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Shiina Ringo, "Souretsu" ("Funeral Procession")
February 23rd was the tenth anniversary of the release of Shiina Ringo's masterpiece Karuki Zamen Kuri no Hana (or Kalk Samen Kuri no Hana, or KZK). That date also marked ten years of total Western critical neglect concerning the work.
I am incapable of writing about the album. I have tried. I am too in awe of it, it means too much to me. It is too perfect a thing and I do not want to shame it with the wrong words.
Sometimes I wonder if setting myself on fire in a public place would help. Would people listen to this record, then? But I have a low threshold for pain and I am a coward and I am a private person and I know that, should I wind up fortunate enough to control the circumstances of my own death, it will happen quietly and far away from other people and with this record in my headphones.
This is the eleventh and final track.
Shiina Ringo, "Poltergeist"
Red flags, red flags. At her best, Shiina has always found ways to antagonize her work when it threatens at being pleasant. This delusionally sweet calliope waltz reintroduces the 2-3 tick-tock that seemed such relief at the end of "Doppelgänger" as a 1-2-3 metronomic taskmaster, a contrast emphasized at the start as an alarm clangs the evocative 2-3 comfort of train tracks. The rising/falling Mellotron lines sometimes fall out of favor against the strings, and some of that instrument's high-pitched elaborations can be downright demented.
February 23rd was the tenth anniversary of the release of Shiina Ringo's masterpiece Karuki Zamen Kuri no Hana. This is the tenth track.
Shiina Ringo, "Ishiki" ("Consciousness")
There you are, didgeridoo.
By this point in the album there has been so much sound, and there is such an airy momentum, you can start to worry that KZK has become nothing more than an accumulation of itself.
The dedication toward laying an unsettled foundation — the blown-out underneath and edges of "Shuukyo," the glitchy assault of "Doppelgänger," the staccato rockabilly pile-on of "Meisai," the battling distractions of broadcast and feedback of "Odaiji ni," the antsy orchestra of "Yattsuke Shigoto," the warbled practical sounds of broken communication under the verses in "Kuki," the comic call-and-response of "Torikoshi Kurou," the quivering of the crickets in "Okonomi de," and the didgeridoo and farty contrabass (and whatever electronic modifications to those there are) here — and the focus at providing relentless interruption leaves a listener unwilling to observe the physics of the album's internal logic to float away or be swallowed up or in some other way find themselves lost.
But as complete a work as it is, KZK is not hermetically sealed, and the artist does not busy herself at throwing up bored, inscrutable obstructions. "Ishiki" can seem such a light and friendly piece of work until it hits that glorious, disruptive theater at the bridge — but that bridge isn't a jarring, random bid to make the song more interesting than it is, it is clearly foreshadowed, it's a frustrated tangent off the timekeeping cymbal taps at the end of the first chorus. It makes sense if you let it.
In this album Shiina Ringo has created a work that vibrates at its own frequency, and though her popcraft can provide a pathway — is there anything as easy to grab hold of as that four-note two-step octave drop at the beginning of the chorus? — her goal is never anything as ephemeral as pop satisfaction. The album's power comes from the fact it is resolute and cohesive but never resolved. It's that perfect word on the tip of your tongue.
Yesterday was the tenth anniversary of the release of Shiina Ringo's masterpiece Karuki Zamen Kuri no Hana. This is the ninth track.
Shiina Ringo, "Torikoshi Kurou" ("Over-Anxiety") & "Okonomi de" ("As You Like It")
It's very important to acknowledge, among all the other very important things about this very important album, that KZK has a sense of humor. Especially in the wake of all that heavy lifting yesterday, bringing up Marienbad and stuff, shame on me. It can be difficult when talking about an involved effort where an artist has curled up into themselves and emerged holding something unique and profound to avoid getting all seriousface. Blah blah ART. Cue cream pie.
"Torikoshi Kurou" is funny!
Lyrically, perhaps, it's pure desperation. A song about a woman willing to debase herself to hold on to a departing lover, from an artist whose marriage had recently fallen apart. But the delivery is unmistakable. Comedy = Tragedy + Muted Cornet.
I'm shocked there isn't an actual Sad Trombone on this track. One of the bona fides fans'll trumpet re: KZK is that SHIINA PLAYS DOZENS OF INSTRUMENTS on the album. It's not a way to dismiss the contributions of Shiina's many collaborators, and certainly her project management skills — corralling those collaborators in service of a personal vision — are more impressive than the fact she also plays the drums on track seven. But SHIINA PLAYS DOZENS OF INSTRUMENTS is a shortcut to assert her versatility and authorship for people who aren't already familiar with her artistic voice and who're wary of an industry where a performer's personal vision has not traditionally been on display.
Anyway, Shiina plays dozens of instruments on KZK, and maybe half those only appear in a single phrase on this one song. Which is hilarious, almost a parody of versatility. Jew's harp, sure, why not.
There are seriousface important things we could talk about here. Like how, throughout KZK, Shiina combines traditional instruments from around the globe, practical elements, classical instrumentation, rock instrumentation, and electronic elements into an organic-sounding every era-encompassing work. Buddhism blah blah blah something something Jungian breadth. Or how she's so good at knowing what to leave out. The conch, the didgeridoo, the vacuum cleaner, they all have roles to play on this album. But not here. One of the things "Torikoshi Kurou" affirms is how Shiina can make dense, layered work accessible. One of the things I love most about this song is its spareness (the silence and a sigh around fifty seconds in always makes me chuckle); but it is not spare at all, it just works very hard at sounding that way.
But this is not the place for seriousfaceness.
I'm breaking format and doubling songs here because:
(a) Illness and the contracted work week and my natural inclination away from preparation kicked my ass and caused me to fall behind; today was meant to have been the penultimate entry, obviously will not be.
(b) "Torikoshi Kurou" sounds particularly abrupt when isolated, and people who aren't consuming the album whole deserve some sense of how well tracks flow into each other. They way there's carryover but not just pure overlap. The cheerful male vocal "bum, bum-bum" given various levels of prominence throughout "Torikoshi Kurou" briefly shifts on "Okonomi de" to "bum-bum-bum-bum-bum" before quickly fading away. The relationship between the different keyboard sounds on the two tracks. They way both songs bounce, but swing differently.
(c) Despite being the longest song on the album, I don't have a lot to say (thank goodness, right?) about "Okonomi de." I like its little Jon Brion-ish synth horn fills. I love the soda can, the way the end of the train announcement is echoed. -kyou, -kyou, -kyou. I love how the crickets sound against harpsichordish chime. I love how dry the ehru sounds. I don't have a full lyric translation (there's a little bit here, a quick interpretation here), but words are a luxury/distraction. The pleasures of this song are pretty simple ones.
Today is the tenth anniversary of the release of Shiina Ringo's masterpiece Karuki Zamen Kuri no Hana. These are the seventh and eighth tracks.
Shiina Ringo, "Kuki" ("Stem")
First, empty your cup.
Karuki Zamen Kuri no Hana is the work of a woman who had just ended a marriage and given birth to a son. It is the work of a woman who, on entering the Japanese music industry as a teenager, had resisted its machinery; whose success helped redefine its machinery; who grabbed hard-won artistic freedom and curled up with a billion instruments and a laptop and self-produced a masterpiece. It is the work of a woman who had realized a persona and a unique voice through to the point where she would decide to abandon them.
It's easy to find meaning in KZK, but I think it's easier to demand meaning from it. The level of artistic freedom and the place in the artist's biography invite interpretation, and the work displays such a meticulous level of conception and craftsmanship that it can seem posed as a dizzying puzzle. There may be infinite facets to the music, but you start to think there should be one way to hold it up to the light so that everything will make perfect sense. Even when you know great music doesn't work that way.
There is a lot of frustration and calculation in this song.
"Kuki" is the centerpiece of an album arranged symmetrically around it, acknowledges that in its name. Every other track on KZK has a corresponding track on the opposite side of the album — the first song goes with the last, the second with the second-to-last, and so on. The song pairs can share instrumentation/personnel, themes, structure, and certain titular attributes (the same number of kanji/characters in the title, same starting sound, etc.). Some pairs directly acknowledge each other in the lyrics: As I mentioned before, in "Doppelgänger" (track 2) she sings, "it went away, the poltergeist that took so after myself," while "Poltergeist" (track 10) responds that "I desire so much I'm losing myself;" in "Meisai" ("Camouflage," track 3) she sings something like "I miss the taste of the… peach in a dimension called consciousness;" in "Ishiki" ("Consciousness," track 9), "in my memories an oxidized mouthwash, camouflage."
How much all this needs to be acknowledged by a listener is debatable. Shiina's symmetry can seem like a toy, or a fetish, on some projects something she only keeps in mind while choosing kanji or English translations of titles. She is not a slave to the affectation; paired songs aren't edited to have the same running time, for instance. "Doppelgänger" and "Poltergeist" are very different songs, and if you pull them out and put them together they make an awkward couple. If every pair directly mirrored each other, half of the album would be redundant.
But there's no denying that the opening and closing tracks share a weight and tone that gives the album a shape, and there is a cohesion throughout KZK that owes to more than simple flow. There is balance and there is tension. Songs recall each other, long for each other, across the expanse of the tracklisting, and there is a binding force in that.
"Kuki" is the only song on the album without a partner, and a version of it was the album's only single.(*) (It was plucked out, the album flowers around it, easy botanical metaphors are available.)
I've always thought of "Kuki" as an expressive description of birth from both the child's and the mother's points of view, something akin to this sequence in the Tree of Life. I lazily grab at the combination of the author's new motherhood, the music's dreamy mystery, the convenient (and English-sung) diary-style summation: "Entry Number One." Those footsteps and the propulsive low string lines, an approach, a push.
Then there's the album's structure, its Buddhism, and its title. KZK opens with a joke about wanting to die ("What I really desire is poison. You know I'm only kidding."), hears Shiina moan about life cycles with a new mother's dread ("Seasons seem to go by so quickly, the flowers bloom and call the bees to them, it goes on like this repeatedly, always bearing fruit and wilting soon afterwards"); it closes with a song called "Funeral" in which a resentment is expressed toward reincarnation.
There is death around its edges, it makes sense to put life at its center.
The album title translates as something like "Chlorinated Lime, Semen, Chestnut Flower," and it's been said the first and last items are included because they've been identified as smelling like semen. So you have the sense of a thing, the thing, and the sense of a thing. And of course that thing is a source of life.
It's a neat and clean interpretation on which I've settled, and I cherry pick what I need from Shiina's own English translation of the lyrics — bits about being stuck or torn between two worlds, about burgeoning life. It can be nice to grab hold of a solid subject every once in a while on this record, instead of growing wild-eyed and waving your arms and babbling on about how it's about existence, man.
But I am probably mostly wrong. KZK may be exact in its execution but it is not neat and clean. And of course its difficulties are exacerbated for non-native speakers forced to rely on fan-made lyric translations. Even the album's title is in dispute — Shiina used obsolete kanji to phonetically spell out German words; even the spelling of the artist's name is in play — you will see her surname as Shena or Sheena or Shéna and her nickname as Rinngo or Ringö. The month before the record's debut saw the release of a 40-minute short film called "Hyaku iro megane" ("Kaleidoscope," or "Hundred-Colored Glasses"), which Shiina conceived and in which she appears, which is connected with this song and this album. It's something of a ghost story. Enigmatic, atmospheric, a little bit about obsession, a lot about identity and roles and fantasy and reality. (It's been a while since I've seen it with a proper English translation, but watching it (1, 2) while running French subtitles through Babelfish does not seem like an inappropriate thing to do.) No one dies or is born or gives birth in the film. Though someone may disappear, or may never have existed.
And ultimately there's probably more of Marienbad than Malick to KZK. There is something just out-of-reach throughout the album — a longing for missing pieces, the presence of unknowable others, the attempts to reconcile two worlds — life and afterlife, fantasy and reality. The dissonance of being stuck between stations, well intoned by "Kuki's" sound effects — lost radio signals, failed modem connections, a half-dialed telephone number. There may be honest expressions of motherhood, but those could also apply to any act of creation — to the record now in your headphones, to the fame-distorted identity she would soon shed. Shiina's inclinations to confound start to feel like the point, like an ongoing expression of artistic frustration. There's a door there, and it will not break.
February 23rd will be the tenth anniversary of the release of Shiina Ringo's masterpiece Karuki Zamen Kuri no Hana. This is the sixth track.
(*) Even on the single, with its traditional two CD-era b-sides, "Kuki" was put in the center position instead of the standard prime spot. And it was surrounded by a song pair from KZK, versions of "Meisai" and "Ishiki," edited so they do mirror each other's running times, and reworked so the single disc has a wrap-around beginning and ending that suggests coming in from, and going back out into, rainfall.
"Hyaku iro megane" (2003, Japan, d. Shuichi Bamba)
Shiina Ringo, "Yattsuke Shigoto" (ZCS Version)
For contrast.
Shiina Ringo, "Yattsuke Shigoto" ("A Half-Assed Job")
Oh, you know, just another pop star who lets someone vacuum right through her song.
The practical elements on the record are another embraced contradiction: Real life is an interruption, but real life is musical. A lot of the music on KZK is built on interruptions. Sometimes songs are presented as calls-and-responses between a "live" Shiina vocal and an assemblage of fills — we saw some of that in "Doppelgänger," it pops up most amusingly in "Yattsuke Shigoto's" complement, "Torikoshi Kurou." Practical elements may compete with a tune — the vacuum cleaner here, the radio throughout "Odaiji ni" — but that doesn't make them any less musical. And sometimes, they are necessary: The TV theme launches this song, the footsteps in "Kuki" provide the beat, the lighter and cigarette at the end of "Meisai" give it its concluding (and obviously sexual) phrase. (And toward the end of the "Meisai" video, the flip side of the idea is expressed, as a violin is pantomimed with a knife and plate.)
It's a calculated effort for Shiina to bring the world into her music and to make her music part of the world. I love Shiina the same way I love Mahler, as someone who creates something grand and expansive and also detailed and intimate. She uses a vacuum cleaner the same way he uses cowbells. I always say that this album contains the universe, this is some of what I mean by that.
And it makes this album a pretty amazing thing to listen to alongside the world. The production is exacting to such extent it creates a zillion facets to the music, and I've found it can shine differently depending on how it's held to the light. Of course it is an amazing headphone album, but it's an amazing everywhere everyhow album. When I finally got it on CD, after having listened to someone else's rip for months, I was amazed at how much more sound was in the thing. And I was amazed when I heard the thing blaring out blown car speakers while barreling down I-95. I can only wonder at what the vinyl has to offer. I have been listening to KZK, intensely, for more than five years, and I still hear new things in it, all the time.
What are those little rubbery, cuíca-ish sounds under the harpsichord solo? So much in there.
But the world is annoying, and its annoyances can seem soul-destroying, which on paper is what "Yattsuke Shigoto" is about. The lyrics are a refreshingly blunt rant that go from whining about petty annoyances (phone calls, train times, traffic) to expressing a sadomasochistic relationship with society ("I just wanna be hurt," "Control me," "I just wanna be a machine") before being nullified by it ("Tell me what does it mean to Love? I can't remember.").
This is an old song, actually, vastly reworked, as is her wont, and the shift in attitude/arrangement here is particularly interesting. Shiina's personal circumstances changed drastically between the song's first appearance (on tour in the spring of 2000, a live recording was released as part of the ZCS box that fall) and the release of KZK in early 2003. Over that span, she had gotten married, had a child, and gotten divorced.
The song as originally performed is satisfying in its anger and cynicism. Even the whistling is cynical. It's a song that dismisses motherhood as just another mundane rat race activity ("perhaps I'll do my job through copulation"). It is against the world.
On KZK, as a mother, she has remade "Yattsuke Shigoto" as part of the world. Instead of an antagonistic four-piece band, we have a whimsical arrangement that bounces in orderly fashion throughout a full orchestra. Musical lines soar and sigh against a driving, staccato pointillism, suggesting full immersion in a world that can lift you up and put you down and sweep you along. There may be resignation with acceptance, but this is the way things are, this is how you get by, might as well whistle.
February 23rd will be the tenth anniversary of the release of Shiina Ringo's masterpiece Karuki Zamen Kuri no Hana. This is the fifth track.
Shiina Ringo, "Odaiji ni" ("Get Well Soon")
Transition as hospice, this lovely piano ballad bridges the vibrant fantasy of "Meisai" and the earthly demands of "Yattsuke Shigoto." It's color-coded like the former (red suspicion, greener grass, "the gauze that wraps around my skin is a white lie"), its aggravations lead into the latter. Waking up is hard to do.
Hard to tell with all the layers and tweaking throughout KZK, but I think the radio here is the first time on the album she uses a practical effect as evidence of the outside world? Having to compete with the noise around her is part of the point, of course; but as they rub raw against each other down the stretch, I've wondered if the distorted fuzz and clang of the guitar is also a wink at those who find her vocals shrill.
February 23rd will be the tenth anniversary of the release of Shiina Ringo's masterpiece Karuki Zamen Kuri no Hana. This is the fourth track.
Shadow Morton, "Dressed in Black" (demo)
A few years ago (five! five years ago!) in a different space I wrote a ramblingish post about the Shangri-Las, comparing a couple sides they cut with producer/writer/mastermind Shadow Morton to versions he recorded with other groups (the Nu-Luvs, Pussycats, Goodies). Something about how acting was better than singing, something about how casting matters.
Two years later, someone calling himself Shadow Morton left a comment on that post that said: "GREAT. YOU NAILED IT." And even though it is unlikely that that was actually Shadow Morton, I have never stopped choosing to believe it was, because those words made that one of the very few times I have felt any good at all about something I have written
Shiina Ringo, "Meisai" (Live, Baishou Ecstasy Version)
One of the joys of Shiina Ringo's first solo career is that she arrived an artist both exact and restless. She would release beautiful, successful singles, then sledgehammer the song on the album version. She'd tweak, she'd overhaul, she'd push a song from one genre into the next. As exciting as it is when an artist creates something perfect and unfuckwithable, it can be even more exciting when an artist creates something perfect and fucks with it in a series of very satisfying ways.
When it came time to tour Karuki Zamen Kuri no Hana, an album dense with layers and explored through dozens of instruments, most played by Shiina herself, she answered it on stage by going schizo. A rock band concert tour called "Sugoroku Ecstasy" served up stripped-down pounded-out versions that relied on noise and attack and some pretty amazing drumming to fill the gap. A lush concert hall version called "Baishou Ecstasy," conducted by her longtime collaborator Neko Saito (rocking out the violin, here), neatly extrapolated selections from the work to a string orchestra. "Meisai," hardly the most complex song on the record, halved neatly into rockabilly and this big band swing.
The Baishou versions do not fall along the lines of, say, Michael Kamen's plodding, lazy rock transcriptions, where an arranger merely emphasizes a four-piece band's music across a full orchestra. They're a revelation, organic extensions of the original material. It was all in there, already, waiting to be let out. The Baishou versions can be models of restraint — there is spareness, there is silence — and they can be cheekily irreverent. This "Meisai" is by turns corny, cool, frantic, and fractured.
In different ways, you could see each concert variation of KZK as a beginning of the end. Soon afterward, Shiina would abandon her solo career and assimilate into the band that backed her through the Sugoroku shows. And as thrilling as the Baishou versions are (and it should be noted some found them the opposite of that, considered their extravagance a corruption of her more punk sensibilities) their tone would become a crutch when the singer's interests careened toward jazz and show-tunes.
Shiina Ringo, "Meisai" ("Camouflage")
Were I better equipped to do so, this swing track — with those rhythmic and instrumental flourishes, against those visuals — would probably be a good place to consider how Shiina makes Western-inspired sounds distinctly Japanese. Or this could be an opportunity to appreciate how the woman is as meticulous with her visual presence as she is with her music. Or maybe something about how the opulence above — all this, for a song never released as a single — serves as reminder that, far from being some obscure cult figure, Shiina Ringo was a chart-topping artist whose first two solo albums sold more than 3.7 million units, and that this weird, amazing work we're celebrating was a number one album in the word's second-largest music industry.
But mostly I've just always liked this video.
February 23rd will be the tenth anniversary of the release of Shiina Ringo's masterpiece Karuki Zamen Kuri no Hana. This is the third track.
Shiina Ringo, "Doppelgänger"
Of the 3,000 things there are to talk about when talking about Karuki Zamen Kuri no Hana, the most important is that you do not have to be concerned with 3,000 things to enjoy it. Yes, it is an exactingly constructed, intensely dense piece of work. This track, for instance — as these folks have pointed out — has samples of at least three other Shiina songs woven into it. Did you need to know that? No. It is an album by an obsessive that invites obsession, but it is also an album by an artist with an immaculate pop sensibility. She is stubbornly opaque, arranging her lyrics behind obscure kanji and even singing backwards (ffs), she can seem gleefully, musically rude, but she also takes pains to make her music tuneful, and these conflicted impulses combine to form a work that is immediately enjoyable and relentlessly relistenable.
And I hold that her willful obscurity opens her music up. As a person who doesn't speak Japanese, it helps me to know that even native speakers have had obstacles thrown their way. I am someone who believes lyrics often run interference between a listener and the music, anyway, but I find it freeing to know there will always be something about this very sure work that I will be unsure about.
KZK is such a complete album because it embraces contradictions and frustrations as necessary. It is an expansive and very personal album about beginnings and endings, about wholeness and fracture, about home appliances and foreign sounds. It contains the universe.
Because it is such a complete album, extracting tracks from it is a painful exercise. It's not just that KZK has no show-stopping singles on the order of her previous records (see: "Tsumi to Batsu," "Koko de Kiss Shite"); it's not a matter of narrative; it's not just that each song needs the track that flows into it and the one it flows into, and that each song needs its complementary track on the other side of the album's pole — though the fact that tracks two and ten call at each from across their spots on the record and balance each other out speaks to how it coheres. KZK is filled with constant momentary pleasures but was clearly conceived as a whole, is meant to be consumed as a single 44-minute, 44-second listen, is the very definition of something greater than the sum of its parts.
(On a personal level, even though this is my favorite record, I could not pick a favorite song from it. And not because I've done that thing where I've played favorites throughout the tracklisting. The album is my favorite song on the album.)
And if you'd like, "Doppelgänger" — which dreamily mulls lyrical opposites, which recites parts of the artist's past work while calling out to a part of the record that has not yet happened, which longs for wholeness as it glitchily deconstructs itself, which offers momentum to lead you through its bursts of crisis and a pretty tick-tock waltz to which you can limp away after — is about all of that.
February 23rd will be the tenth anniversary of the release of Shiina Ringo's masterpiece Karuki Zamen Kuri no Hana. This is the second track.
Shiina Ringo, "Shuukyou" ("Religion")
February 23rd will be the tenth anniversary of the release of Shiina Ringo's masterpiece Karuki Zamen Kuri no Hana (or Kalk Samen Kuri no Hana, or KZK). That date will also mark ten years of total Western critical neglect concerning the work.
I am incapable of writing about the album. I have tried. I am too in awe of it, it means too much to me. It is too perfect a thing and I do not want to shame it with the wrong words.
Sometimes I wonder if setting myself on fire in a public place would help. Would people listen to this record, then? But I have a low threshold for pain and I am a coward and I am a private person and I know that, should I wind up fortunate enough to control the circumstances of my own death, it will happen quietly and far away from other people and with this record in my headphones.
This is the first track.
Buddy Guy, "I Smell a Rat"
This is the track that made me fall in love with Buddy Guy.
Have you ever watched the broadcast of the Kennedy Center Honors? Of course you have not. You are not one hundred years old. Every year they enshrine a group of artists whose cultural contributions are such an assumption that further acknowledgement seems afterthought. I am sure it is a fine and right and proper institution, but by definition that also means it is dusty and crusty and not relevant to your Twitter feed.
The problem for me is that they're now getting to people whose work animated my formative years. This year's inductees included not just Guy and Led Zeppelin, who at least had already established themselves before I was born, but David Letterman. David Letterman, whose show I started taping and watching while I was in grade school. Tina Fey noted in her induction speech that everyone she cared to know, growing up, was basically a David Letterman impersonator, and boy, that rang true. It is difficult for me to gauge what percentage of my manner and attitude came from that original Late Night show. I still settle on his ironically manufactured catch phrases ("Whaddaya want? Wicker?" "I do and do and do for you kids, and this is the thanks I get.") as conversational sighs.


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subset: commoncrawl


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Too hot to handle. A talented guy who can do anything he puts his mind to; music, dance, whatever. He has a wicked and exceptionally corny sense of humour and never fails to put a smile on the faces of those surrounding him. He's a random kind of guy, always moving around and making friends. He has a man-sized appetite and has a fetish for jelly babies but not salad. He'll do anything for the people he loves. He's selfless, grateful and respectful. He may be terribly forgetful, but he's unforgettable.
You see that sexy guy over there? Definitely a Jarryd
โดย linders 18 สิงหาคม 2013


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CURRENTLY Partly Cloudy61 °F
Meetings RFP
Woody Meg's Thank You to Pet Friendly Guests near Seattle
by Woody Meg, Director of Barketing, September 17, 2014 9:54 am
Now that our last Yappier Hour has closed, I want to give a special thank you to all of our pet friendly guests who came to the Woodmark near Seattle. Each of these events has brought some of my old furry friends as well as new making each so special. Keep reading for my thank you to everyone who was a part of the Yappier Hour in some way this summer.
Woodmark Hotel
1200 Carillon Point Kirkland, WA 98033
Telephone 425-822-3700
Reservations 800-822-3700 Sales Telephone 425-827-1986 SITE MAP PRIVACY POLICY


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Four people in Minot were arrested after making threats to another individual last night. Around 6 p.m. police were called about a group of individuals threatening the resident with baseball bats and a handgun.When officers arrived at the 300 block of 27th Avenue Northwest they arrested 30-year-old Brandon Adams and 18-year-old Tanner Miller, along with a male and female juvenile for terrorizing.After searching the cars police found two handguns and two baseball bats.
Evangelist Franklin Graham prayed on a sidewalk outside the Pentagon Thursday after his invitation to a prayer service inside was withdrawn because of comments that insulted people of other religions. More>>


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A reader encouraged me to tell the rest of my story. After all, I did leave you hanging, didn't I.
What was the game again?
Essentially it boiled down to a power exchange role play game with my wife. I was playing the Top, and she the bottom. These games are very common with many couples from what I read. Variations include sex with your partner tied down, handcuffed, blindfolded… anything where one partner agrees to submit to the other. Usually, various rules and limits are in place. My belief is that is must always be consensual. Some couples do it to have fun, act out fantasies, and create intimacy through excitement, trust, and laughter. Of course, it doesn't appeal to everyone.
Where were we?
"C" had committed to playing our orgasm control game. Was her commitment coerced? Maybe a little. Let's say I strongly encouraged her. It's important to note that the game was my idea, my fantasy, my rules. I'm the one whose kinky, naughty side wanted to play a game of power exchange, albeit a mild one.
I had a plan to take it slowly. This would give us time to talk through our feelings after each little step.
I would walk C through various stages of control. First step – C would be required to ask for permission to come. Even though permission would be given, our first step would establish a protocol of "request/consent". Next step – C would be required to wait longer and longer periods, enjoying a sweet orgasm only if/when I gave my permission. Fun, eh? I imagine it would be for two kink-minded people.
So… what happened?
Well, there was one big fundamental flaw in my plan. C is not kinky. In fact, she doesn't seem to enjoy any kink. She a vanilla girl through and through. No wild fantasies. No desires to be spanked, fucked in the woods, dressed up, or tied down.
And it turns out, you can't make a person kinky. It took me 20 years to learn that. Really. I tried one "fun" thing after another – dice games, photos, lingerie, chastity, bondage. Kink is my thing for sure. I fantasize about all kinds of kinky play. But my efforts to change her – to be more like me – or find a kink we can both enjoy only resulted in my disappointment and feelings of resentment.
Let me qualify that last paragraph. Since each person is different, their lists of sexual likes and dislikes will be different as well. Sure, some women (and men) will eventually come to enjoy things like anal play, for instance. But don't count on it. People's sexual tastes change very little in my experience.
Enough with the lecture. What happened?
Well, I once again found myself disappointed. C didn't seem all that interested in having an orgasm after all. She could wait… and wait… and wait. Not much fun. My "control" was nonexistent. She didn't want to be stimulated. I pondered, "Do I insist she let me go down on her? Do I insist she try to orgasm?" Once the disappointment showed on my face, we were done. You just can't make it fun at that point.
Lessons Learned?
I marked up Female Orgasm Control as another kink that just didn't work for us. Etch this in your brain: if a kink doesn't work for one partner, it doesn't work for both.
As I said previously, it's clear to me – finally – that she's not kinky. Before my "she's not kinky" epiphany, we tried a variety of new activities – spanking, rope, Master/slave role play, photos. We even tried watching others play. After all, if they're having fun doing those things, why wouldn't we? Each one got the X.
Clearly, many others are going through the same thing I'm going through. I've read a number of bloggers who continue to try bringing out their partner's kinky side, "topping from the bottom", accepting a half-hearted effort as success. I find myself thinking, "Can't you see your partner's just not into it?" But what can they do? They are kinky. It just doesn't go away. They want to act it out. It's just who they are.
It doesn't mean anyone in the relationship is wrong. Sometimes they're just different. Our culture will ask you, "What are you NOT doing for your spouse?" And tell you, "Stop thinking only about yourself. Maybe she's just tired, overworked, or not appreciated." But what if a couple is just different sexually? Know one is to blame. Know one is wrong. Know one needs to be fixed.
I'm not always happy, but I don't want a divorce. I just have too much to loose, including the love of a caring, smart, beautiful woman who I truly want to be with the rest of my life.
Even with all the good qualities one's spouse may possess, you can't get around this fact. If you can't be content with your spouse as they are, and they don't want to change/grow in this area, your resentment will hurt the marriage.
For those who are still single, the best you can do is find a partner who is similar to yourself. Good luck with that. We all know, once you fall in love with a caring, smart, beautiful woman who wants 2.5 kids same as you, that you don't consider "Do you like wearing high heels to bed?" a game changer.
For me and others in a similar situation, I can't say I have a good solution. Some consider divorce. Some just fantasize and masturbate (after a number of years this is not so satisfying). And some have an affair. Some even discuss open marriage. The pros/cons list for each one could fill a book (and I have read several). Church and culture will sway some people's decision. But I see many flaws in the lessons society and institutions try to teach us. It's never black and white. Never. Therefore, I don't think I'd find it helpful to read opinions from others on what I should do.
I will decide privately what is right for me.
Thank you so much, reader, for allowing me to share a seemingly silly, yet important chunk of my life. I hope you have fun as you pursue your own desires.


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Any website whose sole purpose is to relieve its visitors of money, promising unfeasably poor services in return, although of course, you don't realise this until you've signed over your grandmother. Examples of parasites include E-Cards sites, Mobile Phone ringtone download sites (Jam**er), the various Outlook smiley plugin sites, microsoft.com.
מאת Enot-Bitter 17 בינואר, 2006


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The Rocky Mountain Chapter of HDI supports customer support professionals throughout the Rocky Mountain Region. We provide a networking forum and programs for the continual improvement of the Customer Support Industry, promoting member collaboration, networking opportunities and educational programs.
As an HDI member, you have access to our world renowned training classes, conferences, publications, local chapter meetings and other benefits that are designed to increase your value as a service professional in the industry. See what local events are coming up here!


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Product Recall: We are voluntarily recalling fewer than 8,000 cases of regular Kraft American Singles Pasteurized Prepared Cheese Productlimited to 4 SKUs on two "Best When Used By" dates of February 20, 2015 and February 21, 2015. Click Here.
PREHEAT oven to 325°F if using silver 9-inch springform pan (or to 300°F if using a dark nonstick 9-inch springform pan). Mix wafer crumbs and butter; press firmly onto bottom of pan. Bake 10 minutes.
BEAT cream cheese, sugar and flour in large bowl with electric mixer on medium speed until well blended. Add sour cream and vanilla; mix well. Add eggs, 1 at a time, mixing on low speed after each addition just until blended. Stir in chips; pour over crust.
BAKE 55 minutes or until center is almost set. Run knife or metal spatula around rim of pan to loosen cake; cool before removing rim of pan. Refrigerate 4 hours or overnight. Store leftover cheesecake in refrigerator.


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In this month's edition we talk about the upcoming budget, the dramatic and positive turnaround at the House of Correction, the introduction of Bublr bikes in Milwaukee County and more!
Click here to read the newsletter.
Milwaukee County offers a wide variety of interesting jobs for people who want to make a difference in our community. Visit our career opportunities listings to view current openings.
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As your County Treasurer, one of my priorities is to provide information on unclaimed funds to the citizens of Milwaukee County. Every odd-numbered year, our office receives funds from municipalities and county departments that have been unclaimed by their proper owner.
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Milwaukee County is pleased to present CLIC (County Legislative Information Center) for County legislative files, agendas, and minutes.
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2014 Adopted Capital Improvements Budget
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Age: 12
Mother is injured in a car accident; hates the ocean, but tries to save an old Abenaki man during a hurricane.


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Adrianna Papell
Flutter Sleeve Tiered Dress
|Item # 239393
(Available every day, from 7am to 1am Eastern.)
Details & Care
Laser-cut layers of taffeta overlap to form the skirt of an elegant dress with a double V-neck. Chiffon bodice flatters with a surplice front and sheer flutter sleeves.
- Hidden back zip with hook-and-eye closure.
- Ruched Empire waist.
- Approx. length from shoulder to hem: 38".
- Bodice is lined, skirt is unlined.
- Silk bodice with polyester/nylon/spandex skirt; dry clean.
- By Adrianna Papell; imported.
- Dresses.
Watch the video: Dress Fit Fundamentals
Learn More: The Best Dress for Your Body Type
- Approx. length from shoulder to hem: 38".
- Form-fitting at bust and hip.


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Are people in your town making a big difference every day? We want to tell their stories.
As a part of our series, Editorial Inspirations, we are focusing on encouraging and uplifting stories of people whose lives have changed in an extraordinary way or people who work every day to change others' lives for the better.
Complete the form above to tell us about the great work being done in your town.


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A Moorish Motif to Embroider in Double Running Stitch PatternMoorish motif embroidered in a double running stitch and used to embellish a crisp linen table runner. Learn More
Item Number: EP10309
Availability: Download Now$5.50
Pine Tree StoleAspiring lace knitters will find this stole an excellent introduction to Olga's color-coded system for stitch/pattern recognition. Learn More
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Rachel Lace Shawl to KnitWomen's knitted lace shawl. Learn More
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Queen Victoria's Stockings to Knit - a Modern TakeWomen's knitted lace stockings. Learn More
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Lacy Bridal Headpiece to CrochetThis lacy crocheted bridal headpiece will be the crowning glory for any bride. The tulle veiling features a delicate crocheted edging. Learn More
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Christening Bonnet to Irish CrochetBaby's Christening bonnet. Learn More
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Traditional Russian Hand Towel to EmbroiderThis Russian inspired towel has decorated edges with the same pattern for symmetry, and is trimmed at each end with wide bands of cotton lace. Learn More
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A Red Poppy Cowl to KnitKnitted women's cowl. Learn More
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Fun Facts
- The modern game originated as a form of rugby football played in rivers and lakes in England and Scotland with a ball constructed of Indian rubber. This "water rugby" came to be called "water polo" based on the English pronunciation of the Balti word for ball, pulu.
- The rules of water polo were originally developed in the late nineteenth century in Great Britain by William Wilson.
- To deal with variations in regional rules, in 1888, the London Water Polo League was founded and approved a set of rules to allow team competition, forming the basis of the present game. The first English championships were played in 1888. In 1890, the first international water polo game was played; Scotland defeated England, 4-0.
- The annual Varsity Match between Oxford and Cambridge Universities is the sport's longest running rivalry, first played in 1891.
- Men's water polo at the Olympics was the first team sport introduced at the 1900 games, along with cricket, rugby, soccer, polo (with horses), rowing and tug of war.
- Between 1890 and 1900, the game developed in Europe, with teams competing in Germany, Austria, France, Belgium, Hungary and Italy, using British rules. A different game was being played in the United States, characterized by rough play, holding, diving underwater, and soft, semi-inflated ball that could be gripped tightly and carried underwater. As a result, European teams did not compete in the 1904 Olympic championships in St. Louis. By 1914, most US teams agreed to conform to international rules. An international water polo committee was formed in 1929, consisting of representatives from Great Britain and the International Amateur Swimming Federation (FINA). Rules were developed for international matches and put into effect in 1930; FINA has been the international governing body for the sport since that time.
- Women's water polo became an Olympic sport at the 2000 Sydney Olympic Games after political protests from the Australian women's team.
- Every two to four years since 1973, a men's Water Polo World Championship is organized within the FINA World Aquatics Championships. Women's water polo was added in 1986. A second tournament series, the FINA Water Polo World Cup, has been held every other year since 1979. In 2002, FINA organized the sport's first international league, the FINA Water Polo World League.
- Over the years, both technical and rule changes affected the character of the game. In 1928, Hungarian water polo coach Bela Komjadi invented the "air pass," or "dry pass", a technique in which a player directly passes the ball through the air to another player, who receives it without the ball hitting the water. Previously, players would let the ball drop in the water first and then reach out for it, but the dry pass made the offensive game more dynamic, and contributed to Hungarian dominance of water polo for 60 years. In 1936, James R. ("Jimmy") Smith, California water polo coach and author of several books on water polo mechanics, developed a water polo ball made with an inflatable bladder and a rubber fabric cover, which improved performance. The previous leather ball absorbed water and became heavier during the game. In 1949, rule changes allowed play to continue uninterrupted after a referee whistled an ordinary foul, speeding up play. In the 1970s, the exclusion foul replaced a point system for major fouls; players guilty of this foul were excluded for a 1 minute penalty and their team forced to play with fewer players. Possession of the ball was limited to 45 seconds before a scoring attempt. Time of penalties and possession have been reduced since then. The direct shot on goal from the seven (7) meter line after a free throw was allowed in 1994, and changed to a five meter throw in 2005.
- There are six field player positions and a goalkeeper on each team. Unlike most common team sports, there is not any positional play; field players often will fill several positions throughout the game as situations demand. Players who are skilled at several offensive or defensive roles are called utility players. Utility players tend to come off of the bench, though this isn't absolute. Certain body types are more suited for particular positions, and left-handed players are especially coveted, allowing teams to launch 2-sided attacks.
- The offensive positions include: 1 center (a.k.a. hole set, 2-meter offense, pit player or pit-man), 2 wings, 2 drivers (also called "flats"), and 1 "point" man. The hole set directs the attack, and on defense is known as hole check, hole D, pit defense or 2-meter defense, defending the opposing team's center forward. The wings, drivers and point are often called the perimeter players. The most basic positional set up is known as a 3-3, due to the fact that there are two lines both containing 3 players. Another set up, used more by professional teams, is known as an "arc", umbrella, or mushroom, because the perimeter players form the shape of an arc, umbrella or mushroom around the goal with the center forward as the handle or stalk. The center forward, known by players as hole set or 2-meter is the center player in the middle of the umbrella who is closest to the opposing teams goal. This player sets up in front of the opposing team's goalie and usually scores the most individually (especially during lower level play where arc or perimeter players do not have the required leg strength to drop effectively onto the pit player) or contributes most often to initiating plays. The five perimeter players often swim the most and interchange their positions several times during a single offensive play. They contribute to the actual execution of plays, and cumulatively score the most points for the team. The point player's position provides opportunities to pass to teammates and communicate among the offense, like the point guard in basketball. The center forward also plays a big role offensively because they sit closest to the goal and usually attempt to shoot from close-range as frequently as possible with "Step-out"(a.k.a Roll-out), "Sweep", or "Backhand" shots.
- The goalkeeper is given several
privileges above those of the other players, but only if he or she
is within the five meter area in front of his goal:
* The ability to touch the ball with two hands.
- Not all water polo rules are the same. For example, overtime is different on the international level and in college. In FINA (international) rules, if the score is tied at the end of regulation play, two overtime periods of three minutes each are played. If the tie is not broken after two overtime periods, a penalty shootout will determine the winner, much like in hockey. Five players and a goalkeeper are chosen by the coaches of each team. Players shoot from the 5 meter line alternately at either end of the pool in turn until all five have taken a shot. If the score is still tied, the same players shoot alternately until one team misses and the other scores. Overtime periods are common in tournament play due to the high level of skill of these superior teams; Team USA defeated Hungary in the 2004 Women's Water Polo World League Super Final when US goalie Jackie Frank made 2 stops on penalty shots.
- Differing from FINA rules, overtime in American college varsity water polo play is sudden victory, first team to score wins, after the two three minute overtime periods. There are no shootouts, the overtimes simply continue until a team scores.
- All water polo is not the same, either, as the game has developed into different variations.
- Inner tube water polo is a style of water polo with the important difference that players, excluding the goalkeeper, are required to float in inner tubes. By floating in an inner tube players expend less energy than traditional water polo players, not having to tread water. This allows casual players to enjoy water polo without undertaking the intense conditioning required for conventional water polo. This sport is predominantly played at universities/colleges by intramural coed teams. The sport's rules resemble those of water polo, however, with no governing body the rules vary across different leagues. For example, while the winner is determined by the team which scores the most goals, some leagues award one point for a male goal, and two points for a female goal, while others award one for either. The game was invented in 1969 by now retired UC Davis associate athletic director of intramural sports and sport clubs, Gary Colberg. Noticing how much fun the water polo team was having, Mr. Colberg thought up the idea of using tubes so that people with no experience in water polo could still enjoy the game.
- Surf polo, another variation of water polo, is played on surfboards. First played on the beaches of Waikiki in Hawaii in the 1930s and 1940s, it is credited to Louis Kahanamoku, Duke Kahanamoku's brother.
- Canoe Polo or kayak polo is one of the eight disciplines of canoeing pursued in the UK, known simply as "polo" by its aficionados. Polo combines paddling and ball handling skills with an exciting contact team game, where tactics and positional play are as important as the speed and fitness of the individual athletes.
- Water polo is a team water sport requiring an ability to swim. Field players must swim end to end of a 30-meter pool non-stop many times during a game without touching the sides or bottom of the pool. The front crawl stroke used in water polo differs from the usual swimming style in that water polo players swim with the head out of water at all times to observe the field. The arm stroke used is also a lot shorter and quicker and is used to protect the ball at all times. Backstroke is used by defending field players to track advancing attackers and by the goalie to track the ball after passing. Water polo backstroke differs from swimming backstroke; the player sits almost upright in the water, using eggbeater leg motions with short arm strokes to the side instead of long straight arm strokes. This allows the player to see the play and quickly switch positions. It also allows the player to quickly catch an on coming pass with a free hand.
- As all field players are only allowed to touch the ball with one hand at a time, they must develop the ability to catch and throw the ball with either hand and also the ability to catch a ball from any direction, including across the body using the momentum of the incoming ball. Experienced water polo players can catch and release a pass or shoot with a single motion.
- The most common form of water treading is generally referred to as "egg-beatering" named because the circular movement of the legs resembles the motion of an egg-beater. Egg beater is used for most of the match as the players cannot touch the bottom of the pool. The advantage of egg-beater is that it allows the player to maintain a constant position to the water level, and uses less energy than other forms of treading water such as the scissor kick, which result in the player bobbing up and down. It can be used vertically or horizontally. Horizontal egg-beater is used to resist forward motion of an attacking player. Vertical eggbeater is used to maintain a position higher than the opponent. By kicking faster for a brief period the player can get high out of the water (as high as their suit—below their waistline) for a block, pass, or shot.
- In 1999, the Peter J. Cutino Award was established by the San Francisco Olympic Club, and is presented annually to the top American male and female collegiate water polo player.
- Musician Sean Paul is a former member of Jamaica's national water polo team.
- Former major league baseball commissioner and US Olympic Committee chair Peter Ueberroth was a water polo player at San Jose State.
- Prince William of England was the captain of his collegiate water polo team at St Andrew's University, Scotland.
- Captain Jonathan Archer (played by actor Scott Bakula), a fictional character in the television series Star Trek: Enterprise, played water polo for Stanford University and competed in the 2134 North American Water Polo Regionals against Princeton University.


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I'm an artist and an actor. Here I'll share the funnest parts of my life, my follies, things that i love, interest or inspire me and my battle with my bangs. So far they are winning. And other funny things because I love to laugh. Zef til Death!
check out my youtube page where i do all sorts of stupid things, pranks etc. https://www.youtube.com/user/punkmummy
I also make a cartoon called Puppydragon Land - subscribe to us on youtube at Puppydragon.com
Follow me on instagram or twitter: @jerasky
Contact me for art commissions: JeraSkyArt [at] gmail [dot] com
You are more than welcome to buy stuff from me at: redbubble.com/people/jerasky
Stuff I like
- Photo via blessedbe13579Photo via blessedbe13579


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SkyWest Looks to Invest in Vietnam
St. George, Utah-based SkyWest Airlines is considering investing in a start-up regional airline in Vietnam, the company's CFO, Brad Rich, said yesterday during the company's first-quarter earnings conference call.
"We have been looking and considering and evaluating additional international opportunities to continue to invest in areas that are seeing rapid economic growth and development of air transportation," said Rich. "We see Vietnam as being an area of potential investment that would appear at least with our initial assessments to be one of some promising opportunity. So we're doing some significant research and analysis, and putting some work into it, but beyond that no formal announcements are ready to be made."
SkyWest has actively sought opportunities outside the U.S. ever since it first invested $5 million in Brazil's Trip Airlines in 2008. Six months later it invested another $15 million, and during the first quarter of this year it invested another $10 million in the airline, bringing its total ownership stake to 20 percent-the most it is permitted to own under Brazilian law. Trip flies ATR turboprops and Embraer E175 jets.
"As far as their financial performance, it's exactly where we thought it would be at this quarter," said Rich. "The fleet is growing right according to plan; it's up to around 30 aircraft. They've added some larger aircraft to the fleet and plan to add a few more aircraft in each of the next few years. So all that's on track; we've been able to assist them in getting the fleet financed and things just seem right on track."
Now flying the sixth largest fleet in the world with 456 aircraft, SkyWest continues to explore "unique opportunities that exist".
"We have some attractive ownership arrangements, meaning both attractive rents and short-term lease terms on a good portion of this fleet [namely, Bombardier CRJ200s], which puts us in a good position to enter into some unique market opportunities we think exist," said Rich. "We're watching these markets closely, and as I've indicated previously, the terms and conditions on the fleet give us some unusual flexibility to make some fairly quick decisions with this flying if need be."
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[Solved]Skill Script, Solved on other forums
Apr 2 2012, 08:02 PM
Post #1
Type: Designer
I am making my game about someone (a guy named Jason) that can transform into animals, monsters, ... To be able to transform into an animal, let's say a dog (example), you need to go to your skills and click the proper skill to transform into one. But then I have a problem, when he battles he keeps the skills (ofcourse) He is also allowed to use them but it would be dumb to transform into a dog in the middle of the battle. So I was thinking if there would be any way of letting a skill have 2 effects depending you are in a battle or not. And he can transform into (now) 25 different things and to make them all twice would be unhandy, then you have to search between 50+ skills to find the skill you wanted.
To clarify I will work out an example:
So as I said before he has a skill to transform into a dog, outside of battle. Now I want him to be able to use that same skill inside a battle but then it gets a total different animation/effect.
Out of battle he will transform into a dog
Inside of battle he will get a buff or transform into a dog, attack and then transform back into a human at the end of the turn.
That's basicly what I want.
Is this possible with scripting? No/Yes, how?
Is this possible with eventing? No/Yes, how?
Or any suggestions on how I can solve this?
This post has been edited by Binkiwinki2: Apr 3 2012, 02:41 PM
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Guns-In-Parks Bill Passes Senate 26-7
NASHVILLE, Tenn. - A measure to do away with local government's power to decide whether to allow firearms in public parks has passed the Senate. The measure sponsored by Republican Senator Stacey Campfield of Knoxville was approved 26-7.
Jackson Democratic Senator Lowe Finney voted against it saying it violates an agreement between gun owners and cities passed in 2009.
"The opt in or opt out clause that we adopted then was generally seen as a compromise. Now, here we are five years later taking that away," said Senator Finney.
The Legislature in 2009 gave city and county governments the ability to opt out of a new law that allowed firearms in public parks, playgrounds and sports fields.
Under Campfield's proposal, permit holders would be allowed to carry, unless there's a school function.
Republican Governor Bill Haslam has said he has concerns about the bill.
"He sent me a letter saying he had philosophical differences with it, but hopefully he's reconsidered his position. So if he vetoes what will you do? I don't care. I'll run it again," said Senator Campfield.
The measure must still pass the House where it sits in a committee.
(NewsChannel 5 And The Associated Press Contributed To This Story)
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KEY LINKS: Alumni Home | George Fox Home | George Fox Journal | Update Your Info | Make A Gift | Contact Us
From The Director
Watch for Be Known Mailer
Homecoming Moves to the Fall
Women's Basketball Leads Conference
Bruin Madness!
Young Alumni Night
Calling All Bruin Jrs.
From the Director
Let the Madness Begin!
By Robby Larson, Director of Alumni Relations
Basketball has long had its associations with madness. Many high schools and colleges have "Midnight Madness" events to tipoff their seasons. And of course the goal for many big colleges is to participate in that annual spectacle known as "March Madness." At George Fox, basketball has long been a part of our institutional culture. But we've never had our own "madness." Until now! More…
Watch for Be Known Mailer
If you haven't received it yet, keep checking your mailbox for a special mailing from Alumni Relations. This comprehensive piece highlights several new alumni programs and events, as well as other key information. There is even a section that will tell you more about Bruin Madness!
Homecoming Moves to the Fall
After 40 years, George Fox University's annual Homecoming celebration is moving to the fall, starting in 2011. Look for a completely redesigned weekend of exciting events and reunions October 7-9, 2011. Class reunions will take place for the classes of 2001, 1991, 1986, 1981, 1971, and 1951, while affinity reunions will be head for all biology and chemistry alumni and everyone that participated in University Players. If you would like to be involved in planning any of these reunions, please email email@example.com. As a result of Homecoming's big move, we've also created Bruin Madness taking place Feb. 5 (perhaps you've heard about it)!
Women's Basketball Leads Conference
After almost 36 months and 40 games, the women's basketball team saw its winning streak against conference opponents snapped at Lewis & Clark on January 7. Still, the Bruins, who were picked to finish first in the conference for the fourth straight year, find themselves in first place, currently tied with Lewis & Clark and Puget Sound. The Bruins will look to avenge that loss when they take on the Pioneers before a packed Bruin Madness crowd in Miller Gymnasium on Feb. 5. To purchase tickets for this key game, and for the Bruin Madness Indoor Tailgate Party taking place before the game, click here.
Bruin Madness!
Alumni Relations invites all alumni to our newest event: Bruin Madness, taking place Saturday, Feb. 5. Get ready for the biggest basketball games of the year by joining students and other alumni for delicious food along with fun activities at the Indoor Tailgate Party and KidZone. Then head off to Miller Gymnasium to cheer the Bruins on to victory over Lewis & Clark! Register before Feb. 2 and save $5 off each registration! For more information and to register, click here.
Young Alumni Night
As part of Bruin Madness on Feb. 5, Alumni Relations is hosting a free post-game gathering at Abby's Pizza in Newberg for all traditional undergraduate alumni from the past ten years. All recent alumni are invited to attend, regardless of whether you graduated or not. When the men's basketball game ends, grab your friends and head over to Abby's for free pizza and soda. It's a great way to connect with even more alumni before the night is over. Text your friends and tell them about it! In past years, more than 70 alumni have showed up. Will you be there this year? For more information and to register, click here.
Calling All Bruin Jrs.
The Bruin Heritage Society is developing a new historical display that will feature the story of the George Fox Bruins. Included in this display will be historical photos, stories, and artifacts – most notably several Bruin Jrs. As part of this effort, we are putting out the call for any and all Bruin Jrs. from the past that may still be living with our alumni. If you have, or know someone who has, a Bruin Jr. please contact Alumni Relations at firstname.lastname@example.com. These priceless objects from our past can either be gifted back to the university, or loaned temporarily for the term of the display.
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If you know someone who would like eBruin please forward it on and encourage them to sign up to receive future issues by e-mailing us.
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Please let us know what you like about eBruin, or what you would like to see in upcoming issues.
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February 25, 2012
Michael Leighton and Mike McKenna have put on
some incredible shows before. But this one certainly
had to rate as one of the best for both of the
experienced goaltenders. After a combined 94 blasts
at the diving, scrambling, lunging netminders,
the Phantoms eventually persevered with a wild
2-1 shootout victory at the Binghamton Senators
on Saturday night.
Rob Bordson scored late in the first period in
just his second game back with the team, and then
tallied the clincher in the fourth round of the
shootout. Michael Leighton turned in an incredible
41 save performance for the win.
Mike McKenna, who has been the curse of the Phantoms
at times this season, was incredible again. A
50 save effort would not be enough for the win
this time however as Adirondack finally knocked
off the St. Lawrence University product who has
area ties with his engagement to a woman from
Joe Paterson said before the game that he has
told his team to shoot more. And evidently the
players heard him loud and clear. A 52-shot attack
including a seemingly endless 29-shot peppering
in just the first period awaited Mike McKenna
from the inspired Phantoms attack.
The game featured lots of run-and-gun, a virtual
game of shimmy in the overtime with both teams
rushing back and forth with odd-man opportunities,
and some other close calls and missed opportunities
that left the crowd of 4,000+ at the Broome County
Veterans Memorial breathless time-and-time again.
But in the end, it was the incredible saves made
by Leighton and McKenna in a 65-minute show of
"Can You Top That?" that left the fans
rubbing their eyes in disbelief. And the answer
to that question after every near-miraculous stop
seemed to be another resounding Yes.
Adirondack could not have done anything more to
break the game wide open at the start. An amazing
29 shot opening period had McKenna making one
incredible save after another as he kept the Phantoms
out of the net throughout almost the entire 20
minute nonstop puck-barrage.
But Rob Bordson picked up a loose puck on the
left side of the crease and was able to push it
around McKenna who was tangled in a couple of
bodies. The Duluth, Minnesota native's goal with
less than 8 seconds left in the period on the
team's 29th shot gave Adirondack the 1-0 lead.
Bourdson played in 61 games with the Phantoms
last year and scored seven goals after coming
over to Adirondack from Syracuse in a trade with
the Anaheim Ducks organization in November. This
season, Bourdson was the leading scorer with Trenton
of the ECHL with 17 goals but he also played eight
games with Rochester in December on a player tryout
Adirondack scooped him up last week and signed
him to a standard contract and the hard-working
player scored the team's lone goal in regulation
tonight and then the clincher in the shootout.
He also won a vast majority of has faceoffs including
several key draws throughout the night.
The 29 shots in a period are the most in the AHL
this season and also are the most ever for the
Adirondack Phantoms. The last time an AHL team
had more shots in a period was in the 2006-07
season when the Hartford Wolfpack had a 30 shot
effort in January.
The Phantoms also had the previous AHL high this
year for shots in a period with their 25 shot
effort a month ago against Bridgeport.
Adirondack would also blast shots of the post
on at least three different occasions. Shane Harper
rocketed a blast off the iron in the first period,
Tyler Brown did the same in the second period,
and then Harper again in the third on a shot that
may have been deflected en route by Harry Zolnierczyk.
Binghamton would come back to tie the score midway
through the second period. Rob Klinkhammer's drive
from the left circle was kicked out by Leighton,
but Derek Grant was there for the rebound as he
got a half-step in front of his former college
teammate at Michigan State, Andrew Rowe to get
to the opportunity first.
A wild overtime saw lots of dangling and odd-man
rush opportunities on both ends. Derek Grant had
one Binghamton's best chances to win it in the
extra period but he rifled his shot high over
the right shoulder of Leighton and missed the
Adirondack raced out on a long pass to Rob Bordson
up the right wing who perfectly centered to Zolnierczyk
in the slot. But Harry Z's point-blank opportunity
with 15 seconds left in the overtime was blocked
by McKenna for another tremendous save and on
the game went to the shootout where the Phantoms
would pull out the win....with Leighton making
saves on all four he faced of course, including
a couple nice ones.
Adirondack was without Marc-Andre Bourdon and
Garrett Roe who were both out with the flu. Jason
Bacashihua was a scratch from the lineup with
his upper-body injury sustained in practice Friday
morning. Notre Dame product Brad Phillips was
called up from Trenton to serve as Leighton's
backup. Other scratches for the Phantoms included
Blake Kessel, Mike Testwuide and Oskars Bartulis.
Adirondack completed their four-game road-trip
with a 2-2 mark and will finish their three-game
All-New York weekend Sunday at 3:00 against Syracuse.
The first 3,000 fans in attendance receive a Phantoms
receive a team poster presented by Glens Falls
Printing and the entire team will appear in Heritage
Hall for a post-game autograph session.
Upcoming Events
Sunday, February 26, 3:00 - Syracuse Crunch at
Adirondack Phantoms. Phantoms Poster Giveaway
for first 3,000 fans courtesy of Glens Falls Printing.
Post-Game Autograph Session with the Phantoms
players. Sunday Family 3-Pack ($39 for 3 tickets,
3 sodas, 3 hot dogs, 1 large popcorn and 1 program).
Monday, February 27, 7:00 - Phantoms Power Hour
LIVE at McGinny's. Special Guests, Riley Cote
and Harry Zolnierczyk
Friday, March 2, 7:00 - Adirondack Phantoms at
Providence Bruins
Saturday, March 3, 5:00 - Adirondack Phantoms
at Albany Devils
Sunday, March 4, 3:00 - Wilkes-Barre/Scranton
Penguins at Adirondack Phantoms. Dax's Kids Club
game and post-game open-skate with the Phantoms
players. Sunday Family 3-Pack.
Ge your Adirondack O'Phantoms T-Shirts! Two tickets
for any game in March plus a St. Patrick's Day
O'Phantoms logo T-Shirt all for only $30.
The Northway 2-Pack is on sale now. Get 2 tickets
for 2 games between the Phantoms and the Albany
Devils on March 10 and April 6 PLUS a player autograph
stick all for only $65. Call the Phantoms to order
yours! (518) 480-3355
Adirondack Phantoms 2 (SO) at Binghamton Senators
1 - Status: Final SO
Saturday, February 25, 2012 - Broome County Veterans
Memorial Arena
Adirondack 1 0 0 0 - 2
Binghamton 0 1 0 0 - 1
1st Period-1, Adirondack, Bordson 1 (Jancevski,
Harper), 19:52. Penalties-Cannone Bng (slashing),
5:30; Walker Adk (cross-checking), 8:23; Bartlett
Bng (roughing), 8:23; Borowiecki Bng (unsportsmanlike
conduct), 8:23; Lauridsen Adk (cross-checking,
roughing), 16:56; Conboy Bng (roughing), 16:56.
2nd Period-2, Binghamton, Grant 6 (Klinkhammer,
Hamilton), 7:56. Penalties-Borowiecki Bng (high-sticking),
3rd Period- No Scoring.Penalties-Locke Bng (high-sticking),
1:50; Jancevski Adk (interference), 18:48.
OT Period- No Scoring.Penalties-No Penalties
Shootout - Adirondack 2 (Akeson NG, Hamel G,
Ford NG, Bordson G), Binghamton 0 (Hoffman NG,
Cannone NG, Downing NG, Petersson NG).
Shots on Goal-Adirondack 29-11-6-5-1-52. Binghamton
Power Play Opportunities-Adirondack 0 / 4; Binghamton
0 / 2.
Goalies-Adirondack, Leighton 17-20-0 (42 shots-41
saves). Binghamton, McKenna 13-16-1 (51 shots-50
Referees-Matt Kirk (66).
Linesmen-Andy Petrus (26), Brian Lemon (25).


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Home > POWER ELECTRONICS > RFMD teams with North Carolina State on Power GaN devices d...
Jan 16th, 2014
RFMD teams with North Carolina State on Power GaN devices development
RFMD, a global leader in the design and manufacture of high-performance radio frequency solutions, announced that it will play a key role in developing power electronics to support the next generation of clean energy in the U.S.
RFMD is a foundry and product design/development partner to North Carolina State (NC State) University's Next Generation Power Electronics Innovation Institute, which was awarded a 5-year $70 million contract from the Department of Energy to lead next generation power electronics manufacturing. RFMD was one of four institute partners invited to meet U.S. President Barack Obama at a ceremony to announce the contract award at NC State at 1 p.m. in Raleigh, N.C.
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George Tekmitchov
Sight Apertures for Recurve Archers
By George Tekmitchov
Hoyt Sr. Recurve Engineer / International Staff Manager
Archers seem to love to play around with sight apertures. They're usually inexpensive, there's a wide variety of them out there, and they can have a big effect on how you shoot the shot. The reason for this is that the aperture has an influence on how you perceive the target, which can affect your focus and especially, your shot timing.
Apertures for the Olympic bow, like a few other bits of equipment we use, are closely regulated by FITA. You can't have any magnifying, optical (prism), or electronic elements and the sight itself can only provide for a single aiming reference. That sounds limiting, but in practice, there are still many different ways to make an aperture that conforms to the rules.
While there are exceptions, we can generally characterize apertures three ways.
1. The open ring. The ring aperture is very popular for one important reason: It works! The human eye is naturally tuned to line things up by centering them in a ring. While it seems this allows lots of movement, that's not a bad thing as we will discuss.
2. The pin. Technically, the pin isn't really an aperture at all; it is a reticle which is placed either on the target, or on a reference to the target. Pins come in lots of forms, from glowing plastic fiber optic to matchsticks.
3. The ring with pin. This is perhaps the most popular aperture, and serves as a combination of a (usually small) pin centered in a ring.
These all work a little differently.
The open ring
The chief advantage of the open ring is that it allows you to focus on what you want to hit. This allows a natural aim. The use of the open ring is still relatively new (in the context of a sport as old as archery, anyhow). Dick Tone used it to great success in the 1960's and so most of his students in the
The principle of a ring sight is that one focuses on the target and allows the ring itself to blur out. Primary focus is on the target or a point on the target which one wishes to focus upon (as in aiming off in windy conditions). The principle of allowing the ring to blur is similar to that used with "ghost ring" equipped firearms.
The ultimate "ring" sight may be the German-made AMBO iris-aperture, which is composed of an Anschutz type movable iris aperture in a sturdy mount. This allows one to have the same "target picture" at all the FITA distances. Note that while legal for target, this sight aperture is illegal for FITA unmarked field rounds- the adjustable index on the ring allows effective use as a rangefinder.
On the other end of the spectrum, a simple and very effective sight ring is the Full Adjust aperture, made by Lancaster Archery Supply. This aperture comes with a removable pin and is used by a number of top archers in the
Another very popular variation on the ring sight is the Beiter Sight Tunnel, which comes with a wide variety of colored apertures and reticles in many shapes and at least two sizes.
The advantage of the ring sight is the natural aiming feel and a resulting quicker shot. The downside is some people have a problem aiming off in the wind with a ring aperture- the sight keeps wanting to return to the center!
One big advantage of the ring aperture is it makes an excellent gauge for FITA unmarked field, if the correct size is selected.
The pin
Straight pin sights are relatively uncommon among Olympic Bow shooters, but some of the best recurve shooters of the modern era used them to great effect- among them, Hoyt's Darrell Pace, and Karen Scavotto.
There are at least two ways to use a pin sight. One is to just put the pin on the gold and fire away. Some people have no problem with this, but lots of others don't like it as much because the pin obscures their goal, which is to hit that part of the target hiding behind the pin.
Some people find they get a better result by focusing on the pin itself and letting the target go blurry. This is similar to the proper sight picture for a pistol in which one focuses hard on the front sight blade and lets the rear sight and the target go blurry. This method works for some people, but can have mixed results in the wind. Some people have problems holding the pin comfortably on the gold. This can often be cured by switching to an open ring.
The second method is to hold the pin on some reference area on the target, such as the top of the blue. This can be useful in cases where, for example, a shooter is limited in draw weight and can't reach the target with a direct setting. Sometimes this method is used as a work-around for mentally based shot execution problems or "gold shyness". The pin's main advantage is in letting the archer aim off with more confidence in the wind.
The Ring with pin
This sight option is by far the most common at high levels of competition. It has the advantage of the ring sight, and the hold-off capability of the pin sight, and is a good compromise if the pin isn't too distracting. Most top coaches say the proper way to use this sight is to focus on the target, letting the pin go blurry. Some coaches think the archer should focus on the pin and let the target go blurry. It seems many shooters using this sight do both at times as needed.
For instance, in good weather, the archer might want to focus on the target through the ring and ignore the blurry pin. In wind, these shooters might focus on the pin, put it on a reference point on the now blurry target, and shoot. It's a very individual thing. Many of the top Korean shooters use this type of aperture, and this type of aperture is normally standard on most sights.
Some of these types of sights use a bright fiber optic component. In some cases, shooters find this mentally troublesome after some period of use, and end up having to remove the pin entirely. But for those with the proper focus on execution, generally shooters who have had a few years added to their experience level, this can be an extremely effective aperture.
More sophisticated approaches to mounting the pin are found in the Spigarelli type aperture, in which a dot is mounted on virtually invisible crosshairs in the ring, and the Titan recurve "scope", a non-magnifying lens with a precisely centered fiber optic element or sticker dot.
Using the aperture
The examples discussed above are just a few of the many varieties of apertures. There are literally hundreds out there when you consider home-made apertures. In the effort to try to find one that works well for you, keep in mind that it's likely to be the one that lets you focus least on the aiming process.
Aiming, execution, and the role of the aperture
The fact is most recurve shooters aim too much. As my good friend Coach Lee, Kisik puts it, recurve archery is an execution game- too many archers try to aim hard, and lose focus on execution. The open ring helps address this, by allowing a more relaxed shot for people who have a tendency to over-aim with a pin.
If you find yourself experiencing execution problems, it might be worth your while to change apertures- it may make a big diference!