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Podcast: Genia plays Gabriel Prokofiev's Piano Book No. 1
- 6 July, 2010
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Gabriel Prokofiev is the founder of The NONCLASSICAL Club in London, England. It's a place where musicians and composers explore music beyond the constraints of the term "classical". Out of that club came the record label Nonclassical, and out f … Read More →
The Skinny on NONCLASSICAL: An Interview With Gabriel Prokofiev pt.2
- 2 October, 2009
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Today the Nonclassical label officially hits the streets (in shops and online) in North America. Here is the rest of the interview with Gabriel Prokofiev.
Well inspiration can come from anywhere really. I might hear certain rhythmic approach, or an orchestral sound in a piece of music, and then start compose something inspired by that… but often that will only be a initial kernal in the beginning of a bigger piece. A more common inspiration for me is often hearing sounds for the environment around me: I might here a distant rhythm from a train, combined with the accelaration of a car, and then some garbage rattling in the wind, these 'atmospheric' sounds can often inspire a melodic or rhythmic idea. I often get intial inspiration for a piece when I'm cycling to my studio in the morning, the experience of motion seems to be quite effective in getting the creative juices going, along with all the stimulus of cycling through a busy city. Of course visual art can also be very inspiring, especially abstract painting, which can inspire the idea to create something that has similar shapes, rhythms and form; though I've yet to compose a piece directly inspired by one piece of art.
For Turntables it's as near a classical concerto score as possible.
The DJ part is similar to a percussion part, with rhythms given and approximate hi/lo pitch indication, but with clear written comments giving the type of scratching technique to be used, and indicating with sample should be used by the DJ. There is a little bit of flexibility for the DJ to improvise the finer details of some of the rhythmic scratching, and so that the most important part of the score is to give the cue points.
In the fourth movement, when the DJ plays pitched material the score is given at pitch, and is played just like a normal pitch-instrument part. And, in each movement there is a cadenza, where the DJ is free to improvise with the samples & develop new ideas.
Fanta Bottles and the rest of IMPORT/EXPORT (the 32 minute piece it is part of) is done as normal percussion score, with clear descriptions of each technique used. A loop pedal is used to create denser textures & rhythms at some points in the piece, and the record & playback point are also clearly marked. For some of the gestures like rubbing two glass fanta bottles together, graphical notation is used to visual represent the movements of the bottle.
Generally I try to use existing notation techniques, even though sometimes classical notation isn't ideal; I find that real subtleties of rhythmcan be hard to notate with exact accuracy (with out looking ridiculously complicated), so it's often best to use words as well to describe the 'feel' of how something should be played.
It's exciting, but also distracting. A couple of years ago I realised that I was spending most of my days just writing emails and talking on the phone; fortunately I know have a few other people, including the brilliant Dave Halliwell helping me run the label. I think it's so important for any music maker to have an outlet for their work, and Nonclassical provides that for me which is great, and ofcourse we release works by other composers and performers as well, so hopefully we can become a bigger and bigger force for new music.
I'm not sure if we are completely 'leading the charge for a re-energized classical scene' as you say, but we're are certainly doing what we can to get more contemporary classical music out into the 'real world'. There are plenty of really good young composers and ensembles out there, and I just don't understand why more people haven't thought of putting on classical club nights and the like so that this good music can get more exposure (only in the last few years have more alternative classical nights really started appearing) . It's our responsibility to be pro-active and make sure the music is heard… I don't really understand how classical music has allowed itself to get stuck in such a straight jack of tradition -so that young composers barely have their work heard except for in college end of term concerts and occasional lunch-time concerts or small festivals; imagine telling a Rock band that their songs would only get performed once every 2 years, if at all!
Anyway, all in all I'm very excited by our classical club nights, and feedback we get for each CD we release; so I am very happy with what we're doing, but it's still early days really.
I would love to run our club in cities all over the world… but the problem is finding the time to set-up new club nights. We have previously done one-off Nonclassical nights in New York (at Le Poisson Rouge), in Austin (part of SxSW), at Rock Festivals in Oxfordshire, and Yorkshire, and at The SouthBank Centre, London. We are hoping to run more regular events in New York, and hopefully in Holland and Portugal as well. Ideally we will find 'partners' who can help run other events, and then we will curate the nights, and some of the Nonclassical regulars will go over and perform. We will be back in the USA in March 2010 for SxSW, and will certainly stop off in NY, but hopefully we can do something before christmas.
Like most people involved in music, I really enjoy my food. I eat almost every type of food, and love the variety that's out there so it's too hard to find a favourite. It's like music, different food works for different moods & occassions. If I was to combine several favourite dishes into an imaginary 'symphony' of cuisines it could consist of something like:
I Dim Sum, II Fresh Sea Food platter (oysters and fresh crab), III Cochon de lait Roti IV French Cheese Plate (Chabichou, Pont-l'Evêque, etc..) V Marquis de Chocolat….
And then there are the wines….
The big problem with digital download is that many people just download single tracks, so that the experience of listening to a whole album by one artist is becoming less popular. And for classical music this is really tough, because many compositions are conceived as complete works of several movements that need to be listened together and that compliment each other. Also, some listeners might just check a 1 minute sample of a track before buying it digitally, and with classical music 1 minute rarely gives a balanced impression of what a piece of music will be like. Also there is the problem of sound quality; and though higher quality mp3s can be bought online, I don't think everyone is aware of the reduced sound quality they will be getting with an mp3. CDs always give a much higher sound quality.
However digital can be a quick way for people to dip-into and discover new music without commiting to buying a whole album, so that can be a positive way for listeners to broaden their musical horizons.
phew… that's always the hardest question… there's plenty:
Big fan of Russian music (surprise, surprise): old and new: Tchaikovsky, Mussorgsky, S Prokofiev, Stravinsky, Schnitke, Gubaidulina
French: Ravel, Debussy,
Bach of course, late Beethoven, Schubert.
20th century classics like Berio, Ligetti, some Stockhausen, Xenakis
And of course young, living composers!: Tansy Davies, John Richards, Larry Goves, are 3 young UK composers doing great stuff at the moment.
But I know I've missed out plenty…
I was recently introduced to the music of irish composer Gerald Barry, so I bought a CD that contained 'chevaux-de-frise' – seriously heavy weight orchestral texture, no compromise.
A CD that I need to buy is one that has Mossolov 'Iron Foundry'; it was performed in the same program as my Conerto for Turntables by the RSNO in the Glasgow festival hall last year, and is a killer piece, the original version of techo circa 1928! – I believe NAXOS might have released a recordin of it….
There were quite a few challenges (several of which you've identified). The immediate challenge was, can the Turntables really function as a musical instrument and play with an orchestra? also notation was of course an issue -not only how to notate? but will the DJ be able to read music?
Firstly, what sounds should the DJ be using on his Turntables?
Yes that was the first most important question.
Immediately I was aware that having a DJ scratch a bunch of standard scratch samples and breaks over an Orchestra would probably sound a bit cheesy, and though I was keen to take on board influences from hip-hop, anything too literal in terms of sound material might sound cheap, so the obvious solution seemed that the DJ should scratch with sounds from the Orchestra he is playing with. So I chose various phrase that the orchestra were going to play and decided that we should record them & give them to the DJ. However DJ Yoda had explained that besides using 'breaks' (short, loopable musical phrases) there were certain classic scratch sounds that were particularly effective for more elaborate scratching, which are used by most DJs through out the world, like the ubiquitous "ahhhh" and "fresh" voice sounds (sampled from "Change Le Beat" by Fab Freddy Five) and even the simple test-tone sound. To fully represent the extent of what the Turntable can do we would need sounds like them. I realised that these sounds could come from the Orchestra too, but in a less conventional way. So that the loud yawn and then the 'cough' from the conductor at the beginning of the 3rd movement actually become useful scratch sounds for the DJ. Then in the 4th movement, a loud gasp/inhale from the flute player is used, and also a long flute note is looped into a test-tone like sound which the DJ then uses to play melodies.
A main approach I took to composing the DJ part, was that in each movement a few different 'Scratching' & DJing techniques would be performed by the DJ, and that created quite a good framework for the piece. Many of the classical DJ techniques, like 'scribbling' for example have a very distinct sound which they bring to the original sound that is being scratched with, so that it wasn't all about just playing-back existing sounds at all. A lot of the writing was done as if I was writing for a very expressive percussion instrument; so I was working rhythmically but also bearing in mind that I as using sounds and phrases that had already been played by the orchestra -sometimes it was almost like having 2 orchestras: one live, one on the turn-table, and of course that was fun. The opening of the 2nd movement plays with that; and the DJ play-back the opening opening string phrase, but then brutally stops it; then once the strings enter he plays it back slightl;y out of sync with the live strings creating an interesting jerking, skipping texture.
The notation for the 4th movement was different, and I could write for a pitched instrument as the DJ was using the pitch-control to play exact melodies (though the tuning of the turntable was less than exact).
Thirdly, how to notate for the DJ?
I notated the DJ part in a similar way to a percussion part, with rhythms given and approximate hi/lo pitch indication, but with clear written comments giving the type of scratching technique to be used, and indicating with sample should be used by the DJ. There is a little bit of flexibility for the DJ to improvise the finer details of some of the rhythmic scratching, and so that the most important part of the score is to give the cue points.
In the fourth movement, when the DJ plays pitched material the score is given at pitch, and is played just like a normal pitch-instrument part. And, in each movement there is a cadenza, where the DJ is free to improvise with the samples & develop new ideas.
There are a couple of specific DJ-notation methods that have been developed, but they would take quite some time to learn, and I wanted the score to be something most people could look at and understand quite quickly. I don't think my notation was perfect but it communicates enough information; I prefer to be pragmatic in these situations, rather than try to get all clever and re-invent the wheel.
What have you found is the most common reaction of an audience listening to your music for the first time?
hmmm, tough question, it does depend on the gig. But generally people seem to engage, and follow where the music is taking them.
With your cutting-edge, modern style, do you find that your music draws a predominantly younger, hip audience?
I suppose there are aspects to my music to which younger audiences can immediately relate to, but in fact I've had stuff performed to older, more typically 'classical' audiences and it's gone down really well; so hopefully a whole range of people can appreciate my music. But if I can appeal to audiences who might not usual consider listening to classical music that's a very positive thing too.
What do you like to do in your free time (if you have any)?
Ha ha… Sometimes my free-time does. But once I get away from work, I'm quite good at relaxing and distracting myself with other activities.
I love to travel; and besides seeing a lot of Europe, I've enjoyed trips to the USA, and also spent quite a lot of time in Tanzania, East Africa where I did one years voluntary work when I was 19; I learnt Kiswahili and actually wrote my student dissertation on Tanzanian music; and I've also become a fan of African literature and history. I also love theatre and dance, and used to do a lot of acting when I was a teenager, even considered going to drama school!
So far so good… At least I'm not aware of any serious negative feedback. But I think that may be some people in the Classical world might have disregarded what we're doing with Nonclassical Records as 'cross-over'; because we have 'remixes' on most of our releases. I think that's a real shame, because the remixes we have on our releases are a very interesting, daring, and provocative musical 'experiment', which are in no way a callous attempt to 'cross-over', and are an exploration of the boundaries of different genres… something that can be of interest to any curious about new directions in music.
The Wonderful and Frightening World of NONCLASSICAL: An Interview with Gabriel Prokofiev Pt.1
- 26 September, 2009
- 3 Comments
On Tuesday Sept. 29th (my Birthday!) we'll be launching the label Nonclassical in North America. What makes this label so unique and special is their approach to new music both acoustically and electronically. The label is the brainchild of Gabriel Prokofiev who just happens to be the grandson of yes, Sergy Prokofiev. This is the first of a two part interview with Gabriel about his music, the label and the Nonclassical movement itself.
Ok …well…Gabriel it is going to be unavoidable the fact that people here will want to ask you about and chat about your family's legendary musical heritage. So I'll touch on this first and then move beyond it.
It can be said that the name Prokofiev is one of the most important ones in the history of 20th century classical music, how do you deal with this legacy and what have been the challenges and the blessing of coming from such a musically important family?
Big question… It's certainly not always easy, and just seeing the word "legacy" in your question makes me feel heavy! The big trick for me as a composer has been, that once I'm in the composing 'zone' I generally forget where I'm from and who I am, and just follow the music. If I dwell to heavily on this big heritage that I have it can certainly disrupt my creative flow, and when I was younger I think I quite often avoided composing. And unfortunately I've never really had a mentor as such, so did lose a few years of composing. Now I just get on with it, and once I'm really feeling inspired and exited with something, then I don't feel so inhibited by my roots, and can in turn feel inspired by them – so that it can become a positive situation.
I think my potential as a performer was more significantly affected by my heritage, as I always felt very self-conscious performing classical music when I was younger, and therefore often made mistakes and didn't practice much. But as composing is more private, I'm able to lose myself in that world.
I hear some of your grandfather's sensibilities in your music, is this intentional? What impact has he had on you as a person and composer of classical composition?
Most S Prokofiev sensibilities you might hear in my music aren't intentional, and a few people have told me that my music often has a 'soviet' feel to it; which is something that I never tried to do… it's just how it comes out – may be it's in my blood ? Pr may be it's just because I'm a fan of Russian music listened to quite a lot of Prokofiev when I was growing up ??
But there have been a few moments when I've given a little nod to my grandfather. In the 2nd movement of my 2nd Quartet, the 'alberti-bass' type figure in the Viola becomes a unison motif, which changes from straight quavers to a swinging dotted quaver /semi-quaver, I deliberately extended this passage as a humorous reference to the oh-so-famous Dance of the Knights (from Romeo & Juliet), but nobody's noticed it yet -so I guess I was the only one who got the joke 😉
I grew up with quite a mix of music. I loved both Pop music, Classical, and Jazz. My dad was a big Jazz fan, so I heard a lot of different Jazz as a child; but neither of my parents were really into pop music (The Beatle's White Album was the only pop album they happened to have, and I think a friend had left it in our house by mistake!), so I got into pop music through school friends, and my older sister; also an uncle of mine gave me a cassette of Grace Jones & Sade when I was 10 and that set me up to be a big funk & hip-hop fan as a teenager.
Of course I heard quite a bit of my grandfather's music as a child, and besides Peter and the Wolf, my big childhood favourite was a another children's piece by him called 'The Winter Bonfire', I used to spend many an afternoon running round the sofa to that as a four year old. Then as I grew older I discovered more old and new classical music -like many people I went through as stage of listening to renaissance choral music, then Bach piano music, Beethoven quartets, Stockhausen, Debussy… etc… In the 1990s I also got really into the emerging electronic dance music scene, and was very exciting my the energy and rhythm of some of the early acid house music and techno.
As for what inspires my sound and love for both acoustic and electronic music, I guess there is inspiration from my eclectic music tastes. Also I'm particularly excited by music the has 'drive', music that has a sense of purpose and energy, and sonic innovations of electronic music can really enhance that, as can a group of great musicians.
Your music and goal in what we know as Classical Music is to me as refreshing as it is challenging, what would be your ultimate achievement / achievements within the context of your current path?
Well my number one personal aim is just to write exciting, and original music; and then have that music reach many listeners and then inspire and move them. As for my broader aims with 'Nonclassical', I really hope to help contemporary classical music get more exposure and appreciation; there are so many people who could enjoy contemporary classical music but never have a chance to properly listen to it because it never enters their world; just isn't part of their life-style; or seems like something they wouldn't understand. But in fact they just a need the chance to experience it in a situation where they feel comfortable and are able to really listen properly. Music can bring such a wide range of experiences, but many many people are generally enjoying only a part of what music can give them ; which is usually what is on most radio playlists: short, predictable, reassuring Songs. We do get tastes of more demanding, or more extended forms of music in Cinema, etc.. but I think that there could be much more.
John Matthias, the Violinist and co-composer of Cortical Songs, is good friends with Thom Yorke, he actually played Violin & Viola on Radiohead's album The Bends. So he asked Thom if he was up for doing a remix of this classical piece he'd written, and he was. It was the first remix Thom Yorke has ever done, and it's one my favourite things he's done.
About six years ago, I composer friend of mine, John Richards told me I really should meet & work with this Russian pianist called GéNIA. He had composed a 'Suite for Piano and Electronics' for her, which we later released on Nonclassical. We finally met up got on really well, and I promised to write a piece for an upcoming solo concert she had; I left it till the last minute and had to turn it around in 2 days; but she liked it and we decided I would write a book of piano music for her. Then a year or so later I asked her why she called herself "GéNIA" ? why didn't she use her surname? She explained that she actually had a situation similar to mine – I had already told her that in the past I had used a different second name (and still do for the hip-hop, and dance music I write and produce). She said she didn't want to be connected to her famous great-great uncle . So I asked what her real name was and she said: Evgenia Chudinovich! I felt kind of embarrassed because the name Chudinovich meant nothing to me, but then she explained that her famous Uncle was in fact Vladimir Horowitz! Whether anyone would be able to trace that from her own Chudinovich surname seemed unlikely (was she even more paranoid about her heritage than me!?) but I could understand how she wanted to keep a separate identity. Then of course we realised that our ancestors Vladimir and Sergei had actually worked together (Horowitz made the world premier recording of Sergei Prokofiev's 7th piano sonata in 1945, and also gave the American premiers of the so-called War Sonatas (6, 7, and 8), S Prokofiev called Horowizt a "miraculous pianist", and Horowitz (when he was just 19) also premiered my grandfather's Violin Concerto no. 1 in Russia, but as a piano arrangement with violin. So it was an exciting, and strange feeling for us, that 60 years after our ancestors met through their music (each of them on opposite side of the globe in Russia & the USA, here we were working together here in London (geographically in between USA & Russia), and we hadn't even been aware of it; we had been naturally brought together by music.
[Well I should tell you -you're the distributors !]
There's a lot of exciting stuff planned for 2010: GéNIA: 'Gabriel Prokofiev Piano Book' (working title) Olly Coates: 'file under coates' – selection of new pieces for solo Cello, Cello & Electronics, and multitracked Cello from various young UK composers. Juice Vocal Ensemble: debut CD. 3-part female acapella group, works from various composers The House of Bedlam: Contemporary Classical 5 piece led by composer Larry Goves. There are several more releases which are yet to be confirmed -will keep you posted.
Do you have plans on coming to the USA this or next year? If yes where? When? What kind of performances would these be?
Naxos of America begins distribution of NonClassical Records
- 24 September, 2009
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On September 29, Naxos begins distribution of Gabriel Prokofiev's genre-busting label NonClassical Records. The U.K.-based Prokofiev-grandson of the composer-has been at the forefront of the new music scene in his country since 2003. He began by producing events across the … Read More →


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The 6 Coolest Things Said by Soldiers Before Killing People
War is serious. War is dark, violent and terrible, and it will likely be the end of our species someday. It's a cliche, but some cliches are there for a reason: War is hell.
Or a hell of a lot of fun, depending on who you ask.
Like these guys, who liked to talk trash at global death-orgies like they were pickup basketball games at the park.
#6. "Before We're Through With Them, the Japanese Language Will Be Spoken Only in Hell."
The Situation:
Vice Admiral William Halsey Jr. was so primed for world war that he offered to start one himself if he didn't get it for Christmas. Needless to say, Halsey got his wish after the Japanese attacked America. When he first surveyed the damage at Pearl Harbor from his ship, the USS Enterprise, the incensed admiral fumed, "Before we're through with them, the Japanese language will be spoken only in hell."
Via Wikimedia Commons
"Hell, and large parts of California."
The Aftermath:
Halsey upheld his oath by making life on Earth hell for the Japanese for the next four years. When Japan finally surrendered to the U.S., they did so on the deck of Halsey's own flagship, the USS Missouri. No word on whether or not he gently laid his balls on the table just as they went to sign the treaty papers, so we're forced to assume that yes, he did exactly that.
They edited it out, of course. We're sure of that much.
And nobody had the nerve to say a word about it.
#5. "Surrender? Your Grandmother Should Surrender, You Bastard!"
The Situation:
For those of you unfamiliar with Colonel Eduardo Abaroa Hidalgo, picture Tony Montana from Scarface dressed like a Johnny Depp character.
Via Wikimedia Commons
The background is just an extreme closeup of Helena Bonham Carter.
Abaroa was a Bolivian superhero during the War of the Pacific between Chile, Bolivia and Peru. After a standoff with Chile at the Battle of Topater, an injured and outnumbered Abaroa was asked to surrender. According to the Bolivians' story, he was out of ammo and nearly dead, but still refused to give up the fight. Abaroa responded, "Surrender? Your grandmother should surrender, you bastard!" And no, that phrase isn't gaining something in translation. Even in Spanish, it means exactly what you think. Abaroa was surrounded and facing certain death, and with his last words he screamed, "Your mother!"
The Aftermath:
He died a martyr to his country and was commemorated with federal buildings, a national holiday and some seriously inappropriate stamps to put on your letters to grandma.
Via Colnect.com
"Guess where I'm sticking this musket!"
#4. "I Am the Death of the Pale Faces, I Am the Killer of Romans, I Am the Scourge Sent Upon You, I Am Zarrar Ibn al-Azwar!"
The Situation:
In 634, the Eastern Roman Empire met with soldiers from the Rashidun Caliphate. Among them was Zarrar Ibn al-Azwar, a man whose name can only be pronounced properly with a mouthful of blood and rage-froth. Despite having the uninspiring job title of "tax collector," whenever a war broke out, Azwar was there -- charging out on the battlefield to ruin other human beings in a slightly more merciful manner than auditing. He was so damn war-crazy, in fact, that he often went into battle without armor, hence his nickname, "the half-naked warrior."
There's nothing you can do to make us imagine him any other way.
During the Battle of Ajnadayn, the Muslims were outmatched tactically, and came up with an idea as stupid as it was entirely effective: kill every one of them, one at a goddamn time. The Muslims instigated a series of duels against Byzantine officers, whose vanity would not permit them to turn down challenges, even after hearing Azwar taunting his enemies like Lord freaking Humongous: "I am the death of the Pale Faces, I am the killer of Romans, I am the scourge sent upon you, I am Zarrar Ibn al-Azwar!"
The Aftermath:
"U mad, bro?"
Azwar killed two governors and every other champion the Romans threw at him at Ajnadayn, which left the Byzantine army sorely lacking in experienced command officers. Because of this, the battle soon swung in the Caliphate's favor, eventually resulting in their full conquest of Syria and Palestine. Judging by how long those two territories remained in their hands, Zarrar Ibn al-Azwar's message is as clear today as it was 1,400 years ago: Do not mess with the Rashidun IRS.

subset: commoncrawl


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News and Events Archives
Thursday, September 21, 2006
(FORT LEONARD WOOD, Mo.)-Columbia College will confer 21 associate and 33 bachelor's degrees on students from the Fort Leonard Wood and Rolla campuses at a commencement ceremony at 1 p.m. Saturday, Sept. 23 at Baker Theater on Fort Leonard Wood.
The commencement will be a joint ceremony for Columbia College, Community College of the Air Force, Park University, Central Texas College and Webster University. Dr. Gerald Brouder, Columbia College president, will confer Columbia College degrees.
"Columbia College is committed to helping working adults and others earn college degrees, and we are proud to celebrate each student's accomplishment at this commencement ceremony," Brouder said.
Columbia College-Fort Leonard Wood was established in 1974 and has served working adults and military personnel in the Fort Leonard Wood area for more than 30 years.
Columbia College provides accredited, affordable degrees for working adults and military students, serving nearly 25,000 students at its 32 Nationwide Campuses, Online Campus, Graduate Studies Program and Day Campus.


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Kukla's Korner Hockey
Early Evening Reading
by Paul on 07/03/07 at 09:08 PM ET
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Spector has some early evening talk regarding Yashin and Jovanovski…
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The retrial of a western Kentucky man on charges of murder and arson has begun in Trigg County.
George Luna is charged in the 2007 death of Debra Hendrickson in Marshall County. He was previously convicted on both charges, but the state Supreme Court ordered a retrial due to an issue with a juror.
The Paducah Sun reports a new jury was seated Monday in less than four hours and began hearing testimony. The trial was moved to Trigg County after an impartial jury could not be seated in Marshall County.
Testimony in the case was expected to continue on Tuesday.


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We run a small business, and the managers would like to have the calendars on their phones synced with each other so that they know what is going on with the other. Most of them are using iphone and one is using an android phone. Is there a calendar app that we can use. Any information is appreciated.
You have several options:
Your first option is to use a "third-party" app that works for both iPhone and Android. For example:
Your other option is to use a shared calendar in a service such as Gmail. I personally think this solution is better. You have two options: either setup an arbitrary email account that all the managers use to sync their calendar to, such as [your-company-calendar]@gmail.com, or, you create a calendar, and if all the managers have their own Gmail accounts, make them all owners of it. This allows you to use the default, built in, calendar app on both Android and iOS devices.
To set this up (I am generalizing the steps that work with both setups):
This should allow them to look up, and create events from the default calendar app on the devices.
Shared Calenders work between Android and Iphone using Gmail on both phones. See these instructions Shared Calendar:


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If I'm heading out ski touring into an area I haven't been, what are the most important things to look for and think about to avoid high-risk areas for avalanches?
To expand a bit on the good answer already given:
Forgetting the snow for a moment, remember that an avalanche fatality requires two things - snow conditions, and a person to be there. Avalanche deaths are primarily men, aged 20-29, who are experienced skiers. Not because avalanches like these people more, but because they are most likely to find themselves in a risky location, doing a risky thing.
Group dynamics and decision making will have a greater impact on your survival than snow science (though that is important, too). In nearly all avalanche fatalities, the investigation finds that someone in the group either identified the hazard, or had sufficient training to identify the hazard, and yet the group did the dangerous thing anyway.
Evaluate your group and make some rules:
And finally - take a class. Depending on where you are, there are probably some good Level 1 or introductory courses available free or inexpensively. Bring your friends, too - being trained on avalanche safety doesn't make YOU safer, it makes your friends safer. Bring them along and you'll all be more likely to ski another day.


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Newsroom > SLU Health News > About Us
We're the communications hub for all health issues at Saint Louis University.
We operate as a news bureau, covering news about health and medical research, education and patient care at Saint Louis University. We also help reporters -- finding sources who are doctors, nurses, dietitians, health policy experts and ethicists to add perspective to stories.
Our goal is to offer sources who explain complicated health information in plain English and who are quick to respond to requests our office sends them for interviews.
The Medical Center is on the south side of Saint Louis University's campus and includes the schools of Medicine, Public Health and Nursing, as well as the Doisy College of Health Sciences, Center for Health Care Ethics and the Center for Advanced Dental Education.
Please note: Our physician practice is called SLUCare. SSM Health Saint Louis University Hospital is owned and managed by SSM Health.


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Calgary, Alberta-based TransCanada said it expects to finalize definitive agreements for the Prince Rupert Gas Transmission project early this year. The proposed pipeline will transport natural gas primarily from the North Montney gas-producing region near Fort St. John, British Columbia.
By JUDY McKINNON
TransCanada Corp. said Wednesday it has been chosen by
Progress Energy to build, own and operate a 5 billion Canadian
dollar ($5.1 billion) pipeline project that would transport natural
gas to a new liquefied-natural-gas export terminal planned off
Canada's west coast.
The Pacific Northwest LNG export terminal in British
Columbia was proposed as part of the multi-billion takeover of
Progress Energy Resources Corp. by Malaysian state-run energy
giant Petronas, which closed last month.
Calgary, Alberta-based TransCanada said it expects to
finalize definitive agreements for the Prince Rupert Gas
Transmission project early this year.
The proposed pipeline will transport natural gas primarily from
the North Montney gas-producing region near Fort St. John,
British Columbia to the LNG export facility, which is aimed at
exporting natural gas to Asian markets.
The pipeline company also said it's planning to extend its
existing NOVA Gas Transmission Ltd. system in northeast B.C. to
connect both to the Prince Rupert Gas Transmission project and
to additional North Montney gas supply from Progress and other
parties. It estimates initial capital costs for the extension
at about C$1 billion to C$1.5 billion.
Before Petronas closed its takeover of Progress, the two had
said they were moving their LNG export project into the next phase of
engineering and said a final investment decision would be made
in late 2014. First LNG exports are targeted for 2018.
Dow Jones Newswires
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Dear sir: Complemetary info such as a map showing the trace of this big work, I'll receive. Cuould you send me it?Thanks in advance.O,CoronaMech Engr
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Engineers and designers are highly skilled individuals. Forcing them to enter design changes using tables, forms and spreadsheets is unproductive and uneconomical, and it increases the likelihood of human error—this is the way that most instrumentation software systems currently work. For too long, software vendors have denied engineers and designers the simple practicality of a graphical visual engineering interface with "drag and drop" capability and inbuilt intelligence, ensuring changes are automatically replicated into all the associated data and databases.
Is 2016 the peak for US gasoline demand?
Too soon to tell
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A friend and I have taken up an interest in quantitative finance, and we're pretty much starting from scratch—neither of us have backgrounds in finance, but rather electrical engineering and pure mathematics.
Currently, when we have a question, e.g. What variations on the Slow Stochastic Oscillator have been explored, and how have their backtesting results compared?, we rely on Google and Google Scholar.
Instead, we'd like to put together a list of sources more targeted toward quantitative finance research, hoping it would help us comb through information more consistently, e.g. effort invested per question, as we'd feel it our duty to check each and every source we've agreed to check, as opposed to subjectively reading 10, 20, or 100 pages of search results depending on level of interest and attention.
I looked around Q.SE and found some repeated references to SSRN (Social Science Research Network), but many more links to papers seem to lead to specific universities and domains.
What are some resources for scholarly research on quantitative finance?
We of course prefer online, searchable resources. We no longer have academic affiliations to grant us access to digital libraries like JSTOR, but we'd consider paying subscription fees if they were worth it.
If there aren't any (or many) centralized resources, then we'd still appreciate hearing from those involved in research: How do you go about conducting your research? Do you have a "go to" list of websites or search terms that you find useful?
Many thanks in advance.


text: Here is a creature that you may recognize. It's a Starling from the game Galaxy Life. Today I will be filling a request and show folks "how to draw a Starling", step by step. These little slug like creatures that are born from the 'Tree of Life'. The orange balls of blubber are super duper cue and incredibly colorful. Drawing Starlings will prove to be fun and exciting so I urge you to try this tutorial out for sure. Thanks guys and good luck


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Schumacher stable but brain injury still critical
Formula One driver in coma
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The Greater Washington Hispanic Chamber of Commerce (GWHCC) in partnership with Events DC presented their Fifth Annual Embassy Celebration Dinner Series on Tuesday, November 19th at the Carnegie Library at Mount Vernon Square. This year, the Chamber honored the Embassy of Mexico and its ambassador, Eduardo Medina Mora, with the GWHCC Public Service Award in recognition of the embassy's work and support of the growth of the Washington, DC region's Hispanic businesses. Photogrpahy provided by GWHCC.


text:
Someone tht knw how to hack
need help
Hack what!?!?!? Ask only direct questions here! It's like I'd ask "Do you know how to write?" And then I would give you some chinese text LOL
Like to E-mail mail social networking
I hope you know that these actions are illegal! You must inform the owner about your actions and he has to agree. Nevertheless, you can accomplish this by getting into some SQL database, you can pull out the passwords and usernames out there. Or if you want to crack certain account, you can use brutefrce method.
But remember these actions are illegal!
But remember these actions are illegal!
1st - Learn proper grammer
2nd - Read one of the threads about ethical hacking and what is involved
3rd - Google
4th - Don't expect someone just to say "hey here's how to do it, let me hold your hand"
... hacking is a mainly self-taught art, it takes time.
shabbir like this


text:
It's been recurrent when I hear people saying that AIDS doesn't exist. When I ask why, they give weird reasons like HIV is a virus created to control economy and to develop medicine, etc. Also when I try to watch videos on youtube about people that are infected with this virus, I see a lot of comments saying that AIDS is a lie and some of them base their opinions on a documentary called House of Numbers. So I would like to know scientific reasons if this a myth, or why this is true.
I think no one can really deny the existence of HIV or AIDS, just a search on google scholar will show >1,500,000 hits for each of those terms, and ask (hopefully any) doctor and they will say it does, though AIDS denialists do debate whether HIV causes AIDS. This paper explains the process of HIV causing AIDS. Further, AIDS denialists have not offered up well supported alternatives as to how AIDS arises without HIV being involved.
I think however that there is more debate fuelled by conspiracy theorists as to how the disease came about. This article from TIME magazine on conspiracy theories is a short piece about it, there are two main conspiracy theories:
1) The west invented the disease to "decimate the African population."
2) The US government invented the disease in the 70's and injected gay men to stop the spread of homosexuality.
You should read this section on the critical response to the film House of Numbers, it seems to be thought that the film was driven by funding wishing to promote conspiracy theory and interviews were edited in such a way as to help portray that message.
Caution, the following is my own personal opinion ;)
Back to the science: The people who discovered the disease (Dr. Robert Gallo of the National Cancer Institute and Dr. Luc Montagnier of the Pasteur Institute in Paris) along with the majority of the scientific community say:
Molecular analysis of the genetic sequence for the virus supports the theory that the jump from apes to humans was around 1920-1930. Some other studies support the jump being made around this time though some estimate it to be a little earlier, this is due to estimated rates of mutation being used to calibrate molecular clocks.
I recommend taking a look at AIDStruth.org and more specifically start with this page (thanks for the link @MattDMo) if you have watched House of Numbers.
I'm not sure if I should be posting this as an answer, but I think a very approachable and accurate account of the history of HIV can be found from Dinis de Sousa et al.. I agree with what has been posted above. On the theory that a picture is worth a thousands words, you might also introduce skeptics to the cryo-electron microscopy images of the virus (searching cryo-EM HIV will pull up plenty).
That said, hard skeptics would likely want discount the thousands of publications, studies, and plain old researchers who have studied the virus (myself included).
Also, for the record, viruses that are "created" by humans artificially in a lab do exist, practically by definition. I, and a great many others, make viruses with markers that make them easier to measure or see (such as fluorescent proteins). But given the time that HIV entered humanity, it seems highly unlikely that anyone had the technology, let alone the will, to engineer the virus as a bioweapon. Certainly SIV predates HIV, but the technology to make such modifications (or even of the basic players and genetics) to make a recombinant/chimeric virus simply didn't exist.
It is the unfortunate truth that viruses have been used as weapons of terror and warfare against various populations (I could get into examples but that seems off topic). But the historical examples we have of this are all surrounding existing viruses.
To the question of people made to make money (not withstanding all of the above), it is certainly not for lack of trying that we don't have an vaccine for HIV. There are a lot of complications (extremely rapid mutation and escape mutants, reservoirs of virus, direct infection of cells from your immune system, etc etc). And it shouldn't be seen as though HIV is the long lasting human virus we need a vaccine for (Herpes and RSV just two good examples). You would stand to make a lot of money if you could successfully make a vaccine to any of the pathogens. And a LOT of people are trying. The US government alone is spending a lot of money on HIV/AIDS. Having a successful vaccine could actually SAVE a good deal of money.
protected by Chris♦ Nov 1 '14 at 19:10
Thank you for your interest in this question.
Because it has attracted low-quality or spam answers that had to be removed, posting an answer now requires 10 reputation on this site (the association bonus does not count).
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Advanced Accessories "Protecto" screen protector for the Samsung S8000 Jet mobile phone. This screen guard is a plastic film which you stick on the glass lens of your phone to protect it from scratches, fingerprints and dust. You wont even realize its there as it guards your phone lens like a invisible shield. Easy to apply and remove. Comes with a free anti static cloth.
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text:
Manufactured Homes | Mobile Homes | Modular Homes
Building manufactured homes and modular homes in a factory just makes sense. See how Palm Harbor does it at http://www.factorytour.palmharbor.com
Suppose you were asked to name something made in a factory. You might have thought of … let's face it, just about everything is built in a factory. Is this the way your computer was built? A vehicle is probably one of your biggest investments. Suppose it was built this way. Not very likely scenarios, are they? But if I asked you what is the most expensive thing you might buy not built in a factory, you'd probably name … right, a home. Your home? Why on earth would you spend thousands of dollars on your biggest investment for something not built in a factory or building center? With traditional home building, all it takes is one good downpour during construction to quickly turn your dream home into a nightmare. Add in unreliable subcontractors, low-budget materials and before long, a little wasted time turns into a lot of wasted money.
Maybe you've never thought about homes that are built in a factory or building center. Please note, we're not knocking all site builders. There are plenty of reputable builders, and most have a specific niche in today's market. Besides, many folks like living in subdivisions and feel quite comfortable in high-density population areas. That's where site builders do best. They can have many jobs going on at once. They can have their construction materials delivered, in bulk, to the same general area. And they can supervise their crews because they are working in the same area during different stages of construction. But allow me to introduce you to Palm Harbor's exclusive SmartPlus system. In a nutshell, we can build the home of your dreams to any code required by your local governing jurisdiction. We build it smart, with all the ecological and environmental construction aspects you'd expect from a green builder. Plus, we build it faster, and at the same time your site work is being completed. This process puts you in your home faster than you thought possible. And, did I mention our homes are beautiful, hosting dozens of awards on design, construction and energy savings?
Factory built: It's more than just a good idea. It's a better way to build. Think about it: Every component in your home was produced in a factory, from doorknobs to roof trusses. Why do they do it? It's more efficient. Materials are stored inside, located at the fingertips of the worker. Employees represent a stable workforce and show up to work each day Materials are ordered and delivered in quantities that are cost-effective. By maintaining control of its production, suppliers of components can achieve higher quality at lower cost and can be more competitive in the marketplace. Suppose you need a new kitchen faucet. Imagine a plumber showing up at your house with a bag of screws and washers, fittings and other hardware, a whole box of specialty tools and begins to assemble your faucet before installing it. How much do you think this faucet would cost you? Lower costs for components allow us to give you a better home at the price you can afford. You really do get more home for your money. I think you get the picture now. As I said earlier, it's more than just a good idea. It's the better way to build. Now, let's get on with the Palm Harbor SmartPlus factory tour.
Duration : 0:3:58


text:
I currently have an iPod Touch, I want to buy the Nexus 4, but don't want to get a plan (SIM Card) for a while. Will the device work like an iPod Touch/ Wifi capable, but no access to data away from Wifi/Call/Text.
Yes - all android devices will work without a SIM card, and can be connected to wifi for an internet connection.
EDIT: Just so people know, there is a setting in the build.prop file that determines whether or the not the device can be used without a SIM or not.
Most of the time this is set to allow it, however in rare cases it may be disallowed.
Some Android devices, mostly older ones, and CDMA2000 devices, will attempt to let you not use them without activation.
Usually the 'provision' application has a secret code that can bypass the 'mandatory' activation - e.g., on the Motorola Droid 2 Global it's upper left corner, upper right corner, lower right corner, lower left corner (the lower corners being ABOVE the software buttons, not the absolute corner of the screen) - do that and you can use the phone unactivated (for battery life considerations, put the phone in Airplane mode).
Newer devices, including the N4, should just let you skip the activation altogether; a lot of the Google applications will continually beg for Google Credentials, however, if you don't log in.


text:
If an SO, Inc. employee is a participant on a site, and has the required reputation, should he/she be allowed to vote in the current elections?
What is meta?
- Any Stack Exchange user can ask a question
- The community provides support, votes on ideas, and reports bugs
- Your voice helps shape the way Stack Exchange operates
Disclaimer: I am a candidate in the elections.
They are also a member of the community if they meet the requirements for the election.
They are equally as interested in the wellbeing of the sites as the rest of your customers. And, they may even be better equipped to know who would be a good moderator on the sites.
I definitely don't think there is any conflict of interest.
Well, if it's important to disclose this ahead of time, it'd be prudent to note that I have nominated myself for candidacy as well.
The idea behind the required reputation is that it represents someone who is invested in the site, does it not? So if you have the requisite reputation, you're effectively a part of the community.
Sure, you can get a jump start on the minimalist 150 by an association bonus, but so can any user anywhere. The employment doesn't affect your reputation.
Ultimately, the votes themselves are silent, anyway. Because no one can actually tell whether or not any employees vote, your employment status is literally unimportant with respect to how your votes are cast during the voting phase. Any possible impact your employment can carry (such as endorsement) is isolated from your voting due to the anonymity of the process.
In the same way that employees of a company who hold stock are eligible to vote for stockholder issues, SOIS employees who have earned enough reputation should be allowed to vote for moderators.
The only reason to disallow them from doing so is if there's the possibility of harming the election, site, or company, or to avoid the appearance of conflict of interest.
Since there is no conflict of interest, and no way their votes could significantly sway the election, there is no need to prevent them from participating due to their employment.
Yes, if he earned the rep, he is entitled to an opinion as everybody else on the site.
Besides it will (probably) be an instructed decision, and hopefully fair and unbiassed.


text:
Morning 5: Elly May turns 80
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text:
You've Never Been "Good Enough"!
Many of us are in the habit of telling ourselves we're "not good enough." Whether it's in our careers, our intimate relationships, our appearances, or some other area of our lives, we're always convinced we don't measure up to some standard of how we're supposed to be. Because it seems we can always find something to criticize about ourselves no matter what we achieve in life, this habit can be hard to break.
I used to say this sort of thing to myself all the time, until I had a realization that transformed my understanding of what being "not good enough" really means. One day, I was beating myself up for not having published a book yet, telling myself that my work would never be good enough and that no one identified with or understood it. (This, by the way, is a testament to the fact that you'll never run out of ideas if you're determined to beat yourself up.)
For some reason, it occurred to me that I used to torment myself in similar ways many years ago, when I was nine years old. When I was nine, I entered some sort of essay contest for kids and didn't win, and I didn't let myself hear the end of it. Hey, I noticed—I'm criticizing myself for exactly the same stuff, and in exactly the same ways, that I did when I was nine.
This realization prompted me to wonder: when and why did it all start? When was the first time I said "I'm not good enough"? And what prompted me to do that? Interestingly, I couldn't recall a period of my life when I wasn't under some sort of mental attack. Beating myself up had been a pretty consistent theme throughout my life. Maybe I'd never been "good enough" in my own eyes.
But somehow, that didn't seem to make sense. I'd always believed the reason I didn't feel "good enough" was that I'd done something inappropriate or immoral, or failed to do something I should have done. And this is consistent with the way that, for better or worse, we typically judge ourselves and others. If we judge someone else as "bad," it's normally because they did or failed to do something. "This politician is bad because he supports policies I don't like," we say. "My ex-boyfriend is bad because he left me." And so forth.
If I haven't been good enough all my life, however, it can't be because I did or failed to do anything. When I was two years old, I'd hardly "done" anything at all in the world—and yet, as far as I could remember, I didn't feel "good enough" even then. Apparently, I was "bad" before I even had the opportunity to do anything bad. But believing I was bad before I had a chance to act badly was kind of like calling a tree or a rock bad. A tree doesn't "do" anything but grow and absorb nutrients, and a rock simply sits there. The idea that an object that hasn't done anything—and can't really do anything—isn't "good enough" seems absurd.
This realization gave me a sudden sense of freedom. I didn't "deserve" my feelings of inadequacy at all. In beating myself up, I wasn't "serving my sentence" or atoning for some past sin. I wasn't sure how I acquired the conviction that I wasn't "good enough"—maybe it was my genetic makeup, an early-life experience, or something else. But the point was that, because I saw there was no good reason why I should suffer, I became able to let go of that suffering.
Further, I understood the mistake I'd been making in addressing my sense of inadequacy. Before, when I'd have a negative thought about myself, I'd assume I could eliminate that thought by improving in a certain area of my life. Thus, I'd pursue more achievements in the world—I'd look for ways to make more money, get invited to more social occasions, publish more articles, and so on. However, nothing I did seemed to shake that core conviction that I wasn't good enough—my mind would simply come up with more ways my life needed fixing. Now, I recognized that seeing that core conviction for what it was—not adjusting my circumstances in the world—was the path to peace.
If you're constantly plagued by thoughts that you're inadequate, I have a mental exercise for you. Forget, for a moment, about the specific ways your mind is criticizing you, and the areas in which it's saying you need improvement. Instead, ask yourself whether there's ever been a time in your life when you've been free of mental criticism. No matter what you've accomplished, has your mind ever given you a break?
If your answer is no, consider the possibility that changing your outer circumstances won't address your mind's concerns. For whatever reason, your mind has been convinced for most, or all, of your life that you're not good enough. You don't "deserve" the criticisms your mind levels at you, and nothing about you needs to be changed or fixed for you to be a complete human being. This realization may make you feel free to release your sense of inadequacy, and to access the peace and wholeness available to all of us.


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Suppose I have a function of time $t$ and position $(x,y)$ such that \begin{equation} p_t \,dt = p \,dy - p_x (1-x) \,dx + p_y \,dy\end{equation} where the subscript denotes a differentiation. In this case, I am able to derive a (partial) differential equation from this form.
I'd love to have your help to address the case in which, for example, $dy$ appears also with higher orders. Something like: \begin{equation} p_t \,dt = p \,dy - p_x (1-x) \,dx + (dy)^2 (p-(1-y)p_y). \end{equation} or simpler (the key point is the presence of $(dy)^2$). I expect that in this case the pde will be second order...
Any idea?
P.S. I posted yesterday a similar question on the math.stackexchange but maybe it is more a physics-like question :)


text:
Different animals symbolise different objects or actions. For example:
- Bird for letter or postman.
- Horse for speed and power.
- Bull for aggressivitet and anger.
Im looking for an animal or plant/tree which can symbolise market, store, trade, or commerce?
PS! if you have other objects that can symbolise commerce or trade, please post. Thank you.


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text:
110209GGK and 110209EGG
Batch 110209GGK
- 15L of water
- 900g cane sugar
- 90 g gunpowder green tea
- 250 mL kombucha (110115EGG)
Day 1 (2011-02-09)
Boiled 3 L of water in a large steel pot, and cooled to approx. 72 degrees Celsius by adding 1 L of water. Tea was added directly to the water while in the pot, and left to steep for 8 minutes. Strained the infusion through steel strainer into 5 Gal./18.9 L bucket and stirred in sugar, before topping off with 250 mL kombucha and 10 L of water. Forgot to check end temp., but estimate >25oC. SCOBY was transferred from plastic container in fridge to bucket, which was then covered with cloth and left at room temp. Labelled with date and 'batch 1'.
NB: there was ice in the SCOBY container - not good! Needs to not be pushed to the very back of the fridge. Would probably also be a good idea to invest in large glass container for long-term storage.
Day 2 (2011-02-14 - geeky Valentines Days)
Checked the kombucha; fermentation has clearly started, but taste is still very mild. Will check again on Wednesday 2011-02-16.
Batch 110209EGG
- 15L of water
- 900g cane sugar
- 90 g gunpowder green tea
- 250 mL kombucha (110115EGG)
As 110209GGK.


text:
1 Day Wonder: $15 Fleece Coats
I see Men's, Girls, and Toddlers. In store and online.
4 Comments add a comment
I think that Old Navy fleeces are a great deal when they go on sale like this. My only gripe is the arms of their jackets are always too short for me.
Nice price, if you don't have limbs like a daddy longlegs.
@purplefeather: I have the opposite problem on most long-sleeved items: the sleeves are usually too long. So I have to cuff them, which looks dumb (and makes my arms look even stubbier) or cut and sew them, which I am not very good at doing. I should just break down and go to a tailor I guess, but I am too cheap.
Now seeing just girls and toddlers... looks like men's sizes sold out.
@purplefeather: Ever done the arms straight out, fingertip-to-fingertip measurement? Most folks are about as tall as that measurement, but I'm either too short or too apelike(about 8" too short, actually).
So I share your dismay, in a near-oranglike manner.


text:
Suppose that $K$ is a compact metric space which is homeomorphic to a subspace of $\mathbb{R}^n$. Does there exist $f:K\rightarrow \mathbb{R}^n$ which is one-to-one and Lipschitz?
No. There is a length metric counter-example in dimension 3. See Theorem 1 in this paper.
Let me briefly explain the construction here. For a large $n$, consider a unit segment $[p_nq_n]\subset \mathbb R^3$ and let $U_n$ be its neighborhood of radius $2/n$. Inside $U_n$, consider a "chain" formed by $n$ small solid tori. Each solid torus is a $(1/10n)$-neighborhood of a circle of radius $1/n$, and each of these circles is linked to the next one. The first link in the chain is nearby $p_n$ and the last one is nearby $q_n$. In each of these solid tori introduce a conformal Riemannian metric as follows. At the middle circle, the conformal factor is very small, so that the length of this circle equals $1/n^2$. And the conformal factor equals 100 almost everywhere between the middle circle and the boundary of the torus. So despite the fact that the middle circle is very short, the distances between points outside the torus are no shorter than the Euclidean distances. It follows that the distance between $p_n$ and $q_n$ in the resulting Riemannian metric is at least 1.
Repeat this constriction for $n=10,100,1000,\dots$, choosing the segments $[p_nq_n]$ so that they converge to some $[pq]$ (but the neighborhoods $U_n$ are disjoint). This yields a length metric on $\mathbb R^3$ which defines the standard topology (i.e., the identity is a homeomorphism). Restrict it to a compact ball containing all the segments of the construction.
There is no Lipschitz homeomorphism from this ball with this metric to $\mathbb R^3$. Indeed, suppose that $f$ is a 1-Lipschitz homeomorphism. Consider the image of the neighborhood of $[p_nq_n]$. The images of the chained circles have lengths (and hence diameters) at most $1/n^2$, Since they are linked, each next circle is within distance $1/n^2$ from the previous one. So the endpoints of the chain are mapped to points at distance at most $2/n$ or so from each other: $|f(p_n)-f(q_n)|\le 2/n$. It follows that $f(p)=f(q)$, a contradiction.


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BURGETTSTOWN - Already nearing capacity with two more companies close to signing leases, work has begun on Starpointe Business Park's Phase II development.
The expansion will add about 100 usable acres to Starpointe's development footprint, broker Sally Flynn says.
With a price tag of about $11 million - $8 million for site preparation and another $3 million for utilities and infrastructure - Flinn, a principal in Pittsburgh-based Fourth River Development, says they're looking to attract companies that need larger spaces.
"We actually have a conceptual master plan for (Phase II) that illustrates larger spaces," said Flinn, who oversees day-to-day management of the park's development and leasing. "In the past, we've had inquiries from possible users with those size needs and we've not been able to meet them. That's why we designed a grading plan that will make us more competitive in the marketplace."
Flinn says Phase II envisions larger parcels of 10-40 acres, though they have the flexibility to subdivide it into smaller spaces if a prospect needs less. To make it happen, she said crews will have to move more than 3 million cubic yards of dirt. That part of the job should be done around Dec. 1, she said.
Once the site preparation is done, "then we need to put utilities and infrastructure in place," Flinn said. "It will be early- to mid-2013 before we have the road and utilities there for people to actually access the site."
Still, Flinn said, there's a great sense of excitement.
"There's a lot going on," she said. "We're seeing a lot of interest from the oil and gas industry, a lot from manufacturers."
Flinn said Phase I, which encompassed 148 acres, featured 12 pad-ready parcels, six of which are occupied or have buildings on them. "We're negotiating sales agreements on two others, so there's not much left," she said.
While she cannot offer details, Flinn did say one of the prospective tenants is in the oil and gas industry, the other is an international manufacturing client in no way related to the oil and gas boom.
"What is also helping market the park is the regional sewer project in Hanover township," she said. "There'd been a perception in the marketplace that we had treatment tanks and capacity issues, a negative vibe, but we've been proactive in planning, as has the park owner, in designing infrastructure for future connection into the regional plan.
"We knew this was coming. It's taken six or seven years for the sewer project to come to fruition, to actually come to construction, but, because we were part of the design and had regular meetings with the township, the water and sewer lines are sized for future buildout of the park."
Although conceding the process has been "challenging," she said county officials are hoping the park's expansion "continues to spur development in Hanover and Smith townships."
"But you can understand, it's expensive," she added. "Residents have to pay tap-in fees. But DEP reported in the ordinance that more than 60 percent of the septic systems in the area were failing."
Flinn said they were able to secure low-interest loans through Pennworks to help residents hard hit by the costs.
"I think part of the attraction is its proximity to Utica shale as well as the Marcellus shale," she said, noting that the oil and gas drilling boom, coupled with a general turnaround in the economy, sparked the growth.