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I hope that you have now identified the performances and productions that you wish to book for as part of the Autumn 2016/17 Season.
Before you do that, please don't forget that there are still five productions to come until the end of the current Season with some very exciting productions ahead before the summer break. The Royal Opera's first staging of George Enescu's Oedipe promises to be a treat for lovers of 20th century opera with its starry cast including Johan Reuter, John Tomlinson, Sarah Connolly and Sophie Bevan; while The Royal Ballet present a triple bill featuring a world premiere from Wayne McGregor — always a major event for ballet fans.
Perhaps the piece I am most excited about over coming months is The Royal Opera's new staging of Verdi's Il trovatore. As well as wonderful music and a thrilling story, the cast is sure not to disappoint with tenor Gregory Kunde (sharing the role of Manrico) and conductor Gianandrea Noseda recently winning major prizes at the Opera Awards 2016 in the Best Male Singer and Best Conductor categories respectively. It is an operatic masterpiece I would fully recommend experiencing.
Also recommended is The Royal Opera's return to the BBC Proms with Boris Godunov starring Bryn Terfel and conducted by Antonio Pappano. Tickets are now on sale from the Royal Albert Hall website.
As we look towards the finale of the current Season, I also would like to take the opportunity to thank all our Friends for their support. I know that many of you have supported us since the foundation of the Friends, and we are truly grateful to all who support the work of the Royal Opera House.
With so many wonderful productions on offer in the upcoming Season from September, you may wish to consider upgrading your level of support. Information about the benefits of upgrading your membership can be found on our Supporter pages. At the present time we are unfortunately unable to offer upgrades to membership online, so please do telephone us on +44 (0) 20 7212 9268. If you choose to upgrade, you will be credited with the unexpired portion of your current membership.
As always, many thanks, and do get in touch if you would like any additional information.
As ever, the Friends team are always keen to hear your feedback so please email us firstname.lastname@example.com or call us on +44 (0) 20 7212 9268.]]>
With Christmas just around the corner, I would like to take the opportunity to remind you that a Gift Membership to the Friends is a lovely way to introduce friends and relatives to the world of the Royal Opera House. Information about Gift Membership is on our website under the Support section. From December every new member will receive a new-style pack which includes important information so that membership can be enjoyed immediately.
I would also like to remind you that our mobile shop in the amphitheatre is due to get a new look so it will be easier to navigate. You will find all the current CDs and DVDs as well as new releases to put under the Christmas tree. Do remember to show your Friends card to receive a 10% discount.
Rehearsals for our new production of Cavalleria Rusticana and Pagliacci are now in full swing with all the artists and the full team working on the new production. I very much hope that you have purchased your tickets, there is still some availability especially for the later performances. Listen to director Damiano Michieletto talking about his vision for the operas:
You may also wish to be part of our two new Royal Ballet syndicates to support Frankenstein, Liam Scarlett's first full length work for the main stage, and a new one-act ballet by Christopher Wheeldon inspired by John Singer Sargent's notorious Portrait of Madame X.
The syndicates bring together like-minded ballet lovers who will support their production together from its formative choreographic stages right through to the opening night, gaining insight into the work and the rehearsal processes along the way.
For more information about Frankenstein please contact Bridie Layden at email@example.com or call +44 207 212 9266, and for more information about the new Christopher Wheeldon please contact Emma Warren-Thomas at email@example.com or call +44 207 212 9784.
And finally, I would just like to thank you all for your support and very much hope that you if have not had the opportunity to renew your support you will do so.]]>
Earlier in the month I had the privilege of being in the audience for Sonya Yoncheva's Royal Opera House role debut as Violetta Valéry in La traviata. I have not seen so remarkable a performance of the role since Angela Gheorghiu appeared as Violetta on the first night of this classic production more than twenty years ago.
Sonya was born in Bulgaria, and in 2010 won the Plácido Domingo Operalia competition. For The Royal Opera she has since sung Musetta in La bohéme, and replaced Anna Netrebko as Marguerite in Faust last year. Among many other engagements around the world, she sang a remarkable Mimì in La bohéme for the Metropolitan Opera, New York, at very short notice earlier this year. The New York Times stated that 'Miss Yoncheva seems an artist on the brink of a major career'.
The New York Observer was equally enthusiastic, saying, 'That's what happened when Sonya Yoncheva sang her first Met La traviata last Wednesday: I expected something lovely, but what I beheld was nothing short of magnificent.'
Sonya has been winning acclaim for her appearances around the world and is now under contract with Sony Classical. A new album of selected arias titled Paris, mon amour showcases her versatility. It is now available in the ROH Shop, in person and online; Friends of Covent Garden benefit from a 10% discount.
We now have five performances coming up with Sonya Yoncheva as Violetta and two are already sold out – so make sure you don't miss out!
The production is generously supported by Rolex and is given with generous philanthropic support from Dr and Mrs Michael West.
La traviata runs from 16 January – 19th March 2016. Booking is now open.
The performance will be relayed live to cinemas worldwide on 4 February 2016. Find your nearest cinema showing.
Over the course of the 2015/16 Season, The Royal Opera, The Royal Ballet and visiting companies will stage more than sixty works at Covent Garden.
For your chance to enjoy this Season to the full, you can become a Friend of Covent Garden. Benefits include priority booking, access to Friends Rehearsals, invitations to exclusive events and a subscription to the quarterly Royal Opera House Magazine and monthly eNewsletter.
The Royal Opera House is a registered charity, and the support from members is vital in helping to achieve the extraordinary performances on stage, as well as delivering skilled backstage craftsmanship and inspiring learning and participation projects. Membership starts at £90, and can be bought for yourself or as a gift.
Booking for the Autumn Season opens for Premium 1 Friends of Covent Garden on Tuesday 2 June. For Friends of Covent Garden, booking opens on 16 June for ballet productions and 17 June for opera productions.
The Royal Opera opens the Autumn Season in September with John Fulljames and Hofesh Shechter's new production of Gluck's Orphée et Eurydice, starring Juan Diego Flórez as the great musician Orphée. The Royal Ballet's autumn performances will commence with the return of Kenneth MacMillan's classic tragedy Romeo and Juliet, marking the production's 50th anniversary.
Other highlights during 2015/16 Season include two Royal Ballet world premieres: Carlos Acosta's Carmen, performed in a mixed programme with Viscera, Afternoon of a Faun and Tchaikovsky pas de deux; and Liam Scarlett's Frankenstein, his first full-length ballet for the main stage. With The Royal Opera, Jonas Kaufmann sings the role of Don José in Bizet's Carmen and Antonio Pappano will conduct a new production of Cavalleria rusticana / Pagliacci.
Find out more about membership.
For more information or to join today, contact us on +44 (0)20 7212 9268.]]>
We know that many of our valued customers have had poor experiences on days when a new Season goes on sale. Although we've spent a lot of time and effort rebuilding an outdated and unstable ticketing system over the past few years we know that problems related to our new systems have caused huge frustration and inconvenience for our Friends of Covent Garden, for which we sincerely apologize. We wanted to let you know how important your booking experience is to us and how committed we are to doing everything we can to make it work well.
If we do have a problem in the future we want to minimise the impact on our Friends, and testing has revealed that if we separate the Friends that book online from the ones who do so on the phones it will make a real difference to the booking experience for everyone. We know that 90% of Friends book via our website and only 10% use the telephones or booking forms, so we will ensure that we have an allocation from across the house for our supporters who do not have access to the internet. Should we have technical difficulties we will shut the website until a fix is in place, rather than channelling frustrated customers into an overloaded phone system.
We are planning to trial staggered booking for the Friends of Covent Garden Summer Season to see whether this improves the experience for our customers. This means that on 3 and 4 March, online booking will start at 8am and booking by phone will open at 10am, as normal. We will keep a proportion of seats for the telephone booking which opens at 10am. This is an approach taken by other organizations including the Royal Shakespeare Company. Depending on the findings of this trial we may be testing early online booking times when general booking opens on 31 March.
As a Friend there are also things you can do to improve your booking experience; logging into the website early (before 8am), and being sure to refresh your page as booking begins, can help you get through the first part of the process before the rush begins. Take a look at the website ahead of the booking day – you may find our new Season pages helpful. If you have trouble with the card payment stage of your purchase, we also offer the option to complete your order via PayPal, which is a safe, quick and easy way to pay: visit the PayPal website to set up an account in advance. And finally, if there is a problem or you want to get live information during the booking, the best place to go is social media. We continuously monitor our Twitter and Facebook accounts during booking days, posting updates and answering questions. You don't need a Twitter or Facebook account to read our updates, but you will need one to ask a question.
Thank you for being so patient with us through what has been a challenging time. We do care very much about the experience of all our valued customers, especially The Friends of Covent Garden; and will do our very best to ensure that future booking days are trouble free.
Please let us know if you have any questions about this change.]]>
Do you relish a night at the theatre on your own, free from distraction and able to immerse yourself fully in the production on stage? Or do you love the pre-performance build-up and post-performance discussion that comes when attending with friends?
Recently, the US National Endowment of the Arts surveyed 31 million people to explore the influences affecting attendance to the arts. One of the more surprising factors was that 22% were put off attending art events as they have no one to accompany them. For them, going solo may feel exposed, particularly if they're not a regular gallery or theatre-goer.
Yet the solo theatre-goer does have much more freedom: they don't have to accommodate the tastes – or diary – of another person, can make the most of last minute ticket offers, and may be more likely to fall into discussion with other audience members. Does the solo theatre-goer, like the solo traveller, get more from the experience from the virtue of experiencing the performance alone?
Ivan Hewitt in the Telegraph argues that art has to be a social event before the habit of private contemplation is possible. Indeed, it takes a certain amount of confidence, or passion, for solo theatre-going, both of which have to start somewhere.
We asked our social media followers what they think:
@RoyalOperaHouse I prefer going solo. Same for museums.
Anyway, there's always someone from #TeamOpera on twitter to discuss about the show!
— Nicolas de Lesdain (@nlesdain) February 18, 2015
@TheRoyalOpera @RoyalOperaHouse same reason as small islands and spaceships - when it all goes wrong, who is going to rescue you?
— anne grikitis (@Charivari33) February 18, 2015
@RoyalOperaHouse Disadvantage of going with others (guest or otherwise) is the pressure to be relentlessly positive about the productions.
— Adrie van der Luijt (@Adrie_vdLuijt) February 18, 2015
@RoyalOperaHouse Cinema quite happy by myself, but prefer theatre in company as it's a great shared experience.
— Rick Evans (@rickaevans) February 18, 2015
@RoyalOperaHouse I'd rather go with company, but having to go solo would never stop me from seeing an amazing show/ballet.
— Lizzie Beattie (@ElizabethRGFS) February 18, 2015
@RoyalOperaHouse It's freeing to know I can go alone&see something friends might not want to; you're sitting silently looking forward anyway
— Tony (@TonyTimes2) February 18, 2015
@RoyalOperaHouse Nothing wrong with going solo! Proves you have dedication, appreciation and admiration for the arts.
— Emma (@EmKRobertson) February 18, 2015
@RoyalOperaHouse You must be very sure your guest is keen. Also: easier to immerse yourself (egotistically) if alone. Football too.
— Richard Bridge (@effrarunner) February 18, 2015
@RoyalOperaHouse I went to Glyndebourne on my own last year and was terrified. But it was lovely. You get different things out of going solo
— Andromeda (@accidentobizaro) February 18, 2015
Which do you prefer – going to the theatre on your own or with others?
Is one more conducive to a fulfilling theatre-going experience than the other?
View the National Endowment of the Arts survey: Barriers and Motivations Affecting Arts Attendance.]]>
Louise Sheaves has been a Joint Friend of Covent Garden with her husband since 2006. As Joint Friends, they receive priority booking, the opportunity to book tickets for dress rehearsals and backstage news and information.
Covent Garden regulars may recognize Louise as one of three supporters who have featured in our posters highlighting the support of the Friends of Covent Garden.
'No matter how often I come to the Royal Opera House, and at times I have come very frequently indeed, it always feels like a special occasion,' said Louise. 'Being in the auditorium, surrounded by the beauty of the theatre and the anticipation and excitement of the audience, is wonderful.'
By being a Friend of Covent Garden, Louise is able to book tickets for performances ahead of general booking. She regularly brings friends and family with her so they can share the joy of live performance.
Louise will soon be coming to see The Sleeping Beauty on 15 March, where she is looking forward to seeing Lauren Cuthbertson and Rupert Pennefather dance together: 'My daughter and I saw their debut together in Swan Lake back in 2007, so we love watching them dance together now. I'm so excited to see Lauren dance the Rose Adagio; it's such an important moment for every dancer. And of course, Tchaikovsky's music is just so beautiful.'
If you're a Friend, what have been your highlights – on stage and off – of your involvement with the ROH?
Friends and Patrons of Covent Garden support our extraordinary performances, intricate craftsmanship and inspiring learning and participation projects by paying an annual membership fee and making donations. Find out more about becoming a Friend.
Please note: Since publishing this article, a cast change has been announced meaning that Lauren Cuthbertson and Rupert Pennefather will no longer be performing together on 15 March.]]>
A wide range of packages – Total Opera, Total Ballet, Mini Packages and Family Packages – are available, offering patrons the chance to secure the best seats at a discounted rate for a range of productions when booked together. You can book by calling +44 (0)20 7304 4004
General booking opens on 2 July.
The packages offer savings of up to 33% on ticket prices and ensure that patrons can secure their favourite seats for the most in-demand performances before booking for individual performances opens later in the month.
Those who book an Advance Package can also request vouchers to exchange for either a programme or glass of champagne for one of their chosen performance.
Read our packages leaflets to find out more:
Total Opera Package
With five packages to choose from you can enjoy all of the six operas in the Autumn Season, including Verdi's grand opera Les Vêpres siciliennes, staged for the first time by The Royal Opera in an imaginative new production by Stefan Herheim; and Berg's 20th century masterpiece Wozzeck, featuring a stellar cast that includes Simon Keenlyside, John Tomlinson and Karita Mattila.
Other productions in the Total Opera Package include Puccini's dark fairytale Turandot, Mozart's classic Le nozze di Figaro, Strauss's intense and violent Elektra and Stephen Langridge's new production of Wagner's Parsifal.
Total Ballet Package
Roberta Marquez as The Sugar Plum Fairy and Steven McRae as The Prince in The Nutcracker. © ROH / Bill Cooper 2012
Lauren Cuthbertson as Juliet and Federico Bonelli as Romeo in Romeo and Juliet © Bill Cooper/ROH 2012
Five different packages on offer enable you to enjoy all four programmes of the Autumn Season, including the new production of Don Quixote by Principal Guest Artist Carlos Acosta. The package also includes Kenneth MacMillan's dramatic Romeo and Juliet, Peter Wright's Christmas classic The Nutcracker and a Mixed Programme that features Wayne McGregor's acclaimed Chroma, MacMillan's renowned The Rite of Spring and a new work, The Human Seasons, by David Dawson.
Mini Packages
A choice of seven mini packages enables you to choose a selection three operas, three ballet or a mix of both.
Family Packages
Ideal for a family treat, Family Packages offer two adult tickets and up to four under-18s tickets for either The Royal Opera's Turandot, or The Royal Ballet's The Nutcracker or Romeo and Juliet.
Please note: unfortunately packages are not yet available to book online. This is something we hope to introduce later in the Season. To book, you can call the Box Office on +44 (0)20 7304 4000.]]>
There are many reasons why Friends of Covent Garden choose to support us; from the opportunity to get exclusive first glimpses of hotly-anticipated new productions and priority booking, to special events and the opportunity to meet others who share their interest.
What unites them is a commitment to, and passion for, opera and ballet. Our members love to watch performances, but in addition to this they often have a desire to preserve and develop the art forms for future generations. The support that we receive from the Friends of Covent Garden is an invaluable part of the work that we do in this area.
Friends membership is available across a number of levels. Beginning at £50 per year for ROH Insiders (under 30s) and £85 for those over 30. Supporting and Premium memberships offer exclusive events and access.
These Friends of Covent Garden share their stories of why they took up membership and what drives their passion for opera and ballet:
If you're a Friend, we'd love to hear about your experiences, and why you've chosen to support the work of the Royal Opera House.]]>
This is National Apprenticeship Week and although we have a number of apprenticeships in practical departments such as metalwork or carpentry that's not the only kind of job available. Jamie Ashwell (aged 20), is our Education Events and Tours Apprentice. He organizes events and shows visitors around the workshops where the Royal Opera House's scenery is made: the Bob and Tamar Manoukian Production Workshop in Thurrock. There are regular public tours and schools visits and previous guests have included the Duke of Kent.
'This was my favourite school trip ever! I made props and found out lots of cool facts' - Student from Deneholm Primary School
'Doing an apprenticeship has many advantages; one of course is money because you get paid to be an apprentice,' says Jamie. 'You work with leading practitioners in the industry, which you wouldn't necessarily get when going into a job or doing a university course.'
Originally from the local area, Jamie is passionate about giving all the Production Park's visitors a brilliant experience; a sentiment that's reflected in enthusiastic responses to the tours. Especially receptive are the primary school groups, who have a chance to make their own props.
Recently, Jamie gave a small group of Royal Opera House supporters an exclusive glimpse of the final touches being made to the scenery for John Fulljames's forthcoming production of La donna del lago, coming to the ROH Main Stage in May. They were also shown the initial designs for Carlos Acosta's Don Quixote, which opens The Royal Ballet's 2013/14 Season.
'Working for the Royal Opera house is an incredible thing because they are a world leading organization within the arts. I was attracted to the apprenticeship because of the chance to learn from people who are at the top of the creative industry so early on in my career,' he says.
Recently the future of the Apprenticeships programme was secured by a generous donation to the Royal Opera House Endowment Fund by The Derek Butler Trust. The Trust's support will enable the scheme to expand to at least 12 positions per year through to 2018 and provide match funding for a further five years' activity. We're delighted that we have been able to continue and extend our commitment to apprenticeships: if you or someone you know are considering an apprenticeship you'll find more information on our website.
See our recent Q&A with Tommy and Georgia, who work in our Metalwork and Collections departments.
Watch BBC News's film about the apprentices who help make the Royal Opera House work
Tours of our Thurrock Production Workshops are now available to book.
As well as The Derek Butler Trust, we are also grateful to John Lyon's Charity, The Headley Trust, Gordon Foundation, the Ashley Family Foundation, the Worshipful Company of Joiners and Ceilers Charitable Trust and an anonymous donor whose generous support is enabling us to offer a wide range of apprenticeships this Season.


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The 28th Annual Toronto Fringe Festival dates will be June 29 - July 10, 2016.
Our mandate: To create opportunities for both emerging and established artists to produce their work with artistic freedom while engaging members of the community by making productions as affordable and accessible as possible.
In essence we offer access to creative opportunities for anyone who wants to tell a story and anyone who wants to hear one. The Fringe isn't just a talent market or a stepping stone, it's a place to express and challenge yourself and challenge those around you, and most importantly to take risks.
We are committed to enhancing the 'first-time' experience, for both artists and audience members. We strive to provide our festival artists with a streamlined experience so they can focus on the creative process. We work to secure resources to ensure our operations do your work justice.
For your part, we're calling on you to keep challenging us, keep bringing us art that is relevant and exciting, and that represents the diversity of our community. There's room for everything at the Fringe – because your voice is important, and we want to give it a home.
The Toronto Fringe is a member of the Canadian Association of Fringe ® Festivals (CAFF) and, as such, our summer festival operates under the four guiding principles of CAFF:
- Participants are selected on a non-juried basis, through a lottery or first-come/first-served process.
- 100% of the ticket revenue is returned to the artist.
- Fringe Festival producers have no control over the artistic content of any show.
- Festivals must provide an easily accessible opportunity for all audiences and all artists to participate.


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Welcome to Our Fantastically Updated Website
Welcome After our illustrious Webmaster managed to destroy our last website, he has been diligently working in the dungeon to get this new site up and running. Hima culpa, hima culpa. This is a work in progress but we certainly hope you will like and enjoy our efforts here. After all, this is really for your …View full post


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Blue-fronted Amazons (Amazona aestiva) are dispersed throughout Amazonia of South America. They frequently occur in major regions of northeastern Brazil, forests of Bolivia, Paraguay, and northern Argentina. Blue-fronted Amazons are no longer found in some areas of southern Argentina. Their populations have diminished recently due to deforestation, and frequent capture for the pet trade.
Biogeographic Regions: neotropical (Native )
- Aquino, R., I. Ferrari. 1990. Chromosome study of Amazona amazonica and A. aestiva (Aves: Psittaciformes): determination of chromosome number and identification of sex chromosomes by C-banding methods.. Genetica, 81: 1-3. Accessed January 21, 2010 at http://www.springerlink.com/content/t65217450h800v85/.
- Fernandes Seixas, G., G. de Miranda Mourao. 2002. Nesting Success and Hatching Survival of Blue-Fronted Amazon (Amazona aestiva) in the Pantanal of Mato Grosso do Sul, Brazil. Journal of Field Ornithology, Vol 73: 399-409. Accessed January 21, 2010 at http://www.jstor.org/stable/4131166.
- Fernández-Juricic, E., M. Martella, E. Alvarez. 1998. Vocalizations of the Blue-Fronted Amazon (Amazona aestiva) in the Chancaní Reserve, Córdoba, Argentina.. The Wilson Bulletin, 110: 352-361. Accessed January 21, 2010 at http://www.jstor.org/stable/4163959.
Physical Description
Blue-fronted Amazons are sexually monomorphic to the human eye. The human eye is trichromatic and isn't capable of viewing light in the near-ultraviolet (UV) range. The avian eye is tetrachromatic, able to view a much more diverse range of colors than humans. The use of spectrometry allows humans to view blue-fronted Amazons and various other avian group's as sexually dimorphic due to their UV reflecting plumage.
Their entire body is mostly composed of vibrant green plumage. Bright blue feathers are located on their crown and yellow wraps around its face and on the tip of their scapulars. Their beaks are mostly black, and juveniles are considerably duller in color and have black irises. The distribution of yellow and blue varies for each bird, but red markings are mostly found on varying places on the wings. Individuals weigh between 275 and 500 g and range from 33 to 38 cm in length.
Range mass: 275 to 510 g.
Average mass: 400 to 430 g.
Range length: 33 to 38 cm.
Other Physical Features: endothermic ; homoiothermic; bilateral symmetry
Sexual Dimorphism: sexes alike
- Santos, S., B. Elward, J. Lumeij. 2006. Sexual Dichromatism in the Blue-Fronted Amazon Parrot (Amazona aestiva) Revealed by Multiple-Angle Spectrometry. Journal of Avian Medicine and Surgery, Vol. 20: 8-14. Accessed January 21, 2010 at http://www.jstor.org/stable/40236514.
Blue-fronted Amazons nest in trees of varying dimensions. Their nests are located in all main flora environments of the Amazon, such as all types of savannas, riparian woodlands, grasslands, and floodplains. In the Patanal of Mato Grosso do Sul state, Brazil, a study for blue-fronted Amazons concluded that they preferred nesting sites located in disturbed and vastly open areas. They have been found to inhabit elevations of up to 887 m.
Range elevation: 0 to 887 m.
Habitat Regions: tropical ; terrestrial
Terrestrial Biomes: savanna or grassland ; forest ; rainforest ; scrub forest
Aquatic Biomes: coastal
Other Habitat Features: riparian
Habitat and Ecology
- Terrestrial
Trophic Strategy
Blue-fronted parrots primarily eat native seeds, fruits, nuts, leaf sprouts, and flowers from the Amazon. They are widely known for being a crop pest, particularly to citrus crops. When they're not breeding, they leave roosting sites in flocks during the morning to feed and return in the afternoon. During breeding season, mated pairs forage together. They use their feet to handle food, and use their beak and tongue for seed or grain extraction.
Plant Foods: leaves; seeds, grains, and nuts; fruit; flowers
Primary Diet: herbivore (Granivore )
Blue-fronted Amazons consume various indigenous fruits, seeds, nuts, leaf sprouts, and flowers. Their foraging behaviors aid in seed dispersal through defecation and food transportation.
Ecosystem Impact: disperses seeds
Poaching by humans plays a key role in the frequent absence and over-exploitation of blue-fronted Amazons in the wild. Since they mainly roost in tree canopies, their cryptic color reduces predator detection. There is scarce information on the predation of blue-fronted Amazons, but it is known that falcons, hawks and owls tend to prey upon numerous species of parrots from the Amazon.
Known Predators:
- Hawks
- Falcons (Falco)
- Owls
Anti-predator Adaptations: cryptic
- Costantini, D., L. Racheli, D. Cavallo, G. Dell'Omo. 2008. Genome size variation in parrots: longevity and flying ability.. J. Avian Biol., 39: 453-459. Accessed January 21, 2010 at http://www.davidcostantini.it/JAvianBiol2008.pdf.
Life History and Behavior
The ultraviolet (UV) light reflectance of blue-fronted Amazons' plumage may actually aid in their sexual communication, mate selection, and courting displays.
Nine different vocalizations have been identified for blue-fronted Amazons. Of the nine, six calls are used under various situations such as feeding, flying, contact, and distress. These calls are, "wak-wak", "wa-wawawa", transitions, "gugugu", guturals, and "ka-kaka". The last three identified calls are used for specific situations. "Waahh" is vocalized in times of aggression, or defense, "grr-uip" during in-flight contact, and songs vocalized for territorial and reproductive circumstances.
Their main call is "wak-wak" and is used all year. It is uttered in sequences, but with no consistent pattern. They use it during lone or group flights, takeoff or landing, distress brought on by intruders, and long or short communication calls with other parrots. The usual distress calls differ during their breeding season. Mating pairs will stay perched, while calling, and calmly fly away from trespassers.
The vocalization, "wa-wawawa" is used all year, but less than the "wak-wak", and the note length for this call is held longer. It is used for lone or group flights, roosting, contact, and landings.
"Gu-gugu" is mostly used nearing the end of the breeding season in March and during the non-breeding season in May. It has a varying length, with a low-pitched warble, where energy is most concentrated at the peak of warbling. This vocalization is mostly heard when a flock of four or more are in flight or seen roosting.
"Ka-kaka" is only used during non-breeding season. It is made up of a series of around 15 notes, where all maintain a diverse frequency range and diminutive length. It's used during foraging, and when displaying consistent calls among large flocks in thick woodlands.
"Waahh" is vocalized during March and August, and is usually harsh with a ranging bandwidth. It's used in times of defense and threat. Aggressive interactions may occur with ten or more parrots present among the trees. Typically, a parrot would swing its head towards another perched behind it, present its wings, and utter a single "waahh". If interaction increased, vocalization and length of call increased.
"Grr-uip" is used in post-breeding and non-breeding seasons. This call is more multifaceted, with up to three parts. It relates to their flight movements, which qualifies specific dexterity.
The gutural is a frequent year round call, which varies in length, concentration, and bandwidth. It's vocalized during distress, contact, flight, takeoff, and among roosting flocks and is usually associated with other vocalizations.
Songs are commonly linked with a specific sequence and involve a pattern of varying notes in a long series.
Like many Amazons, blue-fronted Amazons likely exhibit forms of tactile communication as well. Many Amazon pairs use allopreening, beak touching, or beak holding to establish or reinforce the pair-bond. Like all birds, blue-fronted Amazons perceive their environment through visual, tactile, auditory and chemical stimuli.
Communication Channels: visual ; tactile ; acoustic
Other Communication Modes: mimicry
Perception Channels: visual ; ultraviolet; tactile ; acoustic ; chemical
Life Expectancy
Blue-fronted Amazons are expected to live up to 70 years in captivity.
Typical lifespan
Status: captivity: 70 (high) years.
- Leite, K., G. Seixas, I. Berkunsky, R. Collevatti, R. Caparroz. 2008. Population genetic structure of the blue-fronted Amazon (Amazona aestiva, Psittacidae: Aves) based on nuclear microsatellite loci: implications for conservation. Genetics and Molecular Research, 7 (3): 819-829.
Lifespan, longevity, and ageing
Blue-fronted Amazons are monogamous, and live in pairs, while continuously interacting with the flock. During breeding season, the mated pairs stay close together while roosting and foraging. Little information could be found on reproductive displays and behavior.
Mating System: monogamous
The breeding period for blue-fronted Amazons is August through September. During this period they lay between 1 and 6 eggs, usually averaging 2 to 3 eggs per clutch during each breeding season. Eggs are incubated for 30 days, and hatching generally occurs between September and October. Chicks weigh between 12 and 22 g when first hatched. Nestlings are fully fledged in November through December, approximately 56 days after hatching. It usually takes about 9 weeks for the chicks to reach independence, and both sexes reach sexual maturity around 2 to 4 years of age.
Breeding interval: Blue-fronted Amazons breed once yearly.
Breeding season: Blue-fronted Amazons breed from August to December.
Range eggs per season: 1 to 6.
Average eggs per season: 2 to 3.
Average time to hatching: 30 days.
Average fledging age: 56 days.
Average time to independence: 9 weeks.
Range age at sexual or reproductive maturity (female): 2 to 4 years.
Range age at sexual or reproductive maturity (male): 2 to 4 years.
Key Reproductive Features: iteroparous ; seasonal breeding ; gonochoric/gonochoristic/dioecious (sexes separate); sexual ; oviparous
Blue-fronted Amazons are secondary carvers, where they do not create their own cavities, but occupy previously used nesting sites. They tend to nest in live trees of varying species depending on which habitat they occupy. Most of their nests are found in open areas that are near roosting sites and water sources. The female lays an average of 2 to 3 eggs, and incubates them for roughly a month. Since the chicks are altricial, they require constant care from the parents, and are fed via regurgitation.
Parental Investment: altricial ; male parental care ; female parental care ; pre-fertilization (Provisioning, Protecting: Female); pre-hatching/birth (Provisioning: Male, Female, Protecting: Male, Female); pre-weaning/fledging (Provisioning: Male, Female, Protecting: Male, Female); pre-independence (Provisioning: Male, Female, Protecting: Male, Female)
- Aquino, R., I. Ferrari. 1990. Chromosome study of Amazona amazonica and A. aestiva (Aves: Psittaciformes): determination of chromosome number and identification of sex chromosomes by C-banding methods.. Genetica, 81: 1-3. Accessed January 21, 2010 at http://www.springerlink.com/content/t65217450h800v85/.
- Fernandes Seixas, G., G. de Miranda Mourao. 2002. Nesting Success and Hatching Survival of Blue-Fronted Amazon (Amazona aestiva) in the Pantanal of Mato Grosso do Sul, Brazil. Journal of Field Ornithology, Vol 73: 399-409. Accessed January 21, 2010 at http://www.jstor.org/stable/4131166.
- Vendramin-Gallo, M., C. Pessutti, A. Pezzato, M. Vicentini-Paulino. 2001. Effect of Age on Seed Digestion in Parrots (Amazona aestiva).. Physiological and Biochemical Zoology, 74: 398-403. Accessed January 21, 2010 at http://www.jstor.org/stable/30158718?&Search=yes&term=aestiva&term=Amazona&list=hide&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DAmazona%2Baestiva%26x%3D0%26y%3D0%26wc%3Don&item=18&ttl=237&returnArticleService=showArticle.
Molecular Biology and Genetics
Molecular Biology
Barcode data: Amazona aestiva
The following is a representative barcode sequence, the centroid of all available sequences for this species.
There are 5 barcode sequences available from BOLD and GenBank.
Below is a sequence of the barcode region Cytochrome oxidase subunit 1 (COI or COX1) from a member of the species.
See the BOLD taxonomy browser for more complete information about this specimen and other sequences.
-- end --
Download FASTA File
Statistics of barcoding coverage: Amazona aestiva
Public Records: 6
Specimens with Barcodes: 29
Species With Barcodes: 1
Conservation Status
Blue-fronted parrots are listed as "least concern" by the IUCN Red List because of their large habitat range and decent population size. However, their population size is decreasing which may warrant a "vulnerable" status in the future. For almost all species of Amazona parrots, degradation of habitat is of highest concern. Blue-fronted Amazons are secondary cavity-nesters, and rely on mature trees for nesting. Logging and landscaping of their habitat diminishes potential nesting sites. Blue-fronted Amazons are protected under CITES II to regulate the capture and trade of these birds.
CITES: appendix ii
IUCN Red List of Threatened Species: least concern
- White, Jr., T., W. Abreu-Gonzalez, M. Toledo-Gonzalez, P. Torres-Baez. 2005. Artificial Nest Cavities for Amazona Parrots.. Wildlife Society Bulletin, 33: 756-760. Accessed January 21, 2010 at http://www.jstor.org/stable/3785107?&Search=yes&term=aestiva&term=Amazona&list=hide&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DAmazona%2Baestiva%26x%3D0%26y%3D0%26wc%3Don&item=11&ttl=237&returnArticleService=showArticle.
IUCN Red List Assessment
Red List Category
Red List Criteria
Year Assessed
Population Trend
Conservation Actions
The species is listed under CITES Appendix II.
Relevance to Humans and Ecosystems
This species of Amazon, along with almost all Amazon parrots, are known as crop pests. Blue-fronted Amazons tend to attack citrus crops and various other cultivated fruits and seeds. Many farmers destroy the birds to save their crops.
Negative Impacts: crop pest
Blue-fronted Amazons are captured and sold locally and internationally through the live pet-trade market. This type of Amazon parrot is the most vital species to the Isoseño-Guaraní tribe of Bolivia, who rely on capturing this Amazon for profit. These intelligent birds are also kept as pets, and some are even used to attract wild parrots within a slingshot range for capture.
Positive Impacts: pet trade
- Deem, S., A. Noss, R. Cuéllar, W. Karesh. 2005. Monitoring an export moratorium of the blue-fronted Amazon parrot (Amazona aestiva) in Salta Province, Argentina.. Journal of Zoo and Wildlife Medicine, 36: 598-605. Accessed January 21, 2010 at http://www.bioone.org/doi/full/10.1638/04094.1?prevSearch=.
Blue-fronted amazon
The blue-fronted amazon (Amazona aestiva), also called the turquoise-fronted amazon and blue-fronted parrot, is a South American species of amazon parrot and one of the most common amazon parrots kept in captivity as a pet or companion parrot. Its common name is derived from the distinctive blue marking on its head just above its beak.
The blue-fronted amazon is a mainly green parrot about 38 cm (15 in) long. They have blue feathers on the forehead above the beak and yellow on the face and crown. Distribution of blue and yellow varies greatly among individuals. Unlike most other Amazona parrots, its beak is mostly black. There is no overt sexual dimorphism to the human eye, but analysis of the feathers using spectrometry, a method which allows the plumage to be seen as it would be by a parrot's tetrachromatic vision, shows clear differences between the plumage of the sexes.[2] Juveniles of parrots are duller and have dark irises.[3]
The blue-fronted amazon was one of the many species originally described by Linnaeus in his 18th-century work, Systema Naturae.[4] Its specific epithet is the feminine form of the Latin adjective aestivus, "of the summer".[5] Two subspecies are recognized:[6]
- A. a. aestiva (nominate) is found in eastern Brazil.[7] The leading edge of the wing ("shoulder") is red.
- A. a. xanthopteryx occurs from northern and eastern Bolivia through adjacent parts of Brazil, to Paraguay and northern Argentina. The "shoulder" is partly or wholly yellow.[7] Generally with more yellow to the head than nominate.[8]
The taxon xanthopteryx has been treated as a separate species,[9] but the two subspecies interbreed freely where they come into contact.
Additionally, there are significant individual variations in both facial pattern and amount of yellow/red to the "shoulder". In one extreme, individuals with essentially no yellow on the head and entirely green "shoulders" are known from north-western Argentina.[10]
Distribution and habitat[edit]
The range of the blue-fronted amazon extends over eastern and northern Bolivia, eastern Brazil, Paraguay and northern Argentina. It is found in forests (though generally avoids extensive humid forests such as the Amazon), woodland, savanna and palm groves.[8]
A small feral breeding population is also present in the greener regions of Stuttgart in Germany.[11]
The blue-fronted amazon nests in tree cavities. The oval eggs are white and measure around 38 x 30 mm. There are usually three to five in a clutch. The female incubates the eggs for about 27 days and the chicks leave the nest about 60 days after hatching.[3]
The status of this species is evaluated as being of least concern by BirdLife International. However, while it remains common throughout a significant part of its range, there is evidence of a population decline, and this species has been heavily traded: Since 1981 when it was listed on CITES Appendix II, 413,505 wild-caught individuals have been recorded in international trade (UNEP-WCMC CITES Trade Database, January 2005). It is regarded as a crop pest in parts of its native range.
Paradoxically, illegal trade may have contributed to expansions of the range of this parrot: It is becoming common in Rio de Janeiro, which is not a part of its historical range, something attributed to escaped caged birds.[12]
The blue-fronted amazon is commonly seen as a pet, both in South America and other parts of the world.[7] Their talking ability varies greatly from individual to individual, but some speak nearly as well as the yellow-headed amazon group (yellow-naped, Panama, yellow-crowned, double yellow-headed. They seem to have a proclivity for singing. They require interaction but also can play with toys contently for several hours at a time. Pets require plenty of toys, perches, and climbing room. As with some other birds, under no circumstances are blue-fronted amazons to eat avocado. Some individuals, particularly males, can be aggressive in spring, the mating season.
An extremely rare red (or chocolate raspberry) mutation of the species appeared in captivity in 2004, bred by the psittaculturist, Howard Voren. The mutation results in yellow plumage being replaced by that of a red/pink hue and greens with a chocolate-brown, with the depth and intensity of color varying by location upon the body.[13]
At Parque das Aves, Brazil
- ^ BirdLife International (2012). "Amazona aestiva". IUCN Red List of Threatened Species. Version 2013.2. International Union for Conservation of Nature. Retrieved 26 November 2013.
- ^ Santos, Susana (2006). "Sexual Dichromatism in the Blue-fronted Amazon Parrot (Amazona aestiva) Revealed by Multiple-angle Spectrometry". Journal of Avian Medicine and Surgery 20 (1): 8–14. doi:10.1647/1082-6742(2006)20[8:SDITBA]2.0.CO;2.
- ^ a b Alderton, David (2003). The Ultimate Encyclopedia of Caged and Aviary Birds. London, England: Hermes House. p. 230. ISBN 1-84309-164-X.
- ^ (Latin) Linnaeus, C (1758). Systema naturae per regna tria naturae, secundum classes, ordines, genera, species, cum characteribus, differentiis, synonymis, locis. Tomus I. Editio decima, reformata. Holmiae. (Laurentii Salvii).
- ^ Simpson DP (1979). Cassell's Latin Dictionary (5 ed.). London: Cassell Ltd. p. 883. ISBN 0-304-52257-0.
- ^ Forshaw, p. 557
- ^ a b c Forshaw, p. 558
- ^ a b Juniper, T., & M. Parr (1998). A Guide to the Parrots of the World. Pica Press, East Sussex. ISBN 1-873403-40-2
- ^ Remsen, J. V., Jr., C. D. Cadena, A. Jaramillo, M. Nores, J. F. Pacheco, M. B. Robbins, T. S. Schulenberg, F. G. Stiles, D. F. Stotz, and K. J. Zimmer. Version (2008). A classification of the bird species of South America. American Ornithologists' Union. Accessed 2008-10-09.
- ^ Areta, J. I. (2007). A green-shouldered variant of the Blue-fronted Amazon Amazona aestiva from the Sierra de Santa Bárbara, north-west Argentina. Cotinga 27: 71–73.
- ^ as seem in the following photo
- ^ José Felipe Monteiro Pereira (2008). Aves e Pássaros Comuns do Rio de Janeiro. Pp. 68. Technical Books, Rio de Janeiro. 2008. ISBN 978-85-61368-00-5.
- ^ Voren, Howard. "Red Color Mutation of the Blue-fronted Amazon". Retrieved 20 May 2011.
Cited text[edit]
- Forshaw, Joseph M. and Cooper, William T. (1978). Parrots of the World (2nd ed.). Melbourne: Landsdowne Editions. ISBN 0-7018-0690-7.


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Edit Page Last Edit: 3 years 2 months ago
Events are in game missions which can randomly pop up when you are going through an area. The random events in this game see you and every hero available fight agains different villains from the Marvel universe. These events are like boss encounter theredore many players are needed in order to take down the villains.
Events can occur at any time in an area and will pop up on your screen asking for help. A marker will then be placed on the map showing the villain of that area.
- Chapter 1 - Electro
- Chapter 2 - Venom and Rhino
- Chapter 3 - Gorgon and Madame Hydra
- Chapter 4 - Mole Man
- Chapter 5 - Green Goblin
- Chapter 6 - Blob and Toad
- Chapter 7 - Sabertooth
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When are artist submissions accepted?
September 14, 2015 through November 13, 2015
When is the artist submission deadline?
November 13, 2015 at 11:59 PM
What are the rules and guidelines?
Please refer to the official ArtFields® 2016 Rules
What kind of artwork can be submitted?
Artist may submit one 2-D or 3-D piece (for example, painting, sculpture, photography, drawing, mixed media, digital media, and installation art.)
*Site-Specific and Installations that have been accepted must be delivered, installed and removed by the artist upon appointment with ArtFields® Art Team
*Digital media that requires projection or monitor to display must be provided by the artist for installation and for use during ArtFields®.
What defines a 2-D submission?
All 2-D works have the dimensions of height and width only. Examples: paintings, photography, and digital media presented in a frame and/or on canvas/wood panel.
What defines a 3-D submission?
All 3-D works are solid rather than flat and can be defined as having three dimensions: height, width, and depth. Examples: sculpture, assemblage, and installation art.
Can a work in progress be submitted?
Concepts or works-in-progress may be submitted, as long as artists can clearly articulate their finished work through sketches and artist statements. Entries that do not conform to their submitted digital image or submitted concept may be rejected, in the sole and exclusive discretion of ArtFields®.
How will art be chosen for the competition?
An independent panel of visual arts professionals will review artists' submissions. The top-rated 400 artists will be accepted and invited to exhibit and compete.
Who is on the review panel for submissions?
The review panel is made of up visual arts professionals who have a diverse background in traditional, contemporary and conceptual artwork.
When will the artist know if he/she is selected for competition in ArtFields® 2016?
Artist will be notified of acceptance by January 4, 2016 through the e-mail account* provided in Slideroom and will receive venue invitation by January 22, 2016. *Slideroom e-mail account, email address, contact phone number, and current mailing address must be kept up-to-date.
Does the artist choose the venue?
No, the artist, once accepted, will be invited by an official ArtFields® Venue to exhibit his/her work during the ten-day art competition and festival.
Does the artwork have to be for sale?
No.* Art work that is not for sale will be listed as NFS (not for sale) on your entry's label, the field guide, and in the competition artwork gallery on ArtFieldsSC.org.
*In the event your entry is the Top Prize or the Juried Panel Prize, the artist agrees that the winning work and reproduction rights will be the sole property of Lake City Partnership Council and ArtFields®.
Is the artist responsible for insuring the entry?
Yes. Neither Lake City Partnership Council (the sponsor of ArtFields®) nor the venue will assume responsibility for insuring the entry. The artist is responsible for insuring the entry for transporting to and from the venue and for the duration the entry is in the venue location.
Do I have to be present in Lake City, SC during ArtFields®?
No; however, installation artists will be required to travel to Lake City, SC for installation and removal of artwork.
Who will install my artwork?
A team of trained art handlers will be installing the entries at each official Venue. Placement of artwork within the Venue will be at the sole discretion of the ArtFields® Art Team. Site-Specific and Installations that have been accepted must be delivered, installed and removed by the artist upon appointment with ArtFields® Art Team.
Is the artist responsible for shipment costs to and from the venue?
Yes. The artist will be responsible for the shipment of and the cost of the shipment of the entry to the venue. In addition, the artist must include a pre-paid return-shipping label for the venue to return the work at the conclusion of ArtFields®
What is the preferred method of shipping?
Artists may choose their own method of shipping. However, UPS and the United States Postal Service are the two methods most convenient and expedient for the Lake City, SC, area.
How does artist and venue hosting work?
Once accepted, the artist will be invited by an official ArtFields® Venue with an ArtFields® Artist and Venue Hosting Agreement detailing all terms and requirements. The accepted Artist will receive the invitation through email address provided in Slideroom.
May I present an Artist Talk? (Optional)
Yes. ArtFields® will provide a forum for competition artist to present an Artist Talk. A projector and screen will be provided. It is the artist responsibility to contact ArtFields® Art Team to set a presentation time.
How are entries promoted for People's Choice Prize 2-D and 3-D?
The artist is responsible for providing the promotional material desired for display during ArtFields® (e.g. business cards, brochures).
The Venue is responsible for displaying the promotional material.
What are the media guidelines?
Slideroom can accept the following file formats:
- Images (up to 5 MB): .jpg, .jpeg, .png, .gif, .tif, .tiff, .bmp
- Videos (up to 60 MB): .m4v, .mov, .mp4, .wmv, .flv, .asf, .mpeg, .mpg, .mkv
Video submissions must include a still image with the video.
What size should images be?
Artist needs to submit high-resolution images (up to 300dpi/1MB).
What size should videos be?
Slideroom accepts videos that are up to 60 MB in size. So long as the files meet the size requirement our processors will prepare them for the Slideroom software.
Will images of my artwork or artist statement be used in a catalogue and/or website?
Yes. Images of accepted artwork, artwork information including dimensions and price, artist statements, and artist biographies, submitted through Slideroom will be used for online and catalogue publication.
ArtFields® reserves the right to reproduce images in a competition catalogue and for promotion of the event in the media.
For artist inquiries, please contact the ArtFields® Art Team at email@example.com or by phone 843-374-0180.


text:
Ambulance Providers:
Costs and Medicare Margins Varied Widely; Transports of Beneficiaries Have Increased
GAO-13-6: Published: Oct 1, 2012. Publicly Released: Oct 1, 2012.
Additional Materials:
- Highlights Page:
- Full Report:
- Accessible Text:
(202) 512-7029
Office of Public Affairs
(202) 512-4800
What GAO Found
Ground ambulance providers' costs per transport for 2010 varied widely. The median cost per transport for the providers in GAO's sample was $429, ranging from $224 to $2,204 per transport. Provider characteristics that affected cost per transport were volume of transports (including both Medicare and non-Medicare transports), intensity of transports (the proportion of Medicare transports that were nonemergency), and the extent to which providers received government subsidies. Higher volume of transports, higher proportions of nonemergency transports, and lower government subsidies were associated with lower costs per transport. Providers reported that personnel cost was the largest cost component in their 2010 total costs and the biggest contributor to increases in their total costs from 2009 to 2010.
The median Medicare margin, including add-on payments, was about +2 percent in 2010 (meaning that providers' Medicare payments per transport exceeded their overall costs per transport) for the providers in GAO's sample, but Medicare margins varied widely for those providers. When GAO removed the add-on payments, payments decreased for the providers in the sample, resulting in a lower median Medicare margin of -1 percent. Due to the wide variability of Medicare margins for providers in the sample, GAO cannot determine whether the median provider among the providers in the population that the sample represents had a negative or positive margin. The median Medicare margin with add-on payments ranged from about -2 percent to +9 percent, while the median Medicare margin without add-on payments ranged from about -8 percent to +5 percent.
Ground ambulance transports for all Medicare fee-for-service beneficiaries grew 33 percent from 2004 to 2010. Transports by beneficiaries nationwide grew the most in super-rural areas (41 percent) relative to urban and rural areas. The increase overall is attributable primarily to an increase of 59 percent over this period in basic life support (BLS) nonemergency transports, which include noninvasive interventions, such as administering oxygen. In comparing this growth by service area, BLS nonemergency transports in super-rural areas grew the most--by 82 percent. Representatives from an ambulance provider organization suggested the increase in transports may be from increased billing by local governments. Some local governments that used to provide Medicare transports free of charge may bill Medicare now because of increased budgetary pressures. The Department of Health and Human Services Office of Inspector General has cited improper payments--which can be the result of billing mistakes--as one potential cause for increases in Medicare ambulance utilization and has stated that the Medicare ambulance transport benefit is highly vulnerable to abuse, with some payments for transports not meeting program requirements.
Why GAO Did This Study
Since 2004, Congress has authorized supplemental temporary payments, called "add-on" payments, to augment Medicare fee schedule payments to ambulance providers. The add-on payments increased payments for transports in urban, rural, and super-rural (the least densely populated) areas by $175 million in calendar year 2011, according to the Medicare Payment Advisory Commission. In 2007, GAO reported a decline in transports by beneficiaries in super-rural areas and recommended that the Centers for Medicare & Medicaid Services (CMS) monitor beneficiary use of ambulance transports to ensure access to services, particularly in super-rural areas. The Middle Class Tax Relief and Job Creation Act of 2012 required GAO to update the 2007 report. GAO examined, for 2010 (the most recent year complete data were available when GAO began the study), (1) ground ambulance provider costs for transports, (2) the relationship between Medicare payments and provider costs, and (3) beneficiary use of ground ambulance transports. To do this work, GAO sent a survey to a sample of eligible providers based on the 2007 report sample asking for provider costs and characteristics. The sample is representative of all ground ambulance providers that billed Medicare in 2003 and 2010, were operational in 2012, and did not share costs with nonambulance services or air ambulance services. GAO also performed a regression analysis to examine factors that affect costs, analyzed Medicare claims and enrollment data, and interviewed representatives of ambulance provider organizations. CMS reviewed a draft of this report and had no comments.
For more information, contact James C. Cosgrove, (202) 512-7114 or email@example.com.
Aug 26, 2016
Medicare Part B:Data on Coupon Discounts Needed to Evaluate Methodology for Setting Drug Payment RatesGAO-16-643: Published: Jul 27, 2016. Publicly Released: Aug 26, 2016.
Aug 5, 2016
Patient Protection and Affordable Care Act:Information on Approval Process for State Innovation WaiversGAO-16-637R: Published: Jul 6, 2016. Publicly Released: Aug 5, 2016.
Aug 1, 2016
Medicare Part B:CMS Should Take Additional Steps to Verify Accuracy of Data Used to Set Payment Rates for DrugsGAO-16-594: Published: Jul 1, 2016. Publicly Released: Aug 1, 2016.
Female Genital Mutilation/Cutting:Existing Federal Efforts to Increase Awareness Should Be ImprovedGAO-16-645: Published: Jun 30, 2016. Publicly Released: Aug 1, 2016.
Hospital Uncompensated Care:Federal Action Needed to Better Align Payments with CostsGAO-16-568: Published: Jun 30, 2016. Publicly Released: Aug 1, 2016.
Jul 7, 2016
Drug Shortages:Certain Factors Are Strongly Associated with This Persistent Public Health ChallengeGAO-16-595: Published: Jul 7, 2016. Publicly Released: Jul 7, 2016.
Jun 23, 2016
Defense Health Care:Availability and Quality Measurement of Women's Health Care Services in U.S. Military HospitalsGAO-16-596: Published: Jun 23, 2016. Publicly Released: Jun 23, 2016.
Jun 20, 2016
Federal Autism Activities:Agencies Are Encouraging Early Identification and Providing Services, and Recent Actions Could Improve CoordinationGAO-16-446: Published: May 20, 2016. Publicly Released: Jun 20, 2016.
Jun 15, 2016
Food and Drug Administration:Comprehensive Strategic Planning Needed to Enhance Coordination between Medical Product CentersGAO-16-500: Published: May 16, 2016. Publicly Released: Jun 15, 2016.
Medical Product Oversight:FDA Needs More Strategic Planning to Guide Its Scientific InitiativesGAO-16-432: Published: May 16, 2016. Publicly Released: Jun 15, 2016.
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Bunker Hill IN Real Estate & Homes for Sale
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The median home value in Bunker Hill, IN is $84,625.
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The national median home value is $177,414.
The average price of homes sold in Bunker Hill, IN is $84,625.
Approximately 52.74% of Bunker Hill homes are owned,
compared to 21.64% rented, while
25.62% are vacant.
Bunker Hill real estate listings include condos, townhomes, and single family homes for sale.
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text:
by Stephenie Meyer
Man and the Natural World Quotes in Twilight
How we cite our quotes: (Chapter. Paragraph)
Quote #16
A swift rigidity fell on all of them as James lurched one step forward into a crouch. Edward bared his teeth, crouching in defense, a feral snarl ripping from his throat. It was nothing like the playful sounds I'd heard from him this morning; it was the single most menacing thing I had ever heard, and chills ran from the crown of my head to the back of my heels. (18.27)
James and Edward are exhibiting their normal, fighting behavior.
Quote #17
[Alice to Bella:] "We're also like sharks in a way. Once we taste the blood, or even smell it for that matter, it becomes very hard to keep from feeding. Sometimes impossible. So you see, to actually bite someone, to taste the blood, it would begin the frenzy. It's difficult on both sides – the bloodlust on the one hand, the awful pain on the other." (20.88)
Alice explains what happens when a vampire tastes blood. She likens it to a shark feeding frenzy. She presents vampires' reaction to blood as natural, rather than evil.


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Their cash position relative to short tern liability is extremely dangerous. Since it is not profitable, it would be unable to issue debt. However, It can issue stock or preferred stock if market is still drinking kool aid at that time. Walmart can bankrupt amazon in 6 months if it decides to use its online to sell everything 10% lower than amazon. Walmart can easily take the loss, but not amazon.
Sentiment: Strong Sell
Even though I believe AMZN is overvalued by a factor of at least 10 and am playing the shorts. BK is unrealistic. AMZN has no debt and they can easily issue more shares.
Amazon has no profit. And has a lot of committed capital lease and fixed expenses. Their current cash will not even cover their account payable and accrued expenses. I don't think a bankruptcy is that far fetch.
WalMart will not have to do the heavy lifting. Amazon went directly after Apple's core business and opened a business model competition. Further, with its stupid anti-trust play on eBooks, it guaranteed that Apple can choose to sell eBooks at cost or even a loss (its loss leader versus AMZN's hardware loss leader), which given the immense number of iPads out there would hit Amazon's core source of cash flow VERY hard. That would be the nail in the coffin. Oh, and did I mention that Google doesn't like AMZN very much and can do the same on all Android and Chrome devices (Chromebooks are killing it right now... will show up soon). Open, cloud based eBooks standard will put AMZN into a world of hurt.
WalMart and Best Buy matching prices on high value density items (where there is a store and service to support any problems) will create a selection bias in AMZN orders, pushing up shipping cost relative to item profit (and since shipping will be free for $7.99 a month Prime) will also hurt Amazon...
Will be a fun year. Do not get impatient. Short responsibly or use on very LT puts...


text:
Jul 26
Jun 20
Dec 13
Sep 13
Apr 21
To celebrate 30 years since R.E.M.'s first landmark full-length record, R.E.M. tribute band Chronic Town will play R.E.M.'s album Murmur in its entirety. Radio Free Europe, Sitting Still, Pilgrimage, Talk About the Passion, and other classic R.E.M. tunes. Chronic Town is joined by Gang of Four tribute Gang of Forty to kick things off, and B-52s tribute Private Idaho closes the night with great Athens, GA party music. It's a great night of 80's alternative rock and dance music in the heart of the Mission! ___________________________________ From All Music: "Even though it is firmly in the tradition of American folk-rock, post-punk, and garage rock, Murmur sounds as if it appeared out of nowhere, without any ties to the past, present, or future. Part of the distinctiveness lies in the atmospheric production, which exudes a detached sense of mystery, but it also comes from the remarkably accomplished songwriting. The songs on Murmur sound as if they've existed forever, yet they subvert folk and pop conventions by taking unpredictable twists and turns into melodic, evocative territory, whether it's the measured riffs of "Pilgrimage," the melancholic "Talk About the Passion," or the winding guitars and pianos of "Perfect Circle."
Sounds Like: R.E.M.
Manager: Michael
Bio: Chronic Town began the begin in 2004 as the SF Bay Area's premier REM tribute band.
Thier shows accurately reproduce the entire length of R.E.M.'s 31 year career of releasing top-notch and innovative rock and pop music. From the garage rock of "Radio Free Europe" and "It's the End of the World...See Full Bio


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Reviews - Cross Keys Cottage3
Park Street, Stow On The Wold,, Cheltenham, GL54 1AQ
Price From £95View Rooms
Customer Reviews
Our reviews are from genuine LateRooms.com customers. We verify that the customer has stayed before leaving a review.
100% would recommend it to a friend
Customer service
Food quality
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Night in the Cotswolds
Very charming cottage comfortable beds welcoming hosts and tasty breakfast
Good place to stay in Stow
Good location, comfortable accommodation, welcome hosts, good breakfast.
Shower could have been better.
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Lovely little gem
Very impressed by The CrossKeys Cottage.
The house is lovely, very traditional and super clean.
We were staying as we attended a wedding nearby, we called ahead and asked for taxi numbers, Roger kindly offered to book for us. When he arrived he explained no taxis were available for the time
we wanted so he took us himself. Outstanding customer service.
The room itself was good, not big but had everything we needed. The private bathroom across the hall again was fine. The shower cubicle is tiny however and the water pressure wasn't great.
Breakfast the next morning was great, albeit early at 8.30!. Worth getting up for though.
Overall the welcome and service was superb and definitely recommend this B&B.
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Very lovely cottage atmosphere and owners extremely friendly
Would definitely com back to cross keys cottage beautiful place and very lovely owners , couldn't do enough for us to make our stay very enjoyable .
Lovely house and lovely breakfast . My sister and myself would definitely use this place to stay if we are ever here again .
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Lovely atmosphere
Very conveniently placed within the town.
The room was cosy and the owners were very friendly.
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Very warm and cosy. Wished we had stayed for longer.
Straight away from the first greeting at the door from Margaret we new we had chosen the right place to stay for our short week end stay in Stow.
Margaret and Roger were the perfect hosts. We would definitely tell anyone we know visiting this lovely part of the country to book the Cross Keys cottage in Stow on the Wold. The cottage was just such a beautiful building. Of corse must not forget to mention the superb breakfast. Thank you very much.
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Perfect Weekend.
A brilliant place to stay, we came for 2 nights and couldn't have felt more welcome.
The cottage is steps away from lovely pubs and restaurants of Stow. Breakfast was simply amazing (fruit, yoghurt, granola + English Breakfast) and roger was on hand to direct walks and cycle routes. I will definately be returning. :-)
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Friendly owners and extremely clean accommodation, no issues at all
fabulous place to stay margret and roger excellent hosts
We spent 3 nights here both Margaret and Roger fabulous hosts both Paul and myself can't wait to return to spend some more time here, we had a great laugh with the owners, Paul and Roger got on like old friends, lovely cooked breakfast, lovely place to stay clean and friendly, lovely atmosphere to the bed & breakfast beautiful old building comfortably furnished, all our needs were met, with out a problem, nothing is too much for this genuinely lovely couple, thank you for your hospitality Margret and Roger x x x x x x x x x
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