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She secured 26.89 percent of the vote, according to the county registrar of voters' unofficial tally, more than one percentage point ahead of her nearest competitor in a five-person race for two seats.
My own informal oddsmaking said it shouldn't have gone down that way.
Multiple pre-election conversations with the city's politically connected had projected a consistent outcome: Mayor Pro Tem Michael Maciel would be re-elected to the council and Roger Birdsall would follow, replacing Steve Abercrombie, who declined to run.
The first prognostication proved correct, as Maciel secured a second term in office with 25.55 percent of the vote.
The second was about as wrong as wrong can be.
Birdsall was badly beaten in comparison, finishing last in the field with 13.3 percent of the vote, despite a deeper bankroll than any other candidate. (It should be noted he was gracious, applauding his competitors in a Nov. 9 advertisement.)
Through Oct. 20, Birdsall raised $41,536.12 in total contributions, according to campaign finance documents released by the city. That's nearly twice as much as the race's second-best fundraiser, Charles Manne, who brought in $22,450.98.
As if to drive home the point that money isn't everything, Birdsall raised nearly four times more than Young's $8,893 total — the second lowest out of the five competitors.
The only person with a smaller war chest than Young was Ray Morelos, who said he raised less than $3,000, though the city clerk's office had not received his latest filing as of this week.
Money wasn't the only reason why many told me they were surprised at Young's victory. In many ways, she seemed the least connected to the traditional power circles of the city.
Maciel, an incumbent, enjoyed an obvious advantage in name recognition. The platform of mayor pro tem, which allowed him to fill in for Mayor Brent Ives at numerous community functions, didn't hurt, either.
Manne, meanwhile, has an up-close look at the city's gears and cogs as a member of the Tracy Planning Commission. He also had the backing of the Tracy Firefighters Association.
Speaking of experience, Morelos is an entrepreneur who served on the City Council in the late 1980s and has remained an active participant — especially on the city's Southside — ever since.
And Birdsall has been involved in Tracy's business community for decades. He had the support of several major power players, including the Tracy Firefighters Association and developer Angelo Tsakopoulos, the chairman of Tracy Hills backer AKT Development.
From the inside looking out, Young was at a noted disadvantage — the least experienced of the five.
But in the end, it was exactly that outsider status that likely fueled her Election Day stunner.
In a field packed with ties to the city, Young was the lone person who could rightly claim to be a "fresh voice" — her campaign slogan of choice.
"Just taking time to listen, I think, was very important to people," Young told me Wednesday, Nov. 14. "I think there's a disconnect between the community and City Hall."
For that reason alone, Young's victory should be a wake-up call to those closest to the levers of power. People want representatives who step outside the political bubble.
Young also guessed balance played a role.
For two years, the City Council has been made of white men. All have retired from, or are employed in, public service.
Young, a black woman who works as a project manager for JP Morgan, provided a noted contrast.
"In the past, we've had a mixture of men and women (on the council)," she said, noting that recent councilwomen Suzanne Tucker and Evelyn Tolbert congratulated her in the wake of her victory. "For the last two years, there have been no women on the council at all."
But I think it was more than demographics that launched Young to the top spot.
Her victory is local proof of what political operatives have long known — money doesn't mean a thing if you can't connect with voters.
Young has essentially campaigned since 2010, when she unsuccessfully ran for City Council. She learned from defeat and ran a high-energy race that focused on human, rather than monetary, capital.
She and a dedicated crew of up to 100 supporters knocked on doors, wrote letters to the editor, attended local gatherings and stood on corners to ask residents for their votes.
"I knew for all of us it was a tight race (in 2012), so I was really trying to get out there and connect with as many people as I can," Young said. "I never took any of that for granted. … I never really stopped campaigning."
Young must now shoulder the mantle of leadership. No easy task, even for someone who, to my knowledge, has not missed a council meeting in more than a year.
But if her 2012 campaign is any indicator, Tracy residents shouldn't be surprised if she takes the oath of office ready to go.
• Second Thoughts is a personal opinion column by editor Jon Mendelson. Share your thoughts at email@example.com.


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After selling more than 500 copies of his tribute to Luis Mariano and the album "Sicilien", Roberto Alagna is back, this time with all the heat and colour of Latin America in his new album, "PASIÓN"! Available from October 31st…
Imagine going to Versailles... With "PASIÓN", the new album from Roberto Alagna, released on October 31st... 2 exceptional concerts on November 24th & 26th at the Royal Opera of Versailles. Not to be missed!
The story of a tenor...
Roberto Alagna's career could well be made into a novel. He was born of Sicilian parents who settled in the Parisian suburbs. In the family everybody sang, and he was (as he was told) not the most talented: he was sometimes asked to be quiet when his uncle with the sunny voice sang. But Roberto had a calling. He honed his vocal technique by listening to the recordings of the great tenors of the past and by following the guidance of an old master, Rafael Ruiz. For years he spent his nights singing old tunes and playing the guitar in cabarets. But, deep inside, he was fond of opera, and his idol was Pavarotti. So, when the tenorissimo came to Paris to sign autographs in a department store, young Roberto sneaked through the crowd, managed to approach him and say a few words. The right words undoubtedly, because he was then invited to audition by the maestro. He went and earned a ticket to the finale of the Pavarotti Competition in Philadelphia – which he won. That was in 1988; he was twenty-four years old.
Alagna's voice was then bright and radiant. It was the voice of the Italian tenor people dream about. Glyndebourne called him to play Alfredo in La traviata. He then performed in Monte Carlo, and soon after at La Scala with Riccardo Muti, portraying Alfredo with rare fervour. After that, he played the Duke of Mantua in Rigoletto, once again with Muti, and Rodolfo in La Bohème. In just a few years, the leading international stages, from New York to Vienna and London, opened their doors to him; eminent conductors were honoured to direct him; he was acclaimed everywhere.
His life took a new turn in 1994, when he was granted the role of Romeo in Gounod's Roméo et Juliette. The lyric prodigy displayed unheard-of sensitivity and diction. People wondered about his precursors: Vanzo? Thill? But he alone could bring such grandeur and poetry to the French scene. He was rightfully making history and, in 1995, received the most prestigious British theatre award, the Laurence Olivier Award, for this performance. Celebrated when he sang Italian repertoire, he had become a unique and indispensable asset to French repertoire. His characterization of Don Carlos in London and then in Paris in 1996, of Des Grieux, Werther, Faust, Don José and even Edgardo in Lucia di Lammermoor stood out and established him as one of the top singers of his time.
In the 2000s his voice broadened and darkened. He added key roles of Italian opera to his repertoire – Manrico, Canio, Radamès, and even excerpts from Otello. Enthusiastically pursuing his exploration of French roles, he relived long-forgotten operas: Lalo's Fiesque in 2006, Massenet's Le Jongleur de Notre-Dame in 2007 and Alfano's Cyrano de Bergerac in 2005, which he performed with youthful flamboyance. Such curiosity attracted contemporary composers: Vladimir Cosma tailored for him the role of Marius in Marius et Fanny, premiered in 2007 in Marseille with his wife Angela Gheorghiu, and his brother David wrote for him Le Dernier Jour d'un condamné, premiered in July the same year. Few lyric artists have the ability to follow so many different paths!
Roberto Alagna's discography reflects the scope of his musical curiosity. Under exclusive contract with EMI from 1993, he recorded the major operas of the French (Manon, Werther, Don Carlos, Carmen) and Italian repertoires (La Bohème, La rondine, Tosca, Il trovatore, Verdi's Requiem). For other labels he recorded L'Elisir d'amore, Rigoletto and La traviata. He performed unusual recitals devoted to Berlioz or to rare arias of the French repertoire. In 2004 he signed an exclusive contract with Deutsche Grammophon. His first album at DG, Roberto Alagna chante Luis Mariano, brought him fame beyond the frontiers of the lyric art and went double platinum.
His album Sicilien, released at the end of 2008, was tremendously successful, with over 350,000 copies sold. Sicilien constitutes a return to his roots and introduces a lyric and popular repertoire. This success was prolonged by a national and international tour in 2009 and 2010 and by the release of a CD and DVD, recorded live in the Arena of Nîmes in August 2009.
DVDs hold a central place in this discography. Concerned about the truthfulness of theatre, Alagna reveals the range of his dramatic palette in very varied roles: a moving Nemorino (L'Elisir d'amore, Decca), an almost fragile Radamès (Aida, Decca), an enthusiastic Cyrano (DG). He even takes an interest in production techniques, for instance with Pagliacci (DG). Stage director Benoît Jacquot asked him to play Mario in the film version of Tosca (2001), which spotlights the performance of singer-actors.
Adopted by a broad public, Alagna appears in TV studios where he performs with pop singers, participates in charity concerts ("Michael Jackson & Friends") or exceptional events – in 2002 and 2003 he sang for the Pope in Rome. On his own admission, the high point of his career remains his performance, on 14 July 2005, of the French national anthem on the Champs-Élysées, in front of the official gallery.
Although his recordings and performances have earned him the highest musical and official awards (he was made a Knight of the French Legion of Honour in 2008), Alagna is not idling his time away. His schedule for the coming years includes such major roles as Paolo in Francesca da Rimini, recently acclaimed in Paris and unanimously praised by the critics, in Le Cid, and Maurizio in Adriana Lecouvreur.
Alagna's gamble has now paid off: he has become a popular singer, known and loved by a broad audience, without renouncing the standards of the great lyric repertoire. Better yet: his tours with the repertoire of Luis Mariano, comprised of traditional Sicilian songs, and soon with the Spanish repertoire, contested by some "purists", allow Alagna 's voice to ripen and let him enrich his artistic identity in contact with various audiences. We already knew about crossovers, that is when a lyric artist explores more popular territories – jazz, musicals or folk songs. Alagna has managed to merge two types of repertoire into a single career, which remains unique in the lyric world.
As a consequence, at an age when other tenors start to feel somewhat drained, Alagna tackles these great roles with unbelievable freshness on the world's leading stages and at a pace no one but he could withstand. Add to that his continual risk taking and the surprising initiatives the tenor embarks on, as a result of a crush or by instinct.
To those artists (even the youngest of them) who are looking for the secret of eternal youth, Roberto Alagna could certainly provide an answer: generosity, a love for the audience... and unfailing enthusiasm!
Sylvain FORT


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split personality. Analyst-style lounge by day, dreamy guest bed by night. Easily adapts to host one or two overnighters: Stacked double mattress sleeps twin. Or, remove the top to side-by-side on the floor for an oversized queen. Turquoise basketweave is soft, chunky. Nap or read with head propped on a roll. Dry clean the removable top cover.
After you place your order, we will send a fabric swatch via next day air for your final approval. We will contact you to verify both your receipt and approval of the fabric swatch before finalizing your order.
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lubi sleeper daybed in turquoise. 79"Wx32.25"Dx25.5"H
- Stacked twin sleeper unfolds to an oversized queen bed that takes king sheets
- Intended for guest use/occasional sleeping
- Kiln-dried hardwood frame with molded wood slats
- Acrylic/poly fabric: turquoise
- High elastic polyurethane cell foam cushion
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- Made in Denmark
Overall DimensionsWidth: 79" Depth: 32.25" Height: 25.5" SeatHeight: 16.25" Each MattressWidth: 79" Depth: 32.25" Open As BedWidth: 79" Depth: 64.5" Height: 8"
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Heads or tails? Coin toss decides Peru election
LIMA, Peru (AP) — A coin toss has decided the mayoral race in small town high in the Peruvian Andes after two candidates tied at the ballot box. Full Story
(Manu Fernandez/AP)
Shakira to release baby toys with Fisher-Price
NEW YORK (AP) — Shakira is partnering with Fisher-Price to launch a line of baby toys as well as a Web series for moms. Full Story
'Here Comes Honey Boo Boo" star Mama June dating convicted child molester
In news that could mean the end of the reality TV show; it's been reported that "Mama June" Shannon has rekindled her romance with Mark McDaniel, who spent 10 years in prison for allegedly molesting a 8-year-old girl who was a relative of Mama June's.


text: Canon EF-M 18-55mm f/3.5-5.6 Lens For Canon EOS M digital cameras Zoom Front Top view Photos Videos Item #: 280EFM1855 Be the first to write a review In Stock Free Crutchfield lifetime tech support Free Shipping Your price $299.99 Add to cart + Add to wishlist Email me alerts for this product Buy this item and earn up to 300 Rewards points See more offers and ways to save Click for special financing x By buying this product you'll earn up to 300 Rewards points. When you sign up for a Crutchfield account, you'll be enrolled in Crutchfield Rewards. You'll earn one point for every dollar you spend on gear from us. You can turn your points into Rewards Cards that you can use toward future purchases. You can sign up for an account now, or after you complete your purchase (you'll get credit for the points either way). Sign up for a Crutchfield account Overview Details Customer Reviews Q&A Articles & Videos Accessories Our take on the Canon EF-M 18-55mm f/3.5-5.6 Lens by Woody Sherman Add some creative framing options to your Canon EOS M You're justifiably proud of your Canon EOS M camera with its included 22mm lens, because the image quality is impressive. But there are times when it would be handy to have a bit wider of an angle or the ability to zoom in to your subject. This lens will cover all your everyday photographic challenges in style. Its approximate 3X zoom range gives you the flexibility to stand in one place and recompose your framing for the shot you want. It's well suited to video shooting, too, with an ultra-quiet stepping motor powering the autofocus mechanism (that's the "STM" in the lens' designation). No robotic lens adjustment sounds will interrupt your next great movie's soundtrack. See Compact System Cameras that work with this item See more info on this item Highlights:EF-M 18-55mm f/3.5-5.6 IS STM wide-angle to telephoto zoom lens with 35mm equivalent of 29-88mmcompatible with the Canon EOS M mirrorless hybrid digital cameraimage stabilization allows in-focus shots with longer exposure times (up to four stops slower shutter speed)minimum focus distance: 10 inchesconstructed of 13 elements in 11 groupsfilter size: 52mmlens is 2-5/8" long, 2-7/16" in diameterfront and rear lens caps includedweight: 7.4 ounceswarranty: 1 yearOur 60-day money-back guarantee Hands-on research from the Crutchfield Labs (what are the Labs?) Features and specs chart | What's in the box? | In-depth notes Features and Specs General Brand Compatibility Canon Image Stabilization Yes Focal Length 18-55mm Maximum Aperture f/3.5 (W) - 5.6 (T) Weight 7.4 ounces Parts Warranty 1 Year Labor Warranty 1 Year Product Research What's in the box? Download owner's manual Canon EF-M 18-55mm f/3.5-5.6 IS STM lens E-52 II Lens cap (installed) Rear Lens Dust Cap EB (installed) Instructions Warranty/Product Registration card Our Product Research Team At Crutchfield, you'll get detailed, accurate information that's hard to find elsewhere. That's because we have our own in-house Product Research team — they open the box, verify contents, check the owner's manual, and record dimensions, features and specs. We stay on top of new products and technologies to help people make informed choices. Features Overview: The Canon EF-M 18-55mm f/3.5-5.6 IS STM lens is an EF-M series, standard zoom lens for Canon EOS M cameras. It has the EF-M mount, which is compatible only with EOS M cameras. The lens has a compact and lightweight design that won't overpower the smaller hybrid camera body. Image Stabilizer (IS): The lens features an Image Stabilization system, which provides up to four equivalent f-stops of camera shake compensation. This gives you beautiful videos and still images, even in dim light. The Image Stabilizer function is turned on/off in the camera menu. There is no switch on the lens, as in other Canon EF and EF-S lenses. Stepping Motor (STM): The lens is equipped with a stepping motor (STM), which provides smooth and quiet continuous auto focus during video shooting. Focusing Ring: When you're in manual focus mode on the camera, you can focus manually on the subject using the focus ring on the lens. There is no focus mode switch on the lens. Optional Lens Hood/Case: The optional EW-54 lens hood can be added to keep unwanted light out of the lens, and protects the lens from rain, snow, and dust. The optional LP814 lens case will protect the lens when not in use. Specifications: Focal Length/Aperture: 18-55mm f/3.5-5.6 Lens Construction: 11 groups, 13 elements Minimum Aperture: f/22 (W) to f/36 (T) Maximum Magnification: 0.25x (at 55mm) Field of View: approx. 6.61" x 10.24" to 2.40" x 3.62" Angle of View: Diagonal: 74° 20' to 27° 50' Vertical: 45° 30' to 15° 40' Horizontal: 64° 30' to 23° 20' Minimum Focus Distance: 9.84" (0.25m) Dimensions: Diameter: 2.4" Length: 2.593" (3.183" with caps) Weight: 7.4 ounces See Compact System Cameras that work with this item Be the first to review this product Submit a review and then enter to win a $500 rewards card Review this product: Thanks for taking the time to share your experiences about this product. Please be sure to focus your comments on the product itself. Read our Review Guidelines for more information. Review title * Email Your email won't be visible. Please use the email address that is associated with your order. Display name (e.g., JohnD) Your review will be signed using the display name and location * Your location (e.g., Charlottesville, VA) * Your rating Click on a star to rate the overall product on a scale of 1-5 1500 characters left * Your review Attach a YouTube Review Crutchfield Video Review Guidelines Only submit videos that you made or are authorized to use. Do not submit videos that contain music, video or visuals that are copyrighted and belong to someone else. Please see our Review Guidelines for more information. Submit the URL of your YouTube™ video review or product demonstration. e.g., "http://www.youtube.com/v/o79TWHh598U" 500 characters left Pros 500 characters left Cons * Agree to Terms By checking this box you agree your review becomes the property of Crutchfield, that you are over 18 years of age, that you own or have owned this product, and that you are located within the United States or its territories. Please see our Review Guidelines for more information. We reserve the right (but are not obligated to) review all submissions and edit or remove any review in any manner which we deem necessary. Your review should be posted within seven days. Add accessories for the Canon EF-M 18-55mm f/3.5-5.6 Lens Add Accessories Add a Warranty Protect your lens from minor bumps and scratches. Lens filters can reduce reflections or glare, or increase contrast in your shots. See all categories & accessories Protect your lens from minor bumps and scratches. Lens filters can reduce reflections or glare, or increase contrast in your shots. Lens Caps, Filters & Hoods Keep your new lens safe from bumps and scratches. Camera Bags Get your lenses clean and fingerprint-free with a cleaning kit. 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We cover accidents caused by you and people you know. 2 Year Protection Plan with Drops & Spills coverage Your Price: $46.99 Add to Cart 3 Year Protection Plan with Drops & Spills coverage Your Price: $62.99 Add to Cart For a more in-depth review and enhanced detailed information on the Canon EF-M 18-55mm f/3.5-5.6 Lens, please visit the Crutchfield website product page (/ISEO-rccbcspd/p_280EFM1855/Canon-EF-M-18-55mm-f-3-5-5-6-Lens.html ). × Front Top view Searches related to the Canon EF-M 18-55mm f/3.5-5.6 Lens For Canon EOS M digital cameras Canon Canon Camera Lenses Camera Lenses under $300 Canon EF-M 18-55mm f/3.5-5.6 Lens vs Sigma Photo 18-250mm f/3.5-6.3 Lens Canon EF-M 18-55mm f/3.5-5.6 Lens vs Nikon AF-S DX Nikkor 35mm f/1.8G Canon EF-M 18-55mm f/3.5-5.6 Lens vs Samsung EX-S30NB 30mm f/2.0 Lens Canon EF-M 18-55mm f/3.5-5.6 Lens vs Samsung EX-M60SB 60mm f/2.8 Lens