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Heart-Healthy Dinners (Slide 5)
(Slide 5 of 49) Start at the beginning | View recipes as list
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Apple-&-Leek-Stuffed Pork T…
Stuff pork tenderloin with apple and leek to take it from ordinary to elegant. Our easy method of ty…View slide
Salmon Panzanella
This traditional Italian bread salad is full of tomatoes and cucumber and gets a protein boost with …View slide
Chicken & Spiced Apples
The buttery apples suit these chicken breasts, which are pounded thin so they cook evenly and quickl…View slide
Sweet & Sour Beef-Cabbage Soup
This wholesome sweet-and-sour soup combines beef, caraway seeds, sweet paprika and cabbage—ingredi…View slide
Creamy Fettuccine with Brus…
Sliced Brussels sprouts and mushrooms cook quickly and cling to the pasta in our fall version of pas…View slide
Vegetarian Taco Salad
Nobody will miss the meat in this colorful, zesty vegetarian taco salad. The rice and bean mixture c…View slide
Tuna Pomodoro
Inspired by the Italian dish spaghetti al tonno e pomodoro, this quick and healthy pasta became a st…View slide
Grilled Salmon Soft Tacos
Fish tacos have become all the rage in recent years and are a specialty of the Pacific coast of Sout…View slide
Warm Bean & Arugula Salad
In this salad, saucy, lemony beans stand in for a warm dressing, coating the arugula and wilting it …View slide
Apple Turkey Picadillo
This twist on the Latin American staple is made healthier with lean ground turkey and crisp apples. …View slide
Chicken & Sun-Dried Tomato …
Sun-dried tomatoes and Romano cheese pack a flavorful punch along with the tantalizing aroma of fres…View slide
Sesame-Honey Tempeh & Quino…
Here we toss tempeh with a honey-sesame sauce and serve it over quinoa and shredded carrots for a sa…View slide
Orzo with Lamb, Olives & Feta
Sure, orzo is good in soup, but there's no need to stop there. Here it's a base for a bold blend of …View slide
Peanut Noodles with Shredde…
If you can't find a bagged vegetable medley for this easy noodle bowl, choose 12 ounces of cut veget…View slide
Spiced Eggplant-Lentil Sala…
Spiced eggplant, lentils and mangoes combine deliciously in this Indian-inspired vegetarian salad. C…View slide
Eggplant Pomodoro Pasta
Diced eggplant turns tender and tasty sautéed with garlic and olive oil. Toss with fresh plum tomat…View slide
Black Bean & Salmon Tostadas
Pickled jalapeños, cilantro and avocado perk up convenient canned salmon for a quick tostada toppin…View slide
Turkish Pasta with Bison Sauce
Sweet aromatic spices, cilantro, mint and lemon marry well with bison in this delicious pasta sauce.…View slide
Beer-Battered Fish Tacos wi…
Lovers of fried fish get the taste without all the calories, and the salsa adds a fresh, clean note.…View slide
Chicken & Blueberry Pasta S…
Yes, blueberries and pasta. The addition of poached chicken and feta cheese makes this dish into a l…View slide
Beef & Cabbage Stir-Fry wit…
The subtly sweet peanut sauce blends deliciously in this beef, cabbage and carrot sauté. Spice up t…View slide
Pecan-Crusted Turkey Tender…
Here we top pecan-crusted turkey cutlets with a mildly spicy grilled peach salsa. It's better to pre…View slide
Pear & Blue Cheese Flatbread
The classic combination of pears, walnuts and blue cheese isn't just for salad. Toss the same ingred…View slide
Black Bean Croquettes with …
Staples like canned black beans and frozen corn transform into spicy croquettes in mere minutes. Ser…View slide
Mock Ceviche
Traditionally, ceviche is raw fish that's "cooked" by marinating it in acidic citrus juice. Here…View slide
Bread & Tomato Salad
When it's too hot to cook, just step outside and gather tomatoes and basil from your garden, cut up …View slide
Fennel-Crusted Salmon on Wh…
Delicious warm white beans and fennel are topped with succulent fennel-seed-crusted salmon for a dou…View slide
Quinoa & Smoked Tofu Salad
We took the tangy fresh flavors of tabbouleh and paired them with smoky tofu and quinoa to create a …View slide
Salmon with Red Wine-Morel …
Dried mushrooms give this rich red-wine sauce an almost meaty flavor. Look for them in the produce d…View slide
Sofia's Chicken Paprikash
Brilliant red paprika, the main seasoning in Hungarian cooking, gives this light version of chicken …View slide
Almond-Crusted Pork with Ho…
Sliced almonds add a delectable, almost-like-fried-chicken crunch to the breading for these tender p…View slide
Baked Tofu Stir-Fry with Ca…
This healthy vegetarian tofu stir-fry recipe is made with less oil by cooking the ingredients on two…View slide
Cartwheel Pasta with Pepper…
This simple pasta recipe is one of the best ways to enjoy sweet bell peppers. The pasta sauce—red …View slide
Spaghetti with Halibut & Lemon
In this delicious and simple pasta recipe, halibut is "cooked" ceviche-style in a zesty lemon ma…View slide
Orecchiette with Broccoli Rabe
In this classic Italian pasta recipe, anchovies are mashed into olive oil to add amazing depth to th…View slide
Sweet-&-Sour Sicilian Rabbi…
For this healthy rabbit stew recipe, lean rabbit or chicken thighs are cooked with tons of vegetable…View slide
Paprika Chicken Thighs with…
In this healthy chicken recipe, paprika-rubbed chicken thighs are nestled into Brussels sprouts and …View slide
Spicy Vegetable Lo Mein
Skip takeout and make a healthier Chinese lo mein at home that's packed with vegetables. Make sure…View slide
Chicken Banh Mi Pizza
This healthy pizza recipe is inspired by the Vietnamese sandwich called banh mi. Spread on the pizza…View slide
Rhubarb, Ginger & Saffron B…
This easy baked chicken recipe is perfect for entertaining because you can mix most of the ingredien…View slide
Grilled Chicken Salad with …
Dried cherries add color and sweet and tart flavor, while mint and parsley give this healthy grain s…View slide
Egg-in-a-Hole with Spinach …
When you make this cute breakfast-for-dinner recipe, also known as toad-in-a-hole or a one-eyed jack…View slide
Seared Salmon with Pesto Fe…
The brightness of basil pesto is a nice match for the buttery flavor of salmon in this quick and hea…View slide
Shrimp Kebabs with Curry-Co…
Try this Thai shrimp skewer recipe alongside quinoa and stir-fried broccoli or double or triple the …View slide
Chicken Tetrazzini
This retro dish will please kids and adults alike.…View slide
Baked Cod with Morels
The deep umami flavors of mushrooms are a natural companion for fish. In this recipe, sweet cod is a…View slide
Baked Popcorn Shrimp with S…
This healthy popcorn shrimp recipe uses tiny shrimp to make crunchy bites perfect for popping in you…View slide
Shrimp Piccata with Zucchin…
The tangy lemon-caper sauce in this healthy Italian makeover recipe is a natural with shrimp. Servin…View slide


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Christchurch International Airport
PO Box 14-00, Christchurch Airport, Christchurch, New Zealand
Telefon: (03) 358 5029
Website: www.christchurch-airport.co.nz
The airport is located 12km (7.5 miles) from Christchurch.
How to get there
From the centre of Christchurch (Cathedral Square), take Columbo Street, and from there Bealey Avenue and Harper Avenue. Turn right onto Fendalton Avenue and continue to Hagley Park, turning into Memorial Avenue. The airport is located over the roundabout on Memorial Avenue.
Information about parking possibilities at the Christchurch International Airport
Access by public transport
The Airport Flyer public bus service runs to the city centre (journey time - 30 minutes); shuttle buses can be shared and take travellers to their accommodation. Transport to Christchurch city centre is available outside the Domestic and International areas of the terminal building.
Taxis are available to the city centre (journey time - 15-20 minutes).
Information desk
Travel and information centres are located in the Domestic Terminal and International Arrivals lounge. In addition to providing information and bookings for local accommodation, transport and sightseeing tours, the staff operate a full travel agency service and can cater for any further international or domestic travel and holiday arrangements. For further information, contact the airport travel and information centre (tel: (03) 353 7774) or the 24-hour airport information phone line (tel: (03) 353 7777).
Airport News:
The airport is in the process of developing an integrated Domestic and International terminal. The first stage of construction was completed in 2006 with the opening of a new car park building. The entire NZ$195 million terminal project is slated for completion by late 2010.
Further information about Christchurch International Airport (CHC)
Parking and car hire at Christchurch International Airport
Airport facilities at Christchurch International Airport
Conference rooms and offices at Christchurch International Airport
Accessibility features at Christchurch International Airport
Airport hotels at Christchurch International Airport
Further travel information
- Back to the overview

subset: commoncrawl


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Presia Cross Strap
Item # K74686
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Say hello to a new silhouette this season, the Presia Cross Strap. Place yourself atop an elegantly designed 100 millimeter feminine heel created with soft, burnished leathers. Discrete, concealed ADIPRENE® by adidas sport technology helps absorb shock in the heel making these stylish dress shoes unbelievably comfortable.
- ADIPRENE® by adidas shock-absorbent cushioning protects the heel at impact
- ADIPRENE+® by adidas resilient forefront cushioning helps provide a responsive, dynamic push-off
- Breathable Polyurethane is moisture absorbent and odor resistant
- Full grain leather is durable and easy to clean, extending product life
- Rubber outsole helps provide a durable grip on a variety of surfaces
- Heel Height: 100mm
Highly shock-absorbent cushioning protects the heel at impact
Resilient forefoot cushioning provides a responsive, dynamic push-off
Presia Cross Strap is rated out of 5 by 7.
Rated 1 out of 5 by meredith from They looked like a pair of worn shoes with scuff marks all over them.
Date published: 2014-05-31
Rated 5 out of 5 by Eddier30 from Great! Love my Rockport Shoes! They are stylish and very comfortable!
Date published: 2013-05-30
Rated 5 out of 5 by heyyeh from great pumps! These heels are great! Fit like a glove and looks fancy. A little rubbing near the peep toe, but nothing an anti-rub stick can't help. Perfect office heel height; I could wear them all day. I don't own other rockport shoes so I can't compare the support, but in general, these are very comfortable heels.
Date published: 2013-08-07
Rated 5 out of 5 by AZSunshine from Love, Love, LOVE these shoes!! Mother's Day came a little early and what a perfect gift! Not only are these beautiful shoes they are comfortable, TRUE to size, fit well, light weight, and I feel sassy wearing them! Perfect for spring and summer and can be dressed down or worn in the office. I would highly recommend these!
Date published: 2013-05-03
Rated 5 out of 5 by Bride2Be from Comfort and Style! I just got these heels in the aqua color and they are wonderful! You should note the color is a bit brighter than in the pictures, but they are some of the most comfortable heels I've ever worn. I look forward to wearing them all night at my wedding! They also run very true to size.
Date published: 2013-04-15
Rated 5 out of 5 by classylady from Great shoe!!! I love this shoe and the size fits perfect. (Usually when I purchase shoes the size 5 fits more live a 5.5). The leather quality is great and the look is very classic.
Date published: 2014-06-06
Rated 5 out of 5 by Margo from A sassy neutral with a lot of comfort. Looks so much better in person than in online photos.
Date published: 2013-08-20


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Home > Mercedes > 2009 Mercedes-Benz C-Class Special Edition
Below you will find the high resolution car pictures for 2009 Mercedes-Benz C-Class Special Edition. You may use the car pictures for any of the following widescreen screen resolutions:
1920x1200 | 1680x1050 | 1440x900 | 1280x800
2009 Mercedes-Benz C-Class Special Edition
The Special Edition C-Class models also get front fog lamps with a chrome ring and chromed twin louvres, chrome highlights in the bumper, rub strip and boot lid plus the B-pillar trim painted glossy black. The car's exterior looks are rounded off by a set of 17-inch 5-spoke alloy wheels with mixed-size tires. Color options for the Special Edition C-Class range are limited to a new indium grey paintwork along with 'obsidian black', 'palladium silver', 'iridium silver' and 'calcite white'.


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Hereditary syndromes in colorectal cancer
Please use for reference only.
Julia Draznin Maltzman, MD
The Abramson Cancer Center of the University of Pennsylvania
Last Modified: July 11, 2006
March is the National Colorectal Cancer Awareness month. Colorectal cancer is the third most common diagnosis of cancer in the United States. The American Cancer Society estimates that there will be 146,940 new cases of colorectal cancer diagnosed in the US in the year 2004. The Colon Cancer Alliance translates these statistics into harsh terms: one person is diagnosed with colorectal cancer every four minutes. Approximately 56,730 patients with colorectal cancer will die from their disease. Put in another way, in the US, a person dies of colon cancer every 9.3 minutes. This means that one out of eighteen people in this country will develop colorectal cancer at some point in their lifetimes. Most of the people diagnosed with colon cancer are over the age of 50 and are Caucasian. However, African Americans are 30% more likely to die of the disease should they have it develop.
If colon cancer is present in one or more members of the same family, there is a small but real possibility that there is a genetic component to the disease. Although only a small percentage of all newly diagnosed colon cancer is genetic (10%), it is important to identify these people as the implications on their lives and on the lives of their families are tremendous. Identifying the population at risk for developing this often deadly disease may increase these patients' preventive and screening practices. Much research has gone into identifying people with genetic susceptibility to colon cancer so that we may be able to target this population for various prevention strategies. In the long-term, this research may lead to a better understanding of the biology of colorectal cancer and may even result in new therapeutics and prevention techniques.
The expert
David E. Loren, MD is a gastroenterologist specially trained endoscopist (a doctor who spends most of his time performing endoscopies such as a colonoscopy) who currently serves as the Director of Endoscopic Research in the Division of Gastroenterology and Hepatology at Jefferson Medical College of Thomas Jefferson University in Philadelphia. In addition to completing his Gastroenterology fellowship at the University of Pennsylvania, Dr. Loren completed an additional Advanced Endoscopy fellowship. Among the patients that Dr. Loren cares for are those with genetic colorectal syndromes. He is currently an Assistant Professor of Medicine at Jefferson Medical College in Philadelphia. OncoLink has asked Dr. Loren to help us understand the various genetic colorectal syndromes and how one should find out if they are at risk.
OncoLink: What is a hereditary colon cancer syndrome, and what types are there?
Dr. Loren: A syndrome is a set of signs or a series of events occurring together that make up a single disease or disease process. A hereditary colon cancer syndrome is a set of signs that identify a genetic condition that predisposes people to colon cancer.
There are two main categories of hereditary colon cancer syndromes. The main difference between the two is the number of polyps that grow in the colon. In Familial Adenomatous Polyposis (FAP), patients grow hundreds of polyps, any of which may turn into cancer at any time. The growth of these polyps starts at an early age. Because of the early age of onset and the many polyps that develop, nearly all patients with this syndrome will develop cancer at some point in their lives.
In contrast, Hereditary Non-Polyposis Colon Cancer (HNPCC) patients develop many fewer polyps. However, the polyps that do grow are very aggressive with up to 80% of these patients developing colon cancer. HNPCC-affected individuals are typically older than the FAP patients at the time that they are diagnoses with colon cancer, but younger than those without a genetic predisposition (those who develop colon cancer sporadically)-It is important to identify patients with familial colon cancer syndromes as early intervention with a screening program can save their lives and the lives of family members.
OncoLink: How would I know if there is a familial colon cancer syndrome in my family?
Dr. Loren: Because colon cancer develops at a young age in both FAP and HNPCC, anyone younger than age 50 that has been diagnosed with a colon cancer or has a family member younger than age 50 who was diagnosed with colon cancer should think about the possibility of a familial colon cancer syndrome. Also, because the cancers arise from polyps, anyone younger than age 40 that has been diagnosed with a polyp or has a family member under the age of 40 with a polyp should be considered for possibly having a genetic syndrome. In these cases, patients should speak with their primary care doctor, gastroenterologist, or a genetic counselor to find out more information and better clarify their risk.
In addition, other types of cancers are also associated with the familial colon cancer syndromes. The most common of these are endometrial cancer (uterus), cancer of the urinary tract (renal pelvis or ureters), cancer of the pancreas, cancer of the ovaries, and cancer of the small intestine. If anyone who is younger than age 50 is diagnosed with one of these cancers, the patient and their family members should discuss the possibility of a familial colon cancer syndrome with a physician and/or genetic counselor.
OncoLink: Are there any genetic tests that can be done to identify patients at risk of familial colon cancer syndromes?
Dr. Loren: Yes, there are a number of tests that can be done. These range from simple blood tests to analysis of tissue samples of the polyps and/or cancers themselves. Any of these tests should be performed only after speaking with a physician and/or a genetic counselor.
OncoLink: What can be done when a person is diagnosed with a colon cancer syndrome?
Dr. Loren: Fortunately, if a familial colon cancer syndrome is found, patients can undergo screening and surveillance procedures to detect the pre-cancerous polyps before they grow and develop into invasive cancer. This is usually done with colonoscopy. A colonoscopy is a procedure where a flexible tube is used to look inside the colon and find polyps and remove them before they grow into cancer. Patients with familial colon cancer syndromes should have this done at a much younger age than people who do not have an increased risk of the cancer. Such screening modalities and close follow up has been shown to save lives by preventing cancers before they develop. In the case of patients with FAP, patients may require removal of their colons entirely to prevent colon cancer. The hundreds of polyps that grow in this condition make it impossible to remove or biopsy each and every polyp.
OncoLink: What resources are available for someone who is at risk for colon cancer?
Dr. Loren: There are many places to turn to for more information. The American Gastroenterologic Association, National Cancer Institute, and American Cancer Society all have general information available on the familial colon cancer syndromes. I encourage concerned people to speak with their physicians, as every family should be considered individually.
It is also important to speak with a genetic counselor to evaluate the risks posed to the patients', families, and children, both existing and future.
OncoLink: If a colon cancer syndrome is diagnosed in an individual, how does that affect that person's family?
Dr. Loren: In many cases, the genetic abnormality causing the cancer can be found. Family members can then be tested to see if they are affected. They should be screened for cancer at an early age, about ten years before the onset of the youngest cancer in their family. This may be as early as their teen years. Care should be taken to note that if a genetic cause is not found in the person who has cancer, it does not mean that there is no genetic etiology. Our genetic tests are limited, and it simply means that the genetic abnormality was not identified by standard methods. In those cases, further discussions of testing need to be considered by the patient, their families, and their doctors.
If you have any further questions, you may contact Dr. Loren through the OncoLink Comments form.
OncoLink has joined forces with the National Colorectal Research Alliance to help their scientists study the risk factors associated with colorectal cancer and identify potential preventive and treatment therapies. This confidential survey was developed by cancer experts as an interactive way to help our leading scientists study families with a history of colorectal cancer. OncoLink/National Colorectal Cancer Research Alliance prevention database.


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Atlanta Hawks Tickets
Take part in the fine basketball tradition that is the Atlanta Hawks. Live NBA action will be on display in Georgia's capital city all season long. Rally around the Hawks' energetic squad at Philips Arena for four quarters of pulse-pounding entertainment.
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I'm 5'5" with the bra size 38DD. I bought a Suze 18 in the top and 16 in the bottom. It fits PERFECT. I've never felt this good in a bikini before!
Why do we love high-waisted bikinis here at swimsuitsforall? It's simple. They're stylish, sexy and ultimately flattering. High-waisted bikinis are the perfect option for any woman that wants to flaunt a flirty swimsuit that provides a little more coverage than a traditional bikini.
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Our newly designed plus size bikinis feature stylish high-waisted bikinis that sport modern and original prints as well as trendy retro styles. Select bikinis also feature hidden underwire to provide even more support and comfort. If you're shopping for bikini separates, we offer high-waisted brief bottoms that you can pair with your favorite bikini top.
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I have asked this question which I don't honestly think is a duplicate of the question linked as motivation for closing. They are both about java, but one is about the language and the other one about its applications in the real world. They are sure related but not exact duplicates by any means. Yet it took just a few minutes to find 5 people willing to close it.
Why is it so? Do similar questions really pollute SO so much? Is closing a question like that so urgent that you can't leave it open for a while and see if it meets interest in the community? Do people just do it because they have the power to do so and they like to use it?
SO should be a community site about programming, not about who's the quickest sheriff.
EDIT: edited subject as I meant "close" instead of "delete"


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WEIRTON - Joe Eddy, president and chief executive officer, of Eagle Manufacturing in Wellsburg, told Weirton officials Tuesday that downstream possibilities derived from the oil and gas industry can be a big revenue generator for the Mountain State.
Eddy, representing the "Just Beneath the Surface" Alliance, said natural gas, produced in the Mountain State since 1840, is present in 53 of the state's 55 counties and generated more than $271 million in property taxes and more than $230 million in severance taxes from 2009-2011.
Since 2008, Eddy said $3 billion had been invested in drilling and $3.5 billion in downstream investments in West Virginia.
"It's a great opportunity, (the kind) this state hasn't had in 50, maybe 75 years," he said, pointing out that natural gas currently feeds 65 million homes, 5 million businesses, 207,000 factories and 1,800 electricity-generating units in the U.S.
"Within 10 years we'll be the largest producer of oil and natural gas in the world," he said.
Eddy said at one time there were six ethane crackers in West Virginia, but when their raw material supply dried up they moved to the Gulf states. Now, with new drilling methods allowing energy companies to tap into previously untouchable reserves, he said there's no reason ethane crackers won't come back.
"There's a lot of ethane in the Marcellus and Utica that must be removed," he said, pointing out the cracker Shell is planning in nearby Monaca, Pa., will require a $3.5 billion investment. Its output, however, is expected to double that number and is predicted to generate roughly $730 million a year in wages and $95 million in state tax revenue.
State officials still are working to secure a cracker plant in the Mountain State, along with significant downstream operations.
Eddy met with city officials and community leaders prior to the start of council's November meeting.
(Harris can be contacted at email@example.com)


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hard sell
Simple Definition of hard sell
: an aggressive way of selling something
: something that is difficult to sell : something that others are not willing or likely to accept
Examples of hard sell in a sentence
Such an expensive project will be a hard sell during these slow economic times.
First Known Use of hard sell
Rhymes with hard sell
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What made you want to look up hard sell? Please tell us where you read or heard it (including the quote, if possible).


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- Home
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This apartment is currently off the market. Go to the building page to see availabilities.
$2,5251 Bedroom, 1 Bath
Available immediately
One Year, Market Rate Lease
205 East 66th Street
Manhattan, NY 10065
Cross streets:
2nd Ave, 3rd Ave
Upper East Side
Manhattan, NY 10065
Cross streets:
2nd Ave, 3rd Ave
Upper East Side
Building Features & Amenities
- Elevator
- Live-in Super
- Laundry in Building
- Fitness Center
- Units: 245
- Low-rise (1-6 Floors)
- Rental Property
Pet policy: No Pets Allowed , Pets allowed on an individual basis.
Minimum 1 Year Lease
Manhattan East is comprised of ten adjacent, 6 story elevator buildings located in the fashionable upper east side neighborhood of Lenox Hill on a quiet, residential, double-width tree-lined block between Second and Third Avenues.
Building Features:
Classic NYC Studios, One and Two Bedrooms
Many Recently Renovated
Stainless Steel & Granite Kitchens
Some with Dishwashers
Marble Bathrooms
Sky's The Limit Concierge Services
On-Site Resident Manager
Air Conditioning
Package Delivery Room
Close To Transportation, Restaurants and Shopping
Application and Move-in Information
- Insurent Accepted
Owner / Manager / Leasing Information for Manhattan East -- 205 East 66th
For more information on this listing, contact:
Property Management:
Manhattan Skyline Management Corp.
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Paris perfs. POB 12/29 (2) 12/30-- Bolshoi 1/5-1/6/08reviews
Posted 30 December 2007 - 04:07 AM
Paris Opera Nutcracker 12/29/07
Clara Nolwenn Daniel
Drosselmeyer/the Prince Christophe Duquenne
Luisa Charline Giezendanner
Fritz Gil Isoart
Father Vincent Cordier
Mother Nathalie Aubin
Grandfather Ludovic Heiden
Grandmother Cecile Sciaux
Today I saw Paquita in a matinee at the Palais Garnier, and the Nutcracker at the Bastille Opera in the evening. Since I'm seeing Paquita a second time tomorrow I'll wait to review the Paquitas together and start with Casse-Noisette.
This is the production Nureyev created for the Paris Opera in 1985.
The choreography is his own, listed in the program as 'after' M Petipa and L Ivanov,
the décor and costumes are by Nicholas Georgiadis, and the lighting by Rui De Matos Machado.
Some of us (including me) have a fixed notion (probably wrong) of what to expect from Nureyev as a dance maker: challenge the dancers for their own good; pack those measures with hurdles that are good for them. There's no sense of saying anything further in that vein. He packs those measures.
Since I hadn't seen the POB production before, and I haven't read any program notes on Nureyev's conception for the Nutcracker libretto, I can only go by the titles given to the scenes in the program. Reading them after the show, I'm under the impression
the choreographer was trying to make the story coherent and in that line of thought, jettisoned parts of the Nutcracker story which to others make sense.
An effort toward (aesthetic) coherence is: Act 1, Scene 1: the Street; Act 2, Scene 6 (final scene): the Street. Like an ABA sonata form? I guess B is the problem.
The first act, after the street scene, takes place in the darkest, most depressing house imaginable. Even the tree (which doesn't grow and seemed colorless) is in no way a vision for joy or celebration.
Drosselmeyer is like an entertaining uncle, with no particular malevolence about him. Aging in this production is all about decrepitude. Vide the grandfather's long, long and inept dance. Scenery-wise, brown, brown everywhere. I associate Georgiadis' earlier designs with opulence. Not his Nutcracker designs. The lighting in the first act is very bright, but most of it directed to the floor so that the feet look over-accented.This is poorly expressed, but that's my distinct impression.
I could find little charm in the choreography of the party scene.
The POB School students were, nevertheless, full of charm.
Scene 2: the Salon.
Scene 3: the Christmas Tree.
Scene 4: the Combat.
Scene 5: the Kingdom of Snow.
Finally! Formalism in costumes and choreography and tutus and diadems and tiaras with two soloists (Geraldine Wiart and Charline Giesendanner) leading the twenty four corps de ballet snowflakes, together embodying a vision appropriate for the Tchaikovsky music accompanying it.
End of first act.
The first scene of the second act is a pas de deux for Clara and the Prince in the land of snow, to the music (in other productions) given to the angels. Since there is no traditional precedent for this pdd, this is a fully Nureyevian choreographic morsel striving for, I guess, ecstasy.
The second scene is called The Nightmare. Clara is back in her big living room chair, where the mice first attacked her, and is menaced by a corps of sixteen dancers dressed as bats, four of each wearing huge head caricature masks of respectively, her father, her mother, her grandfather, and her grandmother. Now the party scene begins to make sense.
Life has been very ugly for Clara.
Scene 3: The Voyage
Clara still in her chair is entertained by a Spanish ensemble led by Luisa and Fritz as Spanish dancers with three additional couples.
Then follows an Arab Danse with Grandfather and Grandmother (yes, yes), a large tray and an additional five dancers- a couple and three women.
Next is a Russian Dance led by Mother and Father and four additional couples.
A Chinese Danse for three men (no relatives involved), much canon movement, follows.
Concluding the Voyage scene is a Pastorale (no relatives involved) for two women and a man (Celine Palacio, Pauline Verdusen and Adrien Bodet).
Scene 4: The Ball
The Waltz of the flowers opens the ball. The twelve couples are in golden tutus and white tights, all bewigged in white. Formalism regnant. Nary the perfume of a flower.
The grand pas de deux follows with Clara's variation to the music of the Sugar Plum fairy.
Scene 5: Clara's Awakening
Music that follows the pdd with the brief reappearance of the dancers of the various divertissements.
Scene 6: The Street
Back to the beginning. Drosselmeyer appears exiting the home. Clara opens the door, comes outside with her nutcracker doll, sits by the doorstep and cradles her doll. End.
When I bought the tickets (through POpera website) I had expected to see Myriam Ould-Braham as Clara and Jeremie Belingard as Drosselmeyer/Prince. The long run of the
Nutcracker in Nov-Dec. had six casts planned and added replacements. In Oct. the Opera announced the guest appearance of Svetlana Lunkina of the Bolshoi for two perfs., including the new year's eve. perf. of the 31st. (The tickets are double the regular price; but you get a glass of champagne- an expensive glass!)
The 29th cast had Nolwenn Daniel as Clara and Christophe Duquenne as Drosselmeyer/Prince.
Daniel was exquisite in the Grand Pas de Deux with Duquenne as her noble and very able partner.
She was perhaps not ideally cast as the young Clara; that is no fault of her own.
Daniel was simply not physically convincing as an immature developing girl. It's as if the role requires qualities incompatible in one being.
She was brilliant in the first pdd, meeting all of its technical demands and finding beyond them a purity of line and fullness of gesture that was very moving. Duquenne created a handsome figure, attentive and caring for his partner.
The corps of the Paris Ballet is, as always, a joy to watch. Classic in demeanor, reserved in manner, their erect carriages execute port de bras and pas with a definition and articulation that spell out an eminently readable language of gesture.
Posted 30 December 2007 - 02:45 PM
I was wondering, while watching NYCB's Nut this season, about the muted colors in the first act. The girls' dresses are dusty shades of mauve, taupe and gray, and the women's tend toward earth tones. When I think of little girls' (and grown-up girls') holiday dresses, I think in terms of bright colors. Then it dawned on me that the muted palette used for the Stahlbaum's home scene was a deliberate contrast against the Kingdom of the Sweets, where we get an explosion of color. It's a subtler version of the transformation we get from the black-and-white Kansas to the Technicolor Land of Oz. Does Georgiadis' color scheme work to a similar effect?
Scenery-wise, brown, brown everywhere. I associate Georgiadis' earlier designs with opulence. Not his Nutcracker designs.
I look forward to reading about the Paquitas.
Posted 30 December 2007 - 06:18 PM
I never want to see it again.
Posted 31 December 2007 - 04:44 AM
Adaptation and choreography Pierre Lacotte after J Mazillier (1846) and M Petipa (1881)
Music E Delvedez and L Minkus
Music orchestration and supervision David Coleman
Décor and costumes Luisa Spinatelli
Lighting Philippe Albaric
Paquita Melanie Hurel
Lucien d'Hervilly Mathias Heymann
Inigo Gil Isoart
Don Lopez Jean-Marie Didiere
Dona Serafina Sarah Kora Dayanova
Two Spanish dancers Alexandra Cardinale, Lucie Clement
Pas De Trois Mathilde Froustey, Laurene Levy, Simone Valastro
Two Officers Julien Meyzindi, Gregory Dominiak
Paquita Melanie Hurel
Lucien d'Hervilly Mathias Heymann
Inigo Julien Meyzindi
Don Lopez Jean-Marie Didiere
Dona Serafina Peggy Dursart
Two Spanish dancers Alexandra Cardinale, Lucie Clement
Pas De Trois Muriel Zusperreguy, Laurene Levy, Gregory Gaillard
Two Officers Audric Bezard, Gregory Dominiak
I expected to see different casts within two consecutive days: Cozette/Bullion/Bezard on the 29th and Hurel/Heymann/Isoart on the 30th.
As it turned out, I saw the H team twice with no complaints whatsoever. A top-rate team Hurel and Heymann! As a matter of fact I may have enjoyed the Sunday performance even more than that of Saturday because of ancillary casting, such as the dancing of Julien Meyzindi as the villainous Inigo. In Saturday's performance he had appeared in a demi-soloist role as one of the two officers in the 2nd act Mazurka. I remembered him from some years ago in a POB Sleeping Beauty where he had a variation that seemed to me outstanding. I found him extremely impressive today as Inigo.
Paquita is a reconstruction by POB's Pierre Lacotte of a two-act ballet that blossomed in different periods. Starting life as a mid-19th French ballet by Mazillier, it fell by the wayside in its country of origin. Then it found a re-vivification under Petipa in Russia in the 1880's, with additional music by Minkus and refurbished 2nd act choreography by Petipa.
The first act harkens back to the Romantic ballet's era. The story involves the murder of
a nobleman, his wife and child, at the hands of bandits in Saragossa during the Napoleonic era. The daughter however survived and was brought up by gypsies. She has a medallion with her father's portrait as the only link to her family. The medallion portrait eventually serves to prove to her father's brother (whose son she loves) that she is a member of the d'Hervilly family and not a gypsy. The story is beside the point, really.
The point is, that a reconstruction of an old ballet, leaving out the significant issues of aesthetic 'purity' and the integrity of art forms and many other questions, allows us to enjoy the plethora of ensembles, group dances, ballabiles, and other large-scale classically-based group stagings that, in the evolution of ballet towards a chamber dance scale, seem to be missing in contemporary choreographies.
Which is to say, I find the reconstruction of Paquita a great addition to the repertory of a company like the Paris Opera Ballet with its 154 members. Ballet needs the yin/yang of
large group/soloist, for either to make artistic/balletic sense.
To personalize it further, I think that Paquita offers a wonderful program for a ballet evening/matinee with its fullness of forms for classical dance.
Moreover, its two acts are aesthetically different from each other. The first act emphasizes the batterie and petit allegro work typically surviving in Bournonville choreography that derives from its precedent French source: the Paris Opera.
Its first scene, set in the outdoors, presents a wealth of group dances interspersed with variations. This scene alone is worth the price of admission. There are three Spanish dances, the Pas de Manteaux set for the men (bullfighters with capes, originally set by Mazillier for women en travesti), a pas de trois (with Petipa's hand in it), and a villager group dance with children from the POB School in it.
The last is a really charming dance with very little children running around the dancers, a boy around the woman, a girl around the man, until they exit: the female dancer holding the hand of the boy, the male dancer holding the hand of the girl.
Interspersed in these are Paquita's Gypsy variation, Lucien's variation, pas de deux,
Inigo's variation, and many other mimed and danced pieces.
The second scene of the first act is almost entirely mime in the den of Inigo.
Lacotte states he found a manuscript with the written notation for the mime of this scene. (The scene covers the attempted murder of Lucien by Inigo on orders from Don Lopez and becomes a scene of comedy through the wits of Paquita).
The second act takes place indoors, in the palace of the French Governor of Saragossa.
This act culminates with the Grand Pas of Petipa/Minkus that is the most familiar part of Paquita everywhere.
Before the Grand Pas there is a treasure house of group dances starting with a Quadrille, Mazurka, Galop, then a pas de deux (after Paquita is revealed to be of the d'Hervilly family), followed by a Waltz and a Polonaise.
The Mazurka, at present, is danced by the men of the corps de ballet.
If anyone has seen the POB DVD of Paquita, you'll see the Mazurka danced by students of the POB School. This custom was started at the Mariinsky in St Petersburg in the 19th c. and continued with the POB in 2001 and only recently changed for the men.
Then the Grand Pas.
For me, the Grand Pas, especially the formation of the diagonal line of maroon-bodiced tutued dancers preceded by six peacock-blue-bodiced tutued dancers and headed by Paquita, in cream and gold, and Lucien --all in tendu en avant en efface-- is the iconic image of 19th c. ballet classicism.
The costumes and the décor of Luisa Spinatelli were well nigh perfect.
Melanie Hurel as Paquita was beautiful in the role on Saturday.
Melanie Hurel was beautiful in the role on Sunday.
A well-rounded dancer, she danced with a lot of inflection, clearly, securely throughout,
and with gorgeous, nonchalant finishes. Her mime was clear and crisp, her double work well-placed.
Mathias Heymann as Lucien makes a handsome physical appearance. His miming in the opening scene on Saturday, seemed to me, a little too busy; he did too much, like he was anxious not to look uninvolved. Only after his first solo, did the audience react like:
Where did he come from? Wow! (At least I did). He woke up the audience. Enormous applause.
After his Grand Pas variation everyone knew him as a marvel. Thunderous applause.
Since I know nothing of his history, (I don't even know his rank in the company) I found him to be a dancer of virtuosic ability, a caring and secure partner in double work, and a charismatic personality. His overhead lifts in the pas de deux were immaculate.
The two made a harmonious couple.
Inigo on Saturday was danced very well by Gil Isoart. Surprisingly, we also saw him on Sat. night at the Bastille as Fritz in Nutcracker.
(Unless the management is not announcing substitutions.
I had the feeling I saw the same women dancers in the pas de trois both nights. Since only one dancer was different in the program each night I wouldn't know the right name)
For me, the group dances of both acts held special interest because they are revelatory of a company. The Pas de Manteaux of the 1st act and the Mazurka of the 2nd act gave a chance to see the results of relatively uniform school training. Moreover, it was instructive to see the diversity of body types among the men of the company, creating a harmonious total ensemble, notwithstanding differences in height, size, etc.
Kudos to the corps de ballet. Ballets like Paquita permit us to view the enormous depth and width of training in the classical dance tradition. May it long continue.
Posted 31 December 2007 - 06:36 AM
I see we have a similar view of NW as Clara. The corps seemed to be better for the performance you attended than the for the one I saw.
As for Paquita, mens are dancing the mazurka this year because POB pupils (9-13 years old) who should dance it are involved in the Nutcracker. There are very strict laws that are prohibing children to perform too often.
Posted 31 December 2007 - 09:33 AM
I see we have a similar view of NW as Clara.
Thanks for your comments, carbro, and zerbinetta, and cygneblanc.
carbro, I think my answer to your hypothetical question is no, although I can see what you're suggesting would be a good approach.
zerbinetta, frustration at seeing what dancers have to do for their art makes for funny reviews. I view ballet and its practioners very seriously.
cygneblanc, can you tell me anything at all about Mathias Heymann? I'll see performances of POB every three years or so, so I remain in the dark about the up-coming ranks in the company.
Posted 31 December 2007 - 09:55 AM
He gratuated from POB's school in june 2004 and was given a permanent position in the corps de ballet as a quadrille. He was promoted to the rank of coryphée in december 2005, to to the rank of sujet in december 2006, and this year to the rank of premier danseur (first soloist). The last rank of the hierarchy is "etoile". He 's seen, as a his fellow Mathieu Ganio, as as prodigy. I hope he doesn't get what he gets too earlier in his career and that he won't be burnt by injuries or something else. He has already danced the main part, or Colas, in Ashton's La fille mal gardée and Basilio in Nureev's Don Quixote.
Some of you may have seen when he was younger because he competed in YAGP in 2001. He won a scholarschip to Harid's
http://www.yagp.org/...m=4Conservatory SI.
Posted 01 January 2008 - 12:55 PM
He's 20 years old and he's on a very fast track to become a big star.
Thank you for your succinct 'on a very fast track' synopsis of Heymann's career so far.
He's a young dancer with a huge future.
I just read your 11-12-07 review of the Daniel/Duquenne CN performance.
It's interesting to hear comments from someone who is obviously more familiar with
the capabilities and other performances of the dancers they're reviewing.
I liked them as soloists and together (they complemented each other), but had never seen them before.
Posted 02 January 2008 - 02:52 AM
Posted 06 January 2008 - 04:17 AM
Corsaire (Production premiere 21 June 2007)
Choreography Marius Petipa (1899)
Reconstitution Alexiei Ratmansky, Iouri Burlaka
Music Adolph Adam plus musical additions by L. Delibes, C Pugni, P von Oldenburg, R Drigo, A Zabel, J Garber
Decors Boris Kaminski
Costumes Elena Zaitseva after original designs of Evgeni Ponomarev
Lighting Damir Ismagilov
Medora Svetlana Zakharova
Conrad Nikolai Tsiskaridze
Gulnare Ekaterina Shipulina
Birbanto Andrei Merkuriev
Pas de Deux des Esclaves Nina Kaptsova, Ivan Vasiliev
Pas de Trois des Odalisques Olga Stabletsova, Anna Leonova, Natalia Osipova
Grand Pas des Eventails Artem Shpilevski (with Medora) and six demi-soloists:
Anna Rebetskaya, Yulia Lunkina, Svetlana Gnedova, Alesia Boyko, Anastasia Stashkevitch, Anna Tikhomirova.
What a grand evening! What an entertaining 'reconstitution'!
Ratmansky writes in the souvenir book that 'reconstruction' is an inaccurate term for the process used, because of the lacunae that remain when all that's known is put together. Reconstitution implies that new materials that fit the voids become a part of the process for bringing to life an old work.
I found it an absorbing three-acter (timed at two hours and forty minutes, not including two twenty-minute intermissions).
Since I'm seeing it again today I'd like to reserve my comments on the work after the second viewing and concentrate on the dancers of the opening night cast, who, for the most part were stellar.
Zakharova, a superstar, a physical beauty, as well and a very good dancer, seems to grow better with time. I used to fault her for mannerisms, which I no longer see. I had felt earlier that she thrived on physical feats, even if they interfered with the dance flow of a work. The six o'clocks are still in evidence but nothing wrong with that. I noticed last night how impeccable her port de bras work has become. How fluidly and unforced her dance phrases develop.
She was delightful in the demi-caractere variation en travesti - with white boots and a horn when she shouts, at the end, the Russian equivalent of
All Aboard, or whatever the phrase is.
The consistency of her work throughout the evening was exemplary and of a very high standard..
Her Conrad, Nikolai Tsiskaridze, another superstar, comported himself honorably as a partner, although some of his mime was unclear and he had an off day in his variation, which comes in the second scene of Act 1 (and in the old version is a pdt with Ali, the slave).
Her third act partner, in the Grand pas des eventails, Artem Shpilevsky, although handsome in appearance was an adequate partner, with some descents from lifts looking awkward and precarious. He too had an off day in his variation. Since this is my first view of him, I can't tell if he can do better. I certainly hope so.
Beyond these tempered comments I have unqualified praise for the other men and women soloists. Andrei Merkuriev was superbly unruly and pirate-like giving the part a strong characterization.
Nina Kaptsova and Ivan Vasiliev were absolutely first-rate in the opening act pas de deux.
I remember seeing Ms Kaptsova as Aurora at the Bolshoi Theatre and Mr. Vasiliev winning gold in the Junior division at the 2005 Moscow Competition.
Wonderful artists both.
The Odalisques trio in the second act serves as a showcase for the Bolshoi talent pool. What riches! Osipova with her buoyant leap forward and the others
(whom I can't identify) with their exquisite musical phrasing and crystalline articulation.
Then of course comes the Jardin Anime scene, in which Gulnare, the ebullient Ekaterina Shipulina, shone like a bright ray of light, along with Zakharova.
The tutus for this scene appear to me to be some of the most beautiful I've ever seen. They are covered with some off-white, creamy silk that is light and billows with the slightest movement. Architecture with tutus. The demi-soloists for this scene were the same that appear in the next act Pas des Eventails save for Anna Rebetskaya who is replaced by the beautiful Chinara Alizade,
The children participating in this scene and others throughout the evening came from several Paris schools other than the POB School.
The Paris audience is not prone to interrupting a scene with applause.
They were very generous in their appreciation at the end of the ballet. Many curtain calls.
More somewhat later on today's performance. Going home tomorrow. It's hard to leave Paris.
Posted 06 January 2008 - 05:07 AM
Posted 06 January 2008 - 05:32 PM
Inigo on Saturday was danced very well by Gil Isoart. Surprisingly, we also saw him on Sat. night at the Bastille as Fritz in Nutcracker.
(Unless the management is not announcing substitutions.
I saw the same performances as you.. Paquita 12/29 and 30 matinee and Nutcracker 29 soiree, and I got approximately the same impression as you. Matthias is a revelation and I think he will make an etoile in the not so distant future.
Mentioning of cast of Fritz in Nutcracker, Gil Isoart was replaced by Axel Ibot, a young sujet. I think this is a last minute change as the casting list announced no changes. He is a flexible dancer with sweet character.
Posted 06 January 2008 - 06:27 PM
Posted 06 January 2008 - 06:30 PM
Wow...the more stories i read on the "Nutcracker" the more amazed i get. Honestly, i would have never guessed that this ballet has been so liberally changed by almost everybody. (With my profound respect for the BT's for which certain choregraphy/choreographer/company production could be their prefered choice)
Paris Opera Nutcracker 12/29/07
This is the production Nureyev created for the Paris Opera in 1985.
The choreography is his own, listed in the program as 'after' M Petipa and L Ivanov,
Posted 06 January 2008 - 07:07 PM
Wow...the more stories i read on the "Nutcracker" the more amazed i get. Honestly, i would have never guessed that this ballet has been so liberally changed by almost everybody.
I'd been thinking the same thing, and although I was already part of BT last Christmas, it was these discussions this year that made me realize how flexible the piece is, a real phenomenon.
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The 5 Worst Deals In the History of Handshakes
#2. A Little Old Lady Cheats Death (and a Lawyer)
One day back in 1975, a dapper middle-aged French lawyer by the name of Andre-Francois Raffray had a devil of an idea: He sought out a 90-year-old woman named Jeanne Calment, who was currently living in a very nice apartment indeed, and offered a deal: He would pay her 2,500 francs ($500) a month for the rest of her life if, when she died, he could take over the apartment regardless of how much money had been paid in total. The benefits were obvious: Once the old lady kicked the bucket a few months later, the Frenchman would move in after paying only a fraction of the actual cost of the apartment, presumably while twirling his mustache and cackling diabolically at the foolishness of the sweet old crone.
Fortunately for Raffray, she agreed. Unfortunately for Raffray, things most decidedly did not go according to plan. There were a few warning signs of what went wrong: Jeanne's mother had lived to 86, her father to 93 and her brother to 96, while Jeanne herself was unusually active, taking up goddamn fencing lessons at the age of 85. When most people stop controlling their bowels, she was just starting to learn swordplay. Even so, nobody was prepared for what happened next: Namely, that Mrs. Calment would live to be the oldest person in the history of the world.
The months turned into years into decades, with no sign of the old biddy dropping dead anytime soon. All this would only have made the moment Raffray finally moved into the apartment all the sweeter... if the old biddy in question hadn't outlived him. Yes, that's right: After 30 years of waiting impatiently, Raffray died before he could collect. What's worse is that his wife was forced to continue the payments, as the contract was over only when Jeanne kicked the bucket. She eventually shuffled off the mortal coil at the age of 122, and had been paid a total of over $180,000--twice what the apartment was worth.
#1. John Fogerty Rips Himself Off (Twice)
John Fogerty was the singer, songwriter, guitarist and general creative force behind classic rock band and mom aphrodisiac, Creedence Clearwater Revival. Due to a falling out between its members (either Fogerty being a dick or an overworked genius, depending on who you ask), CCR disbanded in 1972. Which was a problem since Fogerty had been representing the band himself, and had signed them all to an insane 14-album deal. To give some context, the Beatles, in their long and prolific history, only produced 13 records. CCR had made six. Eventually the problem was resolved when Fogerty gave the rights to every CCR song to Fantasy in exchange for letting him leave the band, which is like resolving a roach infestation by giving the bugs your keys and moving to North Dakota.
That'll show 'em.
This meant that for the rest of Fogerty's life, he could never make money from, nor even play, the songs that he made famous; songs that still get airplay today. His ensuing solo career was pretty much what you've come to expect from "solo careers": A dismal downward spiral that ends in a Sambuca-flavored vomit puddle outside the wedding gig you're doing for "dibs on the buffet leftovers." Fogerty was understandably a little miffed at this whole thing, and recorded a scathing song called "Zanz Kant Danz" about the CEO who helped him screw himself over. In retaliation, Zaentz and Fantasy Records brought a plagiarism suit against Fogerty for infringing on one of the other songs they owned, called "The Old Man Down the Road." So who did John Fogerty allegedly steal this song from?
One Mr. John Fogerty.
Fantasy claimed that he ripped off one of his old Creedence tunes to use in his solo career, and since they owned the entire catalogue, they decided to bring him to court. And while the justice system, proving it wasn't completely insane, eventually upheld Fogerty's right to take inspiration from himself, he did have to change the title of his other song to "Vanz Kant Danz," doubtlessly confusing many fans as he apparently penned a scathing rock retort to a shoe company.
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Haieff Divertimento
Posted 24 March 2003 - 07:42 PM
The video I watched featured Wendy Whelan and Nilas Martins as the lead couple. I believe the ballet was originally choreographed for Maria Tallchief.
There were several short but wonderful solos in the men's section and the women had some very difficult pointe work. They actually waited their turn to dance, balancing en pointe. The pas de deux work was enjoyable to me. The ballet seemed different and similar in many ways to other Balanchine ballets. I did notice one short, exact passage from "The Four Temperaments".
The ballet in my opinion is worthy of a long life. It should be done often as so many others are. I wonder why I have never even heard of it in all my years of being a Balanchine/NYCB fan.
I was unable to find any info at the NYCB website. Has anyone seen this ballet with it's original cast or the more recent cast?
Posted 24 March 2003 - 07:54 PM
So it's already had a long life.
Posted 24 March 2003 - 07:58 PM
It had quite the original cast.
Elise Reiman was one of my teachers at SAB in 1970.
Posted 24 March 2003 - 08:33 PM
Posted 24 March 2003 - 10:41 PM
Posted 25 March 2003 - 07:46 AM
Posted 25 March 2003 - 08:47 AM
It lasted a couple of seasons after the Balanchine Celebration and then disappeared again.
Posted 22 April 2003 - 06:10 PM
According to the Fall 1985 issue of Ballet Review, Francisco Moncion reconstructed the ballet for Kansas City, at the urging of Todd Belender, who also was in the first cast. Tallchief and Le Clarcq contributed as well. It wasn't in Marilyn Hunt's article, but it would make sense if Una Kai was involved, as she was the ballet mistriss during the 50s.
As far as it's life now at NYCB, the current administration appears not to be interested in many revivals. Maybe Divertimento will be done for a Balanchine Celebration in 2004. There was some criticism of some of the revivals (Bourree Fantastique and a few others) and the higher-ups seemed to go, "See, we told you. Balanchine didn't want those ballets back for a reason. They weren't good." I liked the revival of Bourree Fantastique (both at ABT and NYCB). And today, it would make great use of Maria Kowroski's comic abilities in the first movement. Somogyi in the 2nd and Bouder in the third...
Maybe another company will do Divertimento, such as Miami or the Joffrey
Posted 22 April 2003 - 10:34 PM
His opinion, not mine. But after all the great things I'd read about the Haieff, that performance was a bit disappointing.
Terribly sad that neither Moncion nor LeClerc is around to supervise a staging for the upcoming festival.
Posted 23 April 2003 - 10:22 AM
Carbo, there are some conspiracy theorists out there who think your reaction ("This ballet was so wonderful?") is why the company brings ballets back this way.
That's why I'm not looking forward to such a big festival next year. I know how it's going to be done and how it will look. I'd love for these ballets to be lovingly restored, with time and care.
When Martins first took over, he (and Von Aroldingen) did bring back Leibeslieder that way (although he had two ballerinas who knew their parts from Balanchine's era in Farrell and McBride). He had the Tallchief part mostly restored in Firebird and reconstructed Gounod Symphony. I'd rather seen that - a ballet brought back as the highlight of a season.
Posted 23 April 2003 - 10:57 AM
I think that in some cases, when the ballets were still known by those in the company -- either the dancers or ballet masters -- it is likely that the alumni were asked for a final look. There were cases, though, where the consulting showed brilliant results and suggest a considerable investment of time and heart by guest ballet masters. Harlequinade, for example, which was coached by both McBride and Villella, revealed Peter Boal's newfound sense of dramatic projection. A real milestone, I think, in his artistic growth.
Posted 13 November 2011 - 06:49 AM
Posted 13 November 2011 - 05:55 PM
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I'm writing a gallery application that pulls images from an rss feed, so editing the images directly isn't an option.
Unfortunately some of the galleries are quite large because the files were uploaded as a large scale.
Is there a way to make sure when the images are loaded to have them load at a reasonable size with javascript/jquery?
Thanks for your help as always!
Oh also- if im linking these images directly from the rss to the site they originated from, say- a google rss feed, can that land me in any trouble with them loading a bunch of images off their site?


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Of course, some women do crave healthy foods during pregnancy. Sour apples or lemons, red meat, and peaches are a few examples of common cravings that probably indicate a need for the nutrients these foods contain. Acidic, vitamin C-rich fruits help your body to absorb iron; red meat is an excellent source of iron and essential amino acids and is often craved by even avowed vegetarians during pregnancy; and peaches are a very rich source of beta-carotene.
While women who eat with abandon during pregnancy have a better chance of getting everything they and their babies need simply because they are taking in larger servings of a wider variety of foods, they often get too many antinutrients ("bad" fats, additives, and sugar) and not enough of the nutrients their bodies really need to build a baby. They may end up overweight yet undernourished.
Other women go to the opposite extreme, eating exactly what they believe to be the ideal pregnancy diet, restricting calories to control their weight gain, and valiantly fighting off their worst cravings or finding "acceptable" substitutes (which, according to many sources, means finding low-fat or nonfat versions of fatty foods). If women follow the typical guidelines, they will probably get good enough nutrition to have a healthy pregnancy and a healthy baby, but chances are good that they will have some sort of significant deficit postpartum. The ideal pregnancy diet falls somewhere between these two extremes.
What about pregnancy weight gain? How much is too much? This varies from person to person. A woman who is very thin when she becomes pregnant might gain more than a woman who is heavier to begin with, and she may need that extra fat for breastfeeding. Your doctor or midwife should be able to tell whether your weight gain is excessive. It is highly unlikely, however, that you will gain too much weight as long as you eat according to the guidelines they can be used prenatally as well as postpartum.
Mothers who opt for a low-fat diet 20 percent or less of calories from fat in an effort to stave off excessive weight gain or to be healthier at any point during pregnancy are risking toxemia, growth problems, behavioral or neurological problems, and prematurity in their babies. Why? Because a diet low in fat is also low in the essential fatty acids that support the development of the baby's nervous system and the continued health of the mother's nervous system. As you will see later, essential fats also support a healthy pregnancy and a timely birth in more ways than you might expect. The typical low-fat diet is also lacking in the amino acids your body needs to build your baby's tissues, and tends to include too many processed foods made from sugar and flour.
The "Food Tree" Plan
Ideally, new parents should have a "food tree" in place before the birth of their child. A few weeks before your due date, ask a friend or family member to enlist several people to provide your family with home-cooked evening meals every day during the first postpartum weeks. Have this individual friend emphasize that the food tree is not about socializing those who bring the meal should stay for only a few minutes, and then quietly slip off so that you and your partner don't feel obliged to entertain them. Also, let your friend or relative know what kinds of food you want to eat in those first postpartum weeks or give him or her a copy of this book with the diet guidelines marked! Then the food tree participants will be more likely to bring you the foods your body really needs to replenish itself.
Immediately Postpartum
From what we have heard, there is very little to compare to the first meal that comes after a long, hard labor and birth. Have whatever you like. Drink plenty of water and (preferably fresh-squeezed) juices to begin replenishing your body. Try to incorporate the fish soup with seaweed that Chinese women use. It is loaded with minerals and vitamins.
One woman we know requested and devoured a huge platter of sushi soon after she gave birth to her daughter. Fresh, raw salmon, mackerel, and yellowtail are excellent sources of docosahexaenoic acid (DHA) and eicosapentaenoic acid (EPA) a good start for a new mother and her baby! If sushi is the type of meal you choose, make sure to eat the pickled ginger and wasabi horseradish that come with it. They will help to kill any bacteria that the raw fish may contain.
From A Natural Guide to Pregnancy and Postpartum Health by Dean Raffelock, Robert Rountree, and Virginia Hopkins with Melissa Block. Copyright © 2002 by Dr. Dean Raffelock. Used by arrangement with Avery, a member of Penguin Group (USA) Inc.
To order this book visit www.penguin.com. Get a 15% discount with the coupon code FENPARENT.
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The arrow of time is a concept that has been around for a while. In modern cosmology, it has been argued that there may be different arrows of time in other universes. Since these are also considered to be inaccessible, is it physically meaningful to talk of the arrow of time in other universes?
every universe that qualitatively resembles ours - which certainly includes any universe in a hypothetical "multiverse" where ours may belong - has to have a logical arrow of time. The Universe must know which slices are "input" and which of them are "output". Proofs analogous to Boltzmann's H-theorem then guarantee that the universes also have a thermodynamic arrow of time and the two arrows coincide.
All universes that are in a direct or indirect causal relationship with ours have to have the "same" arrow of time as ours - one that doesn't contradict our arrow of time. It must be possible to define the arrow "uniformly" across the whole spacetime and all of its regions. In particular, one can never mix both arrows of time within the same universe - or the same multiverse. That would be logically equivalent to having closed time-like curves - which are inevitably inconsistencies - because you could get to the future along one arrow and back to the past - which would still be to the future according to another arrow of time.
Evolution by the standard laws, starting with any well-defined slice, automatically preserves the uniformity of the arrows of time even when one allows tunneling and eternal inflation.
Cheers LM
If it is physically meaningful to speak of "other universes", then yes it is meaningful to speak of an arrow of time (and any other constructions in physics) in those universes. Taking this logic further, one could think of doing statistical mechanics over an ensemble of universes each with its own arrow of time - sort of like a spin-system - in the hopes that a "common" arrow of time could emerge. This is in spirit with how ferromagnetism emerges in spin-systems. Even though each spin considered individually is randomly oriented, on treating the many-body system we find collective behavior manifest itself in the form of a spontaneous, non-zero, macroscopic magnetization.
Feel free to criticize this answer for its speculative aspects. However, the question itself is in fairly speculative territory to begin with.
The possibilities depends on how diverse the alternative universe can be. Some alternatives may have two or more macroscopic time dimensions, or they may be just euclidean spaces with no time dimension. In that case the concept of arrow of time will not make any sense in those universes.
In other universes which have one time dimension like ours there may be a fixed arrow of time as we (appear to) have. It would make no sense to ask whether it pointed in the same or different direction to ours if there is no direct connection with our universe.
It is also possible that a universe with one time dimension has no discernible arrow of time because everything is perpetually in a high entropy state. One theory is that this would be the natural state in our universe except that for some as yet unexplained reason the big bang singularity had a low entropy that creates an arrow for time. I agree with this view but it is not proven and I don't think there is a consensus.
It may also be possible that a universe has different directions for the arrow of time at different times and places so long as it does not switch directly from forward to backward causing paradoxes. It can switch from backwards to forwards with a low entropy epoch at the changeover, or from forwards to backwards if there is a heat-death epoch between them with maximal entropy that prevents useful information passing.
We don't know the laws of physics well enough to say which of these possibilities can be ruled out on theoretical grounds so they currently stand as just possibilities. There is also a valid philosophical question about whether such questions make sense if we can't observe these universes. Personally I think it is valid to consider them if we have theories that predict the existence of other univserses.


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I'm working on an experimental TreeView where each TreeViewItem can either represent a condition, or a branch with an operator. This is to be parsed into SQL.
For example, the tree could have a branch with an "AND" or an "OR" operator, whose children would then be conditions. This is used to as to be able to generate the
WHERE segment of an SQL statement, for example
((Name = 'Matt' AND AGE > 20) OR (Name = 'John' AND Age = 15)) AND Job = 'Student'.
How can I go about constructing that? What I've done so far is thought about placing a
string,list<Condition> pair in a
Tuple<>, where the string represents the branch operator (AND/OR), and the list represents the conditions contained within that branch.
However, since each branch can be split into a number of operator branches or conditions, it can get extremely complicated very quickly


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Flames ripped through a Piney Flats home Monday afternoon.
Firefighters rushed to the blaze on Carlton Lane Extension around 2:30 p.m. Monday.
After extinguishing the fire inside the house, firefighters had to climb onto the roof and cut a hole to continue fighting the flames in the attic.
We're told no one was home during the fire. The cause is still under investigation.


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n: the unfortunate occurrence of sweat build up between the cheeks of one's anus. This causes an unsettling lack of friction, and often a concern that the victim has shit them self. It is usually caused by heat and excessive walking, and is often paired with a Slippery Slope. Can be cured with toilet paper or, for the more daring, a self-induced wedgie.
Tim: Oh, butternuts, I stubbed my toe.
Darrel: Shit, nigga, we got bigga problems than that. I got a Slippery Slope back here, and we ain't seen a bathroom in miles!
Tim: I'll call an ambulance.
Darrel: Shit, nigga, we got bigga problems than that. I got a Slippery Slope back here, and we ain't seen a bathroom in miles!
Tim: I'll call an ambulance.
by Whoopsht October 09, 2011
Trending Now
Top Definition
A slippery slope is a situation in which events or actions readily progress from one to the next.
When the mother found an empty bottle of whiskey in her lazy teenage son's bedroom, she warned him he was on a slippery slope toward a life of indigence and destitution.
by Glacial Spain November 30, 2005
1. Titties that are lubed up for fucking 2. Titties that have been jizzed on 3. Titties
MOCO wants to slide up and down Heidi's slippery slopes!
by MOCO & P-Phat May 28, 2008
A highly overused cliche phrase used by talk radio jocks, political analysts, and political tv show wannabes.
By voting in Dubya's abortion ban, congress has sent America down a slippery slope.
by D33z l33t nutZ June 02, 2004
getting heads from a female passenger whilst the car is in motion going uphill, then getting her to gargle the lovejuice and spit it out of the window at the top of the hill
ohh man i got a sick slippery slope last night in my new car
by yadirtygirl March 07, 2010
A practice of guy blowing his load on a girl's forehead and the bridge of her nose. Then proceeding to "ski" down it with his ass cheeks.
Carla hates it when she gets a slipper slope from Frank if he does not wipe his ass first.
by Foonip Magoo March 17, 2004
when a guy has sex and cums while shitting on a children's slide and then urinates on the slide. then the girl slides down the slide naked and the guy fucks her in her cum, shit, piss covered ass and then in her vagina
my girlfriend and i performed a slippery slope on her little brother's toy slide.
by oh sheila November 19, 2007


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What Spain Lacks: Spaniards
The Spanish World Baseball Classic Team Has Just One Native Player; Who's Don Quixote?
For a country where baseball is almost non-existent, Spain has done a remarkable job assembling a team for the World Baseball Classic. This weekend, it will trot out one major-league player and several others with experience in the top levels of the American minor leagues.
There is, however, one seemingly important element missing from Spain's roster: actual Spaniards.
Only one of the team's 28 players was born in Spain, the lowest number of natives on any team in the tournament. And only a few have ever lived in Spain. Most of them are from Venezuela, the Dominican Republic and the United States. They are eligible to play based on various ancestral ties to the country.
To be sure, all of the players have heard of Spain. Some have even visited. But collectively, they represent Spain like a box of french fries represents France.
"We have a couple guys who have, uh, very, very distant connections," said pitcher Chris Manno, a Brooklyn native whose grandparents were born in Spain. "It's pretty funny."
To test their knowledge of the country they're playing for, The Wall Street Journal quizzed four of Spain's American-born players on some basic elements of Spanish culture, history and government. None of them could name the prime minister of Spain (Mariano Rajoy). Nor could they name the Spanish national anthem (La Marcha Real). And while they all successfully identified the main ingredients of paella, other questions elicited some puzzled responses.
Who was Don Quixote?
"No idea," Manno said. "Is he Mexican?"
"A Spanish explorer," outfielder Gabe Suarez surmised.
What was the Spanish Inquisition?
"It's something in the past," outfielder Daniel Figueroa said. "I'm not sure."
Who was Francisco Goya?
"Who? I like Goya products," Manno said.
More than any other team, Spain embodies one of the enduring quirks of the tournament, which is now in its third edition: Loose rules that allow fringe countries to compensate for a lack of baseball talent by signing just about anyone who could remotely identify with them.
Unlike other international events such as the Olympics and the World Cup, which require athletes to be citizens of the countries they represent, the WBC makes some notable exceptions for non-citizens.
One player, a Venezuelan pitcher, qualified for Team Spain by marrying a Spanish woman. For others, all it took was documentation showing their grandparents were born in Spain.
"You just give it to Major League Baseball and they're like, 'Awesome,'" said Suarez, a Denver native who has never been to Spain.
Spain's lone native player is pitcher Eric Gonzalez, who was born in the Canary Islands. Paul Archey, MLB's senior vice president of international business operations, said one of the goals of the tournament is to grow baseball in countries like Spain to the point where they can eventually field homegrown teams. But in the meantime, the rules are necessary to enable them to be competitive.
"We'll examine the rules again as we move on in the evolution of this tournament," Archey said. "We'll continue to look at them."
Spain was one of 12 new teams added to last year's qualifying tournament. From the outset, it faced a basic problem: The country doesn't really play baseball. In a nation of 47 million people, only about 8,000 play the game at an organized level, according to the Spanish Baseball Federation.
The team website identifies former Atlanta Braves infield prospect Alejandro Sanchez as "Spain's most-prized talent." But alas, the pride of the nation was not available. When the Braves cut him last year, Sanchez promptly quit baseball and went back to school.
Building a roster became an exploration in genealogy. After unsuccessfully courting former major-league manager Lou Piniella, whose parents are from Spain, the federation hired an Italian, Mauro Mazzotti, to manage the team.
Mazzotti and other federation officials combed the rosters of U.S. major and minor-league teams in search of Spanish-sounding last names, though finding players with Spanish roots was much more difficult. "It's not easy," Mazzotti said, "because Spanish names like Rodriguez, Gutierrez, Sanchez—they can be Cuban, Mexican or whatever."
They found out Seattle Mariners slugger Raul Ibanez had Spanish grandparents, but Ibanez turned down an offer to play. They discovered that St. Louis Cardinals outfielder Jon Jay was of Spanish descent, but Mazzotti said he was one generation too far removed to qualify.
The biggest name they landed was Houston Astros pitcher Rhiner Cruz, a Dominican whose mother has spent time in Spain for work. Though Cruz was unavailable for the qualifying tournament, the other imports helped Spain defeat Israel—a team comprised largely of Jewish Americans—to secure a spot in the WBC.
To Mazzotti, the win validated Spain's strategy of looking to other countries for its players. "If they invite you to a very nice wedding, you want to put on the best suit you got," he said. "If we didn't do this, we probably wouldn't be here."
Some players may feel a sense of family pride in wearing the Spanish uniform. But for many, their participation is largely driven by opportunity. Most of them wouldn't stand a chance to land a spot on the rosters of their home countries. But their ties to Spain, however loose, are giving them a chance to compete on a global stage.
Figueroa, a Miami native and former minor-league player, said his agent advised him to obtain dual citizenship several years ago so he could play for Spain in the European Cup. He is now retired and working for an HMO in South Florida. But his twin brother, Paco, an infielder for Team Spain, is still hoping to latch on with a major-league organization.
"[The exposure] is attractive, of course," Paco Figueroa said. "I'm still playing. I'm a free agent, so this could really be beneficial."
Winning even one game will be difficult for Spain, which opens against Puerto Rico in San Juan on Friday. The other two teams in Pool C, Venezuela and the Dominican Republic, are among the most fearsome in the tournament. But Spain is, if nothing else, a surprise team.
"Every time I see other people," Daniel Figueroa said, "they say, 'You're from Miami. How does this happen?'"
Write to Brian Costa at email@example.com and Daniel Barbarisi at firstname.lastname@example.com


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Recently I have been teaching myself how to Bayesian calculations with the BUGS language (JAGS, in particular). However, I find myself wondering how one might use Mathematica to do similar calculations (perhaps based around NIntegrate). I would be most interested in building up models using the awesome combined computing/graphing facilities that Mathematica provides. I have a copy of "Bayesian Logical Data Analysis for the Physical Sciences" and while it is an excellent and enjoyable book, I think that it more focused on "analytic" solutions than "numerical"--it seems that more complicated models would quickly outpace the ability to obtain analytic solutions.
For example, consider the problem of inferring the difference between two rates, taken from Lee and Wagenmaker's book:
model {
# Prior on Rates
theta1 ~ dbeta(1,1)
theta2 ~ dbeta(1,1)
# Observed Counts
k1 ~ dbin(theta1,n1)
k2 ~ dbin(theta2,n2)
# Difference between Rates
delta <- theta1 - theta2
Given k1, n1, k2, and n2, how might I translate this into Mathematica to get, e.g. the posterior density of theta, the difference in rates, I suppose p(delta | k1,k2,n1,n2) ? (For example, k1=5, k2=7, n1=n2=10). Knowing how this is done would go a long way toward me being able to build and solve other models!


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GRIFFITH, Esqueline J. "Esty" Harris, 92, of Bergholz, OH, passed away Dec. 1, 2012, at Sienna Woods Nursing Home, Wintersville.
She was born in Lansing, Michigan on June 12, 1920, a daughter of the late Edward and Estella (Anderson) Harris.
Esty was a member of Trinity Presbyterian Church in Bergholz for over 50 years where she served as an elder and women missionary.
Article Photos
Esty graduated from Bergholz High School in 1939. Esty then moved to Cleveland, OH and worked for General Electric. She then went to serve our country during WWII in the United States Army for two years.
She married Mordie Griffith on July 27, 1948. Esty and Mordie had a dairy farm for 27 years, and she worked for the United States Post Office in Bergholz, OH and East Springfield for 35 years. She enjoyed her life with Mordie in Florida for over 13 winters. She enjoyed her lunch's everyday with her friends at the Prime Time Center.
She is preceded in death by her parents and her husband, Mordie Griffith, Nov. 7, 2005.
Over the past three years she had five dedicated, loving care givers, Dani Pieniazek, Becky Hinton, Jeannie Moore, Kim Devorick and Tammy Redovian.
Esty is survived by her son, Gary (Linda) Griffith of Bergholz, OH; two daughters, Mary Jane Griffith of Florida, and Ruth Ann (Bob) Kirkman of Bergholz, OH; grandchildren, Megan (Todd) English, Michael (Valerie) Stine, Michele (Rob) Gribben, Ashley (Ryan) Forish, Jake Kirkman, and Marisa Carpenter; three great- granddaughters, Jennie Mae, Cameron Rae, and Lauren Christine, and expecting two more great grandchildren in April and June of 2013; brother, Edward Ted (Ruth Ann) Harris of Minerva; three sisters, Mary Lou Coe of Wintersville, Jo Ann Modranski of Missouri, and Peggy (Art) Kincade of Mansfield.
She will be very sadly missed by her granddogs, Gracie, Tebow, and Gordie; and great-granddogs, Albert, Charlie, Gunner, Molly, and Annie.
Friends will be received at the Bergholz Trinity Presbyterian Church, 2nd St., Bergholz on Saturday December 8, 2012, from 11 a.m. until time of the funeral service at 1 p.m. with Pastor Alan Jeffries officiating.
Burial will follow at Bergholz Cemetery with military honors.
Special thanks to Valley Hospice for their compassionate care.
In lieu of flowers memorial contributions can be sent to Bergholz Trinity Presbyterian Church, 2nd St., Bergholz, OH 43908 or Hounds Haven, 22 Twp Rd. 150, Dillonvale, OH.
Send Condolences online at www.everhartbovefuneralhomes.com


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AGENDA12-1:30 p.m. Lunch (by invitation) and remarks by Lori Damrosch, Columbia Law School1:30-2:30 p.m. Panel 1Moderator: Lori Damrosch, Columbia Law SchoolVijay Padmanabhan (Vanderbilt), The International Counter-Majoritarian ProblemMila Versteeg (Virginia), Substituting Rights: The Effect of Human Rights Treaties on Constitutional Bills of RightsBart Szewczyk (Columbia), International Custom and Statutory Interpretation2:30-2:45 p.m. Coffee Break 2:45-3:45 p.m. Panel 2Moderator: Anu Bradford, Columbia Law SchoolJulian Arato, The Margin in Context: Strasbourgeois Deference in Investor-State ArbitrationNora Markard (Bremen/Columbia), Moral Issues and the Margin of Appreciation: Appreciating the Limits of the European Court of Human RightsJi Li (Rutgers), Let's Settle with China but Sue America! -- Domestic Social Norms and the Selection of Trade Disputes for TrialAditi Bagchi (Fordham), The Political Economy of Mandatory Terms3:45-4 p.m. Coffee Break4-5 p.m. Panel 3Moderator: Claudia Haupt, Columbia Law SchoolNeha Jain (Minnesota), Content Independence and the Sources Doctrine in International LawNicolo Zingales (Bocconi/NYU), General Principles of Law and Plurality of Sources for Comparative Due Process: Guiding the Search for a Minimum Core Federico Fabbrini (Tilburg), The Constitutionalization of International Law: Insights from Comparative Law?5-6:30 p.m. ReceptionSpace is limited. To attend this event, please email Bart Szewczyk (email@example.com) and Claudia Haupt (email@example.com).
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By Michael Ferrante
Having just returned from presenting at my fifth World
Spinning and Sports Conditioning Conference (WSSC) in Miami, I thought I'd share a few personal reflections. Hopefully, they resonate at some level with
you even if you were not at this year's conference.
It's An Honor
First, I never lose sight of what an honor it is to be
chosen as a presenter for WSSC. And this year, more than ever, I shared the spotlight with so many talented, passionate and wonderful people – many within
my network of international Master Instructors (MIs) – but many from other disciplines as well. I congratulate the staff at Mad Dogg Athletics (MDA) for assembling a team of people that really made this year's event one of the best ever.
Spinpower Arrives
And one of the most talented professionals I know in the world of indoor cycling returned to WSSC this year and helped MDA and Star Trac introduce power-based training and the new Blade Ion bike to the worldwide Spinning community. Wisconsin-based Angie Sturtevant was most impressive as she led sessions for conference attendees and members of MDA's MI team. Angie's knowledge and her commitment to helping all of us deliver the best possible performance results for Spinning enthusiasts is truly inspiring and exciting.
Josh Taylor Soars
Every year, I wonder how my close friend Josh Taylor will improve on his legendary theme ride that launches WSSC every year. Well launch he did – right off the deck of a US Navy aircraft carrier as he helped over 300 riders enter the cockpit of a military jet and soar into a dog fight at 40,000 feet in his Fighter Pilot ride. His mix of pro-cyclist skills on the Spinner, breath taking visuals,
amazing soundtrack and motivating narrative made for one memorable and emotional ride. Thank you Josh.
How About Recovering?
Finally, and this is not meant as a criticism of WSSC by any means, because I know this problem exists outside the crazy, cram-it-all-in-schedule people keep at WSSC, but building recovery into personal Spinning and fitness
schedules is crucial for ensuring continued improvements in exercise, remaining injury free and maintaining good health. I saw literally hundreds of WSSC attendees piling on hours of high intensity riding day-after-day and I strongly suspect they are paying the price this week.
Remember that complete rest, or light intensity active recovery, is crucial to improving performance. Think seated flat with light resistance and a comfortable cadence and you'll start to understand my message.