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My name is John McKeown, and I am the founding attorney of a respected solo attorney law firm that offers a breadth of legal services to individuals throughout the Rochester area.
My main office is located in the historic city of Canandaigua, New York, but the experienced representation and personal service that I provide is not bound by city limits. I have satellite office in Rochester, and remain highly accessible from each location when my clients need me.
Bankruptcy Law · Foreclosure Defense · SSD and SSI · Criminal Law
I primarily operate as a Rochester bankruptcy lawyer, as a large portion of my practice involves helping people overcome debts through Chapter 7 or Chapter 13 bankruptcy. Still, I have more than 25 years of experience in a wide range of legal disciplines, including Social Security Disability and criminal defense. In that time, I have developed a keen awareness and unmatched level of skill that helps people get the results they need.
If your legal concerns involve insurmountable debts, struggles with your mortgage and home ownership, a disability that affects your employment and income, or a criminal charge that is threatening your future, I encourage you to contact my office as soon as possible.
It is my belief that the best results in legal matters come from a collaborative attorney-client relationship, which is why I take the time to address my clients' individual needs and do not run them through the mill the way many large law firms often do. My clients know me as a senior attorney with decades of experience in a variety of legal disciplines, and I work hard to retain the personal service and attention that every legal issue deserves.
Get Comprehensive Representation From A Canandaigua Social Security Disability Lawyer Today
I welcome you to email me or reach me by telephone at 585-337-0479 to schedule an initial consultation. During this meeting, we will discuss your legal situation and the ways that my legal services could provide you with solutions. Getting a fresh start is possible, and when you call my office you can swiftly get on the path to doing so.
We are a debt relief agency. We help people file for bankruptcy relief under the Bankruptcy Code.


text:
The MATRF is located in 409 Daniel Hall.
Click here to view a more detailed map of the Clemson University campus.
This website is maintained by: The College of Architecture, Arts and Humanities, 101 Strode Tower, Clemson, S.C. 29634 | Website Questions
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subset: commoncrawl


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Member Since: 09/22/08Send This Person a Message Give this person a Gift Add This Person as a Friend
Stands by what he believes Sheep Dog Warrior Proud to Know Proud Father Police Veteran Hard Charger Blue to the Bone Dedicated Professional Brother in Christ God Bless you and your family Appreciate your past service in special areas of LE American Patriot stay safe
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cakdep1: Quiz Results
What Kind of Police Cruiser Are You? taken over 1 year ago
You'd be a Dodge Diplomat
cakdep1: Gifts
cakdep1: References
cakdep1: Activity
"Have a great weekend as well!"
prayers to the officers and their families!
"Wishing you a merry Christmas and a happy 2015 I Please watch out for the Political garbage going on out there!
"Heading out to vote and hope to make a difference in the way things are going in my town! Enjoy the day!"
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Add this person as a friend to write on their Comment Wall.
over 1 year ago
I'm starting early so I can wish all of my PL friends a Merry Christmas and a Happy New Year. Stay safe.
over 1 year ago
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over 1 year ago
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I wish you and yours a safe and very Happy Thanksgiving!
over 1 year ago
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Just wanted to wish you and your family a Blessed Thanksgiving! We are having the family over to chow down. I think summer has finally left California, its been raining and getting cold and they say it might rain Thanksgiving. UGH! Have a great rest of the week. and take care!
Happy Thanksgiving from our home to yours.
over 1 year ago
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Hello! Just stopping by to say "HELLO". Haven't been here for a while. Hope you're doing well. Today it's snowing at the moment and I think we'll get a few inches. Have a great Sunday!
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I am very grateful, for all my friends.
Prayers and hard work
Below is my favorite Quote
"Garcia,you are my God given solace. Whatever happens, don't ever stop talking to me."
Quoted from
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Thanksgiving will be here soon so From Our Home To Yours Happy Thanksgiving.
over 1 year ago
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Just wanted to say HI! Sorry I haven't been on here to much lately. Hope things are well with you. I finally got the kitchen remodeled and we are now working on the family room and sunroom, that is if other things would stop breaking. LOL. I'm on vacation for a couple of weeks, I just had to get away from work for awhile. Its been really crazy lately. Take care my friend and have a great week.
As Veteran's Day approaches, I would like to thank all of those who have served our country.
Have a blessed day and take care.
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Thanks for the fire power and friendship! Be safe and be well!


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Apartments are seen in the West Bank Jewish settlement of Maale Adumim near Jerusalem, in this June 7, 2012 file picture. REUTERS/Ronen Zvulun/Files
LONDON: Britain on Saturday urged Israel to reverse its decision to build 3,000 settler homes in east Jerusalem and the West Bank, saying the plans would undermine peace efforts.
Foreign Secretary William Hague said he was "extremely concerned" by the move, which came in response to a historic UN vote to recognise Palestine as a non-member observer state.
"The UK strongly advises the Israeli government to reverse this decision," Hague said in a statement.
"The window for a two-state solution is closing, and we need urgent efforts by the parties and by the international community to achieve a return to negotiations, not actions which will make that harder."
He added: "If implemented, these plans (for new settlements) would alter the situation on the ground on a scale that makes the two-state solution, with Jerusalem as a shared capital, increasingly difficult to achieve."
Britain abstained from Thursday's UN General Assembly vote, saying that it wanted the Palestinians to unconditionally agree to negotiations on a lasting two-state deal with Israel.
But the British statement on Saturday said that Hague had also advised Israel to "avoid reacting in a way that undermined these goals" for a swift return to peace talks.
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American Idol
Jennifer Lopez Names Her Top 2 Picks to Win American Idol 2012 (VIDEO)
During the Top 8 round, Jennifer Lopez was so blown away by two contestants that she suggested they may be the last ones standing before America's final vote. Do you think she's right? Sound off in the comments!
Need your daily dose of American Idol? Like us on our Facebook page at facebook.com/AmericanIdolFansite, or follow us on Twitter at twitter.com/IdolWetpaint!


text:
Visual Studio: Replacing spaces with tabs and vice versa
To replace spaces with tabs:
- Select the text that contains the spaces you want to replace with tabs, or choose Select All from the Edit menu to select the entire file.
- From the Edit menu choose Advanced, then click Tabify Selection.
Found on MSDN. I've needed this about zillion times, but never knew it was built into Visual Studio.
Posted October 24, 2005 3:54 PM


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Not my work, just posting up here. Props to trickyhenry over at XDA for bringing this to my attention and of course the guys responsible for bringing the Milestone-Overclock to us and adding support for the Defy.
Google Code link: http://code.google.c...es/detail?id=63
So as per the above overclock is now available for Defy. Rooted phone is needed for this to work.
Download the Milestone-Overclock.apk and install.
Open the app and click on load module, then use the slider to select your overclock
QR code for direct access to the apk:
link removed due to a better solution being available
Edited by Higgsy, 10 January 2011 - 10:29 AM.


text:
Gershwin at 100
One hundred years after his birth, George Gershwin is the most widely remembered of the songwriters who dominated American popular music between the end of World War I and the rise of rock-and-roll. Some three dozen of his 700-odd songs, most of them written in collaboration with his older brother Ira, continue to be performed regularly, and his name remains a potent symbol of an era and a musical style.
But Gershwin's special place in American popular culture is not due solely, or even primarily, to his songs. Instead, he is remembered above all for having been, in the words of Irving Berlin, "the only songwriter I know who became a composer." In 1924, at the age of twenty-five, he wrote Rhapsody in Blue, a work for piano and jazz band that would become the most frequently performed piece of concert music by an American; he would go on to compose a tone poem, an overture, a full-length opera, and three more works for piano and orchestra prior to his untimely death in 1937 at the age of thirty-eight.
As Berlin's remark suggests, Gershwin was unique in his attempt to compose "classical" music while simultaneously writing scores for Broadway and Hollywood. This was what first brought him to the attention of the general public, and it also explains why he is now better known than such gifted contemporaries as Jerome Kern, Cole Porter, and Richard Rodgers. Unlike them, he longed to do something far more ambitious than writing popular songs; he sought in his concert works to create, in his own words, "a musical kaleidoscope of America—of our vast melting pot, of our incomparable national pep, our blues, our metropolitan madness."
Ambition is the father of controversy, and Gershwin has long been the subject of rancorous debate. Many classical composers, including Aaron Copland and Virgil Thomson, dismissed his concert works as unimportant, though others, most notably Maurice Ravel and Arnold Schoenberg, took them very seriously indeed. Some of the criticism directed at Gershwin's music during his lifetime betrayed anti-Semitic and nativist sentiment. Conversely, many black musicians have claimed that his work is entirely derivative of jazz, sometimes going so far as to accuse him of actual plagiarism.
While such controversies have done nothing to diminish Gershwin's popularity, they may have slowed his acceptance as a legitimate subject of research. No scholarly biography has yet been written (in part because Gershwin's estate has long been reluctant to cooperate with independent scholars), and it is only in recent years that musicologists have begun to produce serious studies of his work.1
These studies, whatever effect they may have or fail to have on the disputes provoked by Gershwin's concert music, do at least make the listener's task easier. For Rhapsody in Blue, An American in Paris, and Porgy and Bess cannot be truly experienced until they are stripped of the obscuring camouflage of unstylish performances and ideology-driven criticism and allowed to stand on their own. To approach Gershwin's music in this historically aware way is the first step toward taking it—and him—seriously.
George Gershwin was born Jacob Gershvin in Brooklyn on September 26, 1898. He was the second son of Moshe Gershovitz and Rose Bruskin, who emigrated from czarist Russia to the United States in the 1890's. As Ira Gershwin would unsentimentally recall:
Most of our early childhood was spent on the Lower East Side of Manhattan where my father engaged in various activities: restaurants, Russian and Turkish baths, bakeries, a cigar store and pool parlor. . . . When my father sold a business and started another we would inevitably move to a new neighborhood. George and I once counted over 25 flats and apartments we. remembered having lived in during those days.
Gershwin did not begin studying piano until the comparatively late age of twelve, but his progress thereafter was rapid. At fifteen, he dropped out of high school to become a Tin Pan Alley "song plugger," a pianist who demonstrated new songs for performers. He cut his first player-piano rolls in 1915, and four years later wrote La La Lucille, the first of two dozen Broadway scores. Meanwhile, he intermittently continued to study harmony and orchestration with Edward Kilenyi and Rubin Goldmark, the latter of whom was Aaron Copland's first composition teacher.
Gershwin soon established himself as one of the outstanding musical-comedy composers of the day. His theater songs were superbly crafted miniatures whose clear-cut, beautifully balanced melodic lines, elegant harmonies, and ebullient spirits proved irresistible to singers and audiences alike; they were set to Ira Gershwin's witty lyrics, technically no less accomplished though tending to the emotionally shallow. (Interestingly, Ira's most deeply felt lyric, for Harold Arlen's "The Man That Got Away," was written long after his brother's death.)
But George's interests, unlike those of his brother, extended far beyond the field of show music. He composed an unsuccessful one-act "jazz opera," Blue Monday, in 1922. Two years later, he was the piano soloist for the premiere of his Rhapsody in Blue, a work commissioned by the bandleader Paul Whiteman as part of a program of "symphonic jazz" called "An Experiment in Modern Music." Despite mixed reviews, the piece was an immediate popular success, and Gershwin and Whiteman subsequently recorded an abridged version for Victor that received wide circulation.2 From then on, he divided his time between popular and classical music, with the latter occupying a steadily growing share of his attention.
Gershwin's creative energy was as abundant as his oft-remarked vanity. ("Tell me, George," the pianist Oscar Levant ribbed him, "if you had it to do all over again—would you still fall in love with yourself?") In addition to continuing his studies with modernist composers like Wallingford Riegger and Henry Cowell, he also taught himself to paint, eventually becoming an accomplished amateur portraitist and acquiring a notable collection of works by such contemporary artists as Picasso, Derain, and Rouault.
Those who knew him best agreed that Gershwin's personality was more complex—and troubled—than was generally recognized. Incapable of committing himself to a long-term romantic relationship, he had unsatisfactory affairs with the song-writer Kay Swift, the actresses Simone Simon and Paulette Goddard, and others. A lifelong victim of what he called "composer's stomach," he eventually became a patient of the controversial psychoanalyst Gregory Zilboorg.
In 1935, Gershwin completed Porgy and Bess, his first and only opera, a commercial failure that lost $70,000—nearly $850,000 in 1997 dollars. (A subsequent tour brought Gershwin $10,000 in royalties, less than he had spent on copyists' fees.) To recoup their losses, he and Ira moved to Los Angeles, where they wrote the scores for two Fred Astaire films, Shall We Dance and A Damsel in Distress. But he found the relentlessly commercial atmosphere of Hollywood incompatible with his increasingly serious musical interests. As he told his sister Frankie:
I don't feel I've scratched the surface. I'm out here to make enough money with movies so I don't have to think of money any more. Because I just want to work on American music: symphonies, chamber music, opera. This is what I really want to do.
In 1937, Gershwin began to experience severe headaches and other debilitating symptoms that his analyst assumed to be psychosomatic. Given his deepening depression, the assumption was understandable. "I am thirty-eight, famous, and rich, but profoundly unhappy," he had recently told a friend. But in fact he was suffering from a fulminating brain tumor. An emergency operation was finally done after he lapsed into a coma, but he never regained consciousness, dying the day after surgery.
Historically speaking, Gershwin's significance as a songwriter lies in his use of jazz-derived techniques. His melodies are full of flattened thirds and sevenths—known in jazz as "blue" notes—and the springy syncopations he picked up from the "stride" pianists of Harlem. But jazz was by no means the only idiom that influenced Gershwin. "Blue" melodic inflections are also to be found in the Yiddish-theater music he listened to as a boy, while his classical training gave him a frame of reference far wider than that of a self-taught tunesmith like Irving Berlin. It was thus a logical development for him to compose longer instrumental pieces in which his varied influences could be integrated into a coherent style.
Rhapsody in Blue, the first of these works, was scored by Ferde Grofé for Paul Whiteman's 23-piece dance band, in which saxophones and banjo figured prominently. The first recording, made eight months after the premiere, still startles listeners—the instrumental colors are brash to the point of crudity—and it is not hard to imagine the galvanizing effect such sonorities must have had on the work's earliest audiences. For all the freshness of Grofé's scoring, it was Gershwin's indelible melodies and brilliantly effective writing for solo piano that made Rhapsody in Blue more than just a short-lived curiosity.
Many critics have disparaged Rhapsody in Blue as a sanitized piece of pseudo-jazz, interesting only to the extent that it borrows from more authentic musical sources. But they overlook the fact that Gershwin composed Rhapsody at a time when jazz itself was still comparatively young. Louis Armstrong and Jelly Roll Morton were then all but unknown outside New Orleans and Chicago, while Duke Ellington and Bix Beiderbecke had yet to make their first recordings.
To be sure, Gershwin had already learned much from jazz. But his music was at least as influential on later jazz musicians, black and white alike, as it was influenced by early ones. In any case, Rhapsody in Blue, like his other conceit works, is not jazz per se but a highly personal stylistic amalgam that owes as much to Tchaikowsky and Liszt—not to mention Berlin, Kern, and the novelty pianist Zez Confrey—as it does to jazz and the blues.
The chief weakness of Rhapsody in Blue is not that it is derivative but that it is made up of good tunes that, ornamented and juxtaposed with considerable skill, are never developed symphonically. It is, in short, much the sort of extended piece one would expect from a talented but inexperienced young songwriter, and had it been Gershwin's sole attempt at an extended instrumental work, Aaron Copland would have been right to dismiss him as merely "a good Broadway composer."
Instead, Gershwin chose to grapple systematically with the challenge of large-scale form, and by the end of 1925 he had composed and orchestrated a three-movement piano concerto and appeared as soloist in the first performance, accompanied by Walter Damrosch and the New York Symphony Orchestra.3 The Concerto in F is by no means a perfect piece, but it represents a quantum leap in formal command on Gershwin's part, one accomplished without losing any of the jazzy vitality of Rhapsody in Blue.
An even more impressive grasp of musical form can be heard in the tone poem An American in Paris (1928). Though Gershwin would produce three more conceit pieces—the Second Rhapsody (1931), the Cuban Overture (1932), and the I Got Rhythm Variations (1934)—none is nearly so memorable as An American in Paris, in which classical music, jazz, and American popular song are decisively fused into a unified, strongly individual style. Here, as in the Concerto in F, most of the alleged "defects" of Gershwin's scoring are actually the result of insensitive performances by over-large orchestras. When Gershwin's original orchestrations are played in a straightforward, unfussy manner by a medium-sized ensemble, the clarity of his sonorous image becomes immediately apparent.4
By the early 30's, Gershwin had acquired a knowledge of the classical repertoire more extensive than that of any other popular musician of his time—he was especially interested in the music of Berg and Stravinsky—and was ready at last to satisfy his longstanding desire to write an opera. In 1929, he had signed a contract with the Metropolitan Opera to compose a stage work based on S. Ansky's classic Yiddish play The Dybbuk. But he later abandoned the project, and the Met, in favor of a musical version of a once-popular novel by DuBose Heyward about life on Catfish Row, the black ghetto of Charleston, South Carolina.
A flop by Broadway standards when produced by the Theater Guild in 1935, Porgy and Bess is now widely regarded as Gershwin's masterpiece. The opera's initial lack of success, it is now clear, had less to do with its qualities as music than with the unfortunate circumstances of its premiere.
A complete performance of Porgy runs for well over three hours, not counting intermissions. (Aida, by contrast, is an hour shorter.) By opting for a Broadway production, Gershwin left himself no choice but to cut the score by about a quarter, a compromise that left no one satisfied. Broadway audiences found the results dull and depressing, while critics, unaware of the structural damage done by the cuts, regarded Porgy as an overblown musical comedy ineptly disguised as an opera. The composer-critic Virgil Thomson, for instance, derided it as the work of a bumptious naïf:
His lack of understanding of all the major problems of form, of continuity, and of serious or direct musical expression is not surprising in view of the impurity of is musical sources and his frank acceptance of the same. . . . The material is straight from the melting pot. At best it is a piquant but highly unsavory stir-ring-up together of Israel, Africa, and the Gaelic Isles. . . . I do not like fake folklore, nor fidgety accompaniments, nor bittersweet harmony, nor six-part choruses, nor gefilte-fish orchestration.
Thomson's anti-Semitic innuendos echoed the view of earlier American composers who had likewise found Gershwin's "melting-pot" approach incompatible with the maintenance of Anglo-Saxon musical standards. But they also divert attention from the perhaps more significant fact that Thomson plainly resented Gershwin's relative success.
In 1934, Thomson's opera Four Saints in Three Acts, featuring an all-black cast and conducted by Alexander Smallens, had a brief run on Broadway and scored a succès d'estime among the intellectuals. The following year, Porgy and Bess, also featuring an all-black cast and also conducted by Smallens, ran for 124 performances, a disastrously short run by the rigidly commercial standards of Broadway but an unprecedented triumph for a full-length opera by an American composer. Moreover, Porgy's principal numbers were promptly recorded by famous singers and quickly became hits, while Four Saints went unrecorded until 1947 (and did not receive its New York opera-house premiere until 1996).
Duke Ellington, another American composer who sought without success to write for the stage, made similarly derogatory remarks about Porgy and Bess:
It was taken from some of the best and a few of the worst. Gershwin surely didn't discriminate: he borrowed from everyone from Liszt to Dickie Wells's kazoo band. . . . The first thing that gives it away is that it does not use the Negro musical idiom. It was not the music of Catfish Row or any other kind of Negroes. . . . There was a crap game such as no one has ever seen or heard. It might have been opera, but it wasn't a crap game. The music went one way and the action another.
Other black musicians have similarly claimed that Porgy and Bess is inauthentic in its use of black idiom. But surely the "authenticity" of Gershwin's score is no longer a meaningful issue: what matters is the fact that it is compelling, whatever the means by which it works its compulsion on the listener. In Ellington's case, moreover, the animus was no doubt motivated in part by his own lifelong inability to master the organically larger musical forms that Gershwin had learned to use so skillfully.5
A more generous appraisal of Gershwin's abilities was offered after his death by his friend Arnold Schoenberg: "It seems to me beyond doubt that Gershwin was an innovator. . . . [H]e expressed musical ideas; and they were new—as is the way in which he expressed them." No less enthusiastic was a letter sent by Maurice Ravel in 1928 to Nadia Boulanger, the great French composition teacher whose pupils included Copland and Thomson:
There is a musician here endowed with the most brilliant, most enchanting, and perhaps the most profound talent, George Gershwin. His worldwide success no longer satisfies him, for he is aiming higher. He knows that he lacks the technical means to achieve his goal. In teaching him those means, one might ruin his talent. Would you have the courage, which I wouldn't dare have, to undertake this awesome responsibility?
Gershwin, of course, never studied with Schoenberg or Boulanger, and there is no imagining what he might have done had he committed himself fully to classical music, much less lived to a normal age. Yet it is precisely because what he did accomplish was so extraordinary that this unanswerable question continues to tantalize us.
Rhapsody in Blue is a fifteen-minute-long assemblage of hummable tunes stitched together largely in ignorance of the rules of musical form and scored by another hand. A mere eleven years later, Gershwin completed a three-act opera (the vocal score is 559 pages long), every bar of which he orchestrated himself: a work of considerable dramatic subtlety whose "hit tunes" are developed with the sophistication of a far more experienced operatic composer. No other American songwriter of the 30's—and no jazz musician, not even Ellington—could have composed Porgy and Bess, or anything remotely like it.
For this reason, it may be more appropriate to compare Gershwin not with his fellow songwriters, or even with Ellington, but with a composer like Copland or Samuel Barber. Here, he clearly comes up short, as can readily be heard by placing An American in Paris side by side with, say, Copland's Appalachian Spring or the Barber Piano Sonata, two acknowledged masterpieces of American modernism that plumb expressive depths Gershwin never came close to sounding. Still, given the small size of his classical output and the cruelly short span of his career—at thirty-eight, the age Gershwin died, Copland had only just begun to write the more accessible middle-period works that made him famous—such comparisons are necessarily problematic.
Perhaps it is enough, then, to say that in addition to being one of the indisputably great popular songwriters of the century, Gershwin left behind three of the most effective concert scores ever written by an American composer, as well as the only American opera yet to have entered the international repertory. This achievement is quite sufficient to commend him to posterity—and it is a particularly noteworthy one just at the present moment. At a time when e pluribus unum has increasingly come to be viewed not as a credo but as an insult, and when one's ethnic origin is taken as the sole measure of artistic authenticity, it is salutary to reflect on the life of a genius who proved time and again that art knows no borders. Born into an unlettered, uncultured, lower-middle-class immigrant family, George Gershwin became an internationally celebrated composer who made the whole world of music his own. Nothing could be more American.
Gershwin on CD: A Centenary Discography
Ever since the premiere in 1924 of Rhapsody in Blue, George Gershwin's music has been recorded and re-recorded by countless classical and popular musicians. Here are some of the best performances now available:
The Composer Plays
Gershwin's own piano playing—crisp, unmannered, and utterly direct—can be heard on George Gershwin Plays George Gershwin, which contains all of his commercial recordings, including the two abridged versions of Rhapsody in Blue he performed with the Paul White-man Orchestra in 1924 and 1927, both of which use Ferde Grofé's original jazz-band orchestration; a brisk 1928 rendition of his Three Preludes; and a group of recordings from 1926 and 1928 in which he plays solo piano versions of eleven songs and accompanies Fred and Adele Astaire on four others. Also included is Nat Shilkret's 1929 premiere of An American in Paris, a stylish interpretation full of vivid period flavor (Pearl GEMM CDS 9483, two CD's).
In Concert
The pianist Oscar Levant, Gershwin's close friend and trusted interpreter, recorded Rhapsody in Blue, the Concerto in F, the Second Rhapsody, and the I Got Rhythm Variations; these performances, sometimes heavy-handed but otherwise idiomatic, are collected on Levant Plays Gershwin. Rhapsody in Blue is heard here in Grofé's 1942 large-orchestra version, the other works in Gershwin's original, unretouched orchestrations (CBS MK 42514).
Although few European-born conductors have given convincing performances of Gershwin's concert music, Arturo Toscanini proved a welcome exception to the rule in his 1945 recording with the NBC Symphony of An American in Paris, a wonderfully vital interpretation containing none of the exaggeratedly "jazzy" mannerisms of such later conductors as Leonard Bernstein (RCA 09026-60307-2).
Leonard Slatkin and the St. Louis Symphony have given us excellent performances of An American in Paris, Cuban Overture, Catfish Row (Gershwin's own orchestral suite from Porgy and Bess), and Promenade, a witty instrumental entr'acte composed for the soundtrack of Shall We Dance (Angel CDD 64084).
The pianist-composer William Bolcom can be heard in a first-rate performance of George Gershwin's Song-Book, a folio of eighteen songs arranged by the composer for solo piano in 1932, together with the rest of Gershwin's solo piano music; the CD version of this album also contains engaging versions of ten Gershwin standards sung by the mezzo-soprano Joan Morris with Bolcom at the piano (Elektra Nonesuch 9 79151-2).
On Stage
The complete scores of Of Thee I Sing (1931) and Let 'Em Eat Cake (1933) were recorded in 1987 by Michael Tilson Thomas, the New York Choral Artists, the Orchestra of St. Luke's, and a cast of experienced theater singers (CBS M2K 42522, two CD's). Elektra Nonesuch is currently putting out Gershwin's other Broadway scores in meticulously restored editions based on surviving manuscript materials and prepared in cooperation with the Gershwin estate; the series to date includes Oh, Kay!, 1926 (Elektra Nonesuch 9 79361-2); Strike Up the Band, 1927, rev. 1930 (9 79273-2, two CD's); and Girl Crazy, 1930 (9 79250-2).
Todd Duncan and Anne Brown, who created the roles of Porgy and Bess, recorded highlights from the score in 1940, accompanied by a studio orchestra under Alexander Smallens (Decca MCAD-10520). Leontyne Price and William War-field, the stars of the 1952 revival that established Porgy and Bess as a viable stage work, recorded extended excerpts in 1963, superbly accompanied by a studio chorus and orchestra conducted by Skitch Henderson (RCA 5234-2-RG). The best complete recording of Porgy and Bess was made by Simon Rattle, the London Philharmonic, and the cast and chorus of the 1986 Glyndebourne Opera production. Rattle's generally fine conducting is marred by occasional touches of Bernsteinlike overemphasis, but the singing and orchestral playing are of the highest quality throughout (EMI CDCC 49568, three CD's).
Of the many jazz interpretations of Porgy and Bess on disk, the most interesting is the version arranged for jazz orchestra by Gil Evans and featuring the trumpeter Miles Davis (Columbia CK-65141, 1958).
The Songwriter
The George and Ira Gershwin Song-book, a collection of 53 songs recorded in 1959 by Ella Fitzgerald and a studio orchestra led by the arranger Nelson Riddle, has remained continuously in print since its initial release (Verve 825 024-2YH3, three CD's). In addition to this much-admired album, here are noteworthy interpretations of ten Gershwin standards:
"Embraceable You"—The King Cole Trio (Nat "King" Cole, 1943-1944, Classics 804, 1943).
"How Long Has This Been Going On?"—Louis Armstrong, accompanied by the Oscar Peterson Trio (Let's Do It: Best of the Verve Years, Verve 315 529 017-2, two CD's, 1957).
"I Loves You, Porgy"—Bill Evans (Bill Evans at the Montreux Jazz Festival, Verve 314 539 758-2, 1968).
"Isn't It a Pity?"—Shirley Horn, arranged by Johnny Mandel (Here's to Life, Verve 314 511 879-2, 1991).
"I've Got a Crush on You"—Frank Sinatra, arranged by Axel Stordahl and featuring Bobby Hackett on cornet (Swing and Dance with Frank Sinatra, Columbia CK 64852, 1947).
"Liza"—Art Tatum (Art Tatum: The Quintessence, Fremeaux & Associés FA 217, two CD's, 1934).
"The Man I Love"—Coleman Hawkins's Swing Four (Coleman Hawkins, 1943-1944, Classics 807, 1943).
"Nice Work If You Can Get It"—Mel Tormé, arranged by Marty Paich (Mel Tormé Sings Fred Astaire, Bethelehem BR-5003/BCP-6013, 1956).
"They All Laughed"—Fred Astaire, featuring Johnny Green on piano (Let's Face the Music and Dance, ASV CD AJA 5123, 1937).
"They Can't Take That Away From Me"—Tony Bennett, featuring Ralph Sharon on piano (Steppin' Out, Columbia CK 57424, 1993).
1 The outstanding critical work to date is David Schiff's recently published Gershwin: "Rhapsody in Blue," a monograph in the Cambridge Music Handbooks series (Cambridge, 126 pp., $11.95, paper), on which I have drawn extensively in writing the present essay. I am also indebted to William Youngren's uncollected articles on Gershwin's concert music. Among published primary sources, Ira Gershwin's Lyrics on Several Occasions (1959) is the most important; also of interest is Edward Jablonski's Gershwin Remembered (1992), a wide-ranging collection of memoirs and contemporary accounts.
2 Recordings of Gershwin's music are discussed in the discography at the end of this article.
3 Persistent rumors to the contrary not withstanding, Gershwin scored all his own concert works after Rhapsody in Blue, though he readily admitted to soliciting the advice of more experienced orchestrators.
4 Unfortunately, An American in Paris and the Second Rhapsody are now usually heard in textually corrupt editions partially rescored by Frank Campbell-Watson.
5 For a more detailed comparison of the two composers, see my "(Over)praising Duke Ellington," COMMENTARY, September 1996.


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RR Evoque: driven to extremes
The hottest, muddiest, coldest, glitziest test in history: we go global in the baby Rangey
Posted: 09 Dec 2011
More than anything else, that's thanks to the Evoque's compliant suspension and phenomenal damping. Where even the finest hot hatches would be unsettled by the lethal divots and fissures of these roads, forcing the driver to curb corner speed for fear of being bounced into a loch by a cruelly placed pothole, the Evoque simply flows over even the worst tarmac. Flat but never jarring, pliant but never sloppy, it has the same extraordinary breathability of the best Jaguars.
The optional magnetorheological dampers play a big part in this. Though essentially the same system used in the Ferrari 599 and Audi R8, the Evoque is the first car in the world to get the third-generation 'MagneRide' system, and the result is phenomenal: bipolar in the nicest possible way. The adaptive damping only comes as standard on the top-spec 'Dynamic' model: it's a £1,150 cost option on other trim levels, but one that's well worth the cash.


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Slide your each of content div like a "lift" very simply!
The best way for show and hide the content div (div.entry-content) with slide (toggle) effect of jQuery.
For each post: Click on the h1 title (h1.entry-title) it becomes ".active" class and unroll the content div. Click one seconde time and the h1 title becomes normal class and the content div roll to hidden status. (Basicly developped for WP 3.3 with the "Twenty Eleven" 1.2 template)


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Find hotels & motels in Nordenham using the list below. Find discounted hotel accommodations in or close to Nordenham, Germany for your upcoming personal or group travel. We show the best Nordenham hotel/motel rooms. Review the Nordenham hotel list below to find the perfect lodging. We also have a map of the Nordenham hotels.
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Sorority Row is a 2009 American slasher film. Directed by Stewart Hendler, the film stars Briana Evigan, Leah Pipes, Rumer Willis, Jamie Chung, Margo Harshman, Audrina Patridge, and Carrie Fisher. Produced by Summit Entertainment and written by Josh Stolberg and Pete Goldfinger. The film is a re-imagining of the 1983 slasher film The House on Sorority Row.
Run by Mrs. Crenshaw, the college sorority Theta Pi is home to seniors and best friends Jessica, Cassidy, Ellie, Claire, Chugs and Megan who, despite Mrs. Crenshaw's best efforts, constantly throw wild parties. During one of these parties Megan discovers her boyfriend Garrett is cheating on her. As payback she and her friends decide to pull a prank on him. Megan fakes her own death while she is making out with Garrett. With help from the sisters, Garrett brings Megan out to a steel mill, intent on dropping her body down a mineshaft. After the sisters (jokingly) mention they need to release the air out of her lungs so her body won't rise to the top, Garrett stabs Megan with a tire iron, actually killing her for real. Panicking, the group dumps Megan's body in the mineshaft, vowing never to speak of the events that transpired ever again. Eight months later, during the party held after graduation, the girls all receive a picture sent to their phones: a hooded figure holding the bloody lug wrench Garrett used to kill Megan. As the girls become increasingly worried, Chugs reveals that after the incident, Garrett has been seeing a therapist and has developed a weird sense of humor. Jessica takes the lead and insists it is merely a prank by him and continues with the party. Megan's sister, Maggie, also arrives, wanting to honor her sister's memory by attending the party. Later, Chugs leaves the party to go to her therapist appointment. While she is there, she finds her therapist handcuffed to his bed, revealing he was earlier seduced by a patient. The therapist asks if she would like a turn, and Chugs agrees. Chugs goes into the bathroom to prepare and while doing so, her therapist hears someone in his house. He is suddenly murdered when a hooded figure stabs him through the forehead by a tire iron. Chugs, not knowing that her therapist was killed, she lies down and drinks champagne. As she tilts her head back to let the champagne flow down her throat, the killer appears, shoves the bottle down her throat, and slices her neck with the tire iron (which now has a spear end, a harpoon end, and a knife end), killing her. Later, the girls are showering in the sorority's shower room, discussing the situation. A nude sorority girl named Joanna dies next when she is stabbed through the chin. In the basement, Ellie finds Cassidy's blood-stained jacket (which the group had wrapped Megan's body in before dropping her into the mine). During the party, Claire's boyfriend, Mickey, is impaled through the neck with Ellie witnessing it. The girls regroup and all receive a text message containing a clip of Megan's death and a message telling them to go to the mine shaft or the clip would be sent to the police in twenty minutes. Driving to the shaft, the girls find that Garrett now has slit wrists. Thinking the obviously delusional Garrett is the one stalking them, Jessica runs over him when he comes at the girls quickly with a mirror shard, discovering afterward Garrett has been receiving the same messages they have, proving he is not the killer. After sending Cassidy down the shaft, they discover that Megan's body isnt down the there and a message written in blood is left for them. "Theta Pi Must Die" After the girls return to the now empty sorority house, they receive a text message from Chugs's cell phone, telling them that she is dead. At the same time, Claire goes outside to turn off the broken hot tub filled with bubbles from the party. Suddenly, she realizes that someone in the bubbles is stalking her, and she runs back, only to find that the door is jammed. While struggling to get into the house, Claire is dragged back into the massive amount of bubbles by the wire that is wrapped around her ankle and is shot in the mouth with a flare gun, burning her face and mouth horribly. Afterwards, Mrs. Crenshaw arrives. The girls confess to her at gunpoint that they are the ones responsible for Megan's death, and that the killer is somewhere in the house. Mrs. Crenshaw tells the girls to lock themselves in a bedroom and to call the police while she searches for the killer. the killer hurls the tire iron and lodges it into the fridge by her. She tries to use her shotgun, but the killer kicks a table which pushes her into the harpoon end of the tire iron, stabbing her and killing her. While Maggie becomes trapped when the killer sets the house on fire with a Molotov cocktail, Cassidy and Jessica decide to check Mickey's body for a cell phone to call for help (while Ellie hides upstairs) and run into Kyle, Jessica's boyfriend, who injures Jessica after getting into a fight with her. Cassidy and Jessica flee to an under-renovation bathroom where they find Megan's decaying corpse hanging in the shower. As Jessica checks the bathroom door, Kyle swings an axe through it, knocking her out. He catches Cassidy and tells her that her boyfriend is nowhere to save her. He's then stabbed on the head with the axe from behind by Andy, Cassidy's boyfriend, who turns out to be the killer. Andy then kills Jessica by stabbing her in the mouth with the tire iron before telling Cassidy that he just wanted to help her, killing everyone who knew about her involvement in Megan's death so they could never tell anyone else and reveal she was involved. He explained how Chugs told her therapist, Joanna overheard the girl's conversation in the shower, Cassidy told Mrs. Crenshaw, Jessica told Kyle, and how Claire may have told Mickey (and even if she didn't "the guy was a dick"). He wanted points for not killing Garret since he remained silent, though commented he was so close to cracking "he had suicide hotline on speed dial." He then explains he must go and kill Ellie because Ellie was the one who told him. Playing along, Cassidy tells Andy that Ellie is in the basement, and while Andy goes to look for her, Cassidy fetches Ellie from upstairs and they try to run but are attacked by Andy. Telling Ellie to flee, Cassidy hits Andy with a lamp and tries to escape, but stops to help Maggie out of the burning house, allowing Andy to catch up and leave her dangling from a hole in the floor (while the fire is still going on). As Andy prepares to finish Cassidy off, Ellie appears and blasts him with Mrs. Crenshaw's shotgun. He falls backward onto the burning floor, which collapses, plunging him into the fire-engulfed basement. With Andy dead, Ellie pulls Cassidy back up and the two save Maggie. The trio escape from the burning sorority house, just as emergency personnel arrive onscene. Fifteen months later, Theta Pi is being renovated from the fire and Maggie is now a Theta sister. As the girls sing the Theta Pi song, a figure with a V scarred wrist (Presumably Garrett) is seen holding a garden trowel.
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Toward this website's role as the central source for all wild bobwhite conservation information, this page highlights current NBCI/NBTC-related messages, updates and news, as well as assorted other wild quail news items of potential interest from sources around the nation.
Georgia Wildlife Resources Division and the Longleaf Alliance recently hosted a Bobwhites and Longleaf field day at Silver Lake Wildlife Management Area, south of Bainbridge in Decatur County, with 25 landowners in attendance. Click HERE to read the full report on bobwhites and longleaf.


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David Boreanaz: Booth and Brennan's Relationship on Bones Changed Television
As Bones prepares to enter Season 8 this fall, star David Boreanaz (Booth) is taking a moment to look back at the contribution his show has made to the face of procedural TV.
From Law & Order to CSI, procedurals have always centered around a fascinating crime story. The characters, though they can be colorful, have often taken a back seat while the plot focused around the nitty gritty details of solving the crime.
Then Bones came along in 2005, and the chemistry-infused banter and will-they-or-won't-they drama of Booth and Brennan's (Emily Deschanel) — how do we put this: unique? — relationship was thrust into the forefront. Plenty of other procedurals have since adopted a similar dynamic with their lead characters, but Bones feels to us like the one show that really pioneered the concept.
On August 14, David tweeted a photo of he and Emily's cast chairs on set, writing, "Best duo in TV. Relationship changed procedure viewing 8 years ago. #Bones8"
Do you agree with David that B&B changed the course of procedural TV?
Need your daily dose of Bones? Like us on Facebook or follow us on Twitter.


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10 March 2008
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When you mention the term "design," especially in the context of visual design using a computer, people undoubtedly think of Adobe Photoshop, the popular pixel-based image editing software. In our culture, the word Photoshop has followed Google in becoming a proprietary eponym. Originally both proper nouns, these brand names are now commonly used as slang: "I'm going to google the answer" or "This image has been photoshopped."
Though I use it as a verb, I rarely run Photoshop unless absolutely necessary. You might be wondering how an information architect who designs websites manages to live without it. Simply put: Fireworks.
Suspend your judgment and disbelief while I explain why I love this unsung graphics application so much. Also, be aware that the purpose of this article is not to downplay the usefulness of Photoshop but to accentuate the often overlooked benefits of its equally capable cousin. It is my assertion that Fireworks makes an excellent choice for designers and developers working in an enterprise environment, helping to streamline workflow and expedite collaboration.
While Photoshop is the ultimate software for master photographers, Fireworks offers an unparalleled feature set for web designers and developers.
One of the obvious benefits of Fireworks is that it saves images natively in the PNG file format (pronounced "ping"). PNG, which stands for portable network graphics, is a lossless compression format supporting alpha transparency and millions of colors. You might be thinking, "What about layers? Isn't the PNG format only for flattened files?" Normally that is true but Fireworks automatically retains the layers you create, just like Photoshop.
Using PNG files created in Fireworks results in significantly reduced file sizes compared to the equivalent Photoshop document. In fact, after doing a few nonscientific tests—saving layered files in both PNG and PSD file formats—I found that the Fireworks file is typically 61% smaller. Another key benefit of Fireworks is compatibility when it comes to sharing your graphic files with others.
As a general rule of thumb, anything that can read JPG or GIF files will usually support PNG as well. Unlike the PSD format used by Photoshop, PNG files are readable by a variety of freely available applications, including the most important: web browsers.
Working as an interface designer at a Fortune 500 company, I used to save my work on a shared network drive. The user experience team had full access to our PNG files, whereas all other stakeholders in the company (of which there were many) had read-only rights. This setup allowed my team to go about working in a typical fashion. When it was time to get signoff for our mockup designs, rather than performing a batch export of hundreds of PSD files to either JPG or GIF format, we would just send a quick e-mail:
"Here are the project comps: http://10.10.10.xx/uxd/project/"
The approval team could then peruse the interface mockups at their leisure, without us having to do anything extra special to allow them to see our designs. Even better: being on a conference call with the primary stakeholders reviewing my PNG file in their browsers, I could edit the design in real time, based on their feedback. I cannot even begin to estimate the amount of time I saved.
Former coworker Cody Lindley, now lead client-side engineer at Fluid, told me, "When Adobe acquired Macromedia Fireworks and enhanced its PSD support, they improved the workflow for everyone. Fireworks is what Adobe ImageReady tried to be. If Photoshop is the tool of master photographers, Fireworks is the instrument of web professionals."
Another strength of Fireworks has always been its capability for rapid prototyping. This process is even faster with the release of Fireworks CS3. This is due to the new Pages feature, which enables you to make master templates from which other subsequent layers can descend. Pages essentially work the way canvases do in OmniGraffle. The main difference between them is that as you create prototypes in Fireworks, you have the ability to simultaneously design the final look and feel of your web application.
From there, you can easily export the project to HTML for a quick and dirty client walkthrough (never do this for production code). Additionally, Fireworks is fully integrated with Adobe Flash, which means you can seamlessly import your PNG design in Flash as a FLA vector interface. To top it off, Fireworks can directly create functional SWF animations as well.
When slicing up images for production use in XHTML and CSS layouts, no other program beats Fireworks in terms of compression. The optimization features available in Fireworks really add up when you consider the amount of images used in larger sites. This has implications for page rendering and monetary savings in bandwidth.
Fireworks can also export MXML, the native interface format for the Adobe Flex platform. Flex powers database-driven rich Internet application (RIA) sites. In this regard, Fireworks is to Flex as Microsoft Expression Blend is to Silverlight. Essentially a visual design tool, Blend generates XAML, Microsoft's application interface file format for Windows Vista. It can then be used in conjunction with their .NET Framework.
Since Adobe acquired Macromedia, they have worked hard to ensure that their products are well integrated. Though Photoshop cannot recognize layers in PNG documents, Fireworks can read and write in the PSD file format. Despite some issues with PSD layers and clipping masks, the process for transitioning between Photoshop and Fireworks is nearly seamless. In the event of a disagreement amongst designers, peacemakers using Fireworks can mitigate any compatibility problems.
When this article originally appeared on GeniantSandbox.com, entitled "Enterprise Fire-Flow," it garnered largely positive feedback from fellow web designers. Here are a few select quotes from other industry professionals sharing their affinity for Fireworks:
I too am a happy and loyal user of Fireworks (since version 2, to be precise). Fireworks CS3 is open all day on my iMac where I use it for almost everything, including information architecture, wireframes, image editing, and website plus application interface design. The ability to export to Flex has been a huge boon to my productivity. While there is still a little bit of code cleanup to do, generally the Export to Flex feature is a killer feature. Given the feature set that Adobe already includes in Fireworks CS3, the advent of Thermo will make it an even better product for interface/interaction designers. I'm particularly looking forward to the data integration features. Imagine that: real live data to test and tweak your design in. Way too cool. – Geof Harries
I also am a Fireworks-only web designer. Until recently, I didn't know that so many web designers used it—and, quite honestly, I felt that maybe I had chosen the wrong tool based on the amount of Photoshop users there were. Learning that so many web professionals use it makes me realize that it is a tool that can compete with the best of them. I am a vector junkie at heart and I love making logos, complete website mockups, and art in Fireworks. The fact that Adobe Illustrator vectors copy directly in (in CS3, not sure about the others) is awesome. I'm not a die-hard in the sense of pushing Fireworks. If Photoshop works for you, great; however, I love using Fireworks and I am pleased to see that Adobe continues to better it.
– Rogie King
Fireworks is awesome. I too first started web design using Fireworks. Before I knew much about file formats, I was always confused as to why Photoshop rendered PNG files as flat images. The built-in layering of the standard PNG format is so much more useful than toting PSDs around and having to convert them for various uses.
– Ben Carlson
Fireworks definitely deserves more face time. I know it's an indispensable tool for my work. I only open Photoshop when I'm editing photos. I had never thought of putting a Fireworks file on the web server to share with clients. That is just awesome!
– Dave Lowe
Photoshop is truly the king of photo editing, but if web design is your bag, Fireworks will most definitely serve you well.
– Craig Erskine
I loves me some Fireworks. I've been using it since version 1! Fireworks still isn't a great photo editing tool but I can't think of anything better when it comes to web design. It's the perfect blend of features.
– Jonathan Snook
I'm a recent Fireworks convert and I've got to say, once you stick with it (for web work) you definitely come to realize the benefits in comparison to Photoshop.
– Jonathan Christopher
I agree wholeheartedly: I've always been a Fireworks user and enjoy its more web-centric features for fast, flexible production work—start to finish.
– Andy Rutledge
I've been using Fireworks since Dreamweaver 1.2. I quickly saw the advantage of using it within an integrated environment. I still use Fireworks today. I can run circles around most Photoshop heads doing layout and I've put up with enough mocking, knowing that in the end (of Macromedia), Fireworks would indeed remain and join Adobe's family of products.
– Brandon Richards
I hope that after reading this article you will consider Fireworks as an option for improving the way your creative team works. If you own Adobe Creative Suite 3 Web Standard or Web Premium, chances are you probably already have Fireworks installed. Do yourself a favor and make the time to explore its versatility.
For a jump start on the learning curve, be sure to check out these online resources:
This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License


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Hear better, live better
Dr. Jiovanne Hughart earned her Doctorate in Audiology from the University of Florida and has over 30 years of experience. She specializes in balance testing and rehabilitation. She enjoys spending time with her family, playing the violin and exercising.
Dr. Baskett earned her Doctor of Audiology degree from Auburn University. She has special interest in cochlear implants and pediatrics. She joined Hearing Doctors of Georgia in 2009.
Hearing Doctors Of Georgia offers a full range of hearing services to patients of all ages. Our educated staff of clinical professionals provide expert hearing testing, evaluations and offer the most advanced hearing devices available. We can help you make the best choices with all of your hearing needs and achieve a better quality of life through better hearing. Visit one of our four convenient locations serving Carroll, Clayton, Coweta, Fayette, Henry counties and surrounding areas.
Hearing Doctors of Georgia offers comprehensive hearing services including:
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Namsan E-Bus, First Commercial Electric Bus Worldwide
February 8, 2013 4 Comments
Last summer I went to the N-Tower at the mountain Namsan in Seoul. On the way up the mountain I used the convenient cable car and the view from the tower was great. From the top I've saw the following thing:


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Sophia the Martyr
|Saint Sophia the Martyr
Saint Sophia and her three daughters: Faith, Hope and Love (Tretyakov Gallery, Moscow)
|no birth date on this page.
|Venerated in
|Roman Catholic Church; Eastern Orthodox Church
|May 15 (Catholic Church); September 17 (Orthodox Church)
|A woman accompanied by her three small daughters. Often she or all of them will hold crosses
Saint Sophia the Martyr (died 137 AD) is venerated in the Eastern Orthodox Church on September 17. Born in Italy, Sophia had three daughters: Faith, Hope and Love, who were named after virtues mentioned by Saint Paul in 1 Corinthians 13.[1]
The daughters are said to have been martyred during the reign of Hadrian (117–138). The guards took Sophia's daughters one by one, from the oldest to the youngest and beat and tortured them to death in an attempt to force their mother, Sophia, to renounce her faith in Christ. Afterwards, Sophia buried her daughters' bodies and remained by their graves for three days until she died herself.
According to tradition, in 778 part of their relics was transferred to the women's convent at Eschau in Alsace.[2]
The Bulgarian capital city of Sofia is named after the Church of Saint Sophia. The ancient name of Sofia was Serdica or Sardica. In 343 AD, the Council of Sardica was held in the city, in a church located where the current 6th century Church of Saint Sophia was later built. The city, known earlier as Sredets (Средец) in Bulgarian, was renamed Sofia in 1376 after the famous church.
In general, in the Eastern Orthodox tradition, Hagia Sophia (Greek: Ἁγία Σοφία, Latin: Sancta Sophia) as the name of a church refers to the "Holy Wisdom", i.e. "The Holy Wisdom of God" which is also the patron name of the Sofia church. Nevertheless, since recent times, the city's holiday is on September 17, and there is a 20m-tall statue of the saint in the Bulgarian capital's city centre.
Troparion of St. Sophia and her 3 daughters (Tone 5):
Thou didst blossom in the courts of the Lord as a fruitful olive tree, O holy Martyr Sophia; in thy contest thou didst offer to Christ the sweet fruit of thy womb, Love, Hope and Faith. With them intercede for us all.
- ^ Sophia's name means "wisdom" in Greek. Her daughter's names are rendered in Greek as Pistis, Elpis, and Agape. In Ukrainian, they are called Віра, Надія і Любов (Vira, Nadia and Lyubov'). In Russian, they are called Vera, Nadezhda, and Lyubov. In Bulgarian, they are called Вяра, Надежда и Любов (Vyara, Nadezhda and Lyubov).
- ^ Ekkart Sauser (2000). "Fides, Spes und Charitas: hl. Märtyrerinnen". In Bautz, Traugott. Biographisch-Bibliographisches Kirchenlexikon (BBKL) (in German) 17. Herzberg: Bautz. col. 381. ISBN 3-88309-080-8.
See also[edit]
External links[edit]
|Wikimedia Commons has media related to Icons of Sophia with daughters.
- Martyr Sophia and her three daughters at Rome Orthodox synaxarion (OCA)
- Saint Sophia (Antiochian Orthodox Archdiocese)
- Martyrs Sophia, Faith, Hope & Love
|This article about a saint is a stub. You can help Wikipedia by expanding it.


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This lecture is an introduction to Stem Cells and differentiation associated with Development. This follows on from teh lectures on signaling, which is vital to the process of cell differentiation. The lecture slides and textbook alone contain enough information as an introduction to the subject for this level of study. If you are interested in further reading, I have also included below links to more detailed textbooks with further information and images. Please note this additional information is not necessarily examinable, but may be useful if you have not previously studied biology. The link below to lecture slides allows you to open and view the slides in your web browser or download the PDF document for later viewing/printing.
Understand the concept of a stem cell
Understand the sources of stem cells
Brief understanding of possible applications
Brief understanding of patterning in development
Brief understanding of 2 signaling mechanisms in development
Page Links: iLecture Audio | Lecture Slides | Lecture Slides Text | NLM Online Textbooks | Search PubMed | Web Links | Movies | OMIM Microfilaments | Related Topics
Link to audio presentation of this lecture using iLecture system. Having troubles accessing iLecture Content? iLecture Student Help
2006 Lecture 13 Stem Cells / Development
2006 Lecture Series
Link to lecture slides allows you to open and view the slides in your web browser or download the PDF document for later viewing/printing.
lecture13 1 slide/page (view only) (47 pages, 1.2 Mb)
lecture13 6 slides/page (print) (8 pages, 408 Kb)
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See also Lecture Slides Text on this current page
The associated Lab will be a visit to the Childrens Cancer Institute Australia.
Histology and Cell Biology (Kierszenbaum): Chapter
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The Online Mendelian Inheritence in Man (OMIM) database contains molecular references. The list below represents only a selected few of the entries, to see all related entries use the search feature below. OMIM Database
Search OMIM Database with "stem+cell"


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Ballet NY Presents 2011 Season at the Ailey Citigroup Theater
Ballet NY presents its 2011 Season, including the Company Premiere of a duet from Agnes De Mille's The Other and the World Premiere of Artistic Director Medhi Bahiri's In Twilight, from November 18-20, 2011 at the Ailey Citigroup Theater, 405 West 55th Street, NYC (at Ninth Avenue). Performances: Friday at 7:30pm, Saturday at 7:30pm, Sunday at 3pm. Tickets are $26 ($15 for students and seniors) and are available at www.smarttix.com or by phone at 212-868-4444.
The Company Premiere of a duet from Agnes De Mille's The Other, set to music by Franz Schubert, was originally created for American Ballet Theater in 1992. The ballet is about the play of oppositional forces--life and death, light and shadow--which are the mysteries of experience. "The Maiden" and "The Lover" are allegorical figures representing vitality, love and youth. The World Premiere of In Twilight is a duet choreographed by Mr. Bahiri and set to the music of the final song in Richard Strauss' "Four Last Songs." Also included on the program are two ballets created in 2010 by Mr. Bahiri. Concerto, for three couples and set to music by J.S. Bach, is a contemporary work that merges the classical and the quirky. Edge, set to music by Enigma, is a fun, entertaining ballet with music that leads to a marriage of different movements and captures the audience with its rhythm.
Dancers: Josh Christopher, Jace Coronado, Madeline Deavenport, Katie Gibson, Erin Ginn, Jennifer Goodman, Virginia Horne, Luke Manley, John-Mark Owen, Brent Whitney.
Founded in 1997 by former New York City Ballet Principal Ballerina Judith Fugate and International Guest Artist Medhi Bahiri, Ballet NY is a company of accomplished principal and soloist dancers, whose mission is to offer emerging choreographers the opportunity to create new works on those dancers. The Company is committed to keeping ticket prices affordable in an effort to attract, cultivate and educate new audiences for dance. The Company has performed in New York City at The Joyce Theater, Symphony Space, the Ailey Citigroup Theater, and around the country. For more information, visit www.balletny.org.
Medhi Bahiri (Co-Artistic Director, Ballet NY) brings a wide and diverse background in dance to his position. He was Principal Dancer with Ballet West and Boston Ballet, and a member of Maurice Bejart's Twentieth Century Ballet. As Principal Guest Artist, he has appeared with Ballet National de Mexico, Ballet de Santiago, Chile, Universal Ballet of Korea, Ballet du Louvre, Tulsa Ballet, and Ballet Philippines. Touring in the United States and Europe, his partners have included: Cynthia Gregory, Ann Marie DeAngelo, Valentina Kozlova, Cheryl Yeager, Evelyn Cisneros, Marie-Christine Mouis, Christine Spizzo, Christina Fagundes and Laura Young, among others. Mr. Bahiri won the First Prize of the Prix de Lausanne dance competition, and was recognized for his outstanding artistic achievement and original style at the International Ballet Competition in Varna, Bulgaria. As a noncompetitor, he was distinguished as Best Partner at the Jackson and Tokyo ballet competitions.
Judith Fugate (Co-Artistic Director, Ballet NY), former Principal Ballerina with the New York City Ballet, danced roles in virtually every ballet in the NYCB repertoire, counting among her partners Peter Martins, Mikhail Baryshnikov and Helgi Tomasson. During her career she toured extensively with groups led by renowned artists such as Mr. Baryshnikov, Cynthia Gregory and MR. Martins. Miss Fugate appeared on "Live from Lincoln Center" with Ray Charles in Peter Martins' A Fool for You. In the Metropolitan Opera's production of La Traviata, conducted by Placido Domingo, she was partnered by Fernando Bujones and Peter Boal. She left the company in 1997 to pursue a career as freeLance Guest Artist and Co-Artistic Director of Ballet NY. Miss Fugate works as repetiteur for the George Balanchine Trust and the Jerome Robbins Rights Trust, staging these renowned choreographers' works worldwide.
Sponsors and Underwriters for Ballet NY's 2011 Season include:
Hospital for Special Surgery/Louis Shapiro, CEO
The Gerald and Daphna Cramer Family Foundation, Inc.
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In a 12-inch skillet bring water and soy sauce with garlic to a boil. Add broccoli rabe and cook, covered, over moderately high heat 2 minutes. Remove cover and cook until water is evaporated and broccoli rabe is tender. Season broccoli rabe with salt.
Each serving: 26 calories, 0.3 grams fat
Nutritional analysis provided by Gourmet


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- 29th November 2009 #1
- Join Date
- Nov 2009
- Posts
- 1
Connecting Tikona from WiFi mobile
I have MTNL Triband and planning to switch to Tikona 150 KBPS unlimited plan. I have a WiFi enabled cell, i asked their demo ppl if i could connect my cell as well. Looks like they didn't have much idea on it. They mentioned that there is a dialler software that needs to be installed to which we connect, but there is a web login as well. If there is a weblogin i would think that connecting thru mobile should be possible, but don't know for sure. I don't think they have a dialler software for cell.
Has anyone tried connecting WiFi enabled cell with Tikona? If yes, pl let me know how.
- 4th December 2009 #2
- Join Date
- Aug 2008
- Posts
- 19
If you don't have a problem with Triband then I suggest you stick with it and attach a wifi router to modem if required. Moreover unlimited plans from MTNL are pretty competitive today (MTNL have launched some new unlimited plans this december).
Web based dialers many a times have issues while using multiple PCs on same connection and compatibility issue sometimes. I have had some difficult experience with web based dialer in the past when I used cable internet.
Web based dialer for mobile (I guess you mean windows mobile), well that would most likely will not be available soon.
I too was considering Tikona but found my existing Triband with wifi router is a better no-nonsense fit.
Hope this helps.
- 10th December 2009 #3mayankGuest
even i asked the company for a mobile sofrware. they have promised me that a dialler is being produced for symbian, blackberry n windows mobile which is a good news
- 16th December 2009 #4
- Join Date
- Dec 2009
- Posts
- 2
they told me in plain words 'We do not support wi-fi phones'
- 21st December 2009 #5
- Join Date
- Aug 2008
- Posts
- 19
Last edited by liberal; 21st December 2009 at 11:03 AM.
- 25th February 2010 #6
- Join Date
- Feb 2010
- Posts
- 25
I tried on my mobile... But it is not working on mobile... May be they are working on it...
- 25th February 2010 #7
- Join Date
- Feb 2010
- Posts
- 1
Tikona does not support wi-fi phone's but there's a work around:
Connect the router provided by tikona to you computer/laptop using the cat5 cable.
Now, create an ad-hoc wireless connection on the pc/laptop, this will enable you to start your wi-fi phone.
The only catch here is that your pc/laptop has to be turned on all the time.
- 25th February 2010 #8
- Join Date
- Aug 2007
- Posts
- 15,272
1. Hope , just setting up wifi connection in laptop
will give WIFI connectivity to Your Phone.
I think, you have to enable WIFI mode in the modem/router ( Rufus) also.
Please correct me.
Tikona==>Rj45==>Laptop on Lan mode.
( wireless signals will be picked up by Phone ?
or any other laptop also? )
If you can access the modem/router settings
of TIKONA ( Rufus Mt2211?) and make the changes suggested by you, and post it here.
You will get 13 reputation points from me !
IP address to access modem say 192.xx.xx.xx
User ID
Step by step instructions for wifi mode. etc.
I use Airtel/BSNL BB service at 2 Mbps speed .
Tikona does not support wi-fi phone's but there's a work around
Also send email to their Nodal officer.
Last edited by essbebe; 26th February 2010 at 09:08 AM.
- 1st July 2010 #9
- Join Date
- Jun 2010
- Posts
- 4
workaround for tikona
for wifi phones
connect to a hidden network : TDN-Home
with wpa2 key as: T!o@T#w$H%t^F&i*Fi03041933
then go to login . tikona . in
enter usrnme n passwrd
then start browsing
did any1 try this???
it works im using it on my n81
Last edited by zombie; 1st July 2010 at 02:03 PM. Reason: Automerged Doublepost
- 22nd July 2010 #10
- Join Date
- Jul 2010
- Posts
- 1
@ zombie
dear i have tried it
i have tikona connection and windows mobile Xperia X1
please can u explain in detail
plz help me out
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On April 30, 1945, as Soviet troops fought toward the Reich Chancellery in Berlin in street-to-street combat, Adolf Hitler put a gun to his head and fired. Berlin quickly surrendered and World War II in Europe was effectively over. Yet Hitler's chosen successor, Grand Admiral Karl Donitz, decamped with others of the Nazi Party faithful to northern Germany and formed the Flensburg Government.
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April 28th, 2014 at 10:04 am | By Catherine Holahan+ (@cholahan) Editor
Big pharma buyouts have squashed talk of a biotech bubble. This morning, Forest Laboratories, $FRX, announced it would acquire Furiex Pharmaceuticals, $FURX, for about $1.1 billion, or $95 per share. Forest will pay an additional
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February 21st, 2014 at 6:27 pm | By ChicagoSean+ (@ChicagoSean) Head of Community Development @ StockTwits
Earnings season is soon wrapping up, but we still saw some interesting moves in stocks this week as new all-time highs were set for the S&P500 on Wednesday and Nasdaq on Friday. Despite recent mini-scares,
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Configuring and Troubleshooting Windows Server 2008 Active Directory Domain Services, ITI-164
This maps to Microsoft course #70-640
This course provides a direct mapping to the objective domain of the 70-640: TS: Windows Server 2008 Active Directory, Configuring exam. This course provides training on configuring, managing and troubleshooting Active Directory Domain services (AD DS) in Windows Server 2008 and Windows Server 2008 R2 environments. Learn how to secure domains by using Group Policies, back up, restore, monitor, and troubleshoot configuration to ensure trouble-free operation of Active Directory Domain Services. Exam 70-640 completes the requirement for the MCTS certification and counts as credit toward the MCITP Certification
Prerequisites: Knowledge and experience with the Windows operating system, as well as basic computer networking concepts.
Textbooks:You must purchase textbook(s)/ materials and bring to the first class. Books may be purchased at the MC Bookstore or online. You will need to know the ITI #(course number) and CRN# (section number) for the class you are taking in order to look up information about the textbook.
Classroom hours: 40


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Most Eligible Dallas
What Does Courtney Kerr's Tattoo Mean?
Although she's normally covered up in gorgeous flowing frocks, we caught a glimpse of Most Eligible Dallas star Courtney Kerr's tattoo on last Monday's episode (Season 1, Episode 7) when she wore a sexy light yellow gown designed by pal Amber Venz to Matt Nordgren's chairty gala.
As you can see in the photo above, Courtney has a small tattoo on the side of her torso. According to Courtney, the tattoo says "Seven Eight Nine" and represents the date that her grandmother died. Aw!
Source: Amber Venz
For the latest from Wetpaint Entertainment, "like" us on our Facebook page at facebook.com/MostEligibleDallasFansite, or follow us on Twitter at twitter.com/DallasWetpaint


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I am annoyed.
Quick App: MLB At Bat 2009 for iPhone
Well, Baseball season is fast approaching and you all know what the means: Major League Baseball is taking full advantage and is releasing two new MLB At Bat apps.
The first is available right now in the iTunes store, MLB At Bat Lite. Good thing is, that app is completely free. It's essentially the same app as last years paid app minus in-game video highlights.
The paid version of MLB At Bat 2009 will be available on April 3rd in the App Store with a price as yet-to-be determined. What this version offers in comparison to the lite version is actual in-game live audio and in-game video highlights (not to be confused with actual live video feeds). With the live in-game audio you will have some options. You have the choice to listen to the home or away teams' own broadcasters, which is a really nice feature.
The big question here is the price for this app. MLB.com mobile has the same in-game audio feature currently and that alone costs $4.99 a month. So what does that mean, if anything, for this iPhone app? Are we looking at a subscription fee on top of the price of the app? If so, why not simply update the app we purchased last year for $5.00. Seems to us like MLB is double dipping here...
So all of you Baseball fans out there, what is your take on this?
[Via Macworld]
Have something to say about this story? Leave a comment! Need help with something else? Ask in our forums!
Reader comments
Quick App: MLB At Bat 2009 for iPhone
this is an awesome program!!!
This is totally in keeping with the monetizing of MLB.com Digital Media that began 5-6 years ago. They are essentially taking a subscription model and applying to the App Store by forcing you to purchase a different app for each season (i.e. purchasing your subscription).
The Gameday Audio and MLB.TV features have been big money-makers for them over the last few years, and there's no reason to believe they will back off now, especially with the popularity of the iPhone. Ultimately, MLB.com is a business, and their business model has shown that fans are willing to pay for these services. Double-dipping? I don't think so. The app and the service are two different things that happen to work well together this year. You don't want to pay for that, then you have MLB.com At Bat Lite.
I subscribe to gameday audio already via MLB.com. I wonder if they'll make us pay another subscription for the pleasure of listening away from the computer via the iphone?
I had the paid app last year.
They do NOT (did not last year anyway) require a subscription in addition to the APP.
So it was 4.95 for the whole year, but it did not include live audio, but did include pitch by pitch, play by play in game data for every game for the entire season, as well as video highlights.
When you bought the App, it CLEARLY STATED it was for ONE SEASON ONLY. So, it was not double dipping last year.
Adding streaming live audio for every game is a significant improvement to the service. Especially if you travel out of market and want to follow your favorite team.
So a subscription may be needed this year, in which case it WOULD be double dipping unless it came with a code to download the app for free.
Too bad the iphone battery really can't handle this type of load. Listening to a two or three hour audio stream will likely exhaust it before the game is over.
Again, well aware of what they said last year. My point is if they charge a subscription fee why not just upgrade last years app.
They will more than likely charge a flat rate... Like $50. And then decrease that amount as the season goes on so you're essentially paying month to month
What annoys me is that I already paid $110 for a premium MLB.TV subscription which includes audio as well... Maybe they'll make it coincide with the desktop subscription? Ah who am I kidding...
I was thinking about this app just the otherday. Gameday audio is $15 for the season, I'm expecting the 2009 app to cost just that. I think if they make it more expensive than that no one will buy it. It'll be a tough decision for me, I'm on the fringe of the phillies broatcast area, I've been listening on xm the last few years, but dropped the sub last month. If it comes in at 15 I think I'll do it.
Another note to people complaining about the price, last season for non-iphone owners MLB offered a similar service except it sent you video links via text message and had no interface at all and cost $3 or $4 a month. The $5 app was a good deal. If you just wanted scores the app wasn't for you.
Have any of you guys seen the Lewis CK bit from Conan... we kind of all sound like the people he describes in this day and age. Do you realize how amazing it is that on my phone no matter where I am traveling for work I will be able to listen to my Yankees as they implode another season? And likely for a nominal fee that I can make up by drinking my crappy free work coffee for a week instead of stopping at the good shop on the corner.
Oh and if I don't want to pay I can use the lite app with a great interface and pitch by pitch coverage.
I figured out how to stream games to my iPhone from my computer. I have the $15 internet subscription to gameday audio. I use something called Audio HiJack Pro to capture the audio from the MLB player, then I stream the mp3 file I captured through something called iPhone remote. There are a few steps to get this set up, but it works great. And, it's free.
I loved last year's app, even used it at the ballpark for instant replays. I also subscribe to MLB Audio (just renewed) at $15 and was hoping that I could bind the new 2009 app to that. Did I hear that the new app will let you listen to your own team's broadcasters? It would be cool to use my iPhone to listen to games broadcast by my pals Jon Miller and Dave Flemming, using the iPhone as a portable KNBR radio as it were. Away games (and the occasionally missed home game) live on my iPhone? Yes, I'd pay for that.
Can't believe people are knocking this. I don't care to pay for an XM subscription when I have Pandora on my iPhone, but being a Met fan who moved to Chicago and now being able to hear my Mets on my phone anywhere...I'm literally weeping with joy here especially being able to get the home broadcast. Sure I had mlb.tv and the live audio on the PC last year, but that did me no good in the car. $5 a month? That's chump change for something that brings me that much happiness.
My audio won't work. It says it's connecsting then stops and give me an error message. Anybody else having this problem? Any suggestions?
Same error occurred with me. The support person has stopped returning my e-mails now.
Has anyone found any resolution?
The audio error only occurred after I downloaded the 3.0 software. It's for all the radio broadcasts. And my when I'm watching the TV broadcast on my iphone, I can hear and see everything just fine.


text:
Postdoctoral Position Microbiology
A postdoctoral position is available to investigate genetic,
molecular, or epidemiological aspects of oral candidiasis. The
position is located in the Department of Microbiology and Immunology,
and is sponsored by NIH programmatic funding to the University of
Texas Health Science Center at San Antonio Dental School.
Candidates must be US citizens (or have a green card) and have a
Ph.D., M.D., D.D.S. or equivalent degree. Expertise in oral biology,
mycology, microbiology, or molecular biology is preferred but not
required. Successful applicants will collaborate on research
encompassing basic and/or clinical aspects of oral Candida infections
with Brian Wickes, Ph.D., (Dept. of Microbiology and Immunology) and
Spencer Redding, D.D.S. (Dept. of General Dentistry).
Applications may be sent by mail, fax, or e-mail and must include a
detailed C.V. and contact information for three references. Salary
will be commensurate with experience and will be available for up to
three years.
Send applications to Brian Wickes, Ph.D., Dept. of Microbiology, Rm
5.023V, 7703 Floyd Curl Dr., University of Texas Health Science Center
at San Antonio, San Antonio, TX 78229-3900. Fax (210) 567-6612, e-mail
[Only registered and activated users can see links. Click Here To Register...]. UTHSCSA is an affirmative action/equal opportunity
employer. All postdoctoral fellow appointments are designated security
sensitive positions.
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See the "Getting Even More Relaxed with Hot Nude Yoga" video clips NOW. These clips were shot in the Hot Nude Yoga Chelsea studio with students who take the classes. Learn yogic techniques of restoring yourself to new levels of consciousness.
A Broadband connection is recommended to stream this large video file.
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|Click here to visit my blog, A Teacher's Highlight Reel!
I am currently entering my fourth year of teaching second grade at a private grade school in Michigan. I absolutely love teaching second grade and look forward to sharing some of the wonderful things we do! :)
When teaching my little learners, I want to make sure I have several different ways to approach a lesson. I think a variety of tasks and activities is very important in making sure all my learners needs are met. I try my best to make learning fun and know that sometimes lessons might not go as planned but it's ok to start over and try a new approach! :)
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This past May, I graduated from Michigan State University with my Master of Arts in Education degree with a concentration in Science and Mathematics. I also received my undergrad degree from Michigan State University in Education. GO SPARTANS! :)
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