ultimate object. Listeners are confronted with the contradiction between, on the one hand, progress towards a resolution, and, on the other, a relentless procession of repeated rhythms and melodic figures. The two Gymnopedies of Satie, in arrangements by Debussy, are perhaps the simplest examples of this sensation of drifting quiet, tending towards stillness though infinite in their potential for repetition.
"The kind of shared longing that he has, this saturated, unending longing." This is how Morton Feldman described Samuel Beckett, who is one connecting thread on the latest album. "But those words seem to describe all the music represented here, with a particular focus on Franz Schubert," says Colin Jacobsen, Co-Artistic Director and Concertmaster of the Knights. "Those words account for the way Satie, Glass, Feldman and Schubert convey depth of feeling, contrast of light and dark, solitude and intimacy with the simplest of means."
"The Knights have been seeking a way to make a personal, intimate experience possible within the orchestral context, and this music spoke to us as part of that quest," explains Eric Jacobsen, Co-Artistic Director and Conductor of the Knights. He conveys a simple message to the audience: "We hope this music seeps under your skin, finds its way into your heart, and before you know it the rest of the world will evaporate."
" Talent For Punctuating Classics With Surprises...this ensemble has a formula, it is based on balancing new and unusual works with the most basic canonic classics."
Project Description:
I can't even think of a recording that I would name as second best to this one. This recording is in a class by itself.
St. John's approach to these demanding works is a combination of supple grace and power
She makes the most ordinary passages come to life
Project Description:
Violinists Lara and Scott St. John present a new Mozart recording to be released exclusively on iTunes two months prior to the Hybrid SACD/CD release on October 12th. The siblings St. John share the spotlight in three of the composer's violin concerti recorded on Lara's Ancalagon label. The focal point of the album is Mozart's monumental Sinfonia Concertante (K. 364), the last and greatest of his string concerti. This piece is rarely recorded in its original form, with the viola part in scordatura. Scott St. John takes up the viola to join his sister on the recording, making this the first time the Sinfonia Concertante has ever been recorded by siblings. The remainder of the album lets each St. John take center stage. The Violin Concerto No. 1 (K. 207) is led by Scott, and Lara has the solo voice in the Violin Concerto No. 3 (K. 216). The innovative New York-based ensemble The Knights accompany the pair on all the works (also led by a sibling act composed of conductor Eric Jacobsen and concertmaster Colin Jacobsen). The internationally acknowledged sound recording legend Tonmeister Martha de Francisco is recording producer.
" The slow andante of the Sinfonia Concertante is gorgeous. Lara St. John says she and her brother Scott have always encouraged one another and that collaborative nature comes through beautifully in this double concerto."
" The kind of stylistic and technical unity you would expect from gifted siblings is definitely here, and it is clear that the St Johns know this piece inside out."
" There's a fresh energy that feels as if they had just happened upon the scores for the first time, and were really getting off on reading through them. Very daring, and it never sounds contrived. "
" The pair play together so naturally that while there remains the requisite musical tension, there is none of the jarring of different tones that can occur in double concertos. "
" Interview with Lara St. John: On Mozart."
" This is superior music making on all levels."
" Splendid performances throughout, and the rich sound is perfectly balanced."
" I simply can't imagine a more satisfying recording of this glorious work."
" This is a match made in heaven. Together, these gifted young musicians have made a flawless recording..."
" The kind of stylistic and technical unity you would expect from gifted siblings is definitely here, and it is clear that the St Johns know this piece inside out."
" There's a fresh energy that feels as if they had just happened upon the scores for the first time, and were really getting off on reading through them. Very daring, and it never sounds contrived. "
" The pair play together so naturally that while there remains the requisite musical tension, there is none of the jarring of different tones that can occur in double concertos. "
" Interview with Lara St. John: On Mozart."
" This is superior music making on all levels."
" Splendid performances throughout, and the rich sound is perfectly balanced."
" I simply can't imagine a more satisfying recording of this glorious work."
" Mozart's Sinfonia Concertante has enjoyed many inspired pairings, but none sharing the passion, empathy and genetics of the St. Johns."
" This is consistently stylish and individual Mozart playing from the engaging St. John siblings, and a disc that all Mozartians will enjoy."
"Teaming up for Mozart's Sinfonia Concertante, Lara and Scott St. John deliver an intimate, animated rendition, rounded out by the exceptionally polished Knights."
"The playing by both soloists is of the utmost refinement and grace, even proceeding through the movements at as spirited a pace as they do."
"4 out of 4 stars: Mozart never sounded finer"
Project Description:
An eclectic and international cast of characters including a Canadian folk fiddler, the Met's contrabassoonist, an Israeli accordionist and percussionist, a jack-of-all-trades bassist, a French Horn playing record store clerk and an internationally renowned violin soloist met in a New Jersey studio to record a polka album just for fun. An idea that began as a lark quickly grew into an eccentric, virtuosic and energetic exploration of the roots of polka: folk, country, classical and jazz. Polkastra is a unique world music project that celebrates both the joy of music and the power of dance to unite cultures. From the American Midwest and the North of Canada to the mountains of Bohemia and the deserts of Israel - Apolkalypse Now poses the important question "Would you like sauerkraut, poutine, goulash or hummus with that?"
"All About Jazz Top Ten Releases of 2009 "
| Read Full Article |
"Much of the set was silly stuff, in a good way, and a reminder that musical comedy works best when the musicianship is first-rate. "
| Read Full Article |
In a similar vein comes Polkastra with their cleverly put together and musically superb Apolkalypse Now.
| Read Full Article |
There's everything but the kitchen sink in this album: quotes from Beethoven and Paganini, Gypsy licks, impressive contrabassoon solos, and laughter. It's a lot of fun.
| Read Full Article |
The playing is virtuosic and energetic, but not too disciplined that it falls into the "stuffy" category and not too ragged that we feel the musicians are creating a phony atmosphere. After all, a few beers relax but a keg quickly dissipates into chaos!
| Read Full Article |
The Grammys may have cancelled its category -- but Lara St. John's polka record is still the dance album of the year.
| Read Full Article |
The group attacks the genre with genuine gusto, evoking the dizzy, sweaty revelry of a Bohemian beer hall...After all, the world is a happier place when songs end with a hearty 'Hey!'.
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lusty and hilariously diverse.
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Project Description:
This stunning recording features the extraordinary violinist Lara St. John. She and the musicians of the Simón Bolívar Youth Orchestra give an inspired performance under the baton of Eduardo Marturet.
José Antonio Abreu,
the founder of El Sistema
Simply Dazzling
Marturet, who also led the Bolivar Orchestra of his native Venezuela on a sizzling recording released in April of the Vivaldi and Piazzolla Four Seasons with star Canadian fiddler Lara St. John
I can imagine no suaver, more atmospheric performance. A sultry atmosphere pervades this reading that feels just right.
Very few recordings contain that convincing nuevo tango fusion of deep passion and raw emotional power that Piazzolla himself on bandoneón with his preferred quintet were able to convey.
All this would be off-putting if she were just a beauty with adequate technique. But the thing is, Lara St. John really is a virtuoso.
Canada Watch Exclusive Arts and Culture Spotlight Interview with Lara
The Piazzolla is certainly one of the best things Lara St. John has ever recorded; she plays with unbridled passion and a kind of sexy ferociousness, and dips into interpretive effects more common to long ago violinists...swooping portamento, a beautifully weighty projection of the melodic line and a very high level of expressiveness, edge and passion maintained throughout the performance.
Lara St. John is as captivating in the seductive scenes of the Piazzolla as she is crisp, caressing and colorful in Vivaldi's atmospheric paeans to nature
Do we need another Four Seasons? With playing and sound like this, yes we do!
Gratefully, St. John continues to eschew the "standard" repertoire for her more creative whims, this brilliant Four Seasons pairing being a fine example.
Project Description:
John Corigliano writes:
I'm thrilled to be included in a new recording by the brilliant and always surprising Lara St. John. She is a real maverick, as a performer and in her choice of repertoire. An opulent and virtuosic new violin concerto and my Red Violin suite are coupled with a newly arranged version of a 19th century pianistic tour de force in her latest stunning release.
"What Makes A Great Album?"
"St. John plays with her usual intensity, the Royal Philharmonic is a very polished ensemble, and Sarah Ioannides provides precise leadership."
""In either case, these three compositions with strong extra-musical associations - Hindson's hauntingly evocative tryptych, Corigliano's equally atmospheric movie score in miniature, and Listz's theatrical horror show should appeal broadly to general listeners...Strongly recommended.""
"..she is an extremely fine player who mixes quicksilver technique with gripping spontaneity to captivating effect."
"All Praise to this Excellent Violinist for Championing Such a Vivid New Concerto"
"But this is intriguing to the ear, and the solo violin, especially when played as brilliantly as it is here, does have a rather macabre sound in this music."
Originally published in http://www.classicalcdreview.com/MC245.html June 2008
"As you may detect, I am probably a little overawed by St. John's brilliant fire -- and am overwhelmed every time I play this recording."
"St. John demonstrates the pioneer spirit in an art often thought of as dusty and drab. Her effect on the music is one of warm humidity, a frankly sensual vision seen through the lenses of certain youth, wonder, and determination."
"Hindson's music is monumentally eclectic...Lara St. John shows an admirable spirit of risk-taking with this disc... it's an exciting recording that tells us a lot about the ambition and independent-mindedness of this excellent violinist."
"Lara St. John plays as she usually does, no one finer in my experience, and has done a great service in bringing the Hindson concerto to light. Highest recommendation."
".In all the works the excitement of St. John's style and the colour of the Royal Philharmonic under Sarah Ioannides are nicely captured by Martha de Francisco"
Project Description:
Bach: The Six Sonatas & Partitas for Violin Solo was added to the iTunes library in October 2007 and became the best selling double album of 2007.
"St. John's Bach: The Six Sonatas & Partitas for Violin Solo is quintessential Bach for the 21st Century on a number of levels."
"St John is particularly adept at balancing the interplay of internal parts and preserving continuity of line and rhythmic flow...she conveys the gravitas of Bach's language with mature assurance...These attributes, combined with her clean, accurate left-hand technique, her keen ear for tonal colouring and the highly individual, largely unforced sound that she produces from her 1779 'Salabue' Guadagnini violin, result in a thought-provoking achievement from a rapidly maturing artist, beautifully recorded in a unique three-dimensional manner."
"I simply don't know where else you can go to hear Bach played at this level of artistry. Once again she eclipses her competition"
"Lara St. John stands fully clothed by the beach on the cover of her new Ancalagon CD, but the Canadian violinist has become an even more impressively untamed Bach player than when her publicity photos were more provocative. Her account, in excellent SACD sound, of Bach's Sonatas and Partitas is wild, idiosyncratic and gripping."
"...a stunning acheivement. The Canadian violinist takes the music at its written word, while imbuing each piece with personal touches that cast new light on familiar ground."
"...easily the best in the past 20 years. She has lost none of her youthful and daring enthusiasm for the time-worn pieces while gaining a certain gravity that allows her to reveal additional treasures contained in the Master's scores. St. John's intonation and approach are flawless."
"St John owns this work and I have rarely been so convinced of the rightness of an interpretation...Her passionate, complex readings catapult to the top of my list, and I am still discovering things with score in hand after hearing the set four times so far."
"And it would probably be good if you knew that you will like this music even if you've never listened to anything so-called 'classical'."
"...awe-inducing solo playing. There isn't a note or nuance that isn't accounted for."
"St. John's Bach has strong personal flair and a sense of dramatic sweep, as though she were an actress playing a role rather than a musician with an instrument; it is variable in tone, broadly expansive rhythmically and dazzling technically. St. John's Bach is also, in a word or two, breathtakingly beautiful."
"St. John sounds terrific on these pieces, playing with big colors, intense interpretations, and in several cases, dazzling speed. Her tempos throughout are on the fast side, which I like, and she does memorable things with her performance like opening the D major of the big Chaconne from the Second Partita with a hushed, amost defeated sound, before building up again to the end."
"Her new recording (Bach: The Six Sonatas and Partitas for Violin Solo) is nothing if not intense. And like St. John's choices about marketing and packaging, it's also fresh and new. There's a brilliance and sparkle to her playing, an energy and momentum."
"The Montreal High Lights Festival inaugurated its classical programming Thursday with Lara St. John, a violinist once known for her eye-popping cover art and aggressive style. That was the 1990s. The blonde playing Bach in the Bonsecours Chapel was a serious musician, and of the highest order.
A close-to-symphonic tone, a personal way with a phrase: Such artistry defeats all questions of historical correctness. If an interpretation that plumbs the depths and scales the heights of the famous Chaconne is not authentic, what is?
It was interesting to hear St. John project sustained notes without vibrato, not to attenuate the sound but to expand it. The fugue of the Sonata No. 3 was masterful both intellectually and technically. The double of the Courante from the Partita No. 1 was astonishing. What velocity and bravura!
St. John dedicated the Sonata to a friend whose death she learned of only that afternoon. Is this why the recital was so powerfully conceived and expressed? Only about 70 people were present, but they will not soon forget the experience."
Project Description:
At long last, Lara St. John has returned to the recording studio after establishing her own record label and has given us more music by her favorite composer. We have here the canonical solo concertos in A minor and E and the Double Concerto in D minor. The performances are delightful, individual, even exciting, unlike any other recording of these works that I know. This should come as no surprise to anyone familiar with St. John's playing. Before I heard this recording, I never realized that this music had so much drama, specially in the slow movements. As with any really great performance, I felt as though I were hearing the music for the very first time. The New York Bach Ensemble is a superb group that brings out the contrapuntal interplay between orchestra and soloists like no other group I've heard. Best of all, they match the soloist's enthusiasm. One thing I especially like is that the keyboard part is sometimes assigned to a chamber organ rather than the usual harpsichord.
St. John is joined by her brother Scott, professor of violin at the University of Toronto, in the Double Concerto, and their stylistic unity is a real plus. St. John plays the Sonata with the same high-octane style she has in the concertos. The fugue is especially exciting; and, while many don't know what to do with the opening Adagio, she understands its mercurial, improvisational character very well. She finds a trembling delicacy in the Siciliana that has eluded others.
This recording of the concertos is in a class by itself. I can't even think of a recording that I would name as second best to this one. Those who have not yet acquainted themselves with St. John's exceptional artistry would do well to hear this. Excellent sound.
Lately, folks are starting to take Lara St. John—the Canadian-born violinist that Fashion Toronto once called a "six-foot amazon with the waist-length, honey-blonde tresses"—much more seriously. Of course, St. John, a shrewd marketer as well as a gifted performer, has caused a storm of controversy, posing nude on the cover of her debut CD (her breasts were obscured by the violin) and often making suggestive comments in the press.
A recent review of this CD prompted Gramophone to scoff that St. John (who appears vamping in heavy makeup and see-through dress in a booklet fold-out on a poster-size pin up) "has no need to engage in such ignoble marketing ploys" while praising her "silvery" tone, "fleet tempos," and remarkable technique. St. John's approach to these demanding works is a combination of supple grace and power. There is so much joy in St. John's performance (she plays exquisitely on the 1779 "Salabue" Guadagnini known as The Resurrection) that it would be a shame to dismiss her for being crass or just too darn cute.
Lara St John does not play a Baroque violin but is clearly aware of current trends in period instrument performance practice. She has a sleek and silvery one, favours fleet tempos, and applies vibrato judiciously. The effect in these Bach concertos is reminiscent of Kennedy's recording with the Berlin Philharmonic yet considerably more stylish and satisfying. Even if the New York Bach Ensemble cannot match Berlin's plush string sound, the New Yorkers evoke the unique character of each work, making a clear distinction, for example, between the thick textures of the A minor Concerto and the airier quality of its E major counterpart.
As for St John, she makes the most ordinary passages come to life. Listen to the brief, ascending sequence beginning at 2' 27" in the first movement of the A minor Concerto, which she grips so tightly, the pressure can be felt in one's chest. She can be charming as well as intense. Her playing of the E major Concerto's finale, for example, is joyous and balletic - a far cry from Kennedy's jagged account. Ballet also comes to mind in the opening movement of the Double Concerto, as St John and her brother Scott bound through the intricately entwined solo parts like dancers leaping in and out of each other's arms. The sublime Largo is transformed into a lilting Siciliano - open-hearted and ecstatic rather than hushed and reverential.
Filling out the disc, St John gives a provocative performance of the G minor solo Sonata. Some listeners may be taken aback by the expressive edginess she brings to the opening Adagio, or by by the slashing chords in the fugue, but it is difficult to argue with such a technically dazzling and unfailingly musical interpretation.
Strongly recommended, then, despite the album's distasteful artwork. Although St John does not pose nude here - as she did for for a previous album, with only a violin for cover - her posture is suggestive. And the booklet folds out into a poster-size pinup in which she appears wearing heavy lipstick and exhaling a lazy curl of cigarette smoke. Given her exceptional talent, St John has no need to engage in such ignoble marketing ploys, Her playing speaks for itself.
Project Description:
The selections on this CD are, for the most part, familiar classical compositions. On "Carmen" Fantasie (Franz Waxman), and Variations on Dark Eyes (Ilan Rechtman), tracks one and two respectively, Ms. St. John's violin sings and cries with so much feeling that I sat fixated, listening to each note as it gently lingered in the air of the recording venue long past the moment at which it was played. Track seven, Ravel's Tzigane, is as exquisitely performed as track nine, Czardas Caprice (Ilan Rechtman). Both of these pieces are full of the gypsy spirit. Throughout this recording pianist/composer Ilan Rechtmen accompanies Ms. St. John with a beautiful, sensitive and complimentary piano.


text: Just wanted to point out that we will be glad to come to any location that can get up enough interested people to support our expenses for the shoot. It usually takes 10-12 people to do that. If you are interested and want more details, please PM Mirax. We would be more than happy to come and take pics for you and your friends/garrison. :)


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1968 Ferrari 330 GTC Base
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Easing the slide forward or inibiting the slide from moving forward quickly will make most semi-autos jamb more frequently. On the PX4 the saftey sits pretty flush with the slide. If it were any slimmer I wouldn't feel like I could release the safety quickly without looking. The rear slide serations are position enough ahead of the safety that it is easy to grasp the slide securely ahead of the safety. You should pull the slide back and open your grasp on the slide crisply like you would when shooting a sling slot. Alternatively the ergonomics of the PX4 are so good it is also very easy to safely realease the slide stop with you right thumb without adjusting your grip.
That said if you are shopping I would look pretty hard at some other guns before settling on the PX4. It is reliable, it is comortable for most people, it has the necessary features for a concealed defense gun, but if you are going to take it to the range and want something that will allow you to improve and shoot really close groups I'd look at something else.


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How far is it from concord,nc to raleigh, nc?
kgb answers » Local & Lookup » Travel Info » How far is...(distances) » How far is it from concord,nc to raleigh, nc?
Tag: concord
Sunday, February 05 2012Source: http://maps.google.com/
Top 10 questions How far is...(distances)
- How many miles is it from havre mt to the Canadian border?
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Create unlimited apps for the iPad without
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Easily add interactivity to your iPad layout in InDesign, preview for immediate feedback, and then use Digital Publishing Suite to prepare the app for submission to the Apple App Store — all without writing code.
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text:
The All New Illustrated Guide to Everything Sold in Hardware Stores is an updated edition of the cherished hardware shopping guide that once was everyone's favorite home reference book.
DIY-ers can learn how to be self-sufficient across multiple interest areas, including: gardening, raising animals, alternative energy, storage and preservation, and much more.
Beekeeper's Lab includes 52 activities from around and about the hive including art projects, recipes, experiments, and garden activities.
More than 270 pages packed with time-tested information, photographs, and Mother Earth News's charming illustrations make The Mother Earth News Guide to Vegetable Gardening a must-have volume for home gardeners.


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I know this isnt the right forum to post this ad on but I didn't want people from another state to reply since I don't want to travel far.
I have a 1988 bass tracker tiller steer with trailer, It is in great shape and comes with extras, it has a 25 hp mercury motor. The motor is in great shape with great compression (120 psi) on both cylinders. It has a live well, cooler, bilge pump, automatic anchor system, newer 40lb trust trolling motor, two fish finders, ones a newer hummingbird and the other is a eagle. This is a great fishing boat. I want to trade it for a 23 hp surface drive mud motor or a little smaller. If you have what I am looking for let's talk. You can text or call me at 248-eightfourtwo-7five9nine. I will have pictures posted ASAP. Or just text me to get pictures. I am from the flint MI area.


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Alpha Epsilon Pi Zip-Up Hoodie with Sewn-On Letters
This Alpha Epsilon Pi Zip-Up Hoodie with Sewn-On Letters is part of our huge selection of AEPi Clothing. Customize your colors and letters below!
- Detailed Description
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Product ID: 18600-M-SOL-3
Sizing Recommendation: We recommend ordering your regular unisex size (loose fit).
Available sizes: Small, Medium, Large, XLarge, XXLarge
Brand: Gildan
Full Description: This Alpha Epsilon Pi zip-up hooded sweatshirt is 50% cotton and 50% fleece. It weighs 8 oz. and has a matching drawstring with the knotted ends. Also features a front muff pocket, split pouch pockets, aluminum zipper and double-needle coverseaming on neck, armholes, and waistband. It has a baggy fit with the loose arms and mid section so we recommend ordering a regular unisex size. The size of the letters and the placement are: 2" Letters - Vertical Left Chest.
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This item takes 5 business days (M-F) to produce. It will ship out when complete.
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Greek U offers a money back guarantee on orders under $100. Any orders over $100 and all group orders are subject to our Manufacturing Guarantee. Since products are custom made, please make sure that all of the details of your order are correct before ordering. If you need to return or exchange, please follow the steps below within 10 days of receiving your order to fill out a request form. We'll send you instructions on how to return the item(s). You can also email firstname.lastname@example.com to discuss your order.
We will not accept worn and/or used merchandise. Original and return shipping charges are non-refundable. Greek U will cover shipping costs if there is a manufacturing defect.
We are not responsible for incorrect spelling, typos, names, text, or any errors made by the customer so please make sure your order is correct and without errors before ordering. Greek U reserves the right to alter the size and/or layout of lettering, logo, or design so that it will fit imprint size restrictions and look attractive on the item ordered.


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The large candle chandelier like this one is bound to set a warm mood in your dining area. Its eight clear glass cylinders with umber etched centers on an oval frame mimic candle holders. The clean lines and the double layer of glass add a just the right amount of a modern touch to make this design the perfect accent for a transitional as well as contemporary decor. The olde bronze finish completes the astonishing look of this chandelier.
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Shipping and Delivery Information - For item EU80614 if ordered by 1 pm Pacific Time


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April 30, 2005
PHILADELPHIA, Pa. -- After winning three Penn Relays Championships of America a year ago, the University of Tennessee women's track & field team unfortunately left Franklin Field empty-handed in 2005. The Lady Vols were unable to capitalize in their final attempt on a rain-soaked Saturday afternoon, as they closed out their stay in front of an estimated crowd of over 40,000 with a sixth-place finish in the 4x800-meter relay.
With indoor 800m collegiate record-holder Nicole Cook out with an injury for this meet, Tennessee attempted to defend its 2004 relay title with three newcomers and junior holdover Brooke Novak (Kaukauna, Wis.). It was not to be, however, as the combination of senior Antoinette Gorham (Glenarden, Md.), Novak, junior Patricia Hall (St. Ann, Jamaica) and sophomore Mindy Sullivan (Lubbock, Texas) navigated the race in 8:40.24. Stanford claimed victory in 8:32.02, holding off runner-up North Carolina (8:32.40) down the homestretch.
"We ran the same exact lineup at the Sea Ray Relays earlier this season, and today that group ran 19 seconds faster," UT Head Coach J.J. Clark said. "We put our best foot forward, ran the best we could and came out healthy. We look forward to moving forward to the SEC Championships in two weeks."
The Lady Vols also learned on Saturday that their second-place finish in the
sprint medley relay on Friday night had been thrown out. The squad was disqualified
for two different violations. Those included a baton pass outside the zone on
the second leg and a break to the inside two strides early on the third leg.
UT's lineup in that 3:47.97 SMR effort, which would have been the fifth-best time in school history, was sophomore Tianna Madison (Elyria, Ohio), freshman Cleo Tyson (Huntsville, Texas), Hall and Gorham.
"We have to be very careful," Clark said. "We are fortunate that there wasn't a Championship of America at stake in this case. We have to make sure to address these mistakes so it doesn't happen in the future."
Clark was the recipient of some good news on Saturday before departing Franklin Field. The third-year Lady Vol skipper was publicly recognized for being chosen as the honorary college women's referee for the meet. Tennessee will return to Knoxville Saturday night and begin focusing on next Friday's Knoxville Twilight meet at Tom Black Track. That meet will be the final tuneup prior to the SEC Outdoor Championships, which will be held in Nashville on May 12-15.
|THURSDAY, APRlL 28 AT THE PENN RELAYS
|Hammer Throw (Regional: 177-8/54.15m) 11:15 a.m.
|Ariel Brooks
|No Mark
|Shanna Dickenson
|4x100m Relay Prelims (Regional: 45.80) 12:50 p.m.
|Tianna Madison/Courtney Champion
Toyin Olupona/Cleo Tyson
|44.68p#/1st, ht. 5
|Discus (Regional: 155-2/47.30m) 3:00 p.m.
|Ariel Brooks
|Shanna Dickenson
|Distance Medley Relay Champ. (Not An NCAA Event) 4:50 p.m.
|Brooke Novak/Antoinette Gorham
Patricia Hall/Felicia Guliford
|Championship 5000m (Regional: 16:52.00) 8:25 p.m.
|Elizabeth McCalley
|Katie Flaute
|FRIDAY, APRlL 29 AT THE PENN RELAYS
|Triple Jump (Regional: 40-2.75/12.26m) 11:00 a.m.
|Edra Finley
|4x100m Relay Champ. (Regional: 45.80) 1:00 p.m.
|Tianna Madison/Courtney Champion
Toyin Olupona/Cleo Tyson
|Sprint Medley Relay Champ. (Not An NCAA Event) 6:20 p.m.
|Tianna Madison/Cleo Tyson
Patricia Hall/Antoinette Gorham
|3:47.97 (2nd)
|SATURDAY, APRlL 30 AT THE PENN RELAYS
|4x800mR Champ. (Not An NCAA Event) 1:40 p.m.
| Antoinette Gorham/Brooke Novak
Patricia Hall/Mindy Sullivan


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'"We're going to have that talk in training camp about expectations," Sabres goalie Ryan Miller said. "Expectations are going to be heightened. Managing that expectation is going to be a part of this season and it's going to be a part of building a legacy. The fact we're being mentioned in that regard just reflects what we feel on the inside, that we should be prepared to contend."'
Sabres cope with high hopes
September 11, 2006 Submitted by
Via: Buffalo News


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Many make long trek to catch drag races
By JASON SCHREIBER
Union Leader Correspondent | June 20. 2013 10:59PM
Jim and Marla Johnson of New Brunswick, Canada., check out T-shirts at a souvenir shop at New England Dragway in Epping Thursday after arriving for the first day of the Auto-Plus NHRA New England National. (JASON SCHREIBER/Union Leader Correspondent)
"I'm old enough to remember going to the drags at Orange Airport in Massachusetts when you rode with your boyfriend in the car that was dragging and kept your fingers crossed that it drove home and took everybody back where they came from," the South Hadley, Mass., woman recalled with a laugh as she and her family arrived at New England Dragway on Thursday for the start of this weekend's inaugural Auto-Plus NHRA New England Nationals.
It's a big deal for people like Monat, who will make the four days of racing a family event with her husband, Wayne, 66, her daughter, Christina Sibley, 38, and son-in-law, John, 42.
Sibley has been attending motorsports events since she was a kid and enjoys the "horsepower" behind the races.
Many fans made the six- to eight-hour drive from New Brunswick, Canada, to catch the races.
Among them were Tim and Laurie Boone, who said they enjoy the "thrill" of drag racing and the atmosphere.
"We usually catch most of our NHRA on television, so we don't get to see many live events. We do have some tracks in the Atlantic Provinces that we go to, but you don't see the caliber of racing like we're seeing here," Jim said.
"This is a chance for us to see high quality racing," his wife said.
Mark Hendron of Tewksbury, Mass., said he's always wanted to see the pros at an NHRA event but the closest they've ever come was to New Jersey.
"I've done the NASCAR and the stock cars at Star, but I've never seen this. This is awesome," she said.
"Every other race we've gone to we've had to fly," Linda said.
While he enjoys watching, her husband also likes getting behind the wheel of his '67 Ford Mustang and racing in "nostalgia shows."
* e-Edition subscription required


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While completing his M.Arch. at Washington State University, Scott Jones started the Thrive Project, packing books, computers, tools, and building materials into a 400-square-foot shipping container bound for Eldoret, Kenya. Jones plans to build out the shipping container—and others after it—into a vocational training center. What makes this different from shipping-container initiatives for other countries such as Haiti or Malawi? "Capacity," says Jones. "You think about what a container is, and there is so much untapped potential to use every square inch."
You go through case studies and you spend a lot of time understanding the existing paradigms of shipping-container adaptability. I really appreciate the modularity of using them, but there are a lot of unexplored areas with containers in terms of adaptation. Don't get me wrong—I'm very impressed with what people are doing with containers. But how can the container evolve once more? How much can we feasibly do with a single container? What will have the highest impact for the lowest investment? Finally, how can we create space?
I approached this design problem with a box of Legos in mind. Our site in Kenya is about a mile from the big east–west railroad—so we have a lot of access to containers. The first one will be shipped from the U.S., however, and contain trusses that will span the distance between the container drop site and the building site about 100 yards away. Subsequent containers will fill in the distance, and I'm hoping to use between nine and 15 from in-country. As more containers are secured, they build out from the original container and stack horizontally atop it. Containers can be arranged to maximize otherwise negative space to create outdoor classrooms. But the key is to create a permanent structure—the idea of permanence in Kenya is important because it is a community driver.
With any Third-World project, when complexity goes up, the success rates go down. The projects that are successful are straightforward in nature—not simplistic, but straightforward. So, in moving ahead, it has been important to show a level of confidence in our project, to have a substantial team on the ground in Kenya, and to cultivate a good understanding of Kenyan building culture.
So it's been a multilateral effort. There are risks and shipping security problems—especially when the container arrives in Kenya. A lot of our equipment is a huge target for theft. So it's been about finding a balance. This is totally outside the realm of what I thought architecture was. When I finished my undergraduate degree, I traveled around East Africa, and by the time I started my M.Arch., the opportunity to positively impact people seemed clear. I've done a lot of work in architecture—from big-box retail to residential design/build—and the thing that drives me is how the end user is impacted. —As told to William Richards


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German Shepherd Dog Forums (http://www.germanshepherds.com/forum/)
- Puppy Behavior (http://www.germanshepherds.com/forum/puppy-behavior/)
- - Rough Play (http://www.germanshepherds.com/forum/puppy-behavior/404786-rough-play.html)
Rough Play
Everyone is telling me that because I play so rough with my 6 month old pup that she is going to become super aggressive. I try to end their argument by demonstrating how we play. Since she was about 3 months we have played rough, I let her bite and mouth on my hands, ( she does not bite hard enough to draw blood, she just leaves a small impression) and I spin her and roll her over and get all worked up until she growls and gives me that happy little excited puppy bark. (Much different from the bark she gives when my brother comes around, a deep warning growl.) When I want her to stop I have it to where i put a finger to my lips and tell her shhh. She then stops and proceeds to lick me or follow any command I give. No matter how worked up she gets, she always stops. She knows she that I am the only one that will play or allow her to play like that but yet everyone still freaks out and tells me she is going to get super aggressive and harm someone. Any thoughts?
Just my opinion. I've played rough with my 1.5 yr old since I got her. We like to wrestle and throw each other around. I love it and so does she. She also knows when I say stop that means stop. Never has she ever been aggressive or anything like that. And she will only play rough with me. She is very gentle with others especially kids and babies. So I think as long as she does know that she only plays like this when you initiate it and stops when you say. I see no harm in it and don't think that this would lead to any aggression.
It sounds fine to me? As long as the dogs under control. I use a more verbal command for more control at a distance if ever needed, it sounds like a good way to learn bite inhibition, so less likely to injure someone but what do I know? :)
I don't play rough with Lisl. She gets very excited very easily and sharp teeth are no fun.
We burn off energy playing fetch and working on basic agility.
Yeah I agree with the excitement and sharp teeth. There's definitely some pain involved but I love it none the less!
About the roughest I get with her is when she rolls on her back and tries to grab my hand. Her bite inhibition is excellent and she has never hurt me or drawn blood, but she is low threshold and highly excitable like I said, so I keep it pretty low key.
She tries grabing my hands too when I pull her into my lap on her back to rub her belly or cuddle her. She relaxes for that.
I rough play with my boy too but recently I came to regret it. His front teeth nicked my palm, it was an accident and totally not his or my fault but the result was: I wasn't able to move my hand for over a week. Went to the doctor thinking that my finger bone(s) might have been cracked but thank god they weren't.
I don't see how rough play, in and of itself, is going to cause your puppy to grow up aggressive. However, you really need to place rules (if you haven't already) on your games because you are teaching your puppy that putting its mouth on you is acceptable behavior. You might also have to worry about that behavior crossing over to your puppy (eventually dog) doing that to other people. In which case, you might have a problem. Again, that doesn't mean your dog is going to be 'aggressive' but most people are not going to appreciate having a full grown GSD put its mouth on them in any fashion!
I play rough with my boy all the time, however, he is not allowed to use his mouth with me when we play. Everyone's opinion is going to differ, but I think it's completely inappropriate behavior!
I've raised more than one puppy, and rough play is not going to CAUSE aggression, so long as it's appropriate. If your dog will stop when you ask, and doesn't cause any harm to you, and is enjoying it, then have a blast.
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I was just curious how much you would expect to pay for a scratch built not-too-badly done ROTJ blaster on Ebay? A friend of mine liked my Rimshot blaster so much he wants to buy one off Ebay if one comes up.
I recommended a Rimshot blaster but he wants to shop around I guess.


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After nearly 8 minutes fumbling in the dark, I finally remembered that I was supposed to be loading a film into the Super System 4.
I did it! I been an gone an done my first film!
We get to do printing next week, first photograms, then contact prints, then hopefully a print from our negs.
I'll let y'all know
I Did It!
Started by collinf, Jan 15 2004 12:44 PM
2 replies to this topic
Posted 15 January 2004 - 12:44 PM
If writers write, how come fingers don't fing?
Posted 15 January 2004 - 02:04 PM
Only 8 minutes! Congratulations
So did it develop OK? No drying or water marks?
So did it develop OK? No drying or water marks?
Mark Goldstein
Editor, PhotographyBLOG
Editor, PhotographyBLOG
Posted 16 January 2004 - 08:33 AM
It developed like a beautiful black and white developy thingy (to use the Friends terminology). A drop of wetting agent, a quick finger scrape to remove excess and then into the drying rack.
And, no water marks!! Woohoo!
And, no water marks!! Woohoo!
If writers write, how come fingers don't fing?
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Berry Apple Crumble RecipeRead Reviews Be the first to add a review
4.5 3
Meet the Cook: You can serve this crumble as a snack, and it's also great for a breakfast gathering or church supper. It is good hot...and good on the second day as well. We're the parents of six grown children and grandparents of 11. -Ginger Isham, Williston, Vermont
- 8 to 10 tart apples, peeled and sliced
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- 1 teaspoon lemon juice
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- 2 cups quick-cooking oats
- 1/2 cup all-purpose flour
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- 1/3 cup vegetable oil
- 1/3 cup maple syrup
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|Topic Review (Newest First)
Singer 211G166 Adjusting the Life of Alternating Presser Foot
The button on top of the machine arm is for adjusting the lift of the alternating presser foot. Look on page 25 of the service manual for 211U157A, 211U165A,211U166A and211U566. You should download all the 211 service manuals for reference as 211U Japan 211G Germany, are simular if not nearly identical except for a few features.
You have lucked out in your find of perhaps one of the best machines in it class ever made. It will handle needle size from 9 to 26 for 135-17 and up to 25 for 135-16 leather needles. I run 207 thread top and bottom in mine on leather up to 3/8" thick on a 211U566 with no problem and it will handle larger than that on top.Contrasting that to and Adler 67Gk373,167GK373,or 267GK373 which handles needle size of 19 to22 making in it and the Pfaff none contenders for my needs plus their high accessories cost.
The nearest competitor to this machine is the Consew 255 which is a clone with a higher presser foot lift but will only sew the same thickness 3/8" to 7/16" but not 1/2" due to the 135-17 needle length restrictions.
Check the hook and bobbin case for slop by putting you finger on the bobbin latch and wiggling it. there should be no play if there is replace the hook and boobin case as it will cause stitch problems especially when hitting reverse.
The recommendation to get all sevice manuals for the 211 should not be taken lightly as the writting quality and detail may be vage in one instruction manual and clearly states in another such as adjusting to get full 1/2" knee lift of presser feet.
Re-setting the safety clutch is done with the stitch selector button in the bed of the machine. The instructions for setting stitch length and re-setting the safety clutch are on page 11 of the manual.
My Consew 226 has two separate buttons in the bed of the machine, your machine only has one button.
I just found the Singer parts chart for your machine. The part in question is # 514121 the "upper feed regulating stud" which means my guess was right, that's how you adjust the machine's needle feed.
My advice is that if it's sewing O.K. right now, don't ever change it.
Here's a direct link to the instruction manual: http://parts.singerco.com/IPsvcManua...66_265_266.pdf I couldn't find any mention of that button in the manual.
|@5window: The link you posted before gets you to the manual for free. You might have to copy and paste the link to get past the crappola, but it does work. I looked all through the manual, and there is no mention of that button on the top of the machine.
Damn, has to be one somewhere. Have you tried contacting Singer directly? This place says they have a ton of Singer manuals:
Contact Us - SewingPartsOnline.com
What about finding an older sewing machine repairman and asking them-or call all the upholstery shops in your area and asking if they remember your machine?
I'm sorry if I offended you or anyone else. Yes, I have bad days and last Friday was one of them. I should have just stayed off the internet. The button obviously exists, but I still have no idea what it does. I looked at all my sources and couldn't find the answer.
The button to re-set the safety clutch should be in the bed of the machine, as is the button to adjust stitch length. If you tip up your machine, the safety clutch is just under the button in the bed that is the furthest to the right. The safety clutch is mounted on the two connecting shafts just under the bed.
I just looked again, and your machine has adjustable needle feed to go along with the drop feed (the two feed systems working in conjunction with each other are called compound feed ) The only thing I can think of is that button is how you adjust the needle feed, but this is just a guess on my part. Why not send an e-mail to Singer along with the picture you posted? They will answer you eventually. Here is a link to contact Singer Industrial Products division: http://parts.singerco.com/html/contact.html
Thanks 5window
Thanks for the reply and the information - you, and some others, prove that there are some helpful people on this site! Perhaps Dan was having a very bad day, don't tell him that the full moon won't be until late February. On second thought perhaps he should be told so that he'll have something to look forward to.
I have the manual that you provided the links for, it is a service manual and has been helpful in making adjustments. I was hoping that there was an owners manual that may provide the information about the mysterious non-existing button.
Thanks again.
I did a search for you on Google. I think this is a free download for the manual:
Singer 211g Manual Industral
Someone who has one for sale and could probably help you:
Welcome to Leighton's - USED EQUIPMENT - SINGER Model 211G
Here's something from Singer:
PDF Service Manual:
Hope this helps. This "We have a question about a knob on the top of a sewing machine that I don't know even exists. ?????? " sure as hell doesn't.
Thanks for the replies
Thanks - Here is a picture showing the button.
When I press the button and turn the wheel (CCW) until the upper shaft locks (I had the top off the machine to see that the button shaft was going into the slot in the main upper shaft) once lock the wheel will only turn (CW) about one full turn. If I release the button and then stitch it doesn't seem to change the stitch length. If I then press the button and relock the shaft the wheel will only turn (CCW) - back to where I started. Stitching again there isn't any change in stitch length. So can I properly assume that this is resetting the clutch - I don't think I've had the experience of engaging this clutch (which I thing is a good thing not to have had!).
I'm new to this machine and learning how to set things up. I've had some tension challenges when I change materials and threads.
I have the 30-444G Service manual however I thought that if there was a users manual it may provide descriptions on how to operate the button in question.
Thanks again.
Kind of need to see a picture but its either for adjusting stitch size or its a safety clutch so if you do bad juju you can reset timing without having to have it repaired.
If so you just push it and rotate the wheel 2 times which ever direction the manufacture states to.
basically, if you get a rats nest inside the hook or break a needle ect, the hook assembly engages away to prevent damages, this button re-engages it, if I am correct that is lol.
Singer 211 G 166 - top button?
Can anyone tell me what the button on the top of the machine is for = it seems to stop something and then there is a small amount of movement available when you turn the wheel - somewhat like when you press the button on the bed near the bobbin and adjust the stitch length.
Thanks in advance for any replies - I have a part manual but not a users manual for this machine.
Singer 211 G 166
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Sorry if pic quality is low, But it has all the autographs, signed out to me. How much do you think this is worth to sell?
Not that im thinking about it! Just wondering
ALso go to RKFilms365 on youtube for PSP and other videos
Edited by iStansbury77, 19 March 2013 - 08:22 PM.