text: Make sure your home and finances are protected before an emergency strikes. By Cameron Huddleston, Former Online Editor July 6, 2012 The recent devastating storms that left millions in the mid-Atlantic states without power and the Colorado wildfires that have forced thousands from their homes are a reminder that it pays to be prepared for disasters of all kinds. Here are several steps you should take to make sure you and your finances can withstand an emergency. DOWNLOAD: The Kip Tips iPad App Fund your emergency fund. Set aside enough cash to cover several months of expenses' and pay for any insurance gaps or deductibles. If a natural disaster strikes -- or if you lose a job or face any other challenges -- this fund will tide you over until you can get back on your feet. See 7 Strategies to Build an Emergency Fund for tips on finding enough spare cash in your budget to set aside for a rainy day. Avoid locking the money up in certificates of deposit or stocks. Your emergency money should be there when you need it. So where to put it? Here are 10 low-risk ways to earn interest on your savings. Check your homeowners and renters insurance. Although standard homeowners insurance will protect you if a major storm hits, it will not provide flood or earthquake protection. Homeowners and renters can buy added coverage for these disasters. Also make sure you have an inventory of your possessions to make the claims process easier. For more information, see What Disasters Does Your Homeowners Policy Cover? and Protect Your Home and Finances From Storms. Advertisement Buy life insurance. Generally, you should consider enough life insurance to replace your income -- short-term and long-term -- if you die. See How Much Life Insurance Do You Need? for help figuring out how much coverage to get and 4 Ways to Save Money on Life Insurance for keeping the cost of coverage under control. Gather important documents. A will provides the ultimate insurance, by outlining how your finances will be handled after your death (see Six Steps to a Good Will). You also should have a living will to explain your wishes about life-sustaining medical care if you become terminally ill and are unable to speak for yourself. Other documents you might need to claim benefits and ensure your financial security include: -- Birth certificates -- Citizenship and adoption papers -- Marriage license and divorce papers -- Social Security card -- Insurance policies (You must have the original life insurance policy to claim benefits.) -- Medical records and information -- Deeds to property, automobile titles, mortgage papers, leases -- Military records -- Investment records Keep the documents listed above in a fire-resistant home safe or lock box. However, do not keep wills in a safe deposit box. It can be difficult for family members to gain access and might require court supervision to open. Keep a copy in your home safe or at your attorney's office. The original usually is kept with the county registrar of wills. Advertisement Compile account numbers and contact information for creditors, service providers and anyone from whom you receive a bill. According to the nonprofit consumer organization GreenPath Debt Solutions, you should let creditors know about your situation when a disaster strikes and provide updated contact information. Ask them to waive late fees if you received any as a result of a disaster that left you unable to pay bills on time. And if you're unable to pay any bills, ask your creditor if you can defer payments under a hardship clause. Most will allow you to do so for a month or two under emergency circumstances, according to GreenPath. Create a portable survival kit. There may come a time when you have to leave your home quickly. Creating a portable survival kit with food, water and supplies to last at least three days will help hold you over until your situation stabilizes or help arrives. You can pack your own, or you can buy a pre-made kit at the American Red Cross Store for $80. See 7 Must-Haves for Your Emergency Kit for items that will help you get by when the power is out. Stock up. FEMA recommends that you keep enough food and water in your home to sustain your family at least two weeks. Buy canned goods, dry mixes and other foods that store well. (Don't forget a manual can opener and a camping stove, in case you lose electricity.) To build your stash, purchase a few extra items each time you go to the store, or buy a little more when favorites go on sale. Follow me on Twitter


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I'm so thrilled that Sound From the Bench, my piece with poet Jena Osman, was named as a finalist for the 2018 Pulitzer Prize. Everyone put so much into this project, from the incredible singers of The Crossing and Volti, conductors Donald Nally and Robert Geary who commissioned the work, to Taylor Levine, James Moore and Ron Wiltrout who played their instruments with absolute ferocity throughout the process, to Nick Tipp who produced our album for Cantaloupe Music. And as added bonus, I had the extreme honor of being included on that list with this year's Pulitzer winner, one of my favorite living musical artists Kendrick Lamar. It was also fun to be interviewed by Slate about my opinion (!) of K.Dot's music and his newfound status as a Pulitzer recipient -- read that article here.
I'm headed back to LA from a lovely week touring in Kalamazoo, Ann Arbor and Boston with Roomful of Teeth and A Far Cry. I was singing for the first time as a member of the ensemble with Roomful, which was so invigorating and so challenging. Those individuals are operating on such a high level of vocalism and musicianship! Such a honor to be included with them.
We performed concerts that included my pieces Coloring Book (which I wrote for the Teeth) and Law of Mosaics (which I wrote for A Far Cry), but I also got to sing the music of my friend Caroline Shaw -- her acclaimed Partita for Eight Voices, as well as a newer piece she wrote for both groups to perform together called Music in Common Time. Sarah Darling (one of the violists of A Far Cry) wrote a nice piece for the Boston Intelligencer ruminating on the collaboration. The whole evening was really satisfying, one of the most heart-warming performances I've been a part of in a long time.
I was also pumping my fist at A Far Cry's committed and aggressive performance of Law of Mosaics. It's just another testament to how important it is to make sure the works you're really proud of are recorded extremely well. When "the Criers" first learned Mosaics back in 2013, of course they rocked it, but they couldn't possibly approach the work with a real sense of cohesion since they hadn't actually heard it as a whole yet. But after we recorded the piece, produced it juuuust the way I wanted it (thanks to the brilliant Jesse Lewis), the band was able to listen from a distance and then come back to performing the work with a new (and profoundly effective) depth of understanding. Check out the embedded clip to hear just a taste of A Far Cry's raw mojo on the first movement.
It was also great to spend some time in Ann Arbor with the students at the University of Michigan. I was super impressed with the vibe at that school, both because of all the extremely talented musicians but also because it seemed like everyone's general emotional-happiness level was quite high. The University Music Society (UMS) presented the concert with Roomful of Teeth and A Far Cry, but they also brought Caroline and I out to coach the University's Contemporary Directions Ensemble (conducted by Oriol Sans) on some of our music (the ensemble was so great! one of the best student ensembles I've ever heard); AND I participated in a fascinating discussion series called EXCEL, moderated brilliantly by Jonathan Kuuskoski. The discussion ranged from issues of diversity in classical music to genre and identity to composer collectives, and lots of composers from the School of Music were participating with an enthusiasm that was heartening to say the least.
Greetings from Santa Fe, where the one-of-a-kind vocal octet Roomful of Teeth is recording my new piece Coloring Book. (This piece was premiered in October 2015. I wish a little bird would have told me that Chance the Rapper would soon drop the best album of year and name it the same thing.) This caps a two-week tour of the mountain west in which Teeth performed the piece many times. I met with them as they started the tour (on John Zirkle's ambitious series in Big Sky, Montana), and it was heartening to see the way the music evolved and took shape over the course of the tour. Tim Schmoyer's Santa Fe studio The Kitchen Sink is a beautiful facility, and with producer Jesse Lewis at the helm the whole process has been a delight.
Coloring Book has proven to be a very difficult piece to talk about, and to introduce to audiences.
In five movements, I set texts by three Black American writers -- James Baldwin, Zora Neale Hurston, Claudia Rankine --from texts that specifically address identity. It's a piece inspired by the Black Lives Matter movement, and these writers' profound ability to explore and address racism, as well as the work of Eula Biss, a essayist who has found unique and courageous ways to write back toward the concept of 'whiteness.' And it's a piece that engages pretty strongly with the idea of 'creative appropriation' -- not only am I taking these words and using them in another work, but the intention is to create a patchwork in which the context of the original usage of the text is embedded and contributes actively to the meaning of the new work.
That is, I set texts by black writers addressing identity and blackness, to be sung by an ensemble made up of mostly white musicians who perform for mostly white audiences, as a way of exploring whiteness; not to ever pretend the writers' experience could be embodied or portrayed by us, but rather to ask "what would these words mean if we spoke them?" and to use that idea to explore the boundaries that separate our identities. I spoke a little bit more about this in an interview with NewClassicLA. It is a tricky concept to explain, and I'm still working on it, but I'm excited that this piece will live in the world as a recording soon and will appear on Roomful of Teeth's next album.
We just closed out an incredibly invigorating recording session in Philadelphia with the supremely talented choir, The Crossing. With Nick Tipp and Donald Nally at the helm, we recorded four of my pieces for an album slated for release on Cantaloupe Music in March 2017. Couldn't be happier right now.
You can catch The Crossing, with Ron Wiltrout, Taylor Levine and James Moore, performing my music at the Philly Fringe Fest on September 11. Donald Nally conducts.
After a dense and intense winter of composing and travel, the light at the end of the tunnel has finally become a reality, and I find myself with just a little bit of breathing room, and a string of really interesting performances here at the end of April.
1. The LA Philharmonic and Beth Morrison Projects collaborated for a vocal extravaganza at Disney Hall last Tuesday - the "Liederabend Op. LA" - which, true to form, had a lot of moving parts, a lot of rich and astounding vocalists, and a big vision. A couple excerpts from my piece Sound from the Bench were included, performed by guitar bros Taylor Levine and James Moore, percussion stalwart Joe Pereira, and the excellent Los Robles Master Chorale, expertly prepared by the fantastic Lesley Leighton. John Adams, as thoughtful and humble as ever, conducted.
2. I'm writing from San Francisco, where my new piece for six violins -- For the love of Charles Mingus -- will be premiered tonight at the San Francisco Symphony's Soundbox series. Chris Rountree is conducting the six violinists from the SF Symphony (along with a quirky but moving program that also includes Purcell, Rzewski, Stradella and Zappa, along with a new Nat Stookey piece.) I workshopped this piece extensively, first with six spirited violinists from the New World Symphony, and then with my great friend Miki Cloud (who will be recording the piece this summer).
3. On Sunday, I'll head to Minneapolis/St. Paul, where Saul Williams and the Mivos Quartet will premiere my new piece, The Answer to the Question that Wings Ask on April 26 at the St. Paul Reference Library. I'm so excited for this. The music sets Saul's powerful poem of the same name, and plays with some different ways the speaker (Saul) and quartet (Mivos) can interact rhythmically. The composer JP Merz interviewed me about this project and some other stuff -- you can read that here.
Last week, my friend Gabriel Kahane shared a few thoughts about craft and genre as they relate to new music. It's worth a read, and I think I understand where Gabe's frustrations come from:
"[P]rogress is often found in the alchemy of disparate idioms." True!
"Anyone can put a hip-hop beat under a twelve-tone row." Almost nobody has, and for good reason, but yes I'm with you. [Also this reminded me of The Most Unwanted Song, which is actually amazing.]
"One of the dangers of simply talking about genre qua genre, aside from the fact that hybridity is the order of the day, is that the quality of the work becomes secondary to its stylistic attributes." Yes, this can absolutely be a danger... and this danger is not limited to particular hybridistic works. When someone says "I hate country music" or "I hate rap music," it's the same thing — they haven't thought critically about the genre; they do not understand that genre is an arbitrary frame around an individual artist's expression; they are biased against a culture.
But then, the crux of Gabe's argument:
"I object to genre as a discourse."
"I]n an era where kids are making playlists that run from Kendrick Lamar to Karlheinz Stockhausen, shouldn't we allow craft, rather than categorization, to lead the conversation." I want to agree with this, and I wish it were that easy. And if Gabe is merely objecting to the insistence of iTunes to label every album as belonging to a single pre-defined genre, or some article about how the newest chamber pop phenomenon is obliterating genre as we know it, then yes, I agree with him 100%. Those conversations are boring, and they usually replace far more interesting ones about what, why and how an artist is expressing. [Also, 'chamber pop' was a geriatric term from the moment it was first uttered and should be retired at once.]
But when I think about it, many of the conversations I have about music do originate from genre or style-related questions more than from craft-related questions, and I like it that way.
Poking around an artist's relationship to genre usually results in questions that have something to do with: Why did this musician make certain aesthetic choices and what are the implications of those choices in context(s)?
Poking around an artist's craft can help us understand how they're making the music, but if our curiosity truly originates there, we may not even really understand what we're hearing, much less why the artist put those sounds together in the first place.
The idea that an artist should start their work with good craft — "first and foremost, craft!" an old composition teacher used to say — is even more dangerous. It's founded, I think, on the assumption that "good" craft is static, neutral and unbiased, rather than dynamic and subject to interpretation like any other socially-defined concept. In that way, genre and craft are two sides of the same coin: both moving targets mistaken as fixed standards, both sets of restrictions imposed upon present artists that are modeled from boundary-breaking innovations made by past artists, both enemies of invention when taken too seriously.
Craft is a word that used to mean power or force. (Kraft still means that in German.)
I laughed when this hit me, because I've long associated exhaustive conversations about craft with composers who don't have an interest in questioning or subverting the power dynamics of their own musical community. Composers who love their own prestigious teaching positions and residencies. Composers who have no personal incentive to cast a critical eye toward the audience assembled to listen to their music. Of course they would love power. (Not that I haven't talked craft with lots of other composers too, but somehow it's never the most memorable takeaway.)
And it's definitely true that if you compose with what powerful people agree is excellent craft, you have the highest likelihood of being folded into the established order. Accepting and adopting those standards without scrutiny clears the easiest path toward your own success in the field. (Not just limited to the Classical crowd here. The only established genres this is not true for are those which make no money -- what up, Vaporwave?! I see you out there!)
But how authentic can your expression really be if your syntax has been determined for you?
Genre comes from gender. This was a word that described grammatical differences before it was adapted into a word used to separate all human beings into two discrete categories of men and women. Today, genres herd different works of art into single categories based on any number of possible attribute filters. Who determines which filters are relevant is also a matter of power.
I recently took a job at a rather traditional Classical Music institution, where conversations about how to achieve the best compositional craft are constantly taking place, but questions about what "craft" might mean in different disciplines and styles, who exactly set those goalposts, or why we are perfecting our craft in the first place, are sometimes lacking. Tunnel vision.
But I don't blame the institution, I blame the genre. The culture of Classical Music is infected with the ethos that it is the most sophisticated, the most refined, the most subtle, the most expressive, the most "eternal" of all the Musics. (Then comes Jazz! Then everything else.) Most of us see this is completely and obviously untrue, but it's helping to keep the genre of Classical Music, and by extension the people it represents or at least the people that pay for it, isolated and segregated.
Genre is culture.
Our divisions and alliances, our segregations and minglings, our power dynamics, our setbacks and progresses — they are all traceable in our musical decisions, and in the ways we choose to classify them. People identify with music that reflects some part of themselves. The apparatus that harnesses these identifications together into labels with cultural import, and (usually) with monetary value, is genre.
Which is why I find Gabe's assessment that — "for the most part, everything that is new is a hybrid of two or more things that came before. This has always been the case." — to be juuuust a little flippant.
All hybrids are not equal!
Yes, Beethoven appropriated elements of the Turkish march and Debussy was fascinated with the Javanese gamelan music he heard at the Paris World's Fair, but the dialogue taking place among genres in these works didn't run much deeper than that. And it goes without saying: these are both composers who made seismic syntactic innovations. (Just not which are at all related to these particular examples of stylistic hybridity.)
Gabe's examples of Ligeti's Désordre and Sufjan's Predatory Wasp of the Palisades, on the other hand… Both are richer hybrids. Both explore a more fluid and dynamic relationship to genre than the Beethoven or Debussy.
The way I see it, craft operates in tandem with the hybridity of these works. The composer's (and performer's) choices about how to express their ideas factor into their engagement of different genres or stylistic signifiers, and are usually inextricable from it.
There's no such thing as universally good craft. Désordre is crafted exquisitely only insomuch as it is crafted to fit comfortably into the solo repertoire of a concert pianist. (And it's a great showpiece — the promise of an wowed audience is enough to lure a performer to overcome the technical challenge of learning it.) But to me, this craft, while masterful in many ways, is the least interesting part of the piece. And personally I find the craft of Wasps (and all of Illinoise) to be a little awkward. Some sectional edges are rough, some of the production and orchestration seem a little wonky in a way that doesn't seem intentional. (These aspects got way more convincing with Age of Adz and especially Carrie and Lowell.) But this only adds to its impact and authenticity.
But what about this new piece Brain by Fay Wang? We could talk about the composer's craft, which may or may not be notable, but for me the conversation definitely starts with genre. I mean, what even is this piece? The wide palette of musical elements she incorporates, the puzzle of implications she harnesses through sounds and their disparate references, the contrasting vocal styles (check the belting at the end!) — all these things speak to a really sophisticated and dynamic sense of stylistic hybridity.
Or what about the composer who better win all the Grammys, Kendrick Lamar? So many fascinating conversations are provoked by To Pimp a Butterfly, but the way Lamar uses genre as a dynamic parameter in that work is astounding and inspiring. Hip-hop has a genre consciousness built into its foundation. Sampling is recontextualizing, samples are recombinant materials, and the way a hip-hop harnesses (or hides) the cultural associations attached to each sample's source changes with every work. Much like D'Angelo's masterpiece Voodoo of 15 years before, TPaB is a patchwork of sounds, styles, gestures — some super specific and almost pastiche, some more elusive — that conjure disparate genres, all woven intentionally into a narrative that implies both unity and tension among different perspectives, voices, generations.
Yes, TPaB is constructed skillfully in other ways too, but it's not true that the combination of genres in that album are "only as important as the craft that's brought to bear on their marriage." I'd argue the opposite. The soul, the message of the music is found in a deep and critical engagement of genre.
Maybe I'll have a private argument with Gabe about how I hear him taking a similarly critical approach, using genre as malleable and expressive parameter in hybrid works like February House and The Ambassador, in ways that deserve real dedicated discourse. Maybe I'd completely agree with him if I still lived in Brooklyn, where it's still easy to get fatigued from the latest PR hype proclaiming the end of genre as we know it (as if "post-genre" weren't also a genre in this context). Maybe (wait, definitely) I'm overthinking what's really just a songwriter's plea to leave him alone and let him write down the music he hears in his head.
I know this can all sound a little whiny and a lot sanctimonious, but the truth is it's all rooted in optimism. Music is a great communicator and has the power to speak to large communities without relying on the problematic specificity of actual language. Greater stylistic fluidity can beget greater communication among people, and to that end some real talk about genre is not something we should shy away from.
I just finished my movement of a new collaborative work by Sleeping Giant, for cellist Ashley Bathgate. Having just spent a lot of time in the city I grew up in, on and around Thanksgiving, I found myself feeling rather nostalgic and contemplative about lost youth in general.
When I started digging around for artifacts from the early 90's, things that would help bring me back, I came across a group of archived commercials for Sybaris Pool Suites, the Midwest chain of sleazy rent-by-the-hour hotel rooms+[waterfall spa]. I remembered these commercials from being 10-12 years old, when I viewed them with a repulsion/fascination akin to Garth Algar:
Anyway, I warped to what I'd call the speed of ultimate sleaziness and used that as a basis for sampling elements of the electronics part for my new piece for Ashley. Something about the muzak quality of the backing tracks is super beautiful... but in combination with the stretched voice of softcore commercial lady, it's quite something:
Here's a new music video from The Source by Daniel Fish, Juliet Lashinsky-Revene and Jim Findlay.
This premiered in this great article about The Source in one of my favorite blogs, The Daily Dot.
I just got back from my hometown -- Chicago -- although really I never left the -coiffed suburb of Evanston because I was participating in "NUNC! 2" -- the second-annual new-music conference led by the composer Hans Thomalla. [I never got a straight answer on whether NUNC! is actually an acronym.... or the origins of the exclamation point, if there are any.]
This was a big ambitious undertaking. I joined Kate Soper, Rick Burkhardt, Ann Cleare and Donnacha Dennehy as one of five invited composers. (As different as their music is, from each other and from mine, I'm a big fan of all their work.) Three days were packed with discussions, lectures and performances, and Northwestern's contemporary music ensemble (along with some truly excellent student vocalists) performed about 75% of my piece Katrina Ballads on a concert Saturday night, conducted by Alan Pierson.
I've never been present for a performance of this piece (Katrina Ballads) in this particular type of academic environment, and it proved to be sort of a lightning rod. The (super generalized) gist was this: all the performers seemed to really love the experience of playing/learning the piece, a good chunk of the audience responded positively and I got a lot of comments after, but there was a distinct *vibe* (negative) from the academic set (many of the composers/musicologists present at the festival).
Because NUNC is a conference for discussing musical ideas, it seemed like the perfect place to open up a discussion about the issues/problems raised by a piece that appropriates primary-source text (some from individuals experience great pain or grief), that deals with politicized topics and blending of styles -- and I did, in a 40-minute session slotted for me to present my music. But that forum felt way too short, and more than anything I think it reminded me of all the (sometimes silly, sometimes legit) strife that can divide members of a community that is, in truth, extremely small.
I wish I could say confronting all these issues was a healing process, but it only scratched the surface, and the more I think about it the more it leaves a sour taste in my mouth. Or at least it makes me want to continue a discussion in a real way - about what it means to use political (or even just extramusical) content in a piece of music today, and what the political/aesthetic implications are of mixing styles or playing with style. I've continued the discussion with a few great minds I encountered at Northwestern last weekend -- notably the conductor Michael Lewanski, musicologist Ryan Dohoney, and Danielle Taylor, who played viola in the performance of Katrina Ballads -- but I dunno.... I want something more from this. Hopefully I can find a way to write meaningfully about these divisions, or at least begin to articulate the problem.
Here's a live video, by Tyler Kinney and Karlos Rene Ayala, that we shot a few weeks ago in preparation for the release of The Source. (Album drops this week!)
One of my favorite musicians, the voraciously-appetited pianist Ethan Iverson of The Bad Plus, recently blogged a really thoughtful and thorough review of Red Light's new album Barbary Coast. This was so great to read because I've been such a fan of Iverson's playing for a long time. My brother from the old country Ron Wiltrout first turned me on to The Bad Plus when we met 10 years ago, and I've seen them several times since then and followed their surprising trajectory ever since. This album in particular, juxtaposing renditions of Ligeti Etudes and Milton Babbitt's Semi-Simple Variations with covers of classic rock songs featuring singer Wendy Lewis, is refreshing and bold, and a model for looking at familiar music through an unfamiliar lense. Read Ethan Iverson's review here.
Also, my new piece Coloring Book for Roomful of Teeth was premiered last weekend at National Sawdust, and the folks at Classicalite had some really nice things to say about it. Read that review here.
I couldn't be happier that the Chicago Symphony Orchestra has programmed my piece Law of Mosaics for their first MusicNOW concert of the 2015-16 season! Adding to this delightful news is that they've asked my friend, the conductor Chris Rountree, to do the honors of leading the orchestra! Law of Mosaics will constitute the second half a program that also includes Daniel Wohl's string quartet Glitch, and Kaija Saariaho's cello+electronics work Petals. This will all go down on November 23, at the Harris Theater in downtown Chicago.
This concert is a big deal for me. I grew up listening to the CSO of course, attending their concerts and aspiring to their general musical boss-ness. The CSO blogged a little interview with me about it.
What's more is that Chicago Magazine has listed the show as one of their 25 "must-see" events of the fall.
I conducted the Red Light Ensemble in their first concert in 2005. The group was started by Scott Wollschleger and Vince Raikhel, two of my best homeys from Manhattan School of Music, who had asked me to conduct Gerard Grisey's Vortex Temporum on their first concert. That experience - learning, rehearsing, performing such an incredible work of contemporary music with my friends - was super important for me, and after that, the fun never stopped.
Well, unfortunately it did stop in February 2014, when the Red Light Ensemble played its last show as a conducted group. However, as we were preparing that final show, we spent some time in the studio recording an album of new works by the four composer-directors of Red Light, all written for Red Light - Chris Cerrone's The Night Mare and Liam Robinson's Chamber Concerto, along Scott's Brontal No. 3 and Vince's Cirques, and we threw in my piece Crispy Gentlemen for good measure.
It feels like it's been an eternity, but the result of those recording sessions - Barbary Coast - is now released on New Focus Recordings!

subset: commoncrawl


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Sunday, August 08, 2010
Journey's end
26 comments:
- bells said...
yes! matching cardigans for the boys!
I love this. I really love it. Men in cardigans - there just aren't enough of them.
You've done a great job. The colour choices just worked out so well and I think you've learned a great thing re monogamous knitting!
- 08 August, 2010
- DrK said...
So gorgeous! Look at that beautiful seaming, and the colours suit him so well. And how great to have finished something when all those naysayers said you'd never knit again! It will be so great to see your boys in their matching retrofits next year. A most excellent journey you have been on!
- 08 August, 2010
- 2paw said...
Oh well done, I ahve so enjoyed the journey with you!! It looks fabulous and I kind of like it this way best. Lovely seaming!!!
- 08 August, 2010
- MadMad said...
Wait. First I have to get over my relief that journey's end didn't mean you were going to stop blogging. I don't know why that popped into my head, but there you go. I just skimmed this entire post waiting for the bomb to drop. It was very stressful! So now I have to go back and read it in peace, and enjoy it. I did catch a glance at those seams btw. Whoa, you're good!
- 08 August, 2010
- MadMad said...
Alright, I'm back. I'm still a little cranky, though - what's up with cutting off the baby's face?! How am I supposed to get a good look?!
P.S. Wow on the sweater - it looks fabulous! And I agree with Husby that this coloring is more practical for a man. (Did you read that article in Twist Collective about knitting for a man? Basically it says they are boring. Which I guess we knew.) Anyway. Where was I? Oh, yes - it's very, very fabulous. Congrats! And thanks for not quitting blogging. I love your posts and your headless pics and how cute is that little sidewalk? Such a pretty neighborhood!
- 08 August, 2010
- Donna Lee said...
Yea, I'd like to see the baby's face, too!
The sweater journey was definitely a success. It's a perfect everyday cardigan. I'm working on a perfect everyday pullover (although it's knit in one piece and is too hot to work on right now and is taking forever). There's a reason some patterns are popular forever.
- 09 August, 2010
- nestra said...
I have the same sweater in my unfinished pile, it is only lacking the zipper - any hints for putting one in?
- 09 August, 2010
- Mereknits said...
Amazing sweater, you did such a fantastic job. I think matching sweaters is a great idea. Your boys are very lucky to have you.
Have a wonderful day,
- 09 August, 2010
- jp said...
Great seaming (I know how much you hate it!).
The cardigan looks great and I love the change with the contrast edges.
- 09 August, 2010
- Ann said...
You have done a beautiful job as the sweater looks great on your husband.
- 09 August, 2010
- Michelle said...
That looks great!!! I've always wanted to attempt this pattern but have absolutely zero knowledge on how to sew on a zipper :(
- 09 August, 2010
- Linda said...
Thats a great looking sweater and you so must make one for the small boy! Fabulous knitting.
- 09 August, 2010
- Yarna said...
Brilliant! Well done! The seaming is masterful. You have every right to feel proud of it - and the two boys!
- 09 August, 2010
- 1funkyknitwit said...
I know you said the fit was a wee bit on the smaller side..BUT, to me it looks PERFECT!!! :D
Turned out great and he looks great in it. I'm thinking for ALL your efforts he should be made to make you dinner for the next month..heheh
- 09 August, 2010
- Snoozen said...
Looks excellent! I am so envious as I have packed all my crafting away until I am given permission to resume. So if I was allowed to work on a single project I would be smiling! Keep up the wonderful work.
- 09 August, 2010
- Janet said...
It is fabulous!
I discovered I too really love knitting "in pieces" rather than one piece. It seems so daunting (and boring sometimes) to knit it all at once. And you SHOULD be proud of your seaming! It's perfect!
- 09 August, 2010
- Leonie said...
Oh what a wonderful journey to accompany the beginning of your journey with Connor. He and his father will look fabulous in their matching outfits. I just love me a bit of seaming to finish off a project and yours are perfect.
- 09 August, 2010
- Roxie said...
Bravo!! It's so manly and understated! You did a magnificent job, and he's a lucky guy!
And if he protests about a matching sweater for the lad, tell him to suck it up. You don't have that much winter, And the lad won't be wearing it for more than a year or so. There will be five, maybe six times when they wear the same sweater at the same time. It won't kill him and it will make you sooo happy!
- 09 August, 2010
- sapphireblue said...
"Monogamous knitting". I love that term. I don't know any monogamous knitters, so you're not alone.
- 10 August, 2010
- GeekKnitter said...
Aren't they just the handsome pair! Well done you!
- 10 August, 2010
- kgirl said...
hooray for FO's!
great looking cardigan, especially that seaming ;) teddy will look adorable in a mini-me version too!
- 10 August, 2010
- Yoga Knitdra said...
Bravo indeed, but what's this about you knitting monogamously, I just don't believe it - but then here is the proof, well done! Can't wait to see the mini-me version next year, or is that too much pressure - one thing at a time?
- 10 August, 2010
- Alwen said...
What a great piece of knitting! I love that color.
- 15 August, 2010
- Ruby Girl said...
It is so nice, so evenly knitted and in a very nice colour too.
- 15 August, 2010
- Sheridan said...
That looks awesome! Well done. (and we have the same pram, same colour and everything!).
- 25 August, 2010
- kim said...
Your knitting is meticulous. That looks so great on him. And is there anything sexier than a many with a baby? I think not! :)
- 06 September, 2010


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Related Resource
Induced Seismicity Potential in Energy TechnologiesVideo
About 60% of the energy consumed in the United States come from fluids pumped from the ground. Activities related to producing this energy, including conventional oil and gas drilling, hydraulic fracturing, geothermal energy production, and underground disposal of wastewater, has been linked to a small number manmade earthquakes. A new video, based upon Induced Seismicity Potential in Energy Technologies (NRC, 2013), examines the science behind manmade seismic activity and discusses practices that can help reduce risks.


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Mayor's Office
Mayor Chris Beutler today kicked off the new First Hour Free program in downtown parking garages and displayed one of the new digital, solar-powered parking meters that may soon be installed. The City's downtown garages also now offer "shopper zones" on the lower levels for those parking for three hours or less.
"These improvements reflect a new approach to downtown parking - using it as an economic development tool to encourage more people to come downtown," said Mayor Beutler. "The goal is to make parking in downtown Lincoln a more positive experience with abundant, convenient and low-cost options."
The City-owned parking facilities and programs have been re-branded as "Park & Go," with new orange signage. The City operates 13 downtown facilities with a total capacity of more than 5,000 spaces. The First Hour Free program is available in all City-owned garages and the Iron Horse surface parking lot. The new parking meters scheduled to be installed this fall will allow users to pay for parking with their credit cards.
"For years we've heard, 'I never go downtown, it's too hard to park,'" said Dave Landis, Director of the City Urban Development Department. "These exciting changes are intended to accommodate downtown visitors and keep our parking rates among the lowest compared to comparably sized cities."
"Downtown Lincoln businesses are excited about the changes," said Terry Uland, President of the Downtown Lincoln Association (DLA). "A new parking strategy has been a priority of DLA for a long time. The new initiatives are a great fit with the Downtown Master Plan completed a few years ago. It's great to see the years of study, community meetings and hard work on the parking issue pay off for businesses, residents and visitors."
Earlier steps taken by Beutler to improve downtown parking include the appointment of a Parking Advisory Council. Beutler also consolidated the entire parking system into the Urban Development Department. Functions had previously been handled by three other departments
Earlier this month, the Mayor announced that downtown parking enforcement would be privatized, saving the City money and allowing for the adoption of a more customer-friendly "parking ambassador" strategy.
In addition to the parking facilities being planned in connection with the arena, two new garages are planned: another in the Haymarket and a new 650-stall facility on "Q" Street between 13th and 14th as part of the Urban 38 Group's retail and housing development.
For more information on downtown parking, call City Parking Services at 441-6472 or visit parkandgo.org. E-pay services include pre-paid, reserved event parking; monthly billing; the purchase and re-loading of iPark cards; and the payment of parking tickets.


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Events & Special Offers
Dogwood Acres Pet Retreat is commiteed to sharing our love of animals through an active engagement with our community.
Listed here are local community events as well as in-house Dogwood events and special promotions that pets and pet lovers alike will enjoy.
We look forward to seeing you around town and here at Dogwood!
Events for January 1, 2019
Events Search and Views Navigation
+ Export Events
Dogwood Acres Pet Retreats' Holiday Donation Drive for Pet Oxygen Masks benefiting our Local Volunteer Fire Departments
This Holiday Season, Dogwood Acres Pet Retreat is helping our local K-9 officers get new gear! Enter the Dogwood Acres K-9 Holiday Raffle for your chance to win $400 in Southwest Airlines Gift Cards for you and a Two Day All Inclusive Sweet Retreat Getaway at Dogwood Acres for your four-legged bestie!Find out more »


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Southern California has several successful rail to trails conversions, with the potential for many more. You can see existing Southern California Rail-Trails at http://www.trails.com/stateactivity.aspx?area=14932
The president of AAA Mid-Atlantic recently advocated for the elimination of existing federal programs that help build bicycle and pedestrian trails and sidewalks from the trust fund that finances transportation. These funds have helped create more than 19,000 miles of trails, walking and bicycling facilities across the country—including some in Southern California.
There are 19,872 miles of rail-trails around the country—with 9,232 more in the planning stage. Very few of these would have been built if AAA's position had taken hold decades ago.
AAA Mid-Atlantic suggests that an $89 billion annual highway fund shortfall can be blamed on investments in walking and bicycling. But those investments total less than $1 billion annuallyand produce tremendous benefits for everyone, including drivers.
CORBA is joining with the Rails to Trails Conservancy in calling for the for the AAA to retract the statements made by the AAA Mid-Atlantic region President. We ask CORBA members and supporters to sign the Rails to Trails Conservancy petition at http://www.railstotrails.org/AAA
To prepare for that delivery, the petition will be closed at midnight on Wednesday, Dec. 8.
Thank you for having already signed the petition. We've asked this of you a lot lately, but since it's so important, please forgive us: would you spread the word however you can, one last time? Just ask a friend or two to visit www.railstotrails.org/AAA.
Postscript (December 27, 2010): 51,000 people signed the petition. See the full story…
Tags: aaa, federal transport, petition, rails to trails


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Trustees vote on nominee for Washington County Community College
CALAIS, Maine (AP) � The Maine Community College System board of trustees is voting on a new president at one of its colleges.
At its meeting Wednesday in Calais, the board will vote on system President Joseph Fitzsimmons' nomination of Joseph Cassidy as the next president of Washington County Community College, effective July 1.
Cassidy is a longtime faculty member at the college and an attorney in Calais.
If approved, he would replace his uncle, William Cassidy, who's been serving as interim president since 2012.
Washington County Community College has 475 students and is one of seven colleges in the community college system.


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Conducted by Hiroko Yanamoto-Symonds, the class is open to all; men and women, young and old, the flexible and inflexible. Students are free to start, stop and recommence their attendance at the class as needed.
Since 1991 Hiroko has been studying and practising Yoga. Having completed Yoga Teacher training courses in Sydney and later in India she has been teaching Yoga since 2000.
Class Fees: PAY AT VENUE
5 class pass - $80 ($16 per class). l 10 Class pass - $150 ($15 per class).
Causal Class - $20 (Special price for Vedanta Society and Vedanta Centre Members - $15)
Come at least 5 minutes before start of class. Wear loose fitting clothing. Bring a Yoga mat or towel. Class is held on carpeted floor. If desired bring a blanket too for relaxation session.
ENQUIRY: Hiroko Yanamoto–Symonds 0410 650 103 Vedanta Hall: 02-9745-4320


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White Collar Exclusive First Look at Mozzie's Wedding! Willie Garson Talks "Massive Twist" and Saying Goodbye
Dec 4, 2014 8:01 AM EST
After playing a con artist and thief for six seasons on White Collar, star Willie Garson may have picked up a few bad habits from his day job. "I actually have stolen that suit. So now you can print that," he tells TVGuide.com with a laugh. "That's h… Read more


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1. I Just Flew In From Boise, and Boy Are My Legs Tired. Four days might not be near enough time for the Broncos to rest up for their first round game. They needed three overtimes and 107 points to put away the pesky New Mexico State Aggies and take the WAC's auto-bid. The good news is that it was only 10pm in Las Cruces when the game finished up, so I guess everyone got their beauty sleep.
2. Dear Tiny, Infant Jesus. Call it the Ballad of Reggie Larry. The man with two first names is the most dangerous college player you've never heard of. The New Jersey native played two years at College of Southern Idaho before transferring in to BSU. He's averaging 19 points and 9 rebounds, and he can do this.
3. Multiple Personality Disorder. The Broncos have been a baffling team all season. They began the season with an obvious laugher against DI independent Utah Valley State, but needed OT to pull out the win in the home opener. They then proceeded to lose to Loyola Marymount in December, giving that moribund program one of their five wins this season. Then they finished 2007 with a huge out-of-conference home win over a ranked Brigham Young squad. They could lose by 20, or pull the upset of the tournament. I have no idea. — Storming The Floor


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LONDON (Reuters) - Data aggregator Property Claims Service (PCS) is putting insured losses from superstorm Sandy at $11 billion, which currently leaves catastrophe bond investors safe from losses - but experts say the figure is likely to rise.
PCS has not formally released its loss review yet, but an initial estimate based on its first survey has been seen by cat bond funds and traders.
PCS is an industry loss compilation service used by the majority of cat bonds to define whether an insurance event qualifies for a payout under the terms of the deal.
Catastrophe bonds allow insurers to pass on extreme risks, such as those related to earthquakes or hurricanes, to financial market investors, and are seen as an alternative to reinsurance.
The initial figure from PCS, which bases its estimates on confidential insurer surveys and its own database of houses across the country, is much lower than estimates release by disaster modeling firms such as RMS, AIR Worldwide and Eqecat, which currently stand at $15 billion - $25 billion.
Losses topping $20 billion would trigger payouts on two catastrophe bonds sponsored by Swiss Re, the world's second-largest reinsurer, according to market participants.
The $11 billion loss estimate from PCS will not significantly impact the 67 percent of U.S.-hurricane exposed cat bonds.
"While investors will be relieved by the loss estimate from PCS, they will still be pondering the evolution of these figures in general," one UK-based cat bond investor told Reuters.
Some transactions known as "aggregate" bonds are at risk of losses, meaning it will only trigger if it accumulates enough losses on an annual basis to reach a pre-agreed attachment point.
Sandy could count as a qualifying event, say investors.
Cat bond issuers make regular interest payments to the bondholders, and, if no catastrophe-related losses are incurred, return the principal once the notes expire.
Investors usually receive interest payments and are required to pay out only under specific conditions.
Such payouts are a rare occurrence, with only eight of some 210 property catastrophe bonds issued since 1997 ever being triggered.
Historically, PCS has dramatically increased estimates from its initial guess as it gathers data from insurers.
The firm raised its estimates for 2011's Hurricane Irene by nearly 18 percent to $4.3 billion from its previous report.
Likewise, its initial estimate for Hurricane Katrina stood at $3.4 billion - increasing to $41.1 billion two years after the event.
Reporting by Sarah Mortimer


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Campus Tour
Student Center Theater (# 33 on campus map)
Thank you for your interest in visiting Eastern's campus!
- Please plan two hours for your visit.
- The first ½ hour is an information session and Q & A with an Admissions Counselor.
- The presentation is followed up with a 1.5 hour guided campus tour with one of our enthusiastic student employees.
Parking Options:
- Parking garages (across from the Student Center – buildings 36 [Shakespeare] or 42 [Cervantes] on campus map)
- Admissions Building (number 25 on the campus map)
- Any of the parking lots, as long as the space is not reserved for faculty or staff
GPS Address: 270 High Street, Willimantic, CT 06226
Campus map and directions: http://www.easternct.edu/map/
PLEASE NOTE: If you are from a school or other organization and would like to bring a group to campus, please call the Admissions Office at 860-465-5286 to make separate arrangements.


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LOS ANGELES (AP) — Reese Witherspoon has walked down the aisle.
A spokeswoman for the actress says the "Walk the Line" star wed her fiance, Hollywood agent Jim Toth, in Ojai, California, about 90 miles (145 kilometers) north of Los Angeles. Publicist Nicole Perna did not reveal details about the Saturday ceremony.
Usmagazine.com first reported the nuptials.
The Oscar-winning actress and Toth announced their engagement in December.
Toth is an agent for Creative Artists Agency, which represents Witherspoon through another agent.
The 35-year-old actress won an Academy Award for her portrayal of June Carter in 2005's "Walk the Line." Witherspoon's other film credits include "Legally Blonde," ''Four Christmases" and the forthcoming "Water for Elephants."
She was previously married to actor Ryan Phillippe, with whom she has two children: 11-year-old daughter Ava and 7-year-old son Deacon.
Reese Witherspoon weds agent beau in California
LOS ANGELES (AP) — Reese Witherspoon has walked down the aisle.


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CBI Group staffs Nemours Florida hospital in time for grand openingApril 25th, 2013
Customer Challenge
While in- and out-patient, therapeutic and operating room facilities were being constructed, the Nemours HR team faced the challenge of building a staff of several hundred doctors, nurses, therapists and other allied health professionals to provide care within these new facilities.
Already well-established in Florida, Nemours faced the pressing challenge to recruit and retain a team of 600 additional professionals to provide care while maintaining and further developing its national reputation. Every year, Nemours is included in the top ranking of pediatric health facilities in the US and while smaller Nemours clinics already existed in Florida, this new hospital and health campus would be the ultimate showcase for its widely-respected calibre of care.


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What's HPV all about?
Okay, here's the science. Don't panic! There's no test at the end, so don't worry.
HPV stands for human papillomavirus. It's a common virus that can end up causing a lot of health problems, including genital warts and cancer - such as cervical cancer. Don't think it will happen to you? Think again.
HPV is the most common STI (sexually transmitted infection - formerly called STD, or sexually transmitted disease) in the world. HPV is a really important health issue for all young women.
Although there are over 100 different types of HPV, most of them only cause minor health problems, such as warts on your hands or feet. Most types of HPV do not cause any symptoms and go away on their own; however, there are over 40 types that affect the genital area and some can lead to even more serious health problems. To learn more about the health conditions that can be caused by HPV and how they could affect you, see "How can HPV affect me?"
Some types of HPV are considered to be high-risk types and can lead to some cancers, such as cervical cancer and cancer of the vulva (the outside of the female genital area) and the vagina. Other lower-risk types of HPV lead to genital warts. They're called "low-risk" because they're unlikely to cause cancer.
The next time you go to your doctor, ask for some more information about HPV and how you can protect yourself.
Am I at risk?
"Am I at risk of being infected with HPV?" For any girl or woman who is sexually active or is close to becoming sexually active, the answer is "yes."HPV is not spread through blood, and you can catch HPV simply through skin-to-skin contact with the genital area of an infected person during sexual activity.
Get the facts:
- You can catch the virus even if you don't have sex.
- Being faithful or only having one partner won't necessarily protect you from getting HPV. You or your partner may already have caught HPV from an earlier relationship. See how quickly HPV can spread through your network of sexual partners.
- Although HPV sometimes causes unsightly genital warts, you can't always see visible symptoms. Because of this, you may not be able to tell if someone is infected - they might not even know they're infected.
Condoms don't provide complete protection from HPV. You may be asking your partner to use a condom to prevent the spread of sexually transmitted infections (STIs), such as HIV and chlamydia, and that's smart. Unfortunately, any skin-to-skin contact in the genital area can spread HPV. If you are having sex, a condom may not protect you if your partner has the HPV infection outside the area that the condom covers. Even if you're vaccinated against HPV, don't stop using a condom. Condoms help prevent other infections, as well as pregnancy, so make sure you use them!
Fortunately, there are ways to help prevent HPV. Talk to your doctor about getting protected against HPV.


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Clean Room
Industries like healthcare, pharmaceuticals and food processing demand high levels of air cleanliness for airborne particulates as well as environmental control over atmospheric contamination, temperature, and humidity.
Manage contamination in clean rooms by maintaining control over the environment. High performance clean room ceiling tiles are engineered to meet the requirements for food processing areas, laboratory, data center, electronics, and clean room assemblies. Used with Clean Room grid, they create a reliable system to help control contamination.
Recommended Products
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Product comparisons must be made within the same category (ceilings, installation systems, walls). If you'd like to continue, please clear your current selections.Cancel Clear all selections


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Another source claims the early spellings of the place name differently as in Meslach [2]CITATION[CLOSE]
Williams, Dr Ann. And G.H. Martin, Eds., Domesday Book A Complete Translation. London: Penguin, 1992. Print. (ISBN 0-141-00523-8) which was listed in the Domesday Book of 1086 and later as Matlac in 1196. In this case, the place name literally meant "oak-tree where meetings are held," from the Old English "maethel" + "ac." [3]CITATION[CLOSE]
Mills, A.D., Dictionary of English Place-Names. Oxford: Oxford University Press, 1991. Print. (ISBN 0-19-869156-4)
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But somehow, we find our mind wandering back to four years ago.
Does anyone remember how in 2005, the Yankees brought in the top two free agent pitchers (Jaret Wright and Carl Pavano) and traded for Randy Johnson to supplement a rotation which already had Kevin Brown and Mike Mussina.
At the time, it seemed almost unfair.
But even having secured the three top pitching prizes on the market that year, the Yankees still won six fewer games the next season and lost in the first round of the playoffs. The free agents were absolute busts, and the Big Unit was servicable, if unspectacular.
Moreover, the Yanks haven't played an inning of League Championship action
We're just saying.
Update 12/12/08, for the benefit of Baseball Musings readers: We're not comparing CC to Jaret Wright at all...but the Yanks did bring in Big Unit (2.60 ERA, 0.90 WHIP, second in NL Cy Young voting in '04) and Pavano (3.00 ERA, 1.17 WHIP, sixth in NL Cy Young voting '04). So we don't feel as out to lunch with this comparison as some might suggest. But feel free to set us straight.


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On the Oak Ridge City Council's agenda tonight are resolutions to approve the tax increment financing Economic Impact Plan for the Oak Ridge Mall property.
by Beverly Majors
On the Oak Ridge City Council's agenda tonight are resolutions to approve the tax increment financing Economic Impact Plan for the Oak Ridge Mall property.
The IDB approved a resolution to recommend the application for the Economic Impact Plan for the redevelopment to the Council and the Anderson County Commission after a public hearing in October.
The Economic Impact Plan is the first step in identifying the area from which the incremental tax revenues will be derived and to identify the qualifying project.
Last week, the IDB agreed to waive fees associated with the Crosland Southeast tax increment financing (TIF). Crosland Southeast is the retail and mixed-use development firm based in Charlotte, N.C., that is under contract to purchase the Oak Ridge Mall property.
According to information from the city, Crosland proposes to purchase the 60-acre mall property, demolish the majority of the existing structure, and create a multi-use town center in its place. The redeveloped property would include retail, office, hotel and residential elements.
The high cost of demolition and reconstruction coupled by the anticipated lower-than-average lease rates in the Oak Ridge market has created a gap in the financing of the project. In order to cover that gap, Crosland has proposed that the IDB, the city and Anderson County fund a $13 million portion of the project through a TIF over a 20-year period.
Anderson County Commission's Operations Committee voted last week to recommend that the Commission OK that TIF agreement. The Commission will vote on that recommendation at its meeting set for next Monday.
Council will also consider a resolution to reauthorize the 2013 Payment in Lieu of Tax (PILOT) Program economic incentives for use by the Industrial Development Board as a guideline for tax abatements and payments in lieu of taxes for qualifying projects; a resolution to establish a board of directors for the Land Bank Corp.; and a resolution to purchase new police cars.
Council may also be asked to approve a resolution to amend the city manager's employment agreement to provide for an equivalent 10 percent salary increase.
The Council will meet at 7 tonight in the Municipal Building courtroom.
Beverly Majors can be contacted at (865) 220-5514.


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Lucky You: exclusive code for 25% OFF + Free Shipping! Details
Cover for SANDBY Footstool
Gaja Timberwolf Wool designed by Gabriel A/S
About the product
Cover for IKEA SANDBY footstool - Gaja Timberwolf. Neutrals (black, grey, white, and brown) are basic to the decorator's tool kit. All-neutral schemes fall in and out of fashion, but their virtue lies in their flexibility: add color to liven things up; subtract it to calm things down. Neutral colours such as grey will blend with any décor, complement a more prominent color, and are easy to use.
Please note this custom cover is tailored by CoverCouch to fit the IKEA SANDBY footstool model. Footstool is not included and is available at IKEA.
Please note this custom cover is tailored by CoverCouch to fit the IKEA SANDBY footstool model. Footstool is not included and is available at IKEA.
Fabric key facts
- 100% Pure New Wool from New Zealand
- A modern classic
- Anti-slip
- Crepe without stripes
- Wide range of colours
- Environmentally friendly
- Oeko-Tex 100 certified
- Labeled with the Ecolabel Flower
- CoverCouch
About the fabric
Gaja Timberwolf belongs to the Gaja family - a modern classic for interior design and has been our most popular upholstery fabric in pure wool. Gaja is available in an immense colour range. Wool is naturally resistant to dirt and fire. It is anti-static and it does not burst into flames if you drop an ember, a cigarette or a match. Stains can be removed from wool fabric by lightly brushing. This material is extremely durable and resistant to piling, rubbing and light.
A sample of this fabric was added to your shopping cart
Fabric details
|100% Pure New Wool
|Width, cm
|Weight, g/m2
|Colour fastness to light
|Colour fastness to rubbing
|4-5/4-5 (EN ISO 105x12, wet/dry)
|Abrasion resistance
|50 000 cycles (Martindale EN ISO 12947-2)
|Cigarette and match tests (EN 1021 1&2)
|Dorte Bo Bojesen
|Production / Supplier
|Gabriel A/S
Care instructions
Don't wash. Don't use chlorine bleach. Dry clean. Don't iron.
Facebook comments:
Literally perfection!
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Lovely colour and fabric.
Verified Buyer
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Verified Buyer
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Amazing fabric and fit
Verified Buyer
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Soderhamn covers
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Quality is excellent. Arrived sooner than expected. Love love the green velvety material!
Stocksund cover
Verified Buyer
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Good value, fits well but not quite up to the standard of the original Ikea cover.


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If you have come to Japan, you'd be overwhelmed by the respectful manner of the Japanese. But when riding public transportation such as bullet trains or buses, it's not hard to see young people sitting on the seats while there are some elderly standing. So of course this will lead you to doubt why these respectful and polite people don't give up their seats for those who are older than them?
In most countries, showing respect and priority for the elderly is considered as a good sign of having manners in young people. But if you spend enough time in Japan chatting with elderly people, you'll see it's not just about being polite, it's about handling appropriate social skills!
After one and a half years in Japan, where I got to spend a lot of time chatting with elderly while waiting for the bus, I realized the Japanese elderly are also very open-minded and friendly. I asked my neighbor – (an elderly lady who is also my landlord) about what I saw when I used public transportation and she explained that whenever she get on the bus and someone offers her a seat, she would come up with the thought: "Ah~ Am I becoming so old that I need a young man to give me priority?" This would remind her, "You're getting old!" Also, she was sure that there are many other people in the same situation. I myself once suffered the same awkwardness when I offered my seat to a woman and her children in the bus, but the result was, no matter how much she kept saying thank you to me, she resisted sitting on that seat.
Recently, a Japanese friend just told me: "Even if you have the good will of offering your seat, it doesn't mean other people have to accept that kindness of yours". There are some people who are afraid they will cause you "inconvenience or trouble" or simply "don't want to receive your pity". As a matter of fact, because Japan is a country which has a growing population of the elderly, their perspective on giving priority to "elderly" somehow different from most other Asia countries.
With Japanese people who don't want to be seen as "elderly" or "causing trouble for others", if you insist to offer them a seat, then the best thing to do, according to my experience, is to pretend that you're about to get off the bus at the next stop. Just stand up and walk toward to the bus exit, or to another cabin (if you're on the train). Just stand up and leave the empty seat, if people see that empty seat and if they are willing to sit, they'll go directly and take the seat themselves.
Related Articles:
Japanese Etiquette: Must or Should?
Important Train Riding Etiquette in Japan
Why Japanese don't talk on the phone when on public transport


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SEO Deconstructed (#SWChat)
SEO is the abbreviation for Search Engine Optimization. This is the process of structuring a web page so that it is found, read, and indexed by search engines in the most effective manner possible. This makes your web site and its content attractive, relevant and visible to search engines and web searchers.
Combining Social Media with SEO provides a very powerful social media presence. This event looked at the why and how of SEO for your business to give you the edge over your competitors.
Event Questions
Q1) Why does SEO really matter for your business?
Q2) Increase in clicks is great, but can good SEO actually turn clicks into paying customers?
Q3) Who in your company should be in charge of SEO?
Q4) What is a good ranking for your website and how do you go about improving it?
Q5) What simple SEO tips & tricks should every business be aware of?
Related Articles
- Why SEO Should Be Important To You via webnauts.net
- 10 Stats That Prove The Value Of SEO via engage
- How Much Does SEO Cost: 2 Analogies To Help You Determine Its Value via Search Engine Land
Spreecast Social Video Channel
Panelists: Kevin Mullet, Jennifer Sable Lopez, Lars Eriksson, Colin Hope-Murray
Producer: @LizCpher
Playback: (see below)