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Produced in association with John Adrian Selzer
Uncle Vanya
by Anton Chekhov
a new version by Annie Baker
directed by Sam Gold
"You know, I used to think that being a creep meant you were sick or abnormal, but lately I've come to the conclusion that we're all creeps. Everyone in the world, behaving naturally, is a complete creep."
Playwright Annie Baker and director Sam Gold (The Aliens, Circle Mirror Transformation) reunite to stage an intimate and immersive version of Chekhov's masterwork.
Featuring (L to R): Peter Friedman, Maria Dizzia, Rebecca Schull, Paul Thureen, Reed Birney, Matthew Maher, Georgia Engel, Michael Shannon and Merritt Wever.
Literal Translation by Margarita Shalina; Set Design by Andrew Lieberman; Costume Design by Annie Baker; Lighting Design by Mark Barton; Sound Design by Matt Tierney; Props by Kate Foster; Production Stage Manager, Christina Lowe; Casting Director, Jack Doulin, C.S.A.
Tue-Sun 7:30pm
Sat 3:00pm
44 Responses to "Uncle Vanya"
Expansive,leisurely paced-and with some terrific acting-this Vanya built up to a very moving finale.The clever A-frame house set brought back memoriesof Jerry Rojo/Richard Schechner's environmental sets at the Performing Garage(The Performance Group before it became The Wooster group) so many years ago.For this Vanya I sat in a modifed "lotus pose"(thank you yoga classes) for the entire performance; there was very little room to sit any other way.Sam Gold is such an extraordinary talent: this is the third production of his that I've seen.Each one has been unique and totally satisfying.His Three Penny Opera staging at the Julliard School was one of the great theatrical experiences of my life.I still can't get it out of my mind.
After this Vanya, it's going to be impossible to for me to sit through any old fashioned staging of Chekhov-with -moth-balls(aspirational English accents,real samovars,etc.).This Vanya was riveting and liberating.
A stunning production and version of a great play
There are endless productions of Chekov
mostly vanity productions
This surely is what the great playwright Chekov inteneded
And why these plays are WORTH doing.
[…] admin | Categories: Uncategorized Michael will be doing the play Uncle Vanya at the Soho Rep in New York on the 7th June-15th July 2012 /* […]
An astonishingly intimate performance which grew as the play developed. Witnessing the actors from such a vantage, one almost felt oneself a character, as if it might be possible to reach out to comfort Sonya and her poor uncle, admonish Astrov to come off it, truly to see oneself in the mirror which this informal glimpse of our human vulnerability rendered so heartbreakingly beautiful. I used to think that Vanya on 42nd Street was the last word, but this production was certainly its equal, even surpassing it in the small space and proximity to the action. I should have preferred period costumes–after all, these people were gentry–, but that aside, to have been present to feel Sonya's tenderness and bewilderment, her uncle's impassioned helplessness, the Doctor's explanation of his feeling for the environment, even the buffoonery of the Professor–first rate! Salut!
this production of VANYA, while really fascinating, tends to get vocally and physically monotonous. these people are so utterly bored because their way of life is vanishing, and the russian revolution is around the corner. none of that immediacy is in the acting, as good as everyone is. there seems to be no pressure of a changing society, no sense of life on that estate, although sonya talks about how difficult it is to make a living. the sub text might surely be a sense of panic that they are losing – have already lost – a privileged way of life. i deeply admire the director's choice – his view of the production – i did feel that it could have been just a little better, but i was very happy to have seem it.
We were sitting in the front row where the small table and lamp were in the first act. When the conversation was at the other end we couldn't hear it. Also we missed Sonya's last beautiful speech at the table with Vanya and Marina. It was as if she was whispering…missed the whole thing. It's one thing to have an intimate conversation but actors should project so the audience can hear. We enjoyed the play, especially the acting–everyone, except Sonya's voice got really monotonous. And of course we couldn't see the doctor at the end because he was practically off set.
It was well worth the torture of the misconceived seating concept (The same thing could have been accomplished with risers and chairs, but surely Annie and Sam are only too aware of that by now) to be in such close proximity to such an exquisite display of naturalistic acting. At one point I was two feet from Michael Shannon, and I got it, he was forcing nothing, he was LETTING it, and trusting it would be enough, HE would be enough. It was not acting, it was BEING. Something few artists rarely achieve, but for him, the norm. Breathtaking! And for me, as a fellow thespian, very humbling. My deepest gratitude to everyone involved.
Great production of a great play. I was sitting near the end where the scene in which Sonya attempts to profess her love and to get Astrov to stop drinking and it was breathtaking. Lots of moments like that. Bold to make the play so colloquial–but a bold move that paid off. Wonderful work from a wonderful playwright
Let me add to my previous comment.; Two wonderful playwrights–Chekhov, the master and Annie Baker, his faithful and talented-in-her-own-right translator.
I enjoyed this innovative, intimate, wonderfully acted "Uncle Vanya," with a terrific translation .(1) Being so close brought one into the immediacy of the text and I found myself sitting, occasionally with my eyes shut, just listening to the words and feeling the piercing sadness in the hearts of these characters. I would have liked, however, a little more costume "design" or clothing detail (e.g. a few peasant neck shirts/tunic tops or embroidered detail jackets to create a Russian flavor). (2) Are the audience members sufficiently forewarned about the tiered setting whereby–if they are on the 2nd or 3rd cushioned tiers, they have to fold their legs and cannot extend them–could be a potential problem for those arriving right before the curtain and getting stuck in those locations. I luckily sat on the front row right behind the vodka table. I felt llike patting Michael Shannon on the back and saying, " Don't worry, Astrov. Life gets better." (3) It would be interesting one day to see a rep company do a play like "Vanya" where the actors playing Vanya and Astrov alternate these two roles, as Sir Laurence Olivier and Sir Ralph Richardson did at the old Vic in the 1960's. This was a wonderful evening.
Yes, "intimate" is the right word for this production. The play registered with me in a way that numerous previous prior productions never did. Terrific cast. Please consider keeping the living-room-like seating arrangements for future plays.
While this production generated much thought & new feelings- it also drew critiques. Some actor friends missed the intensity & passion that must be palpable- even if a faint remnant – to frame the longing for lost things. Sexual desire was palpable, but Astrov's adamance about the land as well as his heart as a physician were not haunted by his past passion. Shannon was indeed a compelling authentic presence, but stuck at one note– rather like 'burn out' — as though nothing much had been lost.
I agree with previous comments admiring Sonya's attentive scene with the doctor, but Weaver seemed lost in her final speech. It was deadened without the necessary veneer of hope. ..the promise of 'rest' was primarily offered in unmitigated despair.
Baker's words were astute but the modern dress almost distracting.
In the end- it was the clarity of Reed Birney's Vanya that proved the true stand out, as well as the need to adapt as an audience, to enter in, to experience actors/characters so nearby, to wonder how they kept their heads.
Thank you for that wonderful evening in the theatre. I loved the intimacy of the audience and the actors. From the moment I entered the space the energy was elegant and comfortable and I loved the humor of it all — everything felt unexpected to me and I was excited to disappear with the actors and the audience — we were all one last night! MORE!!!
Enjoyed the production in spite of the seating, which is saying something (might be nice to warn people before they've already bought their tickets). The small space made it possible for actors to speak softly, and I liked the pace very much; long, convincing pauses. Although a dimension of the play is lost when it's performed in jeans, the modern dress played as "without costumes," and the play got across anyway. (I think it's possible to like a production like this without putting down productions that use period costumes and less colloquial language; it's bad acting and directing that make a performance seem mothball-y. And as far as I could see, the samovar was a real samovar, and why not?) At the Soho Rep, my only serious objection was to the very end. Chekhov provides for a drop-dead final curtain (the pool of light in the darkness, Sonya's lines, the silence, the little scratches of sound in the darkness, FADE OUT). Telyegin is "strumming" on his guitar, yes, but I think that sound should be in the background — very, very soft, not interfering with the power of the silence and the almost-darkness. The long rendition of some noisy Russian tune is quite different, and for me it ruined the end. The women all very good. The actress who played Sonya is very pretty indeed, but her youthfulness and slight plumpness made it believable that Astrov wasn't smitten; in so many productions, Sonya has conventional film-star prettiness. This Astrov, though obviously a good actor, seemed too young for the part, too loose, and with insufficient intellectual passion.
I enjoyed the show a great deal. As an acting teacher here in NYC at a two year Meisner conservatory, i appreciated the simplicity and truth. BUT, I WAS VERY MUCH PUT OFF BY THE CURTAIN CALL. Many actors seemed to be completely uninterested in receiving our gratitude. It was very off putting. The curtain call is our opportunity to thank you. After a great show, I ended up leaving quite offended.
I LOVED this production. Was just in a puddle of tears at the end. As such, was eager to in some way convey my gratitude to the cast. But I have to agree with Charlie. The actors seems absolutely uninterested in the audience and what we had to offer by way of "thanks."
The 'intimate seating' is without question a genius stroke. The contemporary conversational rhythms, silences, and body language that Annie Baker and Sam Gold understand so beautifully were delivered flawlessly by this drop dead perfect cast. Each character was so clearly defined and, with no 'period' clothing to distance us, it felt as though we were privy to watching with the intimacy of a home gathering. This nearly voyeuristic participation had the amazing result of allowing characters to become even more universal than more 'traditionally' staged versions. I saw my family and relatives before my eyes. Maybe it's age and experience that also deepens Chekhov, but the play was transformative. This is why we return to the theater over and over – once in a while it blows your mind. Thank you Soho Rep.
I can offer no greater reflection of the play's impact and that of the players than to say:
I inhabit my truer self — spirit, soul, heart — more fully for having witnessed the gift of 'Uncle Vanya' last Saturday afternoon, July 14.
I just got to terms that the extended run of Uncle Vanya at the SOHO REP. is sold out…(good for you)!!!
…it took me a while to get over that fact…
Coming home today what did I find in my mailbox? A flyer from SOHO REP. telling me that the production has extended…now that is just putting salt in my wound…)-:
Is it possible to get a ticket from the cancellation line? How early do I have to come?
Will the production extend again?
Thank you,
[…] Chekhov's characters number nine, though some have little to do—he cared less for casting costs than today's American playwrights usually must—and Baker hasn't cut a soul. Nor are there any star turns among the players. If you notice differences among them—more moment-to-moment details from Michael Shannon's Astrov, say, or a special satiric edge from Peter Friedman's professor—that's only because actors are different, and in close quarters their styles and qualities become more tangible. The finely polished ensemble effect of this cast is lovely to see. It's just another of the many beauties in Soho Rep's Vanya. tickets […]
[…] There are new essays by Jennifer Cayer on Annie Baker's adaptation of Uncle Vanya, now at Soho Rep through the end of August, and by Susan Kattwinkel on Mike Daisey's new monologue ("The […]
I bought a seat for last night's performance but I ended up not attending. The predicted stormy weather was a factor (I live on Long Island) but a greater one was my realization (I don't know why it took me quite so long) that — as I understand it — I would be sitting with no back support for 2 and a half hours. It was NOT just a guesstimate that I would find this hard to take — I'd had severe pain during the 90 minutes of COCK! So, chalk it up to a failure of … nerve, OR acceptance of the limitations of age (I'm 67). I don't regret spending the money for the ticket; such enterprises deserve support. Failing some recording of this production, guess I'll have to settle for imagining THIS cast in Louis Malle's film of Andre Gregory's VANYA ON 42nd STREET!
this production was wonderful, slow to build but rightfully so and devastating, exquisite at moments that leave you aching for the characters and ourselves.
An astonishing production that the audience inhabits, too; I have never felt so richly entangled in the performance of a play. Even now, the day after, the play continues to reveal itself to me as, in memory and imagination, it engages with my own life.
Absolutely wonderful production. Only flaw, and it's a HUGE one, was the seating concept. I guess it's an interesting idea on paper to have the audience seated crosslegged on risers but the reality of it was excruciatingly uncomfortable and seriously detracted from my enjoyment of the play. I'm sure the director could have achieved the same desired intimacy by allowing us to sit on chairs. Intellectually and emotionally I was fully appreciating the beautiful pacing of act 4, but my aching butt and cramped legs were screaming at me. I would have a hard time recommending this to any of my middle-aged friends because the discomfort was so severe. My partner was still suffering hours after the show. Why, Soho Rep, why???? Why mar such a beautiful, stunning production????? Your cast should be offended that you have created such an obstacle to the appreciation of their truly glorious work.
Reed Birney is wonderful, thinking on stage actor…
Unfortunately everything else is amateur-ish (please no offense, but that is the essence of what was happening on stage)…
Chekhov is smiling. It wasn't all for nothing after all…you made me, for one, feel the clarity of despair without loss of hope in humanity…Bravo!
It was a marvelous production of my very favorite play (and I have seen close to a dozen Vanyas) clearly inspired by Vanya on 42nd street, which is fine, considering that that is my favorite manifestation of this play. It was totally absorbing, and I was even able to forget the uncomfortable seating (though a bit more bearable than at The Cock! — thank you!) Vanya and Sonya particularly were excellent. I was not happy with Astrov, although Michael Shannon is typically very good: were his teeth falling out? Certainly I never thought that Astrov's did.
The one thing that I disliked intensely was the "musical entertainment" during the intermission and the moment the house went dark at the end . it felt like a crude slap in the face: had nothing to do with what we just saw, and it was very loud. After all, one wants to savor the wonderful experience one just had. CUT the music all together!
THIS "Uncle Vanya" adaptation is a joke. Sam Gold and Ann Baker have no clue of what Chekhov is about. Astrov is portrayed as a sorrow looser. No way, he can inspire love and passion from an intelligent beauty like Elena. Actress playing Elena failed to show how her heroine can draw such a passion from man. As to Uncle Vanya, at the beginning, he is portrayed as a first grade cynic. This character will never cry to his mother and ask for help as he did later in the play. These are just some of the observations. Unfortinately, most American adaptations of Chekhov plays have little in common with real Chekhov. For those of you who want to see what real Chekhov is about, I advise to see Lev Dodin's productions. He brings his plays from Petersburg to BAM once in a while.
I thought that the production was about as perfect as a production can be; I'm still obsessing over it hours later.
I do feel the odd need (I mean, it's not as if this hugely successful and popular production needs extra support, but nonetheless) to defend the evening against two of the complaints lodged in other comments:
1. Yes, of course, no single audience member can see every moment of the play face-on: That's clearly intentional. But I wasn't bothered by that for a second. First, I could always peer at an angle to see almost every square inch of the theater. And if I couldn't see a face, I could certainly hear a voice. And for every major speech or moment that I might have been at a "disadvantage," I could revel in watching the unspoken reactions of the other actors. For me, this was win win win.
2. I am not young, and I have a notoriously bad back, with a recent surgery to my credit. I couldn't have been more comfortable for the full evening. You extend your legs, you cross your legs, you lean forward, you sit back. It's not especially complicated.
[…] just saw the Soho Rep's production of Uncle Vanya with Michael Shannon and Merritt Weaver. The show has just the right understated, […]
This was Chekhov on anti-depressants, a performance at odds with the witty and feeling exchanges one finds in Chekhov plays. Too many of the performers seem to have been sleep reading their lines without feeling for what was said or for the interchange with their partners. Come now, Dr. Astrov had some feeling about his work (forests and doctoring), just as Chekhov did. You wouldn't know that Chekov had multiple messages in this play; the droll performance hides them. And, really, American farm clothes don't sit well with 19th-century Russian conversation. And didn't the director realize that the daughter's final rationalization was at odds with what Chekhov's existentialism feelings were (if not expressed in its later codification). She fumbled (swallowed) these lines. (And she should have been younger than her father's new wife; she wasn't.) The wife was overly mechanical in her body movements. In this play, Chekhov had no winners. And this production followed suit.
Should be depressants, not anti-depressants. Why are you censoring this comment?
[…] but must close August 26. If you're inclined to order tickets, don't wait but go here. Share this:PrintEmailFacebookTwitterLike this:LikeBe the first to like […]
Beautifully conceived and performed, and perfectly capturing the play's essence. This production is, among many other things, a testament to the ways in which, with the barest minimum of props/set, great writing and acting can attain grace.
Immense gratitude for the last $.99 Sunday ticket yesterday…possibly favorite play by my favorite playwright, & so many moments in this production unlike any other I had seen/played/imagined for this…beautiful. Thank you, all of you!
I waited on line for both performances on Saturday, but did not get in. Is there any chance this production will be extended again?
My jaw is still open a day later. All I want is a time machine to go and buy everyone I know a ticket to this. Sad it's ending.
Lovely, intimate, truthful, inventive, an ensemble cast of terrific actors. No pretense at all. The best Vanya i've ever seen, and I've seen about 10.
I really loved it, even though I'm glad it's not the only production of this play I've ever seen. Very occasionally, the conversation-level performances work against the intention of the text, but mostly, the payoff is enormous, and the opportunity to be feet away from the "action" is revelatory. The whole cast is strong, but I have to single out, in particular, the mesmerizing work of Michael Shannon and Merritt Wever (their scene in Act Two was my favorite, as well). He squints through palpable pain and you feel a world of stifled longing in his smallest choices. Her performance blooms in gorgeous, melancholy hues as the evening moves on. For me, they took best advantage of the stripped-down aesthetic of this production, though there is not a weak actor in the cast, and everyone is certainly living in the same claustrophobic space–which we're lucky enough to inhabit as well. I felt very fortunate (and very moved) to have been able to see this.
My wife & I had a wonderful experience seeing this very innovative staging of Uncle Vanya. The entire cast was wonderful & they truly acted as an ensemble. The only problems we found, were the acoustics & sightlines. We had to sit up in the mezzanine, because, the legs of neither of us could have lasted for that long of a production in the special seating that was used. The problems we found were that when actors spoke in a low voice, especially when they stood or faced ithe direction at the other end from us, we really ciould not hear them at all & the bar supporting the seating in front of us caused us to very often awkwardly move our heads up, down, back & forth.
Loved the intimacy of the production and the acting was superb. I felt as if I were living with those characters. Seating needs to be rethought. Unless you are a yoga devotee or meditator who can sit for long periods with legs crossed in front of you, it was exceedingly uncomfortable.
Bleacher style works if your feet touch the floor…especially if you are over 50.
My kind of theater. Intimate; much to see and hear. I found myself able to think about Chekov during the performance. Perhaps it is because it struck me as so precisely measured; so many important moments extended (often I think to accentuate the tedium of these lives.) I thought of Chekov and his abiding concern for disintegration and how that theme resonates through all of 20th and (so far) 21st century theater. The last scene, just stretching along, sending its message of hope (or, for me, desperation wearing the mask of hope). The directors subordinated the Chekovian notion of class struggle and showed us how these characters lived or did not live with each other as real people. Seating? I was lucky to be in an folding chair in the "loft". I remember living rooms like that in the 70,s. Not surprised to hear some whining about it.


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Artist's description:
Watching the sky and capture its many moments is the passion of all the artists. This is a picture taken during the last day of the year of 2013 while I was waiting patiently in a dental office.
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'Homeland' Season 3: New Behind-the-Scenes Trailer Teases Brody's Dangerous Whereabouts
Last week afforded us a brief look behind the scenes of 'Homeland' season 3 premiere "Tin Man Is Down," but now the leaks have truly begun. A new extended behind-the-scenes trailer for the Showtime Emmy-winner's third season offers up fresh intelligence on the new threats Carrie and Saul face in the coming run, as well as our first insight into Brody's new surroundings.
"Where am I," the newly shorn former terrorist asks a mysterious man overseeing his rest. "That's a dangerous question," the man cryptically replies. Given that we saw Brody in the last trailer getting into some intense action, we're guessing it isn't the Radisson. Meanwhile back at home, Carrie has jeopardized the CIA by going off her meds once again, and Saul faces the potential dissolution of the entire organization.
Along with the recent additions of 'Iron Man' star Shaun Toub, Martin Donovan, Tracy Letts, Joanna Merlin, Nazanin Boniadi, Amy Morton, Lawrence Clayton, Sam Underwood, Gary Wilmes and 'Game of Thrones' season 4 star Pedro Pascal, season 3 of 'Homeland' will see David Marciano (Virgil) and Diego Klattenhoff (Mike) stepping down as series regulars to take reduced roles, while Morena Baccarin will reprise her series regular role as Jessica Brody in spite of her husband's absence.
Brace for spoilers, and check out the best look yet into 'Homeland' season 3, via the video above!


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18" footstool cushion - filled with compression resistant polyester filling.
Go to Fabrics to place cushion order.PLEASE NOTE - if ordering 1 or 2 footstool or decorative cushions (WITHOUT being accompanied by footstool frame, another papasan cushion, swivel rocker cushion or futon product) then an additional $13.00 will apply, to cover the cost of packaging and shipping. Fabrics selected from our premium range cost addiitonal to the price quoted on this page.Papasans Unlimited offers two styles of cushions, the Deluxe style (as detailed on this page) and the Tufted Style. This footstool cushion has 1 center covered matching button, with a velcro tag which is useful to fasten the cushion to the rattan frame. It is 18 inches in diameter. Deluxe footstool cushions are available in any of the fabrics within our range.Delivery is made through either UPS or FedEx, and we e-mail you with tracking details once items are dispatched - within 10 - 15 working days of receiving your order.If wishing to purchase cushion AND footstool frame, then order cushion, and then go to our footstool frames to order the frame.


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And now, I'd like to tell you about something delicious I ate.
It was simply called a "Raspberry Dark Chocolate Bar" and it was one of the bar cookies available at Avenue Bread in Bellingham, Washington.
Just look at this thing.
It's like a shortbread cookie on the bottom (already good), buttery and flaky and dense...but wait, there's more.
On top of that buttery base, a layer of raspberry jam, lightly tart and sweet.
And on top of that jam (which might be too healthy on its own), a smattering of dark chocolate chunks and nuts.
And then, on top of that, a rich crumb topping which was sweet and lightly salty.
Are you on your way to Bellingham yet?
As a bonus, this establishment also offers sweet pretzel-y looking cinnamon twists, all sorts of other carbohydratey treats, and it's right down the street from Mallard Ice Cream and Sweet Art.
Everything about this bar cookie and this establishment spells "WIN".
Avenue Bread, various locations (I visited 1313 Railroad Ave. in Bellingham); online here.


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Modular scalable UPS systems can be paralleled and expanded.
The "dot.com" world is more than a new re-tailing model or a get-rich-quick-scheme for Initital Public Offering-happy day traders. It represents a paradigm shift in technology and in the fundamental operation business. The technology pundits postulate that businesses will change not just through online production ordering, but all the way down to the nuts and bolts of their entire IT infrastructure.
As companies review their infrastructure, they find that power technology becomes a critical, but often underestimated, piece of their infrastructure puzzle. According to The Meta Group in a 1999 report on "The 21 superscript st Century Data Center," the top issues facing IT managers are operational efficiency, 24/365 availability, integration and migration and modernization. This means that IT managers must implement the most efficient solutions possible, without compromising the business need for 24/365 availability.
This, in turn, has been driving the most aggressive wave of innovation in power technologies - specifically Uninterruptible Power Systems (UPS) - in decades. UPS vendors' traditional customers, under pressure to deliver shareholder value and innovative Internet-centric technology solutions, have demanded more reliable UPS technology with the flexibility to meet their unique and changing needs. With the possibility of a leap in UPS sales looming under this drive for IT infrastructure re-working, UPS vendors have sent their engineers back to the drawing board (or CAD system) to meet these demands.
The recent introduction of modular scalability to the UPS market has been one innovation that has given IT administrators the flexibility they need to effectively manage their current power requirements and plan for future demands. Scalable UPS systems offer two inherent benefits. The first allows the capacity of a UPS system to be significantly expanded to meet the needs of a growing business. As additional equipment is added to the infrastructure, rather than replacing an existing UPS with a larger unit that can handle the increased load, scalable UPSs can be paralleled together to meet the new power demands.
A secondary benefit of a scalable UPS is the redundant protection that it can provide for mission critical applications. Much like redundant hard drives in a network server, an N+1 redundant configuration allows one UPS (or UPS power module) to serve as a backup to any of the others in the event of a UPS system malfunction. Scalable systems that offer N+X redundancy can add as many additional back-up systems as the user deems necessary, virtually eliminating any chance of downtime due to a power outage.
Developing a UPS to meet the net economy's changing needs is only half the challenge faced by today's UPS manufacturers. The other and equally important challenge is to develop effective, useful and appropriate software programs for monitoring and managing a power system.
Today's advanced power monitoring software allows IT managers to identify recurring or potential problems and eliminate them before they affect operations. Many companies around the United States have found that a marked drop in power quality and availability has lead them to keep a watchful eye on their power source (Silicon Valley, summer 2000). This software, which often comes bundled with a UPS, can help a system administrator configure an automated reaction to power problems, identify trends, isolate the sources of those problems and identify possible solutions. Monitoring can take place over a local network or over the Internet, helping to reduce the time and personnel needed to manage a company's power needs.
The dot-com economy demands UPS innovation that offers a modular, scalable, enterprise-wide suite of products that can be managed locally and remotely. The technology at play must provide built-in flexibility, reducing the amount of time IT personnel are required to monitor the power feeding their enterprise, and ultimately ensuring 24/365 availability for their business operations.


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10 October 2013 at 11.13am | 2 Comments
Before curtain up on The Royal Opera's new production of Giuseppe Verdi's Les Vêpres siciliennes, Antonio Pappano – who is conducting the piece – spoke to BBC Radio 3's In Tune.
'It's a wonderful opera that was new to me but since I've conducted Don Carlo so much, to be back with the Parisian Verdi has been quite an adventure,' Antonio told presenter Sean Rafferty. 'I'm very happy we're doing it in French because the whole colour of the piece takes on something of the unexpected - there's a different frisson, a different electricity in the French language.'
Antonio also spoke of the look of the new production, which has been updated to the era of the opera's premiere: 'You'll want to take the story with a grain of salt in terms of the period - we've updated the setting. Stefan Herheim, the producer, has found a beautiful setting - the opera house of Théâtre Impérial. The story is told very clearly but it's a discussion not only about the French against the Sicilians, but about art and the raping of art, and how art is used… It's a beautiful production; visually stunning and musically sumptuous.'
Les Vêpres siciliennes had its premiere in 1855 during the heydey of French grand opera and saw Verdi following in the footsteps of Offenbach and Meyerbeer: 'What's amazing about this score is that there are so many dances - a tarantella, a bolero, a barcarole. Verdi reinvented himself when he wrote for Paris. The melodies are unexpectedly longer in their phrasing and the duets, which make the biggest part of the opera, have a structure more like Rossini's William Tell rather than Verdi's other operas. These operas take their time and they're big!'
Antonio spoke to the reasons why the opera is only now being staged for the first time, and its rarity: 'The piece has a history of being done in Italian. Certain big singers were drawn to it - Maria Callas and many others. You need the top singers. The length is an issue - when these pieces were done by Callas they were cut to ribbons. I believe the cumulative effect of doing almost everything - we're pruning here and there but very little - pays dividends structurally, in intensity and over the whole evening the experience is richer. The piece does hold up but it needs to be done well.'
Antonio also gave his thoughts on what opera Verdi would have written had he lived longer, how the composer influenced the operatic singing style of today and how he himself runs rehearsals.
You can download the Tuesday 8 October interview with Antonio Pappano from the In Tune Podcast page - files are organized by date.
Les Vêpres siciliennes runs from 17 October – 11 November 2013. The production will also be screened live in cinemas around the world on 4 November and is staged with the generous philanthropic support of Mrs Susan A. Olde OBE, Mrs Aline Foriel-Destezet, Mr and Mrs Baha Bassatne and The Maestro's Circle.


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Stephanie Davis Smith | Photo: Courtesy Images | May 10, 2013
Ancestral splendor and laid-back luxury take root in Scotland, where tradition intersects with contemporary style—no matter where you roam.
The inky opaque waters of Loch Ness are as deep as the surrounding mountains are steep and as dark as Scotland's signature black pudding and the murky walls of Stirling Castle after sunset. But the island itself is not a dark place—far from it.
Aside from its Gothic architecture and the rich blackness of the peat that runs into the rivers, giving Scotch whisky that wonderful smoky flavor, the island is bright and verdant. Almost every vista recalls a cinematic scene—the countryside's green-and-gold undulations are straight-up Braveheart—and the people are the friendliest I've ever met.
I'm thankful this is true, as my mother's people hail from Scotland. Her family name, Henderson, is derived from "the sons of Henry"—according to ScotlandsPeople Centre (scotlandspeoplehub.gov.uk)—a fact my husband and I discover in Edinburgh (pronounced Edan-burah), our first stop after arriving. Tracing your genealogical history has become one of the most popular travel trends in recent years, and, with records dating back to the 1400s and beyond, the Centre can help you nail down ancestral specifics, from region to clan.
In my case, I learn that the long line of Hendersons dates back to 1374, when William Henderson (coincidentally, my uncle's name) was chamberlain of Lochmaben Castle. Additional perusal of census, voting and even Catholic church records reveal that the clan settled in the Highlands, where we plan to go after exploring Scotland's vibrant capital.
Our search brings us to a quaint side street on the quieter side of Edinburgh, where Twelve Picardy Place Hotel (twelvepicardyplace.com), a newly minted boutique property, opened in a Georgian townhouse in late 2012. The historic building sits above STEAK—a fine-dining restaurant with an apartment-turned-kitchen that served as the birthplace of Sherlock Holmes scribe Sir Arthur Conan Doyle. The hotel's interiors reveal nothing of its age, with just 10 luxurious suites—superior, executive or master—decked out with unique contemporary decor and modern furnishings. Named after individual local lochs, all spaces house exquisite bed linens, soaking tubs and rainforest showers. Our pad, the Loch Fyne room atop the building, boasts an enormous photographic mural of the Scottish landscape, which takes up one whole wall, facing a downy bed, 3-D HD-LED screen (with 3-D glasses on the nightstand), a SKY TV and iPod docking station.
Hospitality is nearly as dapper. Don't be surprised to find an umbrella (outside your door); a CD of Scottish hits (on your pillow); or locally made treats, a European wall adapter, housemade shortbread, newspapers or 3-D Blu-ray discs (in your room) sans request—it's just how they roll.
When it's time for us to do the same, we head down the winding stairs and out into the bustling streets of Edinburgh, eventually landing at—wait for it, men—The Scotch Whisky Experience (scotchwhiskyexperience.co.uk). OK, so it's a bit touristy—a Disneyland ride for alcohol—but the tastings are top-notch. With aid from seasoned instructors who know all about the country's four scotch-producing regions—Islay, Lowland, The Highlands and Speyside—we learn just enough to sound off an intelligent and correct order, which is good, considering it's pretty much bottoms up from here on out. The venue also hoards the world's largest collection of scotch on its top floor, with almost 3,500 individual bottles, each like a work of art, donated to the museum by Brazil's magnate millionaire, Claive Vidiz.
Having not quite gotten our fill, though we're both warm and full of scotch, we walk off our buzz around Edinburgh, stopping to eat lunch at Angels With Bagpipes (angelswithbagpipes.co.uk)—a true find. Excellent respite is on the table at this stylish bistro, with artful repose not far behind. Dishes like stone bass over farfalle with razor clam, and Norfolk duck breast with port turnip and chicory jam reinvent the usual pub fare.
Following this sumptuous spread is a late-afternoon trip just out of town to see Stirling Castle (stirlingcastle.gov.uk)—the majestic building grants a glimpse of what life was like for the Royal Court. Suffice it to say, the likes of throne-holders Mary, Queen of Scots and King James V weren't exactly roughin' it. Here since the 14th century, this magnificent structure hosted centuries of Scottish monarchs. Touring the caverns is a veritable peep show of the battles and scandals that went down among the castle's stone walls—and it rules.
Once back in the city proper, we head out for predinner drinks in the lobby at The Hotel Missoni Edinburgh (hotelmissoni.com). Located in prime Fringe Festival territory on the Royal Mile, the place is an edgy, bold ode to its namesake fashion house's signature zigzag style—it also ratchets up the exclusivity factor with its status as one of only two Missoni properties worldwide (the other is in Kuwait, in case you're ever in the neighborhood). Our cocktail servers? Attractive lobby and bar staff clad in Missoni-patterned kilts. Their look sets a tone—the hotel's 136 guest rooms (larger than those at Twelve Picardy Place Hotel, but with the same mod vibe) are awash in pops of pink and orange, reflecting the brand's bright, textured aesthetic. Dudes not all about the decor will still appreciate the details—the brand's renowned attention to the crucial extras is on full display here.
After polishing off some Italian-inspired cocktails, we hit dinner at Tower Restaurant (tower-restaurant.com) at the top of the National Museum of Scotland, where the buzz is that it has the city's best cuisine and view, looking out over Edinburgh Castle. All true—but not all at once. At first, we're not even sure if we're in the right place—it's after hours so the museum is empty and a security guard takes us on a silent ride up the elevator. Suddenly, the doors open into a secret culinary sanctuary. A swift seating and, almost immediately, an amuse-bouche of Scottish salmon and scallop ceviche arrives. We go on to devour piccalilli (pickled vegetables) and whole grilled plaice, as well as a goat cheese voulette with watercress and black onion seeds, all beautifully presented on thin slate slabs. The sommelier does his duty, recommending an exquisite wine for me and an Islay scotch for my husband, but he assures us that the locally made beer, Edinburgh Gold or Innis & Gunn, will also pair nicely with our entree—scotch lamb served three ways. Too full for dessert (a complete crime!), we embark out into the dark, but completely safe, streets, strolling back to our hotel at Picardy Place, passing lively revelers along the way.
The next day the hotel brings round our rental car, just in time for us to learn how to drive on the wrong side of the road, and the wrong side of the car, with the opposite hand on the gearshift. But mastering new motoring skills is completely worth it—Scotland drives are spectacular, and imperative to the whole experience. On the way to Perthshire, for example, we spy large hairy cattle called coos. Cool, but we're here for this fabulous remote inn, tucked deep into the Scottish countryside, called Monachyle MHOR Hotel (mhor.net)—a family-run boutique operation near Balquhidder, where the famed Rob Roy is buried.
After driving down a one-lane road for what seems like forever, passing the most stunning landscapes and offbeat villages along the way, we finally find the fog-shrouded pink hotel that, for 20 years, has been chilling on the banks of Loch Voil in The Trossachs National Park. Run by Welshman Tom Lewis and his wife, Lisa, we're surprised to find hip Manhattanlike room decor—especially way out here. But a total of 14 rooms—five in the actual inn, five more spacious and private courtyard spaces with fireplaces (in what was once a carriage house), and additional hotel rooms in MHOR house—up the luxury game, with organic Sedbergh toiletries and spoils like deep soaking tubs. (Of which, ours is soon christened).
All meals (breakfast, lunch and dinner is served daily) at Monachyle MHOR are an experience, but dinner shines. It's so exceptional, in fact, its virtues have been lauded in The New York Times Dining Section. Perhaps that's due not only to Lewis' self-taught wizardry in the kitchen, but also to this: He uses his own hogs, pulls produce from his gardens and hooks fish from the frigid waters nearby. Our five-course feast features a bevy of choices, but I opt for beetroot cured salmon with vodka relish, then pan-fried turbot (a white fish with loads of flavor) with brown shrimp and shaved fennel, and finally a scrabster cod with squid-ink orzo pasta and pumpkin-seed pesto. My husband favors a corn-fed chicken, morel mushroom and smoked potato dish, and the homemade puddings and petit fours. As each new divine plate arrives, we share samples.
After only a couple of days here—walking the national forest, taunting sheep and indulging in Lewis' hospitality—it feels as though we've regained weeks of rest. Needless to say, we issue a hesitant goodbye to the lodge's friendly staff and motor toward my ancestral pool, the Highlands.
Heading north from Perthshire toward the illustrious Loch Ness, armed with a stellar lunch recommendation from our former host, chef Lewis, we eventually land at Lochleven Seafood Cafe (lochlevenseafoodcafe.co.uk)—situated off the beaten path on the rocky shores of Loch Leven, on the West Coast of the Highlands. Not straying from his advice, we both order the famous seafood platter, which comes out in big red pots. The lids are lifted with a steaming flourish, revealing a heap of locally caught oysters, langoustines, scallops, littleneck clams and razor clams, complete with a side of crusty warm bread to soak up all the briny broth. Better than any New England clambake or Southern low-country boil I've ever had, it's just the right warm comfort food to send us off toward the much colder Northern regions of our afternoon destination.
Wandering the windy roads overlooking Loch Ness, the black freshwater lake becomes more beautiful than menacing. Once in the quaint Loch Ness village, we hop a Jacobite Cruise (jacobite.co.uk) out onto the mysterious waters to hear all about the deep below and the centuries of reported sightings of legend's storied monster. Worth noting: So murky is the water, if you were to fall in, you wouldn't be able to see your hand in front of your face more than a foot below the surface (black peat streaming down the steep mountains makes for low visibility). Also, very little of this enormous lake—which holds more freshwater than all the lakes in England and Wales combined—has actually been explored, which means you're not likely to best "Nessie" at hide-and-seek anytime soon. I won't lie, by the end of the tour I'm guzzling the boat guide's swill—he's convinced me that there's a creature out there somewhere, as well as that we should take a more scenic route than the one we're planning for the rest of the day. He glances at our map and, as an alternative to the main highway, advises a narrow, unknown road up the eastern side of the loch that really shows off the Highlands' beauty.
Much obliged, we drive up over the steep mountain to the Highlands, where the height levels off and cliffs drop on either side. Up here, with only one-lane bumpy roads and the two of us for miles, all we see are fields of heather, cotton grass and moss-filled moors. After passing by this paradise for some time, we stop, get out of the car and soak in the beauty. Then the temperatures hit—it's cold up here. We throw on scarves and hats, and jump back inside the warm car.
Seeing all the small farms and homes dotting the Highlands, I think of my Henderson ancestors who came to America—a move that produced generations of dairy farmers. I picture them eras before, toiling in these fields, hard at the same work. Aching nostalgia (and many photo-op stops) aside, we hook right onto a highway and head down through the countryside toward the shores of St Andrews.
When St Andrews—you know it as a mecca for golf-worshippers across the globe—appears in the distance, my husband's excitement is palpable. Ever since he first saw its greens from his rabbit-eared TV set as a kid, he's dreamed of being here. But here? The fabled, five-star Old Course Hotel, Golf Resort & Spa (oldcoursehotel.co.uk)? Not even he saw that coming. Our bags are whisked to our room, and evening begins with an early dinner at The Road Hole Restaurant. Set on one of the hotel's upper floors, peering out over St Andrews golf course, the views are stunning, only matched by the fine-dining and country-club style—think East Neuk lobster gratin with Arran mustard, roast mallard breast and Tournedos Black Isle beef sirloin with wild mushrooms. Sitting courseside, sun setting, we just barely make out the distant waters of St Andrews Bay.
Once in our suite, the floor butler throws open the curtains to reveal that we are staying on one the most famous golf holes in the world—the Road Hole Bunker on the par-4 17th hole. It is at precisely this moment that I think my husband's head is going to explode. Just wait until daylight, I think to myself. But this is not the only luxury at this resort—there are also 144 beautiful rooms, including 35 stunning suites. Of these, we're in one of the 23 suites that have been completely redesigned with sumptuous interiors by acclaimed French designer Jacques Garcia. Many of the rooms have private balconies with picture-postcard views of the Old Course and the town of St Andrews. While my husband ogles the greens scene, I'm all about the Kohler chromatherapy (color therapy) baths with whirlpool jets and later falling into a blissful sleep, cocooned in luxurious bedding on a perfect mattress—a true win-win.
Awaking fully rested the next day, we're scheduled to work out lingering kinks from the long drive with a morning massage at the hotel's Kohler Waters Spa. Stopping to look at old photos gracing the walls, we realize that the view from our room hasn't changed since the late 19th century. Even then you can see Hamilton Grand (hamiltongrand.co.uk) in the distance. One of the most photographed buildings in all of sports, the Grand is exactly that, with a regal facade that has stood for more than a century. In 1895, Thomas Hamilton created the lavish retreat at The Grand Hotel, boasting infinite views of the Old Course at St Andrews, West Sands Beach and the North Sea. At the time, the hotel was Scotland's only building to claim a pneumatic elevator and hot water running in every bathroom—setting the benchmark for the ultimate in luxurious hospitality.
After World War II, though, The Grand Hotel was never again to host high society and, instead, was crafted into college dormitories under the name Hamilton Hall, which, for 56 years, faithfully served St Andrews' student body. Now it's beginning its new chapter as the Hamilton Grand luxury residences. Each unit features a completely unique layout with high-caliber details, like rich hardwoods, marble accents and views that stretch for miles. The collection's 26 apartments—22 two-bedrooms (1,050 to 1,342 square feet), one three-bedroom (2,251 square feet) and a trio of four-bedrooms (2,257 and 2,779 square feet)—cater to a residential mix of wealthy, global golf fans. (A Swedish couple purchased the first apartment for a cool $2.74 mil.). But it's not just the residences that enjoy top billing—downstairs, on the lower level, a public bar and grill restaurant invites the whole neighborhood to imbibe, while Hamilton Grand residents also have the benefit of a membership at The Duke's Course—highly regarded as one of the premier golf courses in the British Isles—and access to Kohler Waters Spa and restaurants, like the Sands Grill, Road Hole Restaurant and The Jigger Inn.
Continuing to tour the luxury apartments, we walk down the regal, historic staircase that was saved during the renovation. I begin to picture a life on this magnificent island—or, at the very least, one with regular and frequent returns. "How many units are still available?" I casually query. "I can look into that for you," says our guide. My husband looks at me, his expression of the "Are you serious?" variety. I give him a nod and smile. He, of course, was hip to this idea last night at the par-4 17th-hole reveal. Now I've got my own dream of Scotland.
But that's par for the course in this country—one of the most majestic on Earth. Why, I wonder, would my relatives ever want to leave this idyllic land? Perhaps fate has intervened, and I will be the one to lead us back. Perhaps.


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It was about 5 a.m. on Tuesday, Jan. 5, and throughout the Alta Westgate apartments, children were snuggled in their beds. School was still a few hours away. The sun had yet to rise.
Suddenly, gunfire.
Bullets flew in all directions. Across the parking lot. Into a car. Windows shattered in a corner unit where a 1-year-old was sleeping, along with her siblings. By the time it was over, the Orange County sheriff would later say, deputies fired more than 100 rounds. Some of those rounds hit their mark — killing a suspected car thief who the Sheriff's Office says was trying to run down deputies. And yet, more than two weeks later, residents who live there are still wondering whether deputies did the right thing — not by defending their lives — but by following the suspect into a populated apartment complex and unleashing a torrent of gunfire with so many innocents so close by.
I'm wondering whether the rest of this community even cares.
The shooting, after all, happened in west Orlando, near Pine Hills — where crime is no stranger.
And the reaction has been largely … silence.
The TV stations showed up for their early-morning stand-ups and next-day follows. The newspaper did something similar, with a couple of follow-ups tucked inside the Local section.
Then the media and the community seemed ready to move on.
Can you imagine the reaction if this had happened somewhere else?
If deputies had tailed a suspect into College Park and unloaded more than 100 rounds in the middle of one of the streets named after Ivy League schools.
If the pursuit had ended somewhere in Baldwin Park, and stray bullets had hit the homes of little boys and girls who attend Audubon Park Elementary.
The outcry would be deafening.
Parents would demand answers. The media would camp out on the manicured lawns. Politicians would call for accountability.
We should demand nothing less this time.
Sheriff Jerry Demings says we will get it. "I take this very seriously," he said Friday. "We owe it to the community. To the families that were involved. I owe it to my deputies."
Let me be very clear: My sympathies do not lie with criminals.
If the suspect, 27-year-old Torey Breedlove, did as the authorities say and tried to run over deputies who had him cornered, he should've known that pressing the accelerator might be the last thing he'd ever do.
The men and women who serve and protect put their lives on the line. Sometimes they have to make the necessary choice of protecting their own lives by taking the life of someone trying to kill them.
But there are details about this case that are troubling — particularly with regard to the number of rounds that were fired at a moving vehicle in a heavily populated area.
Shooting at moving cars is controversial in the first place. Many departments — including the Orange County Sheriff's Office — frown on it, ordering officers to fire at cars only as a last resort.
The reasons are plentiful and well-documented. Bullets can ricochet off the vehicle and hit bystanders. If the officer misses the target, he may get killed by the oncoming car.
When shooting at drivers, officers sometimes aren't even sure at whom they are firing. That was the case in Polk County a few years ago when a deputy fired nine rounds into a vehicle before he learned that the driver was a 12-year-old girl.
Orange County's rulebook says deputies are unauthorized to shoot "at or into a moving vehicle" unless lives are at risk.
Volusia County even goes so far as to remind deputies in its manual that "shooting at or from a moving vehicle is a dangerous and generally ineffective practice."
As they do with high-speed chases, agencies sometimes makes choices to abandon the pursuit of a suspected car thief, for instance, to protect the public.
There's a lot about this case we don't yet know.
The Sheriff's Office said deputies were following Breedlove, who was driving a stolen car and had a history of criminal activity, when he pulled into the apartment complex. When confronted, he took aim at deputies with his car, leaving them with no choice but to start firing, according to Demings.
The office said all nine officers involved had been investigated — and cleared — in previous on-the-job shootings. The Florida Department of Law Enforcement is investigating the case.
Demings said he has questions too, but that, so far, he has heard little reason to be concerned.
"The number [of shots] sounds significant," he said. "But when you look at the details of the number of deputies who were threatened … it doesn't sound that unusual."
Demings said he's not even sure bullets went into apartment units. "It appears that it could've been a round or two that entered somebody's home," he said. "But there was also debris. I am going to wait for all the facts."
Residents are waiting as well.
On one evening last week, I walked around the complex – which is one of the nicer ones in west Orlando; recently renovated and full of working families.
I talked with Porcha Peterson, a mother who threw herself to the ground when the gunfire began, draping her body on top of her 1-year-old daughter as the window of her corner unit shattered, along with a sliding glass door.
Peterson recalled the moments of terror — laying on the floor, staring across the hall at her sister, who was huddled with her children as well — as the scariest moments of her life.
"I was terrified," recalled the health-insurance agent. "I didn't know what was going on. It was all so surreal."
Investigators would later remove two bullets from insider her home, she said. Two more were found on her porch.
What residents like Peterson want now is answers — and the confidence that this community and its leaders are taking this as seriously as they would if it had happened anywhere else.
They want to know more about the decision to confront the suspect in a populated residential neighborhood, the decision to fire so many rounds and the balance between catching a suspect and the safety of uninvolved innocents.
Basically, they want to know the same things you would want to know if bullets started flying in or around your home, while your children were asleep inside.
Scott Maxwell can be reached at firstname.lastname@example.com or 407-420-6141.
100 shots fired? We all should want answers
It was about 5 a.m. on Tuesday, Jan. 5, and throughout the Alta Westgate apartments, children were snuggled in their beds. School was still a few hours away. The sun had yet to rise.


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I have been trying to understand the structure theorem for etale maps for rings. Let $A\to B$ be a local homomorphism of Noetherian local rings which is etale. Then the structure theorem says that $B=A[T]_g/p(T)$, where $g\in A[T]$ is such that $p'(T)$ is a unit in $B$.
This theorem is given as Theorem 3.14 in Milne's book on etale cohomology. The way the proof proceeds, it seems that the degree of the polynomial $p$ is equal to field extension degree $[k(y):k(x)]$, where $y$ denotes the maximal ideal of $B$ and $x$ denotes the maximal ideal of $A$. This seems to be wrong since if we take $A$ and $B$ to be localizations of finitely generated algebras over an algebraically closed field, then this extension degree will always be 1, which would mean that $B$ is isomorphic to $A$.


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"Best blind purchase yet"
By Blackout BlindsFan from Portland
These blinds are amazing for blocking out light. Easy to install. Depending on window framing you will have to install small amounts of weather striping to get the last tiny bits of light blocked out (Small amount included). The bottom of my window was not level and had a slight light streak I purchased some weather stripping and when blind is closed no light (Attached it to bottom of blind). If you need to block out light in your room for sleeping or home theater take a look at these. They are amazing at blocking light. I plan to purchase them again soon to start blocking more light out of my theater room.View this product
"Best blinds for daytime sleeping"
By daytimesleeper from Western NC
I work nights and needed something to block out the daylight so i can sleep. These work fantastic and actually block some heat as well. They did have a small manufacturing defect that blinds galore investigated and had them ship out a new set immediately.View this product


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Get Apple Music
With a subscription to Apple Music, you can access millions of songs, curated radio and playlists, and music recommendations, all in the Music app. You can also access your music across other devices, as long as you're signed in to Apple Music with the same Apple ID, and download music to listen to offline.
Learn more about Apple Music and Apple Music pricing.
Apple Music features and pricing might vary by country or region. Learn more about what's available in your country or region.
Before you join
- Update the iOS software on your iPhone, iPad, or iPod touch; macOS with iTunes on your Mac; or iTunes on your PC.
- Back up your iOS devices, and your Mac or PC, so that you have a copy of your music and other information if your device is ever replaced, lost, or damaged.
Apple Music is not a backup service, so make sure to always have a back up of your music collection before you make any changes.
Open Apple Music
Open the Music app on your iPhone, iPad, or iPod touch, or iTunes on your Mac or PC.
If you don't see an offer to subscribe to Apple Music when you first open the Music app on your iOS device, tap For You at the bottom of the screen.
In iTunes, click the For You tab at the top of the iTunes window.
Start a trial
Tap or click the trial offer to get started. (One trial per person or family.)
Choose your subscription
Select the type of subscription that you want.
Learn more about joining as a student or with a Family.
Enter your Apple ID and password
Tap Use Existing Apple ID, then enter your Apple ID and password. If you don't have an Apple ID, tap Create New Apple ID, then follow the steps to create one.
If you're not sure if you have an Apple ID, we can help you find out.
If you're asked for a verification code, you have two-factor authentication on your Apple ID. Learn about two-factor authentication and what to do if you still can't sign in.
Confirm your details
You might be asked to validate your billing info. Add a valid payment method1 and tap Join.2
If prompted, agree to the terms and conditions.
1. You can use store credit to pay for Apple Music, but you must have enough store credit to cover the amount of your first renewal. Learn how to add store credit to your account.
2. Learn how to verify your age when you join Apple Music in South Korea.
Choose genres and artists and follow friends
Apple uses your choices to give you suggestions from our experts who know and love music. Learn more about how your choices affect your suggestions.
You can also see what your friends are listening to and get notifications when artists release new music.
How to get an Apple Music Annual subscription
After you join, you can change to an Annual subscription. With an Annual subscription, you get 12 months of Apple Music for the price of 10.
To change your subscription:
- Open the Music app, then tap For You.
- Tap the profile icon or your photo in the upper-right corner.
- Tap View Apple ID. You might be asked to sign in with your Apple ID.
- Scroll to Subscriptions and tap it, then tap Apple Music Membership to see your options.
- Under Options, choose Individual (1 Year). Confirm your selection, then tap Back.
Learn more
- Learn how to listen to music and more in the Music app.
- Learn how to add and download music on your iPhone, iPad, iPod touch, Mac, or PC.
- You can change your subscription at any time. Learn how to change or cancel Apple Music.
- With Apple Music, you don't need to buy songs or albums from the iTunes Store. But you can still purchase music if, for example, you'd like to own a DRM-free version of a track.
- You can also start a monthly Individual subscription on Apple TV. If you want to subscribe as a Student, Family, or Annual Individual, use a different device.
- You can also subscribe to Apple Music on an Android device.


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Following the Ministry of the Interior's approval last week for Taoyuan County to be upgraded to a special municipality, several Aboriginal rights advocacy groups yesterday voiced their concern about its negative impact and urged the legislature to amend the Local Government Act (地方制度法) to ensure autonomy in Aboriginal areas.
While many people — including Taoyuan County Commissioner John Wu (吳志揚) — may be happy over the upgrade, which would entail an increase in budget and power, Atayal Aborigines are worried that the change could be a step backward in their struggle for autonomy, and questioned the legality of the decision.
"At the moment, Fusing Township (復興) in Taoyuan County is designated an Aboriginal township with a mayor and a council elected by all residents, and based on the law, the post of mayor can only be filled by an Aborigine," Yabu Eyo, a representative from a Fusing-based Atayal Aborigines self-help organization, told a news conference at the Legislative Yuan yesterday morning.
"When Taoyuan County becomes a special municipality, Fusing Township would become merely a district, with the head of the district being appointed by the mayor — and we would lose our council as well," he said. "We are worried that the appointed district chief may not understand Atayal culture, customs and traditions."
He questioned the legality of the decision, because, based on the Aboriginal Basic Act (原住民族基本法), Aboriginal residents must be consulted and must express their consent when a major change is to be made to a traditional Aboriginal domain.
Omi Wilang, president of the Taoyuan County Association for Sustainable Development of Atayal Communities, said that while Aboriginal residents are not satisfied with Fusing's current status as a township in a county, "at least we have a minimal degree of autonomy."
He also questioned the necessity of having six special municipalities in a country as small as Taiwan.
"Look, how many special municipalities are there in China? How many in Japan? Given limited budgets and resources, administrative upgrades have no major positive impact on the people, rather, it hurts our rights," Omi said.
"We will continue to protest, along with former Aboriginal townships that have been turned into municipal districts in the last wave of administrative upgrades," he said.
In 2010, the former Aboriginal townships of Namasiya (那瑪夏), Maolin (茂林) and Taoyuan (桃源) became municipal districts when Kaohsiung County was merged with Kaohsiung City and became the special municipality of Greater Kaohsiung. Similar changes also occurred in the current Heping District (和平) in Greater Taichung and Wulai District (烏來) in New Taipei City (新北市).
Pasang Hsiao (蕭世暉), a member of the Association for Taiwan Indigenous Peoples' Policy, urged the legislature to amend the Local Government Act to either exclude Aboriginal townships from administrative upgrades, or grant special municipalities the power to create special administrative regions for former Aboriginal townships.
"With the administrative upgrade, the level of autonomy of Aboriginal townships should have been upgraded, not eliminated," Hsiao said.
Chinese Nationalist Party (KMT) Legislator Kung Wen-chi (孔文吉), a Sediq Aborigine, voiced his full support for the activists.
He said by telephone that had proposed amendments granting special status to Aboriginal townships, but they were not passed.


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Dr. Regina Tan said there are three words that best describe her work at the Food Safety and Inspection Service (FSIS). "I save lives." Those small words hold great promise, but they also carry an enormous responsibility - for Tan and FSIS.
Tan is Director of the Applied Epidemiology Division for FSIS' Office of Public Health Science. Her office is responsible for detecting health hazards and clusters of disease associated with FSIS-regulated products. These can be disease-causing bacteria, food allergens, foreign objects found in products or diseases transmitted from animals to humans through food. She oversees three teams: surveillance, investigations and prevention and control. Her surveillance team works with laboratory-confirmed data as well as with information from scientific sources, media or consumer complaints. The investigations team coordinates disease and establishment data to determine the exact FSIS-regulated product that is causing illness. Her prevention and control team identifies vulnerabilities in the U.S. food system and makes sure that the division communicates these findings so that measures can be developed that prevent further illnesses. Tan's work is often in conjunction with other public health partners including the Centers for Disease Control and Prevention (CDC) and the Food and Drug Administration, along with state and local public health partners. Tan oversees a staff of 14 employees.
The work of Tan's office must be swift and thorough
When Tan's office is called upon, you know it has the potential of being a life-and-death situation; lives have been altered by an illness. "We have to be thorough, and we have to be right. If we find the source of an illness sooner and faster, we can save lives," she said. "For a mother who is tending to a child who has become ill from something he or she has eaten, we can't say to her 'we'll get back to you once we figure out what is making your child sick.' That mother expects us to work to find a cause immediately. We work hard and fast like someone's life depends on us. Because it does."
Anatomy of an outbreak
About a third of Tan's work involves investigating outbreaks of foodborne illnesses. Simply put, an outbreak of foodborne illness happens when a group of people consume the same contaminated food and two or more of them come down with the same illness. FSIS can become aware of an outbreak cluster from a number of sources - primarily from the CDC. The agency may also learn of an outbreak from local, state or territorial public health partners, from a consumer tip, other federal agencies or even news reports. Once an outbreak has been identified, FSIS moves quickly to determine the source of the product that is causing the outbreak, where it may have been distributed and commonalities in the supplier. This task rests within Tan's purview.
|"We have to be thorough, and we have to be right. If we find the source of an illness sooner and faster, we can save lives."
Dr. Regina L. Tan
Tan brings a wealth of experience to FSIS
Tan earned a Bachelor of Science degree in biology in 1995 from the University of Maryland, a Doctor of Veterinary Medicine from Purdue University School of Veterinary Medicine in 1999 and a Master of Science degree in Public Health Molecular Epidemiology in 2000. She holds an Indiana State Veterinary Medical License. She has also been a Diplomate of the American College of Veterinary Preventive Medicine since 2004.
She began her career with the federal government in 2000 as a Commissioned Corps Officer in the U.S. Public Health Service, where she was assigned to the CDC, first as an Epidemic Intelligence Service Officer and then as a Preventive Medicine Fellow. She first worked at FSIS in 2003, where she served for 2 years as a Veterinary Epidemiologist, managing the Consumer Monitoring System team and hurricane response components.
Tan rejoined CDC in 2005 to work as a liaison with the Public Health Service's Armed Forces Medical Intelligence Center for a year, followed by a stint in the private sector working as the Director for the Biosecurity Research and Development Program with the MITRE Corporation. She returned to FSIS in 2010, where she said she is proud of the work she and her staff performs.
She understands the importance of her work
There is not a day that goes by that Tan doesn't stop to think about the importance of her work. "This job is very personal to me. I have a son who depends on me to make sure he is safe. I think of this work by putting the faces of my family to it," Tan explained. "The work we do can sometimes feels like we are putting together complex puzzle pieces. It doesn't matter how long it takes. We will work as hard as we can to put together all of the pieces to make sure families are safe. And when we learn there is a problem, such as a foodborne illness, we will get out the word as fast as we can because we want the American public to know that we are working on whatever the problem is on their behalf."


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Shelborne Real Estate
Shelborne is undoubtedly the most charming neighborhood in Granite Bay, which is saying a lot considering Granite Bay is one of the most desirable communities in the Placer and North Sacramento area.
Located off Auburn Folsom Drive, Shelborne is a gated community, easily recognized by its majestic gateway – serving as both the entrance and exit of this intimate neighborhood. Essentially one loop road with a number of cul de sacs, Shelborne is comprised of just 87 homes. The grounds are a lush, park-like setting with granite outcroppings, complete with large pond.
The homes are large, immaculate, and elegant – ranging in style from Tudor and Mediterranean to contemporary, but it's the surrounding foliage that's truly extravagant. Decidedly California, Shelborne exudes bit of east coast grandeur, complete with mossy brick accents, dignified pillars, and stunning displays of fall color. The security-minded can be at ease with 24/7 camera surveillance.
The homeowners association keeps the area cohesive and spirited with a number of events, most notably the annual barbeque, Easter egg hunt, and ladies ornament exchange. The area is served by Eureka School District and Granite Bay High School. Eureka Union consistently holds the highest academic performance index of any district within 50 miles of Sacramento and is a major draw for the community. Families can fill their time and find support through a number of equestrian centers located nearby, as well as a MOMS club, Boy Scouts and Girl Scouts, youth soccer, Junior Grizzly Football and Cheer, and little league. The Granite Bay Library offers weekly story times for preschoolers, as well as toddlers.
Folsom Lake is just minutes away, as are a number of golf courses and parks. Roseville's endless shopping options are also conveniently close. The Galleria and Fountains alone offer just about everything one could need, but nearly every other nationally-known store you can imagine are all centrally located within just a few miles. Even with all the retail possibilities close by, Granite Bay locals still head to Quarry Ponds Town Center for tappas, Thai food, Peet's Coffee, and Capitol Cellars wine bar.
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It's my own fault, writing a book titled Where Is God When It Hurts? In the more than three decades since publishing it, I've been asked to address the question dozens of times and in daunting circumstances—none more daunting, perhaps, than what I faced last year.
In March I visited churches in the Miyagi Prefecture of Japan, one year after a tsunami slammed into the island with the velocity of a passenger jet, snapping railroad tracks and scattering ships, houses, and airplanes across the ravaged landscape. In its wake, with 19,000 dead and whole villages swept away, a busy nation with scant time for theological questions could think of little else.
In October I spoke in Sarajevo, a city in Bosnia and Herzegovina that went four years without heat and electricity and with little food and water as it endured the longest siege in modern warfare. Ten thousand residents died from daily sniper fire and grenades and mortars that fell from the sky like hail. "The worst thing is, you get used to the evil," one survivor told me. "If we knew in advance how long it would last, we would probably have killed ourselves. Over time, you stop caring."
Then, after Christmas, I accepted perhaps the hardest assignment of all—not in terms of quantity of suffering (can it ever be quantified?) but in the sheer intensity of horror. I addressed the New England town of Newtown, Connecticut, a community reeling from the murder of 20 schoolchildren and 6 teachers and staff just days prior.
An ambulance driver captured the mood in Newtown well. "All of us on the fire and ambulance corps are volunteers," he told me. "We don't train for something like this—nobody does. And my ...1


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Court Says Telenor Doesn't Need To Block The Pirate Bay
from the onwards deptI'm heading over to Norway in the next few days to give a talk at the Nordic Music Week event, and it's nice to see that the courts in that country seem to recognize how silly the IFPI's demands that major ISP Telenor block access to The Pirate Bay are. Telenor was smart enough to fight back, and the courts have now said that Telenor is not liable for what its users do, and should not have to block access to a site like The Pirate Bay. From TorrentFreak on the ruling:
The court ruled that Telenor is not contributing to any infringements of copyright law when its subscribers use The Pirate Bay, and therefore there is no legal basis for forcing the ISP to block access to the site.... In making its decision, the court also had to examine the repercussions if it ruled that Telenor and other ISPs had to block access to certain websites. This, it said, is usually the responsibility of the authorities and handing this task to private companies would be "unnatural."Good to see a court recognize that the entertainment industry doesn't own the internet, and shouldn't be the one to determine what is and what is not legal online.
Filed Under: blocking, norway
Companies: ifpi, telenor, the pirate bay


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If you're a hardcore swinger or just a newbie looking for that special, fun relationship for you and your partner, or just you alone, we have an online swinger community that's been around since 1999. We offer you about the safest and most relaxed environment there is, where you can meet with others and provide you the opportunity to enjoy one of our famous swinger parties. It can be as intimate as a threesome to a full house rocking with people of a like mind enjoying the company of others for their private parties.
There are thousands of pictures and videos to open up a new horizon with beautiful and willing amateurs willing to meet, talk, or plan their next move which could include you being a part of an event that you'll remember for years to come. Try it once or become a regular once you become familiar with our website. You can check out our vast library to get an idea what it takes to get involved in our swinger parties. See what you're in for before you get involved; it's the best way to learn about what goes on behind closed doors in an exciting environment.
Express your desires, meet up with others who share the same thoughts who also want to spice up their love life. Joining our group is satisfying with no pressure and no worries. Be active, watch, or be as large or small a part of our special community as you want. You'll always be safe and secure with us and never have to worry about anything, and you'll have the most professional people looking out for your best interests. For like-minded people, having fun and having wonderful experiences is what it is all about and we'll help it happen.
Find what you like on our site and go from there. Make that first exciting contact and get involved in some swinger parties to whatever extent you want to go. Our site is the best place to explore your options in a safe and rewarding setting that lets you 'shop' before you make any commitments. Learn all you can about what we do and talk with those who are into the same thing, that's what we're here for, you and your desires. Chat with others that have the same questions as you or get involved with those that have experience and see what it is all about.
There are enthusiasts all around the world that feel the same way you do and are more than willing to discuss anything you'd want to know. Swinger parties can be some of the most fun anyone can have, most especially if that's what you're interested in. Being in contact with others who have the same interests is easy as long as you follow the preferences of swinging; be polite, neat and clean, have an open mind and get prepared for some major fun.
No matter how you want to fit in with the swinging scene, even if you're looking for that someone special or just want to be involved, we've been providing this service for a long time in a safe and secure environment. We've also got swinger clubs reviews for you to check out to know the best places to go so if you're a swinger, you've found yourself a home. Don't hesitate to create your free profile as we have everything you could want.


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Matters of Scale - Reaction Times
Elapsed time between stimulus and involuntary human response (e.g., blink)
220 milliseconds
Between stimulus and voluntary response (e.g., braking to avoid obstacle)
384 milliseconds
Between emergency 911 call and arrival of fire department (Seattle, 2005)
4 minutes, 14 seconds
Between Japan's attack on Pearl Harbor and President Franklin Roosevelt's
declaration of war 22 hours, 37 minutes
Between the conception and birth of a human being
266 days
Between the reporting of the Antarctic ozone hole and the effective date of the Montreal Protocol
3 years, 7 months, 16 days
Between the Einstein/Szilard letter to Roosevelt warning of Nazi atomic weapon research and the first atomic blast ("Trinity" test) in New Mexico
5 years, 11 months, 14 days
Between President John F. Kennedy's speech calling for the United States to go to the moon and the Apollo 11 landing
8 years, 1 month, 27 days
Between NASA scientist James Hansen's August 1988 U.S. Senate testimony on the reality of global warming and a substantive U.S. federal response
17 years, 10 months +
Sources: Individual times: Robert J. Kosinski, Clemson University. Fire response: City of Seattle government. Roosevelt speech: History and Politics Out Loud (www.hpol.org/fdr/war). Human gestation: Gale Encyclopedia of Childhood and Adolescence. Einstein/Trinity: American Institute of Physics (www.aip.org/history/einstein), Wikipedia. Kennedy speech/Apollo 11: Wikipedia. Hansen testimony: J.N. Wilford, New York Times, August 23, 1988.


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Nam Tai Electronics, Inc. Announces Date Of Report Of Fourth Quarter 2013 Results And Payment Of Quarterly Dividend
Dec 16, 2013, 06:00 ET
SHENZHEN, China, Dec. 16, 2013 /PRNewswire/ -- Nam Tai Electronics, Inc. ("Nam Tai" or the "Company") (NYSE:NTE) today announced the date of release of its fourth quarter results and payment of its quarterly dividend.
Fourth Quarter Results
The release of Nam Tai's fourth quarter financial results for the period ended December 31, 2013 will be on Monday, January 27, 2014 at 6:30 a.m. (EST).
Dividend Reminder
Nam Tai announced the record date for the Company's first quarter cash dividend of $0.02 per common share will be on December 31, 2013 and the dividend payment date will be on January 17, 2014.
Certain statements included in this press release, other than statements of historical fact, are forward-looking statements. Forward-looking statements generally can be identified by the use of forward-looking terminology such as "may", "will", "expect", "intend", "estimate", "anticipate", "plan", "seek" or "believe". These forward-looking statements, which are subject to risks, uncertainties, and assumptions, may include projections of our future financial performance based on our growth strategies and anticipated trends in our business. These statements are only predictions based on our current expectations about future events. There are important factors that could cause our actual results, level of activity, performance, or achievements to differ materially from the results, level of activities, performance, or achievements expressed or implied by the forward-looking statements, including, but not limited to, a deterioration of the markets for the Company's customers' products and the global economy as a whole, which could negatively impact the Company's revenue and the ability of the Company's customers to confirm prior orders or pay for the Company's products; the financial resources and credit rating of Company's customers under the current global recession; the effects that current credit and market conditions could have on the liquidity and financial condition of our customers and suppliers, including any impact on their ability to meet their contractual obligations; the sufficiency of the Company's cash position and other sources of liquidity to operate its business; the negative effects of increased competition pressure on the Company's revenues and margins; component quality or shortage, whether or not cause by customers change in specifications, delay in the Company's ability to take possession of land for development of additional production facilities, continued inflation and appreciation of the Renminbi against the US dollar; rising labor costs in China and changes in the labor supply and labor relations our ability to win business; the negative effect of the litigation faced by the Company. In particular, you should consider the risks outlined under the heading "Risk Factors" in our most recent Annual Report on Form 20-F and in our Current Report filed from time to time on Form 6-K. The Company's decision to continue dividend payments in 2014 does not necessarily mean that dividend payments will continue thereafter. Whether future dividends will be declared depend upon the Company's future growth and earnings, of which there can be no assurance, as well as the Company's cash flow needs for further expansion. Accordingly, there can be no assurance that cash dividends on the Company's common shares will be declared beyond those declared for 2014, what amount that dividends may be or whether such dividends, once declared for a specific period, will continue for any future period, or at all, Although we believe the expectations reflected in the forward-looking statements are reasonable, we cannot guarantee future results, level of activity, performance, or achievements. You should not rely upon forward-looking statements as predictions of future events. These forward-looking statements apply only as of the date of this press release and the subsequent investors conference call; as such, they should not be unduly relied upon as circumstances change. Except as required by law, we are not obligated, and we undertake no obligation, to release publicly any revisions to these forward-looking statements that might reflect events or circumstance occurring after the date of this release or those that might reflect the occurrence of unanticipated events.
We are an electronics manufacturing and design services provider to a select group of the world's leading OEMs of telecommunications, consumer electronic and automotive products. Through our electronics manufacturing services operations, we manufacture electronic components and subassemblies, i.e. LCD modules and FPCAs. These components are used in numerous electronic products, including smartphones, tablets, automotive, laptop computers, digital cameras, electronic toys, handheld video game devices, and entertainment devices. We also manufacture finished products, including mobile phone accessories, home entertainment products and educational products. We assist our OEM customers in the design and development of their products and furnish full turnkey manufacturing services that utilize advanced manufacturing processes and production technologies.
Nam Tai Electronics, Inc. is a corporation registered in the British Virgin Islands and listed on the New York Stock Exchange (Symbol "NTE"). All the Company's operations are located in the People's Republic of China.
Please refer to the Nam Tai website (www.namtai.com) or the SEC website (www.sec.gov) for Nam Tai press releases and financial statements.
SOURCE Nam Tai Electronics, Inc.