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Dale, January 22, 2003
Posted January 22, 2003
A new thread for the 3rd week.
Posted January 24, 2003
What an absolutely extraordinary performance tonight (Thursday) by Janie Taylor as the Russian Girl in Serenade. It was beyond perfection, not a foot, not a toe but set perfectly all evening. And Kyra Nichols and Sophiane Sylve were not far behind her in perfection. Sylve still may not understand some of the dramatic touches (I thought her dramatic timing a bit weak at the end in the arm flapping part when she re-enfolds James Fayette and places her hand again before his eyes) but I've never seen the Dark Angel danced (qua dance, I wish I could underline) as well as she did tonight, what a way of moving she has, and the passage where Nichols was kneeling crushed on the floor and the Dark Angel was slowly spun around in Developee Rear with her arms extended (or arabesque? I'm not sure what step it is, probably developee because she does not bend over in the pose but rather extends) while holding the pose was breathtakiingly unforgettable. It was a very moving performance, Nichols quite tragic.
The Corps too was very strong in the opening section, although both corps and orchestra could be a bit sharper, later on, in the sudden transitions in the score, such as the re-entry of the opening musical theme, towards the end. The transitions lacked dramatic clarity, although I'm not sure if it might not have been the conductor who didn't manage the timing and the framing of it.
As for Mecurial Manoeuvres, I'm still not sure what to make of it. There seems to be an awful lot of content for the time. It starts red, the Red Boy dances around, two girls come out, the three of them dance, then the blue corps struts around, then the Red Boy again and the girls in various combinations and pairings, then the stage goes all red, then it goes peach and Weese and Angle do their adagio, then the stage goes blue and various groups of dancers come in and go out in various combinations .... etc. Is there a meaningful structure to this. Perhaps the music is a bit unfelicitious?
Someone else will have to address Thou Swell, dedicated tonight by Martins (in a printed insert to the program) to the memory of Irene Diamond who passed away yesterday.
Posted January 25, 2003
I was at the performance last night (Fri) and was very disapointed. Square dance was the most dissapointing of all. I thought the corps was in general not up to the task with the exception of Elizabeth Walker, Pauline Golbin and especially Amanda Edge. I actually thought at times that she should be doing the lead. Yvonne Boree and Peter Boal were the principals. I think this is a perfect ballet for Boal because it shows off his perfect placement and technical ability, but also his soul. What a wonderful solo and he does it perfectly.
Yvonne on the other had does not have solid technique at all and this ballet reqires that and much much more. She worries me the whole time and that is not what I pay to see. I can go to a horror flick for that. She shakes and if that is not destracting enough she then has her shoulders in her ears, her head down and she can't pull off a clean double turn. I know she can have soul and there are some ballets where her expression comes out and it is beautiful, but not here when I think she is a little overwhelmed by her nerves. Square Dance needs a dancer that is so secure in her technique that she can play with it like Krya and Merril did. Miranda Weese should be doing this role.
Then there was Slaughter on 10th Ave.
This is not a ballet that is just about leg extention, yet that is all that Maria Kowroski does with this ballet. There is no sexiness. She barely even flirts with Damian. I just think the company thinks that Maria is sexy looking and tall so she should do this part, when some one with less natural sex apeal could be a lot more sexy in it.
I am sorry to say that with the exception of a few moments with the more seasoned ballerinas in Davidsbundlertanze, I walked out annoyed and uninspired.
Posted January 26, 2003
The Saturday matinee started out with Thou Swell. I thoroughly enjoyed it -- nothing like some hot chocolate at Starbuck's on a cold winter's day!
After that, In the Night received a fine, if not perfect, performance. Rachel Rutherford swirled and swooned showing her usual strong sense of plastique, matched with an attentive, elegant but slightly subdued Arch Higgins. They were both quite good, but Rutherford can sometimes retreat from her partner into her prettiness, and while Higgins, with his thick dark hair, certainly looked Romantic, if not Byronic, I missed the edgy electric shocks that seemed to pass between Yvonne Borree and Sebastien Marcovici last time I saw this ballet. Rutherford and Higgins made this duet about the blush of youngsters discovering love; with Borree and Marcovici it was a bit darker, more interesting, and, I imagine, closer to what Robbins may have had in mind.
As the second couple, Jennie Somogyi and Peter Boal were just perfect. Here were two strong and beautifully classical dancers portraying a cold, distant, elegant couple, for whom the fires of passion may have cooled, yet aren't immune to careful stoking. Here, when Boal swoops Somogyi into that big, climactic feet-to-the ceiling lift, that literally head-over-heels moment, combined with the little White-Swannish serres Somogyi beats out against one ankle with her other foot, make it clear that this couple knows how to connect, in a big way, when they need to. Boal's refinement made an interesting complement to Somogyi's unique forceful, indeed muscular, lyricism. As it sometimes appears that there's a brilliant adagio dancer hidden in Somogyi's allegro-dancer physique, this duet's implication of their inner worlds of emotion working their way to the outside made this a perfect role for Somogyi. I was also happy to see she seemed more relaxed onstage; her face looked relaxed, animated and less mask-like than it sometimes appears.
By contrast, I remember Maria Kowroski and Charles Askegard made this couple very calm and comfortable with each other from the beginnings. Beautiful indeed (Kowroski's legs seemed to brush the ceiling in that upside-down lift), but without the hints of hidden emotional depths Somogyi and Boal gave us.
I had been looking forward to Wendy Whelan and Jock Soto as the final pair (I look foreward to Whelan in just about anything), and, in one sense, I wasn't disappointed. Whelan and Soto are a truly great partnership -- her unsurpassed lyricism and phrasing grounded, supported and subtly yet powerfully enhanced by Soto's unmatched partnering strength and sensitivity. By the way, Soto appears to have slimmed down a bit, looking sharper than he has in some time. Some of the lifts were awe-inspiring, particularly the swoops over his back, where the orange underdress of Anthony Dowell's brilliant dark (black?) costume for Whelan flashed forth like a little volcanic eruption, or when Soto dragged whelan across the floor, practically yanking her airborne before they vanished into the wings.
What I missed, though, was the sense that Jenifer Ringer and James Fayette gave this couple, of truly fighting and butting heads, or at least having turned fighting and making up into a kind of ritualized game. Although by the evening performance (this was done twice yesterday), Whelan seemed much more elusive and contrary, it did seem that they'd been dancing together for so long, and Soto had the "supportive partner" mindset so engrained, they couldn't overcome their long-steated cooperativeness to make the kind of boiling-over emotional battlefield Ringer and Fayette created.
The evening performance started with a good rendition of Serenade. Much better than the first of the season I saw a couple of weeks ago, but even though the energy level was higher, there were still dutiful stretches, and only occasional flashes of the kind of transcendent abandon I love to see in this ballet. Kyra Nichols was divine as the Waltz Girl -- of all things, the moment when Fayette holds her, supine in a backbend, just above the stage before putting her down and leaving with the Dark Angel (Kowroski) was just heart-stoppingly beatiful -- and Nichols seemed not to move a muscle for those few moments, or was it a few years? Just astonishing. Kowroski does well in this role (that supported arabesque turn has become a bit of a trademark of hers), and Somogyi a powerful and earthy Russian Girl (although I really adore Taylor's elemental wildness here).
Saturday night closed on a sad note, with Nikolaj Hubbe suffering some sort of injury in Jeu de Cartes. He ran onstage for his first entrance, and, clearly, something was wrong from the first moment, as he just kept on running off into the other wing, hobbling lower and lower as it seemed one of his legs just couldn't support him -- leaving the corps girls to dance around a Hubbe-sized hole in the stage.
Perhaps it was just a bad cramp, as he didn't seem to have had a chance to actually do anything which might've caused an injury other than just run on.
I don't know Jeu well enough to say for sure whether Janie Taylor and/or Benjamin Millepied came on to ad-lib a bit at times when Hubbe should've been dancing. I thought perhaps Taylor did, but sometimes it's hard to tell the difference between Martins' choreography and improvisation, isn't it?
Until then it had been a promising performance, with Millepied, strong and aerial, taking over Woetzel's Ace of Spades role, although not quite with Woetzel's unmatcheable bravura and wit. Tewsley made a tolerable debut in Millepied's old role, (Jack of something? I forget) but it looks as if he's still feeling his way into the quirky world of the Balanchine/Martins modern repertory. Taylor was her usualy spunky, danger-high-voltage self.
I hope Hubbe will be back soon!
This business of "Yvonne has no technique" seems to be a recurring theme in this forum. Last year when it came up, I asked why they would give such a notoriously difficult role to someone with no technique. I didn't get any satisfactory answers other than that there's a "hard" version and an "easy" version which doesn't make much sense given how few people have danced the role.
In any event, I was at Friday's performance and I thought it was dazzling. I asked my wife (who is a former dancer, and has seen every Square Dance since Pat Wilde) what her view was. She said that, while Borree is not her favorite in the role, she didn't notice any particular technical concerns.
As far as being worried about a particular dancer, I worry a lot more about Ansanelli who fell off pointe twice in a recent Western Symphony.
Posted January 27, 2003
I am more than sorry to hear that Nickolaj Hubbe was apparently injured, whether in Jeu de Cartes or beforehand. He is a beautiful dancer, with a vital presence and depth that's all too rare within the ranks of male dancers at NYCB (and of course he is an unparalleled Bournonville interpreter). Yet he is so underused in general, and his talents so often squandered in ballets such as Jeu de Cartes, that an injury that may keep him offstage is doubly tragic.
Hubbe was superlatif when I saw him the first week of this Winter Season. As a matter of fact I have never been disappointed with any of his performances and I hate to think he has too deal with injury again.
Posted January 28, 2003
I was at both performances described by foryourinfo and manhattnik--that would be Friday night and Saturday mat.
One of my goals was to see something that would exorcise the memory of that dreadful Serenade on January 11. I can't even tell all of you how disturbing I found that performance. I haven't been able to fit another Serenade into my Winter season and since it is now going on hiatus I guess I won't, at least for a good while, unless I can find another company doing it. I certainly would love to see a good, if not a stellar performance, but the need to exorcise a bad memory has been assuaged, thanks to Saturday afternoon's In the Night, which was magical.
Foryourinfo, I am so sorry that you found Friday night such a disapppointment. I know how it feels to look forward to a performance and then to feel so let down and frustrated. Again, that Serenade. I didn't have the same reaction as you, at least not as forcefully. Although it certainly wasn't the best night I have ever spent at the State Theater, I did find things to enjoy.
First and foremost, Peter Boal. The man is the jewel in the NYCB crown. I rarely watch the man closely--I confess that for me it is all about the woman and really so much about the woman's feet that is where most of my attention goes. But I knew that Borree would be a disappointment (I had attended the afternoon rehearsal with a friend who is a guild member) so I didn't even watch her. I focused on Amanda Edge, Pauline Golbin and, mostly, Elizabeth Walker, when I wasn't staring awestruck at Peter. The few times I found Yvonne in my field of vision I wanted to scream: "point your foot! relax your arms! attack the floor!". Why, oh why, does that beautiful role that requires perfect allegro technique and a sparkling witty personality go to this girl?
Foryourinfo, if you find yourself in that spot again, just watch Peter. You will be completely satisfied by the beauty of his technique. At the end, you will know that the majority of the applause will be for him, and that he will present Yvonne with the utmost humility and grace for her curtain call.
Davids.....Oh well. I had never seen it before and was eager for it. Sorry to say that it was my major disappointment of the weekend. I wasn't especially moved by the "story". I thought it was danced adequately by all, but it didn't take my breath away. I was beginning to wonder if I have lost the ability to become emotionally involved--oh not to worry. More about In the Night later.
Slaughter on Tenth Avenue. Well I love it. That's all. I've never met a performance of Slaughter that I didn't like. Unlike foryourinfo, I thought that Maria was brilliant. I haven't liked her in much of anything lately. She was just too icy in the abstract or the dramatic roles. But this was just fabulous! She mugged, she swooned, she threw her leg up in the air, and yes her incredible extension does thrill me. The audience surrounding us did not seem to be familiar with the ballet and I am sure there was some speculation about who the two lunatics were who were laughing hysterically while people on stage were being shot. Great work from the "ladies and gentlemen of the ballet" too.
I left the theater feeling pretty happy and thinking that I could at least enjoy NYCB, even if I couldn't be transported to another place. Well--In the Night. I had only seen it during one SPAC season but I loved it then and I love it now. I found it so much more moving than Davids.... I do prefer Chopin to Schumann, but I also found the choreography just breathtaking. Did I read here that Mr B thought it was BORING? BORING??? It was gorgeous.
The repeat of Slaughter was just as much fun as the first time, although Sofiane didn't quite get the humor that Maria did, but I liked Philip Neal as the Hoofer more than Damian Woetzel. You could just read Philip like a book. What expressions!
The big surprise for me was how much I enjoyed Thou Swell, after really panning it on Opening Night. I guess my expectations were lower--and I thoroughly delighted in it. I don't know that it is lasting Great Art, but it surely was fun.
I went to Borders today and bought a Richard Rodgers CD, with Slaughter, Isn't it Romantic, and lots of other good stuff on it!
Posted January 29, 2003
Thanks "rk," I felt the same way about Slaughter on Tenth Ave. I guess sexiness is in the eye of the beholder. ;)
I attended last night, Tuesday's, performance to see "Haiku" and I was not disappointed! My daughter had seen it last summer at SPAC and I'd never heard her so excited in her short life about anything - she insisted we had to go; that I had to see it!
How to describe it? I'm not up to it but I found it refreshing, striking, amazing, shocking, fun, thoughtful and dramatic. Great costumes - really beautiful and flattering to Aesha Ash, who was mesmerizing throughout, Faye Arthurs and Carla Korbes. Stephen Hanna, Sebastien Marcovici and Seth Orza were their partners and I loved seeing them fly across the stage on their own, as well as, watch their skills in partnering in this very unusual and stylized performance.
The lighting was very effective. The music by John Cage is certainly not what one usually hears when one attends the ballet but in my opinion it worked really well with the provactive choreography on stage.
Albert Evans did a great job. I hope he is encouraged to continue while still performing, himself, at NYCB.
A friend who went with me said she thought it was something one needed to see a second time in order to really appreciate it fully due to its "different" nature... I would like to see it again to have a second chance to really watch it... Sadly, it's not featured in too many of the season's performances and I don't think it's going to be in the Spring season either.
I would love to have seen them learn it and rehearse it because, as a non musician, I can't even begin to understand how they did it!
I, too, would like to see Haiku again. It's an unusual and well-done piece. But I don't want to see the current version of Jeu de Cartes (which ended last night's program) ever again. The Stravinsky score deserves better.
I was the friend with BW at last nights performance. I think with Haiku the shock of the music and the silences makes it hard to focus because you are saying "What is this..." If I saw it again knowing what to expect ear-wise I could focus on the dancing more. My dancer said that the "music" and silences were wierd but being a dancer she focused on the dancing. Aesha Ash is a joy to watch in this regardless of the percussive music. Albert Evans shows promise as a choreographer and I hope he gets more chances to choreograph.
Jeu De Cartes...all I kept looking at were those darn red tights and shoes. Tewsley looked so tentative and I noticed his preparation for his turns. Hopefully time will take care of the look of learning to be a NYCB dancer. I always love watching Benjamin Millipied!
I forgot Square Dance with Peter Boal and Yvonne Borree. Peter was as usual so perfect in what he does. I went in not expecting much of Yvonne...I have to say I have a prejudged idea of what I was going to see. To my eyes she actually looked much better than I have seen in a while. She seems to do so much better in leotard ballets than the story ballets like Nut and Swan Lake. Of course, that being said, when I turned to my dancer and said she actually looked rather good my daughter dissected her dancing as only a dancer can telling me all the "whoops" I missed as a "lay person".
Posted January 31, 2003
Thursday 1/30: Square Dance, Piano Pieces, Slaughter
I'm so glad I saw this tonight.
First, Abi Stafford's performance in Square Dance just may be the best I've ever seen this danced. It's not that I've seen it that much, but watching it, I suddenly realized how many times I must recently have suffered through Yvonne Borree or Margaret Tracey in this part over the past three or four years. So that seeing Stafford last night so crystal clear in the part and dancing it effortlessly was a revelation. All of a sudden I remembered what made me so excited, three years ago, when she suddenly appeared out of nowhere to dance Valse Fantaisie and Ballo della Regina. If you want someone in this company right now to perform Balanchine point work sublimely, that dancer is Abi Stafford. I'm not sure there is another dancer in NY who could perform this part as she did it tonight. Perhaps Gillian Murphy, but I don't think so, she's a little too tall, I think you'd have to go to Europe and particularly to one of the Russian companies to see Stafford equalled in this. She has among other things such command of her roll ups onto point, she can both spring there a la Vaganova when clarity is called for, and at other times have demi point, to high demi point, to point be all one seamless continuum for her, and her beats are extremely clear. It was above all a very finished performance, totally at ease with the music, danced with her entire body (not just from the waist down) and in which she even reflected, towards the end, a measure of joy in her dancing -- not something we've seen from her much these past two grueling years. Now I maybe even know why she (and we) had to suffer through those painful and controversial Themes and Variations last Spring (where she even started to breakdown technically a little by her 3d performance) . . . It was in order that La Stafford could come out last night and dance something as difficult as Square Dance, and have it be EASY for her. Even Nilas Martins seemed buoyed by her performance (on the principle of "a rising tide floats all boats"). If the adagio was a little exposing for him (and it was, he's not at all the type), he was very good and elegant leading the ensemble passages for the other men and was so very solid as a partner presenting and framing La Stafford.
If this wasn't enough, In Piano Pieces, we then saw an amazingly musical, confident, and indeed dominating performance from Jenny Somogyi, both with Jared Angle in the Reverie, and without him in the Waltz, holding the stage and audience breathless for minutes alone in a slow, off key Waltz, beautifully played by Cameron Grant. (Grant played beautifully throughout this, a tour de force, he's very fine, isn't he?) And then, when I thought my cup already ran over, occurred a wonderful solo Barcarolle by Alexandra Ansanelli, who managed the transitions in emotional tone in this piece with an emotional depth and a high dramatic seriousness I've not seen from her lately, along with her ethereal beauty. She filled the silence. Her pas earlier with Marcovici had, however, been a bit technically exposing for them both.
In general, though, besides these wonderful individual performances, Piano Pieces seemed a bit uneven. The choreograpy for the corps, in the dances which open and close the ballet, either seemed a bit perfunctory and insipid, or were performed that way last night. Even the final Rondo. Robbins can sometimes be a little trite and facile with his corps de ballet. The ballet seemed to be "In the Night" meets Cortege Hongroise interpreted in the manner of West Side Story Suite.
Finally, I loved Sylve and Neal in Slaughter. Certainly, it was an exposing part for Sofian Sylve in quite another sense of the word, the grand jetees were consistently way beyond twelve o'clock, but it was just the point to give scope to that, it was quite a contrast and a complement to her Nutcrackers, and I love the way Sylve holds nothing back. There is something very very appealing in her stage presence and her personality -- beyond her fascinating beauty -- Sofiane Sylve may have a great deal of Ego on the stage but she is never vain, never appears self satisfied, she really appears hungry for the part.
I too was at last night's performance and can echo Michael's enthusiasm. And it was indeed gratifying to see the female lead try to dance Square Dance Merrill-style, i.e., as a showcase for bravua dancing. (I understand that Abi Stafford learned the role from Merrill.) Did Abi succeed? I would say it was a very respectable first try. Surprisingly, the allegro work was quite good; the signature grand jetes were really "grand." However, in the opening adagio, Abi didn't "hold" the signature arabesques and attitudes as long she might have. I'm not sure whether that was because of nerves, lack of dance power, or her (frequent) predilection for rushing through a musical phrase. In any event, I want to thank Peter Martins for casting someone new in this wonderful ballet.
Piano Pieces was very enjoyable. And I agree with Michael that Jennie Somogyi stole the show. My only reservation about Jennie (and Ansanelli) has been the turnout issue. (I admit I am prejudiced in favor of dancers with beautiful lines.) However, in flowing chifon, they were both stunning last night. Jennie was totally in command and indeed evidenced moments of "plastique" in some gorgeously held attitudes. It was a real ballerina-level performance. Let's hope she gets to do the Piano Concertos in the spring. And Ansanelli and Robbins ballets are made for each other, as she has a flare for the dramatic and evocative.
Slaughter was its usual fun self. At first, I was disappointed that Damian wasn't dancing, but Philip Neal turned out to be a good actor as well as a good "hoofer." I am a great admirer of Sofiane Sylve in everything I've seen her in and she turned in a very good performance. That being said, I found myself missing Maria K. last night. (That old gorgeous "line" thing again.)
Special kudos to Antonio Carmena who danced in all three ballets and is getting stronger with each performance. In Square Dance, he was the one I had my eye on in the male section right behind Nilas. In Piano Pieces, his arms and upper body are just perfectly elegant, and in Slaughter, he gave a comic turn as the policeman.
I'm glad to hear that Stafford was good in Square Dance. Although she usually hasn't been to my taste (she seems rather bland and without inflection), I have seen flashes, in recent seasons, that she's getting more musical, and more savvy, although there certainly have been setbacks along the way.
I've never quite been able to fathom why Martins would give her Theme, promote her, then cast her sparingly, and shove her back in the corps when he does. Perhaps he was teaching her a Lesson in that straightforward, forthright Danish way. (Why is it that so many dancers vanish after being made soloist there, anyway? Trying to fathom NYCB is like watching a goldfish bowl where all the good stuff happens when the fish are inside the little plastic castle.)
With appropriate coaching and nurturing, I think Stafford could be a very solid, dependable, workhorse of a ballerina; perhaps even more. Given Peter Martins' evident sink-or-swim approach to casting (as described by Wendy Whelan in Marc Haegman's very perceptive interview in the latest Dance View -- you really should subscribe!), it's a good thing for Stafford that Merrill Ashley appears to have taken an interest. Now that Stafford is no longer Martins' flavor-of-the week, perhaps she will be able to find herself as an artist. It seems to have worked for Ansanelli!
Posted February 1, 2003
Very favorably impressed by female leads in Kammermusik. Frankly, the best thing I've seen Kowroski do. It fit Sylve like a glove -- or she it. Overall, however, the piece has lost its edge. Wonder if that's due to the fact that the "future" suggested in earlier stagings is now the past. Huh?
Ballade is a piece I've always found insipid and trite, with a few inventive moments thrown in. But Whelan knew how to keep my interest, looked fine with a properly romantic, if slightly tentative, Tewsley.
Haiku: I enthusiastically join BW, Dancermom and Farrell Fan's praise for this piece. Most impressive is Evans' ability to deliver the big moment without drawing attention to himself. There is no "Oh, look how smart and creative I am to have thought of this!" It all develops organically, and suddenly you find yourself startled, amused, satisfied. Unusually acute devotion to craft. (So that's where it's been hiding all these years! ;)) I DEMAND more Evans ballets! And yes, the simple costumes are very beautiful.
The best moments of Symphony in C were delivered in 2nd Movement by Whelan with Neal. I loved how, after the grand jete en tournant, she walked toward the other side of the stage, not letting the third arabesque arms quite hit their position. It was so in keeping with the music's mood. Overall, however, the Bizet was (shockingly! :eek: ) the afternoon's low point. You see good performances here and there, a dancer standing out in the corps, but the company as a whole looked dreary. You don't want to leave the theater in that mood.
(Just noticed I've become a Senior Member! Yay!)
Posted February 2, 2003
Kammermusik was very uneven. The women were fine, but Neal & Askegard got very out of synchfor a long stretch in their duo, and Antonio Carmena, very uncharacteristically, missed a split leap while dancing alongside Craig Hall.
Whelan and Tewsley were individually solid in Ballade, but their was almost no connection. Tewsley has a wonderful attention to detail, but doesn't seem to have adjusted to the speed of Balanchine's choreography yet.
I actually enjoyed Symphony in C, except for the third movement. Antonio Carmena was a late substitution for Ben Millepied, and it seemed like he was getting very little "help" from Taylor (I don't think he's done the role this season, and not sure whether he did it before with Taylor). Given, Carmena was probably a little off the music, but it seemed like Taylor was dancing to her own beat, almost being kicked by Carmena a few times and never seeming to try to work with him. Also, in the ending section, Taylor was slighly, but distinctly off in timing from the other three ballerinas. I hope this is not an indication of illness or injury (
Kudos to Carmena for doing a good job in a difficult role, and for smiling through out! He's been used a lot recently, and it's not an easy role.
I thought the corps looked stellar in the finale-and the ballet well performed.
I just wanted to add that, as Taylor is a native of Houston, TX, the events of today may well have affected her performance....
I feel that the events of today have affected everyone's performance.
I don't feel comfortable speculating on what was Taylor's state of mind today. It wouldn't be fair.
I wasn't trying to speculate. Just, that given the events and the number of uncharacteristic performances, I wanted to make sure that my comments were read with the events of the day in mind-for Taylor and other dancers.
I did not intend to indicate anything further-just a point to keep in mind when reading the review.
A few more thoughts on Saturday matinee: The musical selections -- Hindemith, Faure, Cage and then Bizet -- made for a good contrast and compare afternoon.
On the Ballade: I enjoyed the rapid directional changes which Wendy handled expertly. As I remember (or don't remember it), the premiere of this work seemed to me very, very difficult. Then Merrill got injured and when it reappeared, it was "watered" down a bit. But in any event, it seems to be a very tricky ballet to dance.
I'm on board with all the other comments on Haiku. I hope that Albert Evans gets the chance to show us what he can invent for groups of dancers, not just pairings.
On the Bizet, I'm with Sneds on this one: I very much enjoyed the performance. Wendy and Philip Neal were outstanding, and what a good partner Neal is!! As others commented, Janie Taylor was unusually grim yesterday and there was a disconnect between her and the music. In fact, my reading was that Antonio Carmena handled it with aplomb and kept her on the music. Arch Higgins also handled himself very well in the fourth movement. Maybe what Carbro noticed was that about one third of the corps girls who were listed were not those who actually were dancing, so maybe these last-minute shuffles didn't result in the smoothest of Bizets, but, boy, it was very well received by the audience.
I actually thought Taylor was fine and that hers was one of the better performances in a generally under-rehearsed and slightly ragged Symphony in C. (1st of the Season -- Eric and others rightly note that the company is using 1st performances of Balanchine as, in effect, dress rehearsals). And in fact Taylor made a great deal of eye contact with Carmena and with the audience. It is not an easy role for her, though, it is a little against type. (Taylor in 1st movement and Somogyi in 3d would work better maybe on balance).
Sylve and Kowroski were interestng together in Kammermusik. What one notices about Sylve's training, what differentiates her most from NYCB dancers (her gorgeous upper body aside) is the development and use of the pliee -- She is very muscular in her legs and a subtle but powerful pliee motion shapes and informs all of her steps. You see it in the inherent spring in her pas de chats and pas de chevals, even in those little sexy, trotting runs Balanchine uses to move the dancers around in transitions. As a whole -- what with that and her upper body -- the contrast between La Sylve and La Kowroski (and the other NYCB women) is how much more volume Sofiane seems to inhabit on the stage, how she occupies and displaces space in a fundamentally different manner than Maria or anyone else in the company. I hope she stays beyond the winter. My biggest criticism of Sylve yesterday would iinvolve facial expression as I thought she could have been more neutral in that department in Kammermusik. And Maria K was very very very good yesterday, I think it does her good to have some competition. Indeed, the addition of Sylve and the return of Weese have restored a balance to the company's female principal situation. (Although gosh does the corps look to be in disarray at the moment).
Since Bobbi posted simultaneously with me and I didn't see hers when I wrote, a point of clarification.
I don't mean to imply that I didn't enjoy Symphony in C. In fact, I enjoyed it very much. It is just that I did find all of the principal performances a bit sloppy and I thought Taylor's, in fact, far from the worst, where one couldn't distinguish La Stafford in 4th Movement from the rest of the corps (so little did she hold the stage); where Somogyi fell out of 2 of her turns and 1 series of pirouettes in 1st movement; and where what can we say at all about Nilas Martins, who, as a friend of a friend aptly noticed, even used the wrong arms in one of the ensembles. And Wendy, who, as the same viewer remarked, had danced so brilliantly and passionately in Friday Night's Chaconne, that she seemed a bit tired Saturday, in both Balldade and Symphony in C, particulary in her jumps in Ballade which were nearly marked instead of fully performed.
As for Taylor -- She is a dancer who really seems to need rehearsal and a number of efforts at a role to make it her own. One often sees her searching for something in the phrasing and both Sneds and Bobbi are right that you could see that yesterday, for instance in the phrasing and timing of the repeated step where, on a musical climax, she is spun in a pirouette into arabesque penchee with a big extension, on the music. But what I really appreciate about Taylor is that she tries so hard to get it right, she doesn't just bail and mark the step, create the effect and forget about it. And as we saw in Serenade, when she does get the musicality and the phrasing and finally make it her own, the result is extraordinary.
Actually from my seat in the orchestra, it didn't appear that Taylor was making any eye contact with Carmena at all.
Originally posted by sneds Whelan and Tewsley were individually solid in Ballade, but their was almost no connection.
Whelan and Tewsley were individually solid in Ballade, but their was almost no connection.
Ah, so you were seated in the orchestra and saw "almost no connection." Interesting, Sneds, because from my perch in the Fourth Ring, I saw a connection. Not continuous nor in mutual measure, but I felt a sweet rapport between them. Maybe we should note our seat locations when posting, to account for some of our different perspectives (both literal and figurative) of the performances!
Also, with Michael, I noticed how Nilas was marking much of his dancing and even left out a step or two. It could be due to the sadness of the day, but this was unusual for Nilas only as a matter of degree. (Wasn't this also characteristic of Heather's post-Balanchine career?) Is it a fault of management that we are left these days to discuss the appearance of widespread fatigue among the dancers?


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Written on: 23/07/2013 by SJRichards15 (1 review written)
We booked a route master bus to take our Asia clients onto a drinks function. It was really short notice but the bus turned up on time and was in good clean condition. The driver was very flexible and was happy for everyone to have their photo taken, even in the driver's seat. We changed our route last minute as it was the hottest day of the year (the buses are too old for aircon). He was even kind enough to drop the remaining drinks back to the office. I found routemasters for hire very professional throughout the booking process and would not hesitate to recommend to friends and colleagues. Thanks for a brilliant start to a great evening!
Written on: 26/07/2013
We would like to thank you for leaving a comment, we are glad you enjoy the hire and we fulfilled your expectations. Regards, Route Masters For Hire
As rated by our community of reviewers
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emoji on ipad
location: modmyi.com - date: May 8, 2010
has anyone had luck getting emoji to work on ipad? when i press the globe i get empty squares above the keyboard. i have the japanese keyboard selected in settings, but there is no selection for emoji. thanks,
post reply | video help | read moreI can haz emoji?
location: modmyi.com - date: November 24, 2008
Update: Available in cydia from iSpazio. PLIST IS HERE: http://localhostr.com/files/cd6a49/c...nces.plist.zip As an addendum to my last post, I decided to figure out how to enable Emoji systemwide. My findings were first posted on Twitter, but I'm putting them here for persistence. You need to replace the file /User/Library/Preferences/com.apple.Preferences.plist on the device -> whether you use a jailbreak to achieve this or merely some iTunes backup editor is up to you. Add the following boolean key as 'true': KeyboardEmojiEverywhere
post reply | video help | read more'EmojiPro' Adds All Hidden iOS 5.1 Emojis to the Stock Emoji Keyboard
location: modmyi.com - date: June 8, 2012
Originally Posted by Pir8pete never pay for this stuff, it's all there for free, lesson learned never for for stuff like this, it's all there for free. Glad you support piracy. Good to know
post reply | video help | read more5.1.1 New Emoji?
location: macrumors.com - date: June 1, 2012
Saw somebody say that since 5.1.1 there are new emoji? Right or wrong?
post reply | video help | read moreImportance of emoji for iPhone's success in Japan
location: macrumors.com - date: October 26, 2008
I would just like to give ancedotal eveidnce as to why emoji is such a big priority for apple and the iphone's success. I made a new friend that I didn't know very well and was communicating with them by mail. They sent me a message one time late at night which ended with "goodnight." I sent a one word "goodnight" reply, which due to it being the iphone had no emoji. This prompted a swift apology from my friend and a couple mails back and forth smoothing everything out letting them know that i wasn't mad and that it really was to mean just "goodnight"... Thing is, however you slice it, Japanese culture pushes to look past just what is written/said in communication, and emoji puts a face to words, like we do on this forum I think more than a few people would be pissed if the forum were
post reply | video help | read more[share] Kaomoji (Japanese emoji)
location: macrumors.com - date: March 18, 2009
I am probably the only one here who gives a crap but after 3 days work I thought I would share any way :P Kaomoji are the emoticons made with mostly UTF8 and Shift-JIS characters ヽ(`д´)ノ Mac users have a dictionary system that can make typing them automated through the transliteration system but it will require using the Koteri(Japanese) input system so if you don't know any Japanese this may be difficult at first and no you don't need a Japanese keyboard to do this. I am including the dictionary I created to make using 1,103 kaomoji easier. You can get it here Kaomoji Dictionary the dictionary and a pdf list of kaomoji are inside the zip file. To use it, 1 - Setup JP input [System Preferences...]>[international]>[input menu]... check [あ] Koteri and atleast [あ]hiragana you can have
post reply | video help | read morehow do i remove emoji 2 from contact list
location: apple.com - date: August 23, 2012
How do I remove emoji 2 from contact list?
post reply | video help | read moreHow to remove Emoji keyboard from Add New Keyboard?
location: apple.com - date: January 25, 2012
I already remove the App ... but the keyboard still work and some symbol stay together .. they change into faces .. dose anyone know how to completely remove this keyboard??? remove it from Add New Keyboard...
post reply | video help | read moreI can't find Emoji in my iPhone
location: apple.com - date: November 9, 2010
Mine is iPhone4, OS 4.1I already downloaded Emoji, but it can't be enabled.And I also try to add it from the keyboard list, but it's not there....I even try to make my phone under Japanese, I still can't find it....What's the problem?Ps. I bought it in France. Does that matter?
post reply | video help | read moreHow do I Clear the Emoji Recent List?
location: apple.com - date: May 3, 2012
How do I clear out the Emoji recent list? The recent list could be useful, however it does not seem to work effectively. It has accumulated the first icons I used, many of which were accidental selections. The icons however, never update, recently used icons never replace the first ones that were used. There must be some way to reset the cache. Any ideas?
post reply | video help | read moreRemoving Emoji
location: apple.com - date: July 16, 2012
I changed my setting to include "smiley faces" under the settings, keyboard, international keyboards, "Emoji". I lost my voice to text function on the keyboard. I want to go back, but can not remove the "Emoji" function. Help?
post reply | video help | read moreEmoji keyboard on 3GS
location: apple.com - date: December 5, 2010
I have an iPhone 3GS and would like to use the Emoji apps, but I don't have the Emoji keyboard on my phone. I have looked in the international keyboards list and it is not there. Please help.
post reply | video help | read moreTS2450: iOS: Troubleshooting emoji issues
location: apple.com - date: June 6, 2012
how can we then send/receive emoticons to non iphone users since the built in emoji is not visible to others?
post reply | video help | read moreReplacing Emoji App HELP!!!
location: apple.com - date: April 30, 2012
Okay, so I recently download the emoji free app because I didn't have the money at the time for the emoji pro app, but today when I downloaded the emoji pro app and deleted the free app, the free smilies are still there and won't give me the pro version of the app.. Is there any way to REPLACE the app, because I've tried to delete all the emoji apps, restarts, and then reinstall the pro version, but it still won't give me it.. Very frustrating..
post reply | video help | read moreHow has emoji changed you "ilife" recently ?
location: imore.com - date: January 31, 2009
The day before yesterday, TheiPhoneBlog posted an article about adding emoji to you iPhone without having to jailbreak it (). The next day (yesterday) I noticed a flood of emoticons being used on twitter from all my theiPhoneBlog Tweet people. It was really humorous to see this. But the real question... How has the emoticons helped you and changed the way you use text in the app? List them here! I use the emoticons in my calendar, SaiSuke (review coming soon) and even in the normal Calendar app to denote whether it is an important event, semi-important event by using the icons. Here's a pic of using it in SaiSuke, click on it to enlarge it.
post reply | video help | read moreEmoji on iOS 4.2.1
location: modmyi.com - date: November 24, 2010
I just installed and successfully jailbroke 4.2.1 on a 3G iphone. Everything is fine but I can't seem to get any of the emoji apps (cydia and/or appstore) to enable the keyboard so I can add it. Is there a known problem/solution for the emoji keyboard and 4.2.1? Any help is much appreciated, my wife is really starting to bug me about losing these damn icons.
post reply | video help | read moreEmoji on iOS4?
location: macrumors.com - date: June 19, 2010
The Emoji keyboard is not coming up for me. Anyone else encountered this yet? Is it not iOS4 friendly or is there a work around I've missed? TIA!
post reply | video help | read moreWhat do all the Emoji mean?
location: macrumors.com - date: November 8, 2011
I googled but can't find anything that lists all the emoji and their meaning. Obviously the smiley faces are self explanitory, but when you get to the end there is kanji and what not. Anybody have a clue?
post reply | video help | read moreCan't send Emoji texts (T-Mobile)
location: macrumors.com - date: June 13, 2010
I installed the Emoji-free app (IIRC from the official app store), and while I can send texts to myself I can't to other iphones. I get the error "Free Msg: Unable to send message to XX. Please try again without a symbol in the text." Does the recipient of the text have to have Emoji installed as well? Or is this a T-mobile/jailbreak thing?
post reply | video help | read moreEmoji keyboard??
location: macrumors.com - date: November 8, 2011
I added this to my GFs phone lastnight. I selected the keyboard that said "Emoji". When she sends one, every person gets a (?) instead of the image. Did I choose the wrong keyboard?
post reply | video help | read more
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Inconel 625
Inconel 625 (brandname INCONEL®/INCOLOY® or HASTELLOY®/HAYNES®) is celebrated for it's versatile properties. The alloy of nickel, chromium and molybdenum makes an extremely strong and heat resistant metal. Inconel 625 is corrosion restistant up to even 980 degrees Celsius. Salomon's Metalen supplies Inconel 625 right out of stock, both in rods and in plates.
Application of Inconel 625
Inconel 625 is mainly used in the presence of chemical fluids or seawater. It has a good weldability and formability, both hot and cold. Salomon's Metalen can work this material according to your instructions and deliver quickly.
The Red Book
In the Red Book, our paper catalog, you'll find all our (precious) metals and alloys, usefully displayed in rows. Comparison is thus very simple. Would you like to receive a copy of the Red Book or do you have any questions? Please contact Salomon's Metalen by calling +31 (0)50 - 542 12 00.


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Altova DatabaseSpy Enterprise Edition 2017sp2
Altova DatabaseSpy 2017 Enterprise Edition is the unique multi-database query, design, compare, and convert tool from the creators of XMLSpy. It connects to all major databases, easing SQL editing and other tasks much more affordably than single-database solutions. Features like table browsing, data editing, SQL auto-completion, visual table design, database comparison, database conversion, and more combine to liberate data management.
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Altova StyleVision 2017 Professional Edition is a powerful visual stylesheet designer for designing templates that render HTML and RTF output from XML and SQL database data and produce electronic forms for use with Altova Authentic. StyleVision supports XSLT 1.0/2.0/3.0, CSS, JavaScript and all major databases. Available in 32-bit and 64-bit versions, StyleVision also includes an HTML importer for easily converting HTML pages into XML.
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Altova MapForce 2017 Professional Edition is an award-winning graphical data mapping tool for transforming between XML, database and flat file formats. MapForce converts data instantly and offers multiple options to automate recurrent conversions. Languages for code generation include XSLT 1.0/2.0, XQuery, Java, C++ or C#. MapForce is available in 32-bit and 64-bit versions and integrates seamlessly with Visual Studio and Eclipse.
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Altova MissionKit 2017 Enterprise Edition is a software development suite of industrial-strength XML, SQL, and UML tools for information architects and application developers. Altova MissionKit includes Altova XMLSpy, MapForce, StyleVision, UModel, and other market-leading products for building today's real-world software solutions.
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Free, easy and fast way to convert Microsoft Outlook auto-complete list cache files from NK2, DAT and XML to XML and NK2 formats. Automatically detects autocomplete cache files used by Outlook. Provides Outlook add-in and standalone Windows launcher application.
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text: Project Zomboid's Concept Art Also Blows Up Aircraft CarriersLuke Plunkett1/20/12 2:00amFiled to: Fine ArtProject zomboidGameloftIndieTop181EditPromoteShare to KinjaToggle Conversation toolsGo to permalink French artist Remi, aka Afekay, has landed a rather pleasant little gig doing the concept art for work-in-progress zombie survival sim Project Zomboid. Coming out of mobile games, which is where the decidedly non-Zombie stuff you'll see here comes from (specifically Gameloft's Dungeon Hunter 3 and Modern Combat 3), Afekay's art for Zomboid lends a little more character to a game that, well, was never short on character to begin with, seeing as it's as much about trying to save your injured wife as it is about saving your own ass. Fine Art is a celebration of the work of video game artists. If you're in the business and have some concept, environment or character art you'd like to share, drop us a line! Reply18 repliesLeave a reply


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Jesus Calling: 365 Devotions for KidsKris Bearss, Sarah Young, Tama Fortner, Tama Fortner
Based on her original best-selling book, Jesus Calling, this version has been adapted in a language and fashion that kids and tweens can relate to their everyday lives. In Jesus Calling: 365 Devotions for Kids, the devotions are written as if Jesus is speaking directly to a ... Read More
Other Formats
- Orange/Blue Leathersoft: $19.99
- Softcover - Spanish Edition: $14.99
After many years of writing in her prayer journal, missionary Sarah Young decided to "listen" to God with pen in hand, writing down whatever she believed He was saying to her. It was awkward at first, but gradually her journaling changed from monologue to dialogue. She knew her writings were not inspired as Scripture is, but they were helping her grow closer to God. They are written from Jesus' point of view, thus the title Jesus Calling.
Others were blessed as she shared her writings, until people all over the world were using her messages. It is Sarah's fervent prayer that our Savior may bless you with His presence and His peace in ever deeper measure.
Sample Page 1 >
Sample Page 2 >
Sample Page 3 >
Sample Page 4 >
Product Details:
Ages: 8 & up.
Page Count: 392
Released: 10/2010
- Product type: Book
- Format: Hardcover
- Release Date: Sep 8, 2010
- Height: 0.90
- Width: 5.80
- Length: 7.50
- Volumes/Discs: 1
- Pages: 382
- Publish Date: Oct 10, 2010
- Language: English
- Audience Age Maximum: 12
- Audience Age Minimum: 8
Customer ReviewsWrite your own review
- Wonderful book! by Judy L on 1/20/2017
My daughter's 2nd grade teacher used this book daily at her Christian school, and she begged me to get it for our home. It is excellent for grade school kiddos to read themselves, read to their parents, or parents read to them. Easy to understand, yet meaty with His word. Good for people just beginning their walk, as well as for those blessed kiddos looking for deeper meaning. A great tool for every family!
- Great Devotional! by Belinda on 2/7/2015
I received the original Jesus Calling book years ago and I loved it. I really liked the way it was laid out and the style in which it was written. I was so pleased when the kids version came out and was excited to share it with my children. Like the adult version, it contains 365 devotions, one for each day of the year. My boys thought it was neat that they could find each day's devotion easily, by themselves. Each day starts with a Bible verse. It then has a short devotion that is worded from Jesus' perspective. It is like Jesus is talking directly to the child. The devotions address things that children face, like distractions, fear, and temptations, all in a way that kids can understand. I like the fact that they aren't too long, so kids can stay focused. At the bottom of each page is the "Read on you own" section that list 1-2 additional Bible verses for kids to read, that connect to the lesson. My kids enjoy it and actually request to do the devotions each day. The description says 8 and up but my 6 year old follows right along with my older boys. This book is a great way to share valuable lessons from the Bible with your kids. Honestly, I think adults will get just as much from it as the kids!
- LOOOOVE THIS! by Alicia on 9/20/2014
I purchased this for my kids, but I use it too! It is so easy to understand and so direct that even adults will love this! One of the best purchases I've made in a long time. :)
- My son has read the cover off of it and wants a new one by L.A. on 2/10/2014
I purchased this for my son 2 years ago and he informed me this weekend that he needs to get another one as his was falling apart.


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For an ideal user experience, please update your flash player. Click here to download the latest version of Adobe Flash.
Here You are! My romantic, lonely boy - I must tell, You just found the cure - let\'s talk and play together - so I can make You feel much better.


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Solid organ transplantation is currently the treatment of choice for children with a variety of end-stage organ diseases. The success of clinical transplantation is dependent on the use of potent immunosuppressive drugs to prevent rejection of the allograft. However, chronic immunosuppression is linked to a number of serious side effects in children including an increased risk of infection and de novo malignancies. Post-transplant lymphoproliferative disorder (PTLD) is the most common malignancy in this population, occurring in 10% of pediatric heart, 1-3% of kidney, 1-3% of liver, and 10-30% of small bowel transplant recipients. PTLD describes a spectrum of abnormal B cell lymphoproliferations associated with Epstein-Barr Virus (EBV) infection, the most serious of which manifest as frank lymphoma. As the risk of developing PTLD is greater in patients who are EBV seronegative at the time of transplant, infants and children are at particular risk. Currently, there is no EBV vaccine available;reduction in immunosuppression and antiviral therapy are used as the first line of treatment. However, there are major gaps in our understanding of the immune response to EBV infection in the immunosuppressed patient and no clear evidence that current therapies are effective. Advances in this field are limited by the absence of proven biomarkers to reliably diagnose EBV-associated cancers and to follow those who are at highest risk. We hypothesize that unique molecular and functional changes in the EBV genome, the infected B cells, and the responsive T cells occur in transplant recipient children with EBV disease and that these changes can be utilized as novel biomarkers associated with detection and prognosis of EBV-positive PTLD. We have developed compelling preliminary data suggesting that the attainment of such biomarkers may be within reach. In this observational study, coupled with a strong mechanistic component, we bring together 5 leading pediatric programs in heart, liver and small intestinal transplantation to identify biomarkers of EBV disease and its progression to PTLD. To test this hypothesis we propose the following specific aims:
Aim 1 : Assess gain of function mutations in the EBV protein LMP1 as a biomarker for PTLD risk.
Aim 2 : Assess the emergence of pathogenic B cell clonotypes using high-throughput V(D)J sequencing as a biomarker for emergence of pre-clinical PTLD. Our goal is the development of a biomarker that would identify patients at risk for PTLD or those in the very early stages of the disease, which will represent a major advance in pediatric solid organ transplantation.
Solid organ transplantation is an important therapeutic option for children with a variety of end stage diseases. However, the same immunosuppressive medications that are required to prevent the child's immune system from attacking and rejecting the transplanted organ, can predispose children to developing a very serious cancer that is linked to the Epstein Barr virus (EBV). Diagnosis and effective treatment of the EBV-associated cancer is hampered by our inability to determine which children are at risk of developing these cancers and to detect the cancer at an early stage. In this proposal we plan to test new biomarkers in the blood of children that will tell us very early on if the child is at risk of developing the EBV-associated cancer or if the cancer is present. These studies provide new opportunities for detection, diagnosis, and treatment of children with EBV- associated post-transplant cancer.


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Android app
This project was awarded to hitasoftindia for $333 USD.Get free quotes for a project like this
Project Budget$30 - $250 USD
Total Bids20
Project Description
Making an application to run on Android. The application will allow users to search the pensions and display a minimum of information and telephone number. Besides the application will be created and the database and how to manage it on the web. The application is simple, there will be no records in the database, only query. For other details are available.
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- Forbes
- The New York Times
- Time
- Wall Street Journal
- Times Online


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Surrounded by beautifully-landscaped riverside gardens within this private, gated estate, Beechcroft's Fitzroy Gate will ultimately comprise 23 exclusive two and three-bedroom houses and apartments. Six apartments will result from the conversion of the Grade II listed White House, eight two and three-bedroom houses will be created within The Chapel and The Mews and the new Isabella House will feature nine two-bedroom apartments
Actual photography of Showhome
020 3326 1233
Richmond Road
Old Isleworth
Find the marketing suite on maps
Within the grounds of this historic estate lies Fitzroy Gate, a collection of brand new 4, 5 & 6 bedroom homes and refurbished historic buildings set within mature parkland gardens. This little known area is appealing to both professionals and families alike due to its tranquil riverside location, gated landscaped environment, close proximity to outstanding schools, accessibility to regular train services and all major routes and with the surrounding delights of Richmond, Twickenham and St Margarets on the doorstep.
The interior design by Laura Hammett will bring an opulent, sophisticated feel to the interiors of these homes with their precise attention to detail and through the use of natural, contemporary tones.
Set within the Isleworth Riverside Conservation Area, the site has a varied history and includes several listed buildings including Isleworth House, known locally as the 'White House', and rebuilt in 1832 by Edward Blore for George III's chaplain, Sir William Cooper.
St James is developing 39 exquisite new family homes at Fitzroy Gate which presents an exclusive opportunity for you to reside in a home where every feature has been carefully considered and designed with you in mind. The varying architecture of the homes will provide a mix of styles and internal layouts to suit every purchaser's requirements.
Many houses offer wide spacious entrance hallways and staircases, first floor reception rooms, open plan kitchen/dining/living spaces flooded with light and folding doors opening out onto private gardens. Depending on your preference, some will also offer separate studies, top floor master suites and first floor terraces looking out over the landscaped gardens and down to the banks of the River Thames.
For press information or images, please contact: LUCHFORD APM
Tel: +44 (0)20 7631 1000
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- 08-21-2013, 01:18 PM Thread Author #1
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Screen Timeout, Wifi and Mobile switch off !!!
I bought samsung galaxy win since 1 month, it was fine till last week,
I had a problem after many trials to figure out where the problem is, I found that when my WiFi is on, when screen is off due to screen timeout, when I try to open screen again by pressing menu button or power button, nothing happened, I need to switch the mobile on again by pressing power button long press (not normal press to open as usual if you switched off manually)
if I turn off my WiFi, this problem disappear totally !!!
someone told me because mobile is duos, may be you have only two gateway, when WiFi is one with access of data plan of two Sim cards, may be doing conflict, actually last week I switch data plan access between two Sims last week and I think this problem came with this action, I delete APN access points from one of two Sims but it didn't solve this problem.
does anyone familiar with this problem?
I appreciate your help, thank you in advance
- 08-22-2013, 01:32 PM Thread Author #2
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Take the splash today!
Dubble Bubble Painterz Bubble Gum Changemakers Painterz Mouth Coloring Bubble Gum is perfect if you loved the classic bubble gums that painted your mouth like Ka Bluey and Tongue Splashers. Each tube contains five (5) unwrapped pieces of mouth coloring Bubble Gum manufactured by the makers of
- Price: $10.08


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Financing Made Easy . . . By Charlton Motors Auto Group
Get approved online in MINUTES and drive out with the vehicle of your choice!
Things you will need!
- Your driver's license number
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(previous employer needed if you have been at your job less than 2 years.)
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It seems very likely that the battle over the propriety of requiring that the Pledge of Allegiance be recited in public schools won't end any time soon. Wouldn't it simply be easier for Congress to repeal the 1954 act that added the words "under God" to the pledge and was inspired by McCarthyist, Cold War hysteria? U.S. District Judge Lawrence ... Read More »
The Supremes: Media Stars or Jurists?
There's a rather troubling article in Monday morning's Washington Post regarding the treatment television news gives Supreme Court doings. Howard Kurtz quotes several cable TV news hosts who, while lawyers themselves, argue that television news can never successfully cover the intricacies of the Court because of the "lack of excitement" aroused by such stories and the need to compete with ... Read More »
Naming rights, and other such abominations.
I've suffered over the years watching such travesties as the San Francisco Giants' park being renamed "SBC Park" ("Pacific Bell Park" somehow felt quite acceptable, and had a homey feel), and Candlestick Park acquiring the moniker "Monster Park." San Diego's new baseball stadium is called "Petco Park," which evokes visions of poodles jogging around the bases in Best of Show ... Read More »


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Science Agriculture Animals Mammals Sheep Pasture and Feed
Sites pertaining to pasture management, feed programs, and nutritional advice.
Sites 20
Artificial Rearing of Lambs
Feeds, feeding and what can go wrong when are orphaned lambs or when prolific ewes have too many lambs for the milking ability of the natural mother.
Case's Agworld
Grazing groups, hay for sale, pasture for lease. Extensive list of forage and rotational grazing links.
Chronic Copper Poisoning
Answers the question of why chronic copper poisoning (CCP) occurs.
Dealing With High Hay Prices
High hay prices are a major consideration for sheep producers. Unless one can find hay that is reasonable in price, the only option in reducing hay cost is to feed less hay. Strategies to achieve this goal will be discussed.
Feed Composition for Cattle and Sheep (PDF)
Nutrition research spanning more than 100 years has defined the nutrients required by animals. Using this information, rations can be formulated from feeds and ingredients to meet these requirements. Animals fed these rations should not only remain healthy but be productive and efficient.
Feed Hay First
Discussion of when hay should be fed in relation to when the grain ration is fed and why the order is important.
Feeding Ewes(PDF)
Needs, options, budgeting.
Feeding the Ewe Flock
What and how much should I feed my sheep? That is a question that is asked quite regularly. The correct answer is: it depends.
Feeding the Lamb Crop
There are a number of ways to grow and finish lambs. The type of feeding program will depend in large part on what area of the country one is located, what type of production system is utilized, what the marketing options are and, of course, what feed resources are available.
Forage and Rotational Grazing Links
Extensive list of publications for those establishing and/or managing pasture or forage.
Formulating Rations With the Pearson's Square (PDF)
The Pearson square or box method of balancing rations is a simple procedure that has been used for many years. It is of greatest value when only two ingredients are to be mixed.
Lamb Feedlot Nutrition (PDF)
Meeting protein, energy, vitamin and mineral requirements is essential for profitable lamb finishing. This publication will help you start your lambs on feed and to develop an effective feeding plan.
Nutrition of the Ewe Flock
Steps to prevent "empty gut disease" caused by the inadequate supply of nutrients.
Nutritional Effects on Sheep Health
Prevention and treatment of diseases commonly associated with nutritional imbalances.
Prime Facts: Creep Feeding Lambs
Factsheet from the NSW Department of Primary Industries on the benefits of supplementary feed for lambs in times of drought.
Purdue University's Forage Information Web Site
This site contains information on forages for the Midwestern U.S. It contains a section on forage plant identification, complete with photos.
Selecting the Right Grain Ration for Sheep
Short discussion regarding the risks of copper toxicity encountered when using grain rations not prepared specifically for sheep.
Sheep Feeding Programs: Forage and Feed Analysis
Provides information on choosing the nutrients to be measured and the taking of samples.
Supplemental Pastures for Sheep
Efficient and effective ways to pasture sheep are covered here. Includes notes on specific plants.
Urea and NPN for Cattle and Sheep (PDF)
Urea can be fed to ruminants as an economical replacement for a part of the protein in a ration.
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Hi all,
I'll visit SG from Batam.
Right after arrived at Harbour Front I have a plan to visit Sentosa Island instead of check in to the hotel first.
My question, is there any luggage storage facilities at Harbour Front (or near) so I can let my belonging stay there while I am on sentosa.
And how much it will cost me ?
Thanks for your info.
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PRINCE LOGAN. (M)Is a spoiled rotten prince who thinks very high of himself. He is very well known for being a cruel person. He is the BEAST.
BETTY. (F)Is a maid/ server to PRINCE LOGAN. She hates him very much.
XAVIER. (M)Is a prince from the next town over. He is truly ugly but the kindest person anyone can meet.
FAIRY GODMOTHER/FATHER. (F/M)Is Betty's guardian and puts curses on people who are mean to her.
CAMERON. (F)Is a kind-hearted peasant with great hopes to see PRINCE LOGAN.
PEASANTS. (F/M)Are hungry beggars that coem to the castle to beg for food and money.
© Copyright 2017 Magnesium. All rights reserved.
Status: Finished
Genre: Children Stories
Um... Aren't you missing something (like DIALOUGE)???
Article / Riddles
Script / Humor
Paste the link to picture in the entry below:
Paste the link to Youtube video in the following entry:
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text:
Quality is high, attendance strong at SPIE Photonics Europe
SPIE Photonics Europe 2012 drew more than 2,030 attendees to Brussels in April for a week of high-quality presentations on photonics research advances.
(PRWeb April 30, 2012)
Read the full story at http://www.prweb.com/releases/2012/4/prweb9461155.htmClick here for reuse options!
Copyright 2012 Biotechblog
Comments are closed.


text:
Tropical Fish Keeping - Aquarium fish care and resources (http://www.tropicalfishkeeping.com/forum.php)
- Beginner Planted Aquarium (http://www.tropicalfishkeeping.com/beginner-planted-aquarium/)
- - Liquid Ferts. (http://www.tropicalfishkeeping.com/beginner-planted-aquarium/liquid-ferts-85769/)
Liquid Ferts.
When you use liquid fertilizers in your tank Do you shut off the filter for a period of time???8-)
How long do you leave it out? The charcoal has the mechanical filter pad as a part of it, Thanks
In a planted tank it is advisable not to have carbon (charcoal) filtration. Carbon adsorbs [that is not mis-spelled, it adsorbs rather than absorbs:-)] substances from the water, including nutrients that the plants can use.
If the carbon part of the filter media can be removed, it can be replaced with just filter sponge/floss material.
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Not many people realize that the US has elected one president who served as a prisoner of war. That man was Andrew Jackson, who was captured by the British during the Revolutionary War. Now, can you name the American President who killed another man in a duel? If you guessed Andrew Jackson you are right and if you knew that today is the anniversary you receive extra credit and can proceed directly to Final Jeopardy.
I thought about the somewhat surprising history on Jackson when I read the recently released the "2013 Anti-Bribery and Corruption Benchmarking Report-A joint effort between Kroll and Compliance Week" (the "Survey"). Much like Jackson himself, the Survey had some interesting and somewhat disturbing findings as well regarding companies and their third parties. The findings were troubling because I think that most compliance practitioners recognize that their highest compliance risks under the Foreign Corrupt Practices Act (FPCA) and UK Bribery Act revolve around third parties. Some of the highlights of the survey are as follows.
I. Risks
While 43% of respondents said their bribery and corruption risks have increased in the last two years, another 39% said those compliance risks have remained mostly the same and, finally, 7.7% reported that they believe their compliance risks have actually fallen. Regarding future corruption risks, the respondents were split with half saying they expect compliance risks to rise in the next 12 months, and half do not. The single most common reason given for increasing compliance risks was expansion into new markets, followed by more vigorous enforcement of current anti-bribery laws. The Survey reported the "good news is that 57% of respondents say they conduct an enterprise-wide assessment of bribery and corruption risk annually. The bad news: the other 43% conduct such an assessment less than once a year, and 16.9% say they've never conducted a corruption risk assessment at all. A solid majority of companies also say they have some sort of documented approach to managing bribery and corruption risks; 37.7 say they have a "well-defined, documented process dedicated solely to global bribery risks," and another 42.7% say they treat corruption risks as part of a larger documented process to address all compliance risks."
II. Due diligence
The Survey indicated that most companies have a good understanding of the need to, and performance of due diligence on third parties or acquisition targets. It found that 87% perform at least some sort of due diligence on third parties, and the criteria that help a compliance department decide how much diligence to perform generally seem risk-based. The top criteria were, in order, the nature of the work a third party would provide; the amount of contact the third party has with foreign officials; and where the third party is domiciled. A variety of tools were used to perform due diligence. These tools included: certifications from the third party that it has no corruption problems; reviews by your company's legal or finance team; and data collected by your local business-unit leaders. Reference checks, on-site interviews, and research from professional investigators were some of the less-used techniques.
III. Third parties
The Survey found that many companies are still struggling with ongoing anti-corruption monitoring and training for their third parties. Regarding training, 47% of the respondents said that they conduct no anti-corruption training with their third parties at all. The efforts companies do take to educate and monitor third parties are somewhat pro forma. More than 70% require certification from their third parties that they have completed anti-corruption training; 43% require in-person training and another 40% require online training. Large companies require training considerably more often than smaller ones, although when looking at all the common training methods, fully 100% of respondents say their company uses at least one method, if not more.
An astonishing 47% of all respondents said they conduct no anti-corruption training with their third parties at all. The numbers are even higher for companies based outside of North America (51%) and those with less than $1 billion in annual revenue (55%). Violet Ho, senior managing director for Kroll's practice in greater China, was quoted as saying, "A lot of companies have very good intentions of doing a thorough job looking at their third parties," Ho says. "But ultimately when you are a very large organization with more than 10,000 vendors, it's not financially viable. You do not really have the time or resources to look deep into each and every one of them." Another factor that Ho noted was significant is that companies often do not even know how many third parties they use, which makes training all of them impossible. Moreover, corporations typically have much less bargaining power with third parties, especially when they are located in far-flung jurisdictions. The result: if a company is using only one vendor to source an item and asks that vendor to promise to follow some anti-corruption code of conduct, the vendor feels emboldened to refuse.
Lastly, Ho stated "Trying to reach all third parties with a generic, headquarters-issued policy is a waste of time and money. Such policies tempt employees and third parties to find loopholes, and they ignore important regional differences. On-the-ground workers, are focused on revenue and profit, not compliance. Those goals aren't mutually exclusive, but they do require coordination for a policy's effective implementation—which adds all the more pressure on compliance officers to articulate why strong anti-corruption programs are good for business." Clearly this Survey shows the challenges around third parties.
IV. Effectiveness
For all a company's efforts at risk assessment, due diligence, and monitoring third parties, the ultimate question for a compliance officer is simply does my system work? Questions about effectiveness, therefore, get to that core issue of whether all the compliance activities outlined above actually make the business less vulnerable to corruption risk. The Survey found that the responses in their anti-corruption procedures depended on how close to home the tasks actually are. 73% rated their training of domestic employees as "effective" or "very effective." That figure dropped to 63.8% for foreign employees, and only 30% for third parties.
Melvin Glapion, Kroll managing director in EMEA, said that this phenomenon was the "downward and outward" problem. He explained that this meant that companies tend to overestimate how seriously messages sent from corporate headquarters are received elsewhere. Cultural differences abound, and many employees don't see how anti-bribery policies apply to them in their daily jobs. Worse, the person doing compliance checks is often less senior than the executives he or she is monitoring.
Companies with less than $1 billion in revenue were actually more confident in their procedures' effectiveness than larger businesses, the survey showed. Glapion was quoted as saying "that may be because smaller organizations have less bureaucracy and fewer third parties, or they may feel that they are not necessarily in the firing line."
The Survey appears to indicate that companies still have a long way to go in certain areas, particularly third parties. The Survey provides the compliance practitioner with a good benchmark to look at the overall company program.
See more »
DISCLAIMER: Because of the generality of this update, the information provided herein may not be applicable in all situations and should not be acted upon without specific legal advice based on particular situations.
© Thomas Fox, Compliance Evangelist
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