text:
We Market Your Brand
There's always something you remember about a band, whether it's the sound, the energy, the lyrics, or look. When I think about Telfer, I remember the smile. Lead singer Tommy Green Jr. was always beaming on stage, one of those people who charms you with their personality, and obviously he simply enjoyed everything about being on stage. I thought that this guy would win over people with that smile alone.
Back in 2008, Telfer entered and won the Rising Star competition at the Harvest Jazz and Blues Festival, in a year with very tough competition from the likes of Andy Brown and Jens Jeppesen. By then, the band had moved to Halifax full-time, but their roots were in the Florenceville, NB, area. With their funky, easy-going jam music, crossing over into a nice pop sound, it seemed like a winning combination. And who could deny the smile?
Telfer lasted until 2011, when Green Jr. decided a solo career was in order. But it was a different kind. He often took to the high seas, developing a show for cruise lines. He'd travel to exotic locals such as Australia, and be a featured artist for the happily-captive audience. Here's the write-up: "He's a personality. His intimate "Songs and Stories" show has touched the hearts and funny-bones of thousands of cruisers young and old."
So, what do you do if you don't have thousands of dollars for a cruise vacation? Luckily, Green Jr. has been itching to get the music recording for us landlubbers as well. His first solo CD, self-titled, has just been launched on land. It features that laid-back style he's always had, singer-songwriter tunes with acoustic guitar over a full band backing. It's funky with a groove but relaxed, even a little jazzy at times, and well-produced, with lots of fine Halifax players on board.
There's my favourite song title of the year, I Blame Toronto, where he knocks the city for being the reason behind a break-up. The first single, It's My Turn Now, is a feel-good winner, and you should check out the video. It was shot back in the homeland of Carleton County, at the Centreville Community School. Local actors and volunteers play all the roles, including some great kids who do a science fair for the cameras. Best of all, it's all intelligent pop with enough funk to put him square in the festival crowd, and lots of hooks and smooth jazz moments for folks who like excellent playing. Green Jr. deserves to smile over this album.
Leave a Reply.


text:
- Born: March 26, 1997
- B/T: Right/Right
- 6'1″, 204-lbs
- Signed by the Houston Astros in 2015 out of the Dominican Republic.
The Numbers
It's not all green, but it's all steady as she goes. It's like the organization lines up batters for Cristian to face, and all he does is keep them to a low WHIP, strikes out bunches, and walks too many (but never enough to hurt his WHIP).
No matter what level.
No matter who he faces.
Looking in the BaseballHQ.com Minor League Baseball Analyst book, we see that Javier has four pitches in his arsenal:
Javier doesn't have the fastest of fastballs, but it's a riding pitch that is almost impossible for hitters to get their barrels on. He had a ridiculous .130 oppBA in 2019.
His slider is a real weapon, a true plus pitch. His changeup is coming along and improving but needs more work. But then he also has a curve. This is what you want to see in a starter's arsenal, and he already has three very usable (if not plus) pitches.
He's already reached AAA, so he's not far off.
The Scouts
- Rotowire: #380 in their Top 400.
- BaseballHQ: Not in their Top 100.
- Fangraphs: Not in their Top 120.
- Fantasy Six Pack: #720 on their dynasty list.
- Prospects365: Not on Ray Butler's Top 200.
- Imaginary Brick Wall: #212 of the Top 487.
He needs to improve his command of his fastball to give him two plus weapons along with his slider.
He led all of the minor leagues in ERA last year.
He led all of the minor leagues in strikeout rate (K/9) last year.
He led all of the minor leagues in oppBA last year.
All while climbing from High-A to Triple-A.
Any questions?
Didn't think so.

subset: commoncrawl


text:
Cloud-based Training Software Market 2018 —
Cloud-based training software is an application that delivers, tracks, and manages all online and instructor-led training programs on cloud. Internet-based learning boosted distance learning. Internet-based learning is considered as an extension of computer-based learning. Students can conduct research, access information, and watch videos through Internet-based learning.
The analysts forecast the global cloud based training software market to grow at a CAGR of 9.20% during the period 2017-2021.
Covered in this report
The report covers the present scenario and the growth prospects of the global cloud based training software market for 2017-2021. To calculate the market size, the report presents a detailed picture of the market by way of study, synthesis, and summation of data from multiple sources.
The market is divided into the following segments based on geography:
• Americas
Request a Sample Report @ https://www.wiseguyreports.com/sample-request/1309363-global-cloud-based-training-software-market-2017-2021
The report, Global Cloud based Training Software Market 2017-2021, has been prepared based on an in-depth
market analysis with inputs from industry experts. The report covers the market landscape and its growth prospects over the coming years. The report also includes a discussion of the key vendors operating in this market.
Key vendors
• Adobe Systems
• Cornerstone OnDemand
• Trivantis
• Saba Software
Other prominent vendors
• Arlo
• BitKea Technologies
• Configio
• ConvergePoint
• Courseplay
• Docebo
• EduBrite Systems
• eLearning247
• Elucidat
• Epignosis
• EtQ
• Expertus
• G-Cube
• Inquisiq LMS
• Intelex Technologies
• JoomlaLMS
• LearningStone
• Litmos
• MasterControl
• Mindflash
• Peoplefluent
• Powerschool
• ProProfs.com
• QuickBase
• SchoolKeep
• Schoox
• SkyPrep.com
• Zoho
Market driver
• Increased need to improve employee value
• For a full, detailed list, view our report
Market challenge
• Data security and privacy issues
• For a full, detailed list, view our report
Market trend
• Increasing adoption of gamification in e-learning
• For a full, detailed list, view our report
Key questions answered in this report
• What will the market size be in 2021 and what will the growth rate be?
• What are the key market trends?
• What is driving this market?
• What are the challenges to market growth?
• Who are the key vendors in this market space?
• What are the market opportunities and threats faced by the key vendors?
• What are the strengths and weaknesses of the key vendors?
Complete Report Details @ https://www.wiseguyreports.com/reports/1309363-global-cloud-based-training-software-market-2017-2021
Table of Contents –Analysis of Key Points
PART 01: Executive summary
PART 02: Scope of the report
PART 03: Research Methodology
PART 04: Introduction
• Market outline
PART 05: Market landscape
• Market overview
• Market size and forecast
• Five forces analysis
PART 06: Market segmentation by end users
• Market segmentation by end users
PART 07: Geographical segmentation
• Global cloud-based training software market by geography
• Americas
PART 08: Decision framework
PART 09: Drivers and challenges
• Market drivers
• Market challenges
PART 10: Market trends
• Emergence of mobile learning
• Increasing adoption of gamification in e-learning
• Incorporation of social media in training software
PART 11: Key vendor analysis
• Competitive scenario
• Key vendor offerings
• Key vendor profiles
Contact Info:
Name: Norah Trent
Email: Send Email
Organization: WiseGuy Research Consultants Pvt. Ltd.
Address: Office No. 528, Amanora Chambers Magarpatta Road, Hadapsar Pune - 411028 Maharashtra, India
Phone: +1-646-845-9349
Website: http://www.wiseguyreports.com
Release ID: 368218


text:
The Data Is In:
We Have Less Than 20 Years To Fix Our Global Problems Or The World As We Know It Will Come To An End
If you listen to the pundits and prognosticators the world is poised on the edge of a knife …
All these doomsday scenarios are man-made problems that have escalated over the last 100 years. Estimates are that by the year 2035, human civilization will have reached tipping points where efforts to correct problems will no longer make a difference.
The problems of the world are not going to be solved by governments, corporations or religious leaders. The Karma Constitution seeks to unite people from all around the world to act for a common cause with one long-term goal: The survival of the planet.
The Karma Constitution forms the foundation of Planned Acts Of Kindness, a global social responsibility program where each day people around the world wake up and on their cell phones, computers and devices, there's a new planned act of kindness they can do with their family, friends, co-workers and in their community.
The Karma Constitution and Planned Acts of Kindness are the creation of Lyle Benjamin, Executive Director of 16 Things Kids Can Do, a non-profit educational organization that works for the betterment of kids, people, and the planet through a series of books, workshops, programs and activities all designed to help people lead happier, healthier and more successful lives.
To that end, Benjamin created The Karma Club where people can receive their daily Planned Acts of Kindness, invite others to join the cause, and volunteer to help out on social responsibility programs regardless of where they are in the world. Adhering to the principles of Karma, The Karma Club's mantra is, "The more you do, the greater your rewards."
According to Benjamin, "If we are to survive a species and have any chance at quality of life, we need to have tens of millions of people around the world working together on planned acts of kindness with the ability to mobilize instantly to effect corporate, political and grassroots change on common causes like pollution, environmental issues, energy, health, politics,etc.
Benjamin has enlisted numerous organizations, companies, authors, speakers and celebrities to help spread the message. With the goal of taking Planned Acts of Kindness to the United Nations in 2019, he is extending an open invitation to people from around the world, "If you're unhappy with the direction your community, your country or the world is headed, become part of the solution. Join the Karma Club at PlannedActs.org and working together we can make the world a better place, one PAK at a time."
In order to get people motivated and engaged over the long-term, Benjamin created The Karma Club, where people can level up each month based achieving milestones in different PAK (Planned Acts of Kindness) tasks. When members level up, they automatically become eligible for that level's rewards given away each day for a month, beginning on the first of each month.
If you're unhappy with the direction your community, your country or the world is heading, you need to become part of the solution: Take the first step now by becoming a member and help spread the message on your social network for people to check out PlannedActs.Org as it works to make the world a better place to live … one PAK at a time.
Take the initiative, become an activist, and "Viva la Revolucion!" Like the PAK T-shirt says, "If you're not part of the solution, then get the Hell off my planet!" #ItsMyPlanet
Join us on Twitter
Let's Get Social
Together we can help make the world a better place by each doing our part. If even half of the people reading this website right now start to make an effort to be kinder to each other it would go a long way to healing our differences and in turn will start to heal the planet. Together we can help avoid the tough times we live in. We must make an effort to make the planet healthy for our children.
By participating with us on social media it will show a wider audience the kindness you are putting out everyday and in time others will do the same. People get inspired by others good deeds, the more you do, the more people will join the movement to be kinder to each other as well as pay attention to the planet as a whole.
We invite you to join us on both Facebook and Twitter to spread the kindness. Feel free to post a message on our Facebook page or tag us in a Tweet. You can also use our hashtags like #PlannedActsOfKindness #KarmaClub and #ItsMyPlanet.


text:
PublicMarkup.org's First Week
The first week of PublicMarkup.org's launch has exceeded our expectations.
As I write this post, there are now 63 comments on our draft legislation, which you can now keep track of through an RSS feed. While many of the posts come from allies familiar to Sunlight, we're delighted to find excellent, new ideas throughout the comments. Interest in congressional information reaches well beyond the inside-the-beltway advocacy community, and we're happy to provide a forum for substantive reform ideas.
Talking with members of the press has been really enjoyable too, especially as they try to use traditional approaches to writing about legislation. The initial questions tend not to quite fit with a model of advocacy that is entirely open, so questions like "who is sponsoring it?" or "when might they vote on it?" tend to miss the mark. Questions like "What would constitute a success?", or "Why aren't other organizations doing this sort of thing?" might be better starting places. Conducting advocacy in the open is a rather new idea, though, so we'll have to develop some new ideas together about what constitutes consensus, success, and a productive drafting process.
As it stands now, though, we're happy to not have all the answers about where the bill is going. Just like legislation itself, we're not pretending to know the best strategy for the bill, and we recognize that best ideas will be the ones that can benefit from a large community of experts and stakeholders.
One thing is clear: if PublicMarkup.org's second week is anything like its first, our reform ideas — and the open advocacy strategy we're using to develop them — will both have very bright futures.


text:
In response to the article "Green Biz Feeling Blue: Plunging scrap prices wreak havoc on recycling industry," (Jan. 19), we at the Indianapolis location of AbitibiBowater, North America's largest newsprint manufacturer and home of the Paper Retriever paper-recycling program, want to assure those who deposit paper in the green and yellow Abitibi Paper Retriever bins that all paper in this program is recycled and not landfilled.
The article stated that the contractor which collects much of Indianapolis' curbside recycling is "free to handle the curbside materials as it sees fit—including dumping them at the landfill if it can't find buyers."
With the dropping values of recyclable commodities, for many companies it is cheaper to dispose of recyclable paper in landfills rather than incur the cost of collecting, sorting and recycling them. Abitibi-Bowater and the Paper Retriever program operate a full-circle recycling model where there is never a need or consideration to dispose paper in a landfill. We take the paper collected in Paper Retriever bins, bundle it and ship it to our paper mills.
Even with the falling prices for recyclable paper, our company is still offering the same cash rebates to our non-profit bin hosts for the paper collected in our bins. Our paper mills want and need paper. The Paper Retriever partnerships with solid-waste-management districts, municipalities and non-profit locations are not only an environmental solution; they are an economic solution as well. We look forward to continuing our assistance to communities trying to make sound environmental decisions regarding their recyclable wastes.
Melinda Antell
Paper retriever area manager AbitibiBowater—Recycling Division


text:
I previously said (in this post) my next article would be "How to Be an Alpha Provider"... however, I'm going to switch things up today. Today's article is about sex symbols: those of the past and those of today. And we'll get back to the alpha providers again next week. Onwards, then.
Today's article comes in response to a question from Byron on my article about self-cultivation regarding my preference for older male sex symbols over the more current ones Hollywood has to offer. Here's what Byron had to say:
I've recently come across several comments where you reference Sean Connery and Harrison ford as the epitome of raw sexiness. I was wondering if you could elaborate on this and why not the plethora of modern sex symbols, ie what makes them so different? Or if you could write an article on their appeal or a series on famous seducers/ role models I think that would be very interesting and relevant. Again just suggestions, I realize you are very busy. Thank you for this site!"
That's a fantastic question. Why do I recommend the older guys more than the newer guys? I had a few reasons, but part of me kind of wondered if maybe I just had some kind of nostalgia-bias when this subject's come up in the past... maybe I'm simply guilty of thinking older is better.
Fortunately, this article's forced me to really get down to nuts and
bolts, and in the process of writing it, I learned a lot. Let's dive in.
Think about your old school, old fashioned male sex symbols. Men like:
- Gary Cooper
- Cary Grant
- James Garner
- Sean Connery
- James Dean
- Harrison Ford
Compare them to the sex symbols of modern cinema. Men like:
- Brad Pitt
- Ryan Gosling
- George Clooney
- Ian Somerhalder
Do you notice anything?
I like all the guys in both of these lists. All are masters of their crafts, and there are buckets you can learn from watching the facial expressions, body language, and little nonverbal tics of each, as well as studying the way each man uses his voice and his overall demeanor.
However, there's a clear difference between these two groups of men
(that span about two generations each)... a large enough difference
that while I personally suggest you take the time to study all of these
men, when it comes to my own preferences, the only ones I ever find
myself wanting to model outright are the ones from before.
And I sat down today and the one question on my mind was, "How do I best explain this difference?"


text:
Mischelle Davis Recognized for Excellence in Traffic Safety Education by WTSEA
Washington Traffic Safety Education Association (WTSEA) Traffic Safety Education Distinguished Service Award
The Washington Traffic Safety Education Association (WTSEA), the professional organization for public and commercial driving school teachers, has recognized Mischelle Davis by giving her their 2016 and 2015 Distinguished Service Award.
The WTSEA organization annually grants this award to one who has shown outstanding service to or in Traffic Safety Education. The recipient of the Distinguished Service Award is typically not necessarily a teacher, but rather supports the mission of traffic safety education in the capacity as an Administrator, Legislator, Program Manager, Coordinator, Lobbyist, Citizen Activist, or other supportive role.
Mischelle Davis is the wife of Davis Law Group founder Chris Davis. She serves as the firm's Director of Operations. She is also the current chairman of the Washington State Advisory Board for Mothers Against Drunk Driving (MADD).


text:
Home>Products>Nok Oil Seal>TB 38 55 9 NBR NOK AD2231-E0 oil seals
Need a CAD or 3D Model?
TB 38 55 9 NBR NOK AD2231-E0 oil seals
Nok Oil Seal
- 7316572543467
- Seal
- 31411705
- Oil Seals
- 0.276 Inch / 7 Millimeter
- 1.732 Inch / 44 Millimeter
- Viton
- Stainless Steel Garter
- Metric Oil Seals Inc2020-07-10 09:46:19
Welcome to my shop! Glad to serve you! Please send your question!
TB 38 55 9 NBR NOK AD2231-E0 oil seals Details
- Oil Seal
- 0.034
- Metric
- 0.276 Inch / 7 Millimeter
- Yes
- Lip
- Small
- 1.26 Inch / 32 Millimeter
- 32MM Shaft Dia; 44MM Housing Bore; 7MM Nominal Width; Viton Lip; Solid Seal; 7MM Actual Width; Spring Loaded; 2 Sealing Lips; Stainless Steel Garter Lip Retainer; Steel and Rubber Case Construction;
- Steel and Rubber
- 0.015
- Solid
- 4016.93.50.20
- 2
NOK TB 38 55 9 NBR TB 38 55 9 NBR NOK AD2231-E0 oil seals Technology
|Spring Loaded
|Weight / LBS
|Manufacturer Name
|Other Features
|Large / With Inner C
|Weight / Kilogram
|Inch - Metric
|Long Description
|24-7/16 Shaft Dia
|Manufacturer Item Number
|Lip Retainer
|Stainless Steel Gart
|Oil Seals
|Seal Design Code
|Type of Seal
|Oil Seal
|Lip Material
|Housing Bore
|26.438 Inch / 671.52
|Nominal Width
|0.75 Inch / 19.05 Mi
|Solid or Split Seal
|Generic Design Code
|Actual Width
|0.75 Inch / 19.05 Mi
NOK Complete Oil Seal Catalogue
NOK complete Oil Seal catalogue. Genuine NOK seals supplied from Sealparts in the UK. Global shipping of SC SB TC TB TCK VC VB KC KB TCV.
Nok Oil Seal | Catalogue for NOK Seals - A2Z Seals
NOK Oil Seals are used for sealing around a rotating shaft and keeping an oily fluid inside the engine, axle, etc. NOK Seals have various applications based on ...
NOK Oil Seal
Oil seals used in machines play a major role in sealing fluid, whether the machine is stopped or a shaft is in motion. The frictional force of the lip area is ...222 pages
NOK Oil Seals | MISUMI
Rubber rotation seal. Enclosed inner side, open outer side with dust lip. ... Seal, Single Lip, Outer Periphery Rubber for Rotation. ... Pressure Resistant Oil Seal ...
Oil seals |Seal products - NOK CORPORATION
NOK offers a wide variety of seal products of very high reliability, including oil seals, based on its constant and focused research on materials, workings, and ...
NOK, NOK Seals, NOK Oil Seals, NOK O-Rings - Cascade ...
NOK is Japan's first oil seal manufacturer. NOK's functional parts, such as oil seals and o-rings of advanced technology in processed synthetic rubbers, are ...
TB 38 55 9 NBR NOK AD2231-E0 oil seals Video
|ZF-23 (105 130 11 8) NOK AZ4149-E0 oil seal
|Number of Sealing Lips:2; Seal Design Code:HDSA1; Spring Loaded:Yes; Manufacturer Name:SKF; Nominal Width:1.25 Inch / 31.75 Mi; Other Features:Large / With Inner C; Shaft Diameter:8.5 Inch / 215.9 Mil; Harmonized Tariff Code:4016.93.50.20; EAN:85311093866; Case Construction:Steel; Generic Design Cod
|TC 40 58 8 VMQ NOK AE2369-A9 oil seals
|Spring Loaded:Yes; Lip Material:Nitrile; Long Description:18 Shaft Dia; Category:Oil Seals; EAN:85311131247; Actual Width:1 Inch / 25.4 Millim; Generic Design Code:C_R_HDSA2; Seal Design Code:HDSA2; Solid or Split Seal:Solid; Case Construction:Steel; Weight / Kilogram:4.15; Number of Sealing Lips:2;
|MG 475 525 25 NBR NOK AM6104-A0 oil seal
|Harmonized Tariff Code:4016.93.50.20; Inch - Metric:Metric; Case Construction:Steel and Rubber; Lip Retainer:Stainless Steel Gart; Manufacturer Name:SKF; UNSPSC:31411705; Category:Oil Seals; EAN:7316572546635; Solid or Split Seal:Solid; Nominal Width:0.394 Inch / 10 Mill; Noun:Seal; Generic Design C
|VR-650A NOK BM1257-A0 oil seal
|UNSPSC:31411705; Weight / Kilogram:1.897; Harmonized Tariff Code:4016.93.50.20; Inch - Metric:Inch; Manufacturer Item Number:96880; Shaft Diameter:9.688 Inch / 246.075; Lip Material:Viton; Case Construction:Steel; Actual Width:1 Inch / 25.4 Millim; Manufacturer Name:SKF; Generic Design Code:C_R_HDS2
|TB 95 120 13 ACM NOK AD3994-J0 oil seals
|EAN:85311023252; Weight / Kilogram:0.035; Product Group:S02250; Manufacturer Name:SKF; Category:Oil Seals;
|SC 85 110 13 NBR NOK AC3842-G0 oil seals
|Lip Retainer:Stainless Steel Gart; Manufacturer Item Number:12X28X7 HMSA10 V; Shaft Diameter:0.472 Inch / 12 Mill; Lip Material:Viton; Housing Bore:1.102 Inch / 28 Mill; Generic Design Code:C_R_HMSA10; Manufacturer Name:SKF; Number of Sealing Lips:2; Noun:Seal; Long Description:12MM Shaft Dia; 28MM;
|TB 490 550 28 NBR NOK AD6126-E0 oil seal
|Manufacturer Name:SKF; EAN:85311414630; Weight / Kilogram:15.5; Category:Compressors And Air; Product Group:F02126;
|TC 27 42 7 NBR NOK AE1510-E0 oil seals
|Shaft Diameter:22 Inch / 558.8 Mill; Lip Material:Carboxylated Nitrile; Long Description:22 Shaft Dia; Harmonized Tariff Code:4016.93.50.20; Generic Design Code:C_R_HDS2; EAN:85311238892; Other Features:Large / With Inner C; Housing Bore:23.5 Inch / 596.9 Mi; Lip Retainer:Stainless Steel Gart; Keywo
|VB 30 42 5 NBR NOK AF1663-E0 oil seal
|Nominal Width:0.984 Inch / 25 Mill; Housing Bore:22.047 Inch / 560 Mi; Noun:Seal; Generic Design Code:C_R_HDS2; Category:Oil Seals; Seal Design Code:HDS2; Other Features:Large / With Inner C; Long Description:510MM Shaft Dia; 560; UNSPSC:31411705; Shaft Diameter:20.079 Inch / 510 Mi; Inch - Metric:M
|VB 19 40 6 NBR NOK AF0882-F0 oil seal
|Other Features:Large / With Inner C; Solid or Split Seal:Solid; Long Description:35 Shaft Dia; EAN:85311146425; Noun:Seal; Harmonized Tariff Code:4016.93.50.20; Type of Seal:Oil Seal; Lip Retainer:Carbon Steel Garter; Shaft Diameter:35 Inch / 889 Millim; Housing Bore:37 Inch / 939.8 Mill; Inch - Met
Contact Us
- Metric Oil Seals Inc


text:
1st Edition
Obstetrics and Gynaecology in Tudor and Stuart England
Originally published in 1982 Obstetrics and Gynaecology in Tudor and Stuart England traces the development of obstetrics and gynaecology over the past two centuries. Between the 16th and 18th century midwifery passed from a female mystery, employing traditional medicines and superstitions, to a scientifically-based clinical skill, with both gains and losses to the patient. The case-mortality was high enough to make the increasing involvement of male surgeons socially acceptable, despite sexual taboos. Thus, as scientific knowledge of anatomy and physiology developed and was applied in the form of new techniques, so the midwives, who had less opportunity and inclination to acquire the new knowledge and skills, lost esteem and by the mid-eighteenth century were increasingly relegated to the service of the poor. The book also examines ideas about sexuality, menstruation, conception, pregnancy and lactation and shows how the views of society about femaleness, marital relations and the management of pregnancy and childbearing were influenced by these notions.
1. English Obstetrical Textbooks Before 1740
2. The Legacy of the Ancients, and William Harvey
3. The Legacy of the Ancients, and the Anatomists
4. The Female Reproductive System
5. Sexuality and Conception
6. Development and Birth of the Foetus
7. Diagnosis of Pregnancy and Ante-natal Regimen
8. Pregnancy Prevention and Promotion
9. Gynaecology
10. Normal Childbirth
11. The Management of Obstetric Complications
12. 'The Manuall Practize' – Operative Delivery
13. Two Centuries of Obstetric Change Reviewed
Appendix: Maternal Mortality: Some Notes on the Willughby Cases


text:
Lady Jane's family was most unhappy with her broken engagement to the Lacey family. Jane knew they wouldn't care about her reasons. They forced her into exile where she could think about her behavior. A much older man rescued her by offering marriage. Their marriage was a matter of friendship not romance. When her husband died, he made her promise to be come a Lady-in-Waiting to the Queen. He wanted to protect her from his vile sons.
Lady Jane did has requested. She found herself a new life with old friends, including the man who stole her heart. Now that she's back in society's good graces, her family comes looking for her. They want her to marry again and they're not above manipulating Jane to get what they want.
Will Jane find herself a champion and will it be James?
My Thoughts: I really like this series. I liked reading more about Jane. Her best intentions seem to find her into trouble. I really liked reading about Lady Jane's time at court, the whims of Queen Elizabeth and her favorites. It was hard to read about her horrendous family and the lengths they would go to secure their position. Knowing her family made me love her relationship with Milly more. I found Milly delightful and longer to know more about her shop. I loved how these two girls kept their friendship, even though it was forced into secrecy. I wished there had been a little bit more about Ellie in this book. I liked how the war troubled James and how he fought to change his dreary future. I admired him for going to the New World in such a fashion. I liked the twist about the brothers and I'm interested to see where this series will go next.
Cover Thoughts: Not a huge fan - the girl looks awkward and strange.
Source: my Library


text:
Known as the " Wizard Cornetist" in an era when concerts in the park were as popular as rock concerts are today and community bands numbered in the tens of thousands,1 John Hazel returned to Williamsport, Pennsylvania in 1907 upon his retirement as a performer and lent his considerable musical expertise to local musical activities.
Hazel was born in Bellefonte, Pennsylvania in September 28, 1865 and died in Williamsport in January 26, 1948. In 1891, he was a guest soloist with Patrick Gilmore's famed 22nd Regiment Band in New York City. Soon a national music magazine of the time hailed him as "one of the greatest cornetists the world has produced." From 1903 to 1907, Hazel was invited to record several solos and duets for the Edison Phonographic Studios. In addition, he also performed on hundreds of records with the Edison studio band and orchestra.1
He wrote and arranged numerous compositions for performance by the Repasz Band. Some of his most famous marches are still performed today. In 1995, the Repasz Band and Williamsport's Scottish Rite Imperial Teteque Band featured a guest trumpet soloist, Dr. Mark Murray, as a fund raising effort to provide a permanent interactive exhibit dedicated to John Hazel at the Lycoming County Historical Society's Museum in Williamsport.
Press Comments
Mr. Hazel's ability as a cornet soloist is unsurpassed. – New York Mail and Express2
John Hazel, the cornet soloist, has won much praise from the audiences because of his excellent playing. – Atlantic City Review2
Mr. Hazel's cornet solo was given in the brilliant style that is characteristic of the man and was the feature of the evening. – Washington Star2
John Hazel, the cornet soloist, was called upon again and again to please the audience. – Pittsburgh Press2
Mr. John Hazel, the cornet soloist, is a remarkable performer. – Evening News, Akron, OH2
John Hazel in a cornet solo proved himself the master of the instrument. – Daily Call, Lafayette, IN2
As for the cornet solos of Mr. John Hazel, it need only be said he has reached and mastered the highest possibilities of that wonderful instrument. – Daily Beacon, Paris, IL2
1 "Cornetist Celebrated in Williamsport," Centre Daily Times, Tuesday, October 17, 1995
2 Repasz Band booklet (Grit Publishing Co., Williamsport, PA), c. 1915.
Reprinted below is an article researched and written by local historian John Hunsinger,
and published in the Journal of the Lycoming County Historical Society.
by John Hunsinger
| I never met John Hazel, but I had the good fortune to play under his baton when he directed the massed bands at a high school competition many years ago. Of course, all musicians of that time had heard of John Hazel – nothing specific, just that he was famous. In 1991, the Imperial Teteque Band, of which I am a member, programmed one of Hazel's marches, and I volunteered to do a little research on his life. What I thought would be a few days of easy research turned out to be a three-year adventure.
I found some fascinating stories, such as the one about his performing before the King and Queen of England. I could find no documentation for that story; however, the true story of John Hazel's life is fascinating enough. With the help of historians from all over the United States and from hundreds of hours of reading microfilms and interviewing many people who knew John Hazel, I have been able to put forward the following account of the great musician's life.
|~ John Hunsinger
In the summer of 1891 in Atlantic City, New Jersey, the great American cornetist Jules Levy was appearing at one of the piers. At Schaufler's Garden, a young cornetist with Paul Sante's Military Band would soon be seen as a rival to Levy. Schaufler's Garden, seating 3,000 patrons, was the largest open-air concert garden in Atlantic City; however, it was not uncommon for 4,000 people to crowd in to hear the concerts. The Garden was packed every evening; the young cornetist was praised for his ability and became very popular with the crowds. As the season progressed, opinion was about evenly divided as to who was the better player, Levy or the new arrival. Levy's rival was John Hazel of Williamsport, Pennsylvania. John Hazel was destined to become the most famous musician the Williamsport area produced.
During this golden era of brass bands, more than 10,000 such bands flourished in the United States. In a time before radio and television, these bands were a major source of entertainment. Bands were sponsored by many civic and business groups, and advertisements for job openings frequently required that the job applicant be able to play a specific instrument. Many bands attached themselves to National Guard units, providing the guards with a band for parades and ceremonies and financial support for the band. The large number of bands of the period led to the great popularity of brass instrument soloists.
John Hazel was born in Bellefonte, Pennsylvania on September 28, 1865. His family moved to Williamsport when John was a young boy.
John began to play the cornet at an early age. He was self-taught and spent many hours practicing and improving his tone by blowing against the brick wall of the old Elliott Paint Shop on Market Street in Williamsport. John used the famous Arban's Celebrated Method for Cornet and said that he "blew every note in it" (Grit, February 1, 1948). When he was only ten years old, he traveled as a member of the Stopper Band of Williamsport to play at the Philadelphia Centennial Exhibition in 1876. While he was there, he heard the great Jules Levy, his future rival, and determined that he would one day be a cornet soloist.
In 1877 Hazel was the only child member of the Smith Band and in 1881 joined the Repasz Band. In April 1883, he resigned from the Repasz Band to assume the directorship of the Hammer Band. John was only 17 years old, but the local papers reported: "[T]he members are becoming proficient musicians and under their new leader, who is a thorough teacher, they will rank as one of the best bands in the State" (Gazette & Bulletin, April 24, 1883). How long John remained with the Hammer Band is not known, but during the summer, he played with the Albian Hotel orchestra in Atlantic City where he performed his first public solo. He rejoined the Repasz Band and became its leader in the summer of 1887. G. Morris Repasz was the musical director. That summer Hazel spent a week as bugler for Company D, National Guard of Pennsylvania when they were encamped at Mt. Gretna.
In August 1887 Hazel was to sail to England to join Buffalo Bill's Cowboy Band at a salary of $18 per week plus expenses. Hazel went to New York, purchased his ticket, but at the last minute, he had a "change of heart." The cause was Miss Sophie Langgans, the daughter of the Park Hotel's pastry chef. John and Sophie were married four days later on September 1, 1887. Sophie's father baked their wedding cake.
Hazel continued to play locally, but the following June he finally joined Buffalo Bill's Cowboy Band and spent the season with the show. Buffalo Bill's show opened the 1888 season with performance at Erastina's summer resort on Staten Island, followed by engagements in the New York area, Philadelphia, Baltimore, and Washington, D.C., closing the season at the Richmond Exposition.
Hazel returned to Williamsport, where he was employed as an engraver with the D. S. Andrus Company; however, he did not give up his music. He played and did solo work with several bands and orchestras and gained enough of a reputation for Henry Distin to travel from Philadelphia to present him with "one of his finest cornets" (Grit, May 4, 1889). Hazel did not remain long with D. S. Andrus Company, but left to concentrate on playing, arranging, and composing music. The last march he composed during this period, "Nixie Weezle," was so popular that demand for copies exceeded supplies.
Hazel's reputation continued to grow, and during the week of February 8, 1891, occurred what he described as the highlight of his career. He was a guest soloist with Pat Gilmore's famed 22nd Regiment Band in New York City. This honor is equivalent to being asked to solo with today's Philadelphia Orchestra. The Gilmore Band was the finest band in the United States at that time and was as popular and famous as the Sousa Band would later become. Gilmore offered Hazel a job with his band on the spot, but after some thought, Hazel declined the offer. We do not know why he declined, though we do know that a few months later, Hazel was playing at Schaufler's Garden as a soloist. In light of this fact, we may assume that Gilmore had offered Hazel a position as an ordinary section player. This first summer in 1891 at Schaufler's was to be the start of Hazel's national career and recognition.
In the summer of 1892, Hazel's reputation grew as he joined Hadley's National Band of Providence, Rhode Island. The New England press named him "the wizard of the cornet" (Grit, August 7, 1892). Hazel was to reach another plateau in his career when, in spring 1893, his old rival, Jules Levy, selected Hazel to take his place in the Levy-Winternitz Concert Company. Levy had taken a job at the Chicago World's Fair. As a result, Hazel went with the orchestra on the annual spring tour throughout New England.
Hazel played the 1893 summer season with the Germania Band and Orchestra of Boston in an engagement at Point of Pines, a summer resort near Boston. In the fall of that same year, he joined the Boston Festival Orchestra, and in the following spring, he got to see much of the country when the orchestra made an eight-week tour of western and northwestern states. After the tour, Hazel left the orchestra and spent the summer in a ten-week engagement as soloist back at Schaufler's Garden in Atlantic City.
Hazel, who was by this time very famous, never forgot his hometown. In breaks between tours and engagements, he and Sophie would return to Williamsport to visit. He was always very generous with his time, soloing with local bands and orchestras and instructing and directing local bands and orchestras. For example, he spent time whipping the Excelsier Band of Emporium into shape for a concert in October 1894. The concert was a great artistic success (Cameron County Press, October 25, 1894).
Hazel and Levy were to cross career paths again in that same October. Levy selected Hazel to take his place in the Levy-Winternitz Concert Company for the second time. Metronome states that "Hazel was the only man considered proficient enough to take the place left vacant by Levy's retirement" (July 1910). The orchestra went on an extensive tour to Baltimore, Indianapolis, St. Louis, and other points west.
During the spring and summer of 1895, Hazel had solo engagements with the American Band of Providence, Rhode Island, the Germania Band of Boston, and the Hadley Band of Providence. In August of that year, Hazel went to New York City where he joined Luciano Conterno's Ninth Regiment Band. He remained in New York City for eight years; little is known about his personal life during those eight years or about specific bands and orchestras with which he was associated. In a booklet entitled Repasz Band Williamsport, PA: The Oldest Band in America (Grit, 1915), Hazel's list of positions includes "all of the leading New York Bands." Local newspapers, including the Gazette & Bulletin, refer to him as "the wizard cornetist of New York City" (Gazette & Bulletin, May 17, 1898). In addition to playing in the Gilmore Band while under the direction of Victor Herbert, Hazel also played with Sousa's Band for a short time, but there is no record of his being a soloist with that band (e.g., Berger, Kenneth. The March King and His Band. NY: Exposition Press, 1957). In an interview, Hazel reports that he had the pleasure of directing the Sousa Band playing one of his own compositions (Williamsport Sun, July 29, 1947). He had a contract to go with the Sousa Band on one of its European tours, but he had to cancel because of the press of other engagements (Metronome, July 1910).
In the midst of the New York period of his career, Hazel continued his practice of returning home and guest soloing with his friends in the Fisk and Repasz Bands. A review in Metronome of one of his guest appearances with the Repasz Band in 1903 states:
Mr. Hazel the celebrated cornet virtuouso [sic] was greeted with tremendous applause on his performance, and his solo "Fantasie on Irish Airs" was one of the finest things of the kind ever heard in the city. For encores he played "The Carnival of Venice" with variations and "Answer." Mr. Hazel today is one of the world's greatest cornet soloists, and is constantly in demand. (May 1903)
In 1903 Hazel was hired as staff cornetist for the Edison Phonographic Studios in East Orange, New Jersey. At Edison, he recorded hundreds of cylinder records as a member of the Edison Military Band and as a member of the orchestra. It should be noted that phonographs in private homes were not common until after 1900. Prior to that date, phonographs were to be found primarily in entertainment arcades. The method of recording in that period was described by Hazel in a letter published in the Gazette & Bulletin in June 1906:
The band is composed of only 12 pieces. Twenty-five or more phonographs are placed in a closed room and the band is stationed with cornets and clarinets in front to secure the harmony correctly, and the musicians play one selection into each machine after which many records are made from the original. The musicians also double in orchestra and furnish accompaniment for vocalists and vaudeville artists that are engaged by the company. The band and orchestra play every day at the Edison factory.
Hazel recorded quite a number of solos and duets between 1903-07. His duet partners included: Herbert L. Clarke, regarded by many as the greatest cornetist who ever lived; and Frank Seltzer, another fine cornetist. An unusual partner was Albert Benzler, who played the xylophone. Hazel and Benzler teamed up to do a novelty number entitled "Come Take a Trip in My Airship Medley" (c. late 1905). He also recorded his own variations on "Le Secret", which would become his best known composition. The sheet music to this composition was still in print 50 years later.
In June 1907 Hazel left Edison and he and Sophie returned to Williamsport to "settle down." He may have retired from the national stage, but he did not retire. He and his friend Gus Latten formed an orchestra in which both did solo work. Hazel was not always a serious musician. He formed a German band to entertain at picnics and other informal get-togethers. One such occasion is described in the Williamsport Sun, July 17, 1912. As Hazel's German band members boarded the trolley to go to the Young Democratic Club's picnic at Indian Park, they serenaded the passengers with one of their favorite selections. At the park, they played "Hail to the Chief" every time a prominent Democrat arrived. One can easily imagine the kind of arrangements and sounds which would come from this type of band under the leadership of a man with Hazel's talents and personality. He also continued to appear as a guest soloist with the Repasz Band; on the death of its director, W. Herdic Wood, Hazel accepted the non-paying position of director of the band. On this appointment, the Grit commented:
Mr. Hazel brings to the place an exceedingly long and valuable experience as a director. Not only is he a cornetist of national repute, but he also stands preeminent as an orchestra leader and a composer and arranger of music for single instruments, orchestras, and large bands. As a musical leader he has long demonstrated his great capacity. (May 29, 1910)
Hazel set to work at once to put his mark on this famous old band. The Repasz Band had started in 1831 and claims today to be one of the oldest brass bands in the United States in continuous existence. The Repasz Band booklet (Grit, 1915) states that Hazel brought to the organization experience and musical taste then needed to ensure future progress. He immediately began a systematic and thorough training for concert work, adding many compositions, including classics, to its library, with the result that the Repasz became a concert band as well as a military band.
Hazel still played solos with the band and performed duets with his good friend, David Gerry; however, he left much of the solo work to others. The change in programming for the band brought commendation from the director of the U.S. Marine Band. As quoted in the Repasz Band booklet from an interview published in a Washington newspaper (c. 1914), the director commented on the quality of the music the historic Repasz Band was playing. An Altoona, Pennsylvania newspaper, Altoona Tribune, is quoted in the same Repasz booklet as having printed the following:
Among the Guard bands that are attending the War Governors Celebration are the Repasz Band of Williamsport and the Marine Band of Washington, D.C., yet the Repasz Band appears to have been the favorite both on the street and in concert.
In addition, all three Williamsport papers of the time praised the band for its new sound.
The band members also appreciated their new director; one member of the Trombone section, Charles Sweeley, who was a composer of some note, wrote a march dedicated to Hazel, entitled "Hazel's Triumphal." Repasz Band at that time was sponsored by the 12th Regiment of the Pennsylvania National Guard, and in July of that year, the band went to the annual encampment at Mt. Gretna. The Gazette & Bulletin reports that the band was very popular and that "Hazel's solos never failed to draw soldiers from all quarters of the camp" (July 16, 1910).
Hazel was very popular with his audiences, and he in turn appreciated them. At the end of the 1912 summer season, he asked the public to mail in postal cards with requests for numbers and solos from the more than 100 numbers played during the previous concerts. From the cards, Hazel developed the program for the last concert (Williamsport Sun-Gazette, August 25, 1912).
Another local association Hazel maintained was with the Keefer Instrument Company. During Hazel's active professional playing career, it was the custom for manufacturers to provide instruments for well-known players in return for publicity. Hazel was no exception. He played only cornets; he would never use a trumpet, not even for orchestra work. In the 1880s he used a J. W. Pepper Specialty cornet. He composed a polka named for the Pepper cornet, entitled "Specialty Polka," which he used for an encore. In 1889 Henry Distin presented him with a cornet; while Hazel was playing at Schaufler's Garden in 1891, the Conn Company presented him a "handsome gold cornet." At some point in his career, Hazel switched back to cornets made by the Henry Distin Company, which had relocated in Williamsport in 1889.
The Distin Company, known for its fine brass instruments, was the largest producer of brass instruments in the United States in the early part of this century (Metronome, June 1908). Brua C. Keefer had managed the Distin Company when it moved to Williamsport from Philadelphia and acquired financial control of the company in 1909. The company name was changed to the Brua C. Keefer Company. Hazel remained associated with the Keefer Company, and on his return to Williamsport, was employed to help design and test instruments. Keefer also issued "Hazel certificates," which were described in the following advertisement:
After passing the acute tests of our regular test men, every Keefer cornet and trumpet is again tested by John Hazel. He tests for many things besides accuracy, intonation, responsiveness, evenness, cross finger tone comparisons, power, power in tones played softly, action of the slides; in fact, everything a good professional would think of and many things a virtuoso would think of. The simple fact is, every Keefer cornet and trumpet is "certified" by John Hazel before it can go out. (April 1913)
Every prospective buyer was urged to ask for these fancy certificates or to "ask for when ordering." Hazel would continue to test instruments until the company ceased manufacturing them in 1941.
John Hazel's last Keefer cornet was a beautiful custom-engraved Solotone model in silver with gold trim. Hazel's cornet is still in existence today in this writer's possession and is in fine playing condition.
The Keefer association did not prevent Hazel from devoting much time and energy to his Repasz Band. The band continued to be very active in local affairs. Hazel and the band manager, Harry Parker, were members of the committee that arranged the construction of the Brandon Park Band Shell; the band was enthusiastically received by the 8,000 people who attended the dedication ceremony for the band shell, held on June 16, 1914. The band played many concerts on this fine stage; in fact, in those days the band frequently gave concerts in the park during the summers that followed. Besides these concerts, the band played for local high school graduation ceremonies, some college graduations, parades, and the annual Christmas tree lighting in downtown Williamsport. It was customary for Hazel to join with John Robertson (his nephew), Sherm Stutzman, and Carl Meyer on a house-to-house tour playing Christmas carols after the tree-lighting ceremony. In addition to these activities, the band still found time to travel through the state playing concerts and marching in parades.
When the United States entered World War I, many young men joined the Repasz Band in hopes of going into the service with a band. The Repasz Band had served in the Civil War, leaving with the first three-months' companies in 1861, later serving with two other regiments, and playing, finally, at Lee's surrender at Appomatox in April 1865. As mentioned previously, the band served as the National Guard band from 1903-1912. In July 1917 Repasz split into two bands, with the younger members forming the Repasz War Band. Hazel held practice sessions for them three times a week, and in October 1917, the young band enlisted in the U.S. Navy. This Hazel-trained band became one of the best bands in the Navy at that time (Grit, October 21, 1917). Hazel wrote "Our Blue Jackets," a march that he dedicated to this band. The civilian contingent of the Repasz Band participated in patriotic parades, including those in which drafted men were escorted to the local railroad station.
In 1918 Hazel gave up playing solos on his cornet. Local sources indicate that he said he could not play properly with "store teeth." Nevertheless, Hazel kept playing by switching to a baritone horn. He did solos with local bands, playing his "Fantasie on Irish Airs" and other cornet solos on the baritone horn. In this same year, Hazel turned over the directorship of Repasz to his long-time friend, David Gerry, who was a fine local cornetist and band director. Hazel and Gerry had performed duets many times and for a short period had published under the name of Hazelgerry Music Company. Hazel still remained active with the band, probably serving as assistant director and baritone soloist. He also continued to arrange general music for the band as well as for different instrument combinations. In one such arrangement, "Sextette from Lucia," Hazel played the baritone part. He arranged vocal solos for guest artists who appeared with the band, and his versatility was further displayed by his arrangement of a minuet by Paderewski for reeds only. In 1921 Hazel and Gerry exchanged positions with the band, Hazel resuming the directorship and Gerry the position of assistant.
In 1923 Hazel purchased a lot on Mill Street in Montoursville, a borough near Williamsport, Pennsylvania. He built a home on the site next to Loyalsock Creek. Hazel loved to fish. He had a small boat and a favorite fishing spot. He was often seen out there, fishing and smoking his ever-present pipe. Sometimes he took along music sheets, and using waterproof ink, he worked on some new idea or arrangement.
Hazel kept a very busy schedule. In addition to testing for Keefer's, giving lessons, arranging and composing music, and directing the Repasz Band, he now assumed directorship of his new hometown band. This band, like the Repasz before it, took a "giant leap" forward (Grit, May 7, 1923). The band played overtures and other challenging music.
Hazel was a tough director; he wanted it played right. He did not rant and rave, but he would stop the band and say, "Let's play it again." He had an excellent ear and always knew which member played a wrong note. He would gently correct the erring member. Very often he would pick up any of the brass instruments and show how he wanted the number played. Surviving members of his bands remember him as a very kind man and as a very demanding director who, nevertheless, never embarrassed any player. Former members also remember playing Hazel marches and recall that Hazel marched with his band wherever they went. One example shows how decent and thoughtful Hazel was: Once Hazel marched his band to a private home so that the parents of a proud teenage player could see him perform in the new homemade uniform his mother had just finished.
Sometime in the mid-1920s, Hazel ceased performing baritone solos; however, he did continue to play. He still tested horns for Keefer's, and in the 1930s he amused young Brua C. Keefer, III by suspending two instruments from the ceiling with ropes and playing bugle calls on both horns at the same time. He continued a habit he had of "buzzing" his lips without a mouthpiece in order to stay in shape. Occasionally he would pick up a baritone horn at Repasz Band practices and play along. Repasz members of the period report that they never heard a baritone played as he played it. In addition to continuing his practice of demonstrating how he wanted something played on any of the brass instruments, he would occasionally pick up a cornet and play along with the band as he directed.
The Repasz Band celebrated its 100th anniversary on Friday, August 14, 1931. A large parade with 11 bands in the line of march was held in downtown Williamsport. After the parade, Hazel directed a concert given by the massed bands, with more than 500 players participating. The next evening the Repasz Band gave a concert at Bowman Field during which a new number composed by Hazel, "Repasz Centennial March," was introduced.
In 1935 Hazel, who was now 70 years old, again exchanged positions with David Gerry and became assistant director for a short time; but in 1936, the old veteran reassumed directorship and remained in the position until 1941. Hazel has the distinction of serving as director of the Repasz Band longer than any other director up to the time of this writing in 1994. [Editor's note: As of 2000, Albert J. Nacinovich has tied the record set by John Hazel for longevity as Director of the Repasz Band, if his 10 years as Assistant Director are included in the total.]
Now in his 70s, Hazel continued directing, arranging, composing, and teaching. Sometimes he would attend rehearsals of other local bands and, if asked, he would direct a number or two. By 1941, at the age of 75, Hazel decided to slow down a bit and retired as the director of the Repasz Band. His wife died in November 1946; they had no children.
This was not the end of his career as a director, however. In the spring of 1947, at the age of 82, a robust Hazel helped organize and then became director of the Montoursville Legion Band. The aging director was still a demanding leader and still a very kind gentleman. The members were amazed that the old fellow always knew when a wrong note was played and who made the error – just as many members of many bands had been amazed over the years of Hazel's long career. Within months after getting the group organized and started, Hazel surrendered the baton to a younger director; nevertheless, he still attended rehearsals and would direct when called upon to do so.
At this time Hazel was stricken with cancer and was forced to stop attending the Legion Band's rehearsals. One evening, the band found itself without a director; some of the members went to Hazel's home, directly across the street, to ask him to help them out. He agreed, and four husky band members carried him on a chair to the second floor band room. The old bandmaster conducted his last rehearsal on that night. Hazel died a few months later on January 26, 1948. An unfinished manuscript lay on his desk. The old master conducted and composed right to the very end.
How good was John Hazel? There is not a doubt that he was very, very good and justly rated among the leading cornetists of his time. A July 1910 Metronome headline proclaims: "John Hazel, One of the Greatest Cornetists the World has Produced." The article goes on to state that newspapers refer to Hazel as "the Tartini of the Cornet." Herbert L. Clark described Hazel as "having a tongue that was loose at both ends." Jules Levy, whose ego was a large as his talent, stated: "This fellow Hazel has an amazing technique and a facile tongue." Brua C. Keefer was of the opinion that Herbert L. Clarke had the better tone, but Hazel the better execution. Hazel's range extended from pedal C to high E-flat above high C. This range is not as extensive as some of the other soloists, but Hazel was justly famous for his exceptional technique. Although he was known as the "Wizard of the Cornet," he did not always perform "fancy stuff." A reviewer for a Philadelphia newspaper states: "Hazel's execution of "The Last Rose of Summer" and "Nearer My God to Thee" were exceptionally fine (Philadelphia Evening Item, August 14, 1891). A New Haven newspaper gave him rave notices for his obligato work in a performance of Messiah when he was with the Boston Festival Orchestra (quoted in Grit, March 18, 1894). Every person may have his/her own favorite performer, but the experts of Hazel's day and music historians today place Williamsport's John Hazel among the top half-dozen soloists of his era.
Perhaps one story out of many best illustrates Hazel's talent. In September 1908, the local professional baseball team won the Tri-State League championship. There was but one game left to play in the regular season, and more than 4,000 fans jammed into Athletic Park to see their champions. The Repasz Band was on hand to entertain the crowd, and the Grit describes it as follows:
From the time the band arrived at the park until the flag raising ceremonies there was a concert, the most prominent feature of which was two cornet solos played by John Hazel. While he played the crowd was hushed, even the ball players ceased practice to listen to the selections (September 13, 1908).
John Hazel had a long and very distinguished career. Although he reached the top of his profession, he never forgot his hometown. He returned often to solo for the home folks, and during the 37 years of his "retirement," he devoted much of his time and talents to helping local bands and individual musicians. During his lifetime, he composed more than 75 numbers. However, Hazel rarely talked about his past; none of the living band members interviewed for this biography could recall his ever bragging. He hardly ever mentioned his past.
On his death [January 26, 1948], the Williamsport Sun editor stated that "Mr. Hazel was a man who loved music, who loved providing music for others, and contributed beyond measure to the encouragement of music in Williamsport." The people alive today who knew him universally describe John Hazel as a very kind man, a gentleman. Perhaps the best way to remember him is the way some of the children of Montoursville did when they saw him walking about the borough: "There goes Mr. Hazel. He was famous."


text:
Father's rights during divorce deserve to be protected! Fathers have long been denied their rights when it comes to child custody following a divorce. Courts traditionally held the view that mothers were better caregivers than fathers were, even if mothers had no financial means of supporting their children. This left fathers to pay child support in divorce while mothers received primary custody. Fathers considered themselves lucky to receive any visitation time with their children. Our team of divorce attorneys are professionals in fighting for your father's rights – get a free consultation!
Get Your Father's Rights During Divorce!
Life is much different now and many fathers are finding themselves in much better positions. Father's rights during divorce are viewed as equal to the rights of mothers and with help from experienced attorneys, fathers can win custody of their children. Fathers are enjoying more quality time with their offspring and playing larger roles in the development of these youngsters.
Great strides are being made to obtain father's rights to child support being exercised throughout the country. Fathers who do not earn as much as the mothers of their children do are receiving money to cover childrearing expenses. Once unheard of, this is a tangible indication of how much society has changed in recent decades. The rights that fathers have fought so long to earn are finally being awarded to them.
Father's Have as Many Rights as a Mother in Divorce
During divorce, fathers have just as much right as mothers do to request custody of their children. Custody may be agreed upon privately by the parents during divorce, with an attorney putting the arrangement in writing and submitting it to the court for final approval. It can also be arranged by the court, a situation that usually occurs when the divorcing couple cannot agree on custody. If a custody case goes to court, the father should get himself an attorney.
A lawyer who specializes in child custody helps to exercise a father's custody rights in divorce. A strong case is needed to support the claim that the father will be an equally good or better caregiver for the children. The court bases its decision on the best interests of the child and this may involve considering the emotional bond between the children and each parent, the established living patterns of the children, and the lifestyle of each parent.
If none of the factors considered by the court clearly favor one parent, the court considers which parent is likely to provide a stable environment for the children. It also identifies which parent will be better at fostering a relationship between the children and the other parent. Fathers can win custody if their lawyers prepare cases illustrating that they are the better choices from these standpoints.


text:
There once was a boy from a desolate town that had only one girl worth dating. And when she left him, he came to Fort Collins to float his broken heart in Fat Tire, because you couldn't buy that where he came from. Before long, he discovered O'Dells IPA. It was even better. Probably because she had never even heard of it.
One night, we were at Road 34 disagreeing about whether you can believe in love but not in God, when I realized I'd let him get too drunk.
"I'm going to buy you a burrito," I said.
"Do you have McBurritos here?" he asked. "The only girl worth dating–we always ate there."
I put him in my car and drove right past McBurritos, and he was too drunk or too new to insist on it. Instead, I took him to Big City Burrito.
There wasn't a line, so I didn't tell him the rules for ordering…
(The tortilla guy doesn't want to know what kind of burrito you're having. Just tell him what kind of tortilla…he's only pretending to listen to the rest. The filling guy will ask you…never mind. OH, unless you're getting potato, you have to tell the tortilla guy if you're going to get potato.)
The boy from a desolate town ordered a potato burrito, and then turned down the Ranch dressing. "Nobody turns down the Ranch dressing with potato," I said.
"What?" he asked.
"Nevermind." It was his Big City Burrito and I knew better than to think I could save him from his own bad decisions by now. So I poured us both an iced tea. He found us an unelegant table in a room with sobering lights.
The tea did its work. I went to pee. When I returned he was talking to a girl with a damp table rag about John Cage, and she was leaning toward him.
That potato burrito with no Ranch started the cure. Within days, he stopped talking about the only girl worth dating. And he stopped talking about where they ate. And he stopped talking about love all together.
But he kept eating at Big City. Every day.
And he never stopped talking about God.
My day job is interfering with my blog this week. That's why I'm offering something more creative than historic. Something I wrote in the middle of the night recently. More relevant posts to come when the real work is done.
[Become a fan of Lost Fort Collins on Facebook]


text:
It was a relief to take a breather near Corriecravie. Ian took this photo of me looking at the land which my ancestors once farmed.
Since at least 1710, when my great great great great great great grandfather Robert Black was born, the Black branch of the family were crofters in Corriecravie until 1936. The last known Black to be resident in Rowanpark croft, Corriecravie was my great grandfather's (John Black 1854-1929) nephew Robert (Bertie) Black but he was not contactable there in 1972 following my grandfather's sister's (Catherine Black) death.
Initially the family worked common land but when the Duke of Hamilton enclosed the land in the early years of the 19th century, Robert's son William became tenant farmer of approximately 24 acres. The croft extended to the boundaries of the green fields above the white houses in this photo.
In 1813 a wave of religious awakening passed over the people of south Arran and William's son Robert was one of those who came under its influence. After William's death in 1824, Robert neglected his farm and attended too many religious meetings. He was fined one guinea by the Estate Factor for failing to improve the land as required by his tenancy agreement. By the 1841 Census, his two sisters Mary and Isabella had taken over running half the croft but by the 1861 census Mary had died and Isabella had given up her half of the croft, which Robert then sublet to Mr John Stewart.
In 1868, some years after Finlay Black inherited the croft, he and his father in law, William Stewart, decided to formally split the croft into two parts. This was done by arrangement with James Paterson, the Duke of Hamilton's Factor and Dugald Crawford the Ground Officer. Interestingly, both my ancestors, Finlay Black and William Stewart (my brother's middle name is Stewart) can be found in a Google search! They were both fluent speakers of Arran Gaelic and were consulted by the Ordnance Survey on local place names.


text:
Date and time:
Sunday, February 26, 2017 - 10:30am to 12:30pm
Friendship Fellowship at Pineda (UU)
3115 Friendship Place32955 Rockledge , FL
United States
See map: Google Maps
The service: "On My Honor, I Will Do My Best, To Do My Duty ..." on the Boy Scouts, the UUHumanists and the UUA, will be delivered by Roger Brewin. An opportunity to sign the UUHA letter on Non-Theist Boy Scouts will follow each service at at UUHA information and merchandise table.
Meet these members of the HUUmanists board:
For more information:


text:
NASA awards four more Commercial Crew missions
NASA has awarded four rotation missions to Boeing and SpaceX, allowing the partners to ferry astronauts to and from the International Space Station. The contracts are currently under the Commercial Crew Transportation Capability contracts which bring the number of missions awarded to each provider to six.
"Awarding these missions now will provide greater stability for the future space station crew rotation schedule, as well as reduce schedule and financial uncertainty for our providers," said Phil McAlister, director, NASA's Commercial Spaceflight Development Division. "The ability to turn on missions as needed to meet the needs of the space station program is an important aspect of the Commercial Crew Program."
If everything goes as it is currently planned, Boeing's CST-100 Starliner and SpaceX's Crew Dragon spacecraft will transport up to four astronauts for NASA. This will include up to 220 lbs (100 kg) of cargo to the space station.
Roscosmos announced last year that it has no plans to launch U.S. astronauts to the space station after 2018. NASA currently pays the Russian agency $80 million for every seat on the Soyuz spacecraft.
Meanwhile, the U.S. space agency has made it clear that it plans to use the space station to expand the "advancement of scientific knowledge off the Earth, for the benefit of those on the Earth and to prepare for future deep space exploration."
Research on the orbiting laboratory provides NASA with a facility to gain first-hand knowledge of the challenges of long-duration human spaceflight without having to leave low-Earth orbit.
NASA is developing the Orion spacecraft and the Space Launch System super heavy-lift rocket for missions into deep space. However, the agency still has obligations in low-Earth orbit and there is a wealth of scientific study that still needs to be done in LEO. To accomplish this and to ensure that the maximum return on the $100 billion that has been invested on the ISS is achieved, NASA has opted to cede control of delivery crew and cargo to the orbiting lab to private companies.
Boeing is developing its CST-100 Starliner spacecraft to send crews to the ISS. To launch Starliner to orbit, Boeing plans to use United Launch Alliance's (ULA) Atlas V rockets. Crews would launch from Space Launch Complex 41 at Cape Canaveral Air Force Station. Boeing's uncrewed flight test known as Orbital Flight Test is currently scheduled for June 2018 with a crewed flight test planned for August 2018.
Meanwhile, SpaceX is developing its Crew Dragon to launch on the Falcon 9 rocket from Launch Pad 39A at Kennedy Space Center. SpaceX signed a 20-year lease in 2014 with NASA to use the launch site. SpaceX's uncrewed flight test is called Demonstration Mission 1 and is currently scheduled for November 2017. A follow-up crew flight test is currently planned to take place in May 2018.
SpaceX has been working to return its Falcon 9 rocket to service ever since one of the launch vehicles exploded at Cape Canaveral Air Force Station's Space Launch Complex 40 in Florida in September of last year. The Hawthorne, California-based company has made progress in this regard.
On Monday, Jan. 2, the company announced that it had discovered the root cause of the accident, determining that one of the composite overwrapped pressure vessels (COPVs) used to store cold helium inside the Falcon 9 rocket's second stage failed after super-cooled liquid oxygen (LOX) became trapped in the carbon composite overwrap.
Then, on Thursday, Jan. 5, 2017, SpaceX conducted its first static test fire since the accident. SpaceX is hoping the Federal Aviation Administration will issue a license permitting the NewSpace firm to launch.
Heather Smith
Heather Smith's fascination for space exploration – started at the tender age of twelve while she was on a sixth-grade field trip in Kenner, Louisiana, walking through a mock-up of the International Space Station and seeing the "space potty" (her terminology has progressed considerably since that time) – she realized at this point that her future lay in the stars. Smith has come to realize that very few people have noticed how much spaceflight technology has improved their lives. She has since dedicated herself to correcting this problem. Inspired by such classic literature as Anne Frank's Diary, she has honed her writing skills and has signed on as The Spaceflight Group's coordinator for the organization's social media efforts.


text:
As the weather is getting colder and we're in the midst of the cost of living crisis, we have put together some economical tips on how to prepare your car for winter...
From faulty spark plugs to serious engine malfunction, our experts have put the top reasons as to why your engine management light has just come on together.
As the summer is coming to an end, rather than going abroad why not go away in the UK this autumn, and see the best of the British countryside! What about a road trip? Going in your own car gives you the freedom to go wherever you want and stay for however long you want. But where should you go?
With energy prices increasing, people are looking at what they can save money on and drivers might be interested in knowing how they can save money just in the way they drive! So the team at GaragesNear.Me have prepared some easy-to-implement tips to help save you money.
Did you know that air fresheners can be the difference between a pass or fail on your MoT? And what other unusual but simple things should you look out for when preparing your vehicle for the annual test? The yearly MoT may be a day that you see marked in the calendar that fills you with dread. If you haven't followed your vehicle's service intervals or ignored warning lights on the dashboard, your nervousness is probably amplified.
According to research by safety organisation TyreSafe in 2020, one in five of the UK's motorists never check their tyres and this statistic increases to three out of five for younger drivers. In addition, one in four of the 40 million tyres that daily travel on the country's road network are illegal in terms of wear or damage and annually, 2.2 million tyre related defects are highlighted as a result of national MoT testing.
Depending on who you are, a car trip can either be a source of excitement or dread for you, it depends if you're a comfortable driver or if you worry about the little things! Most of the time, things can run a lot smoother if you just prepare properly for your journey, as this will help you in the long run.
As the days are now sunnier and longer, it's important to prepare your car for the summer months. Summer is the perfect time for road trips with beautiful scenery, and you wouldn't want that to be interrupted by your car not working as efficiently as it should be.
It's the summer and therefore, everyone's thinking about putting their air con on in their car as soon as they get in it, but how do you know if your air con is up to scratch?
Finding a new garage can be a tricky process, you usually only go to a garage when there's a problem with your car or you have an MOT or service booked in, so it can be a stressful time, especially when it's your first time with a new garage.
Generally, modern vehicles are incredibly reliable, so, as drivers, we take for granted that we can just jump in and get going, without a second thought.
Whenever you use a business or service, you usually check the reviews before purchasing or booking in, so when looking at what garage you should use, it's recommended you look at the reviews of the establishment first.


text:
Tiresome Introduction. Some years ago—I thought it was five, but it seems it was only three—Dale Peck wrote a hilarious takedown of the newest star in the political firmament, Pete Buttigieg. It ran briefly online in TNR, then was spiked, but not before it became an instant legend. And it soon disappeared from the ether altogether, except for a copy saved by a friend and posted on Facebook. Shortly after that, Friend 2, after much searching around, found the FB posting and copied it to his own blog, after which he discovered that it had disappeared from Friend 1's Facebook page. It hadn't been deleted by Facebook; Friend 1 decided to privatize it before it attracted any more attention. But a few months later, Friend 1's Facebook account was removed, silenced, banned…leaving Friend 2's blog post the only one remaining. "The Last of the Mohicans," Friend 2 called it.
Here I will lead in with Friend 2's foreword:
My Yale friend introduced it, thusly:
"In which famed hatchet-man Worth David—I mean, Dale Peck—weighs in to tell you why nouvelle fague Mary Pete Buttfuck isn't all that he's cocked up to be.
"This was originally posted in The New Republic, but the fat Bengali or someone got an advanced case of weenieitis.
"For sheer homocidal glee, this thing is right up there with Gore Vidal's Palimpsest. Mister Peck, we salute you!"
My Mayor Pete Problem
Sunday, July 14, 2019
One of the worst things I ever did happened in 1992. I was leaving the bar called The Bar (RIP) on Second Avenue and 4th Street to go to a party called Tattooed Love Child at another bar, Fez, located in the basement of Time Cafe (RIP x 2). TLC was held on Wednesdays (Thursdays?), and I often went to The Bar after work for a few hours so I wouldn't have to go all the way home first. So it was probably 10-ish, and I know it was late winter/early spring because I was carrying a copy of the completed manuscript of my first novel Martin and John, which I'd just turned in to my publisher that very day. Which makes me 24 and old enough to know better. Or who knows, maybe this was exactly the age to learn this kind of lesson.
What happened was: I was halfway down 4th Street when I heard someone yelling. I turned to see a large fellow running after me. At first I wondered if I was getting gay-bashed. But even though this guy didn't set off my gaydar he still didn't seem particularly menacing. When he got closer I clocked the pleated khakis (this was the era of the ACT UP clone—Doc Martens, Levi's tight or baggy, and activist T-shirts—which look I had embraced fully) and rust-colored Brillo hair. I love me a good ginger, but you gotta know how to style it, especially if it runs frizzy. And so anyway, this guy, whose name was Garfield but said I could call him Gar, told me he'd been in The Bar but had been too shy to talk to me and decided to try his luck on the street. As politely as I could, I told him I wasn't interested. He asked me how I could know I wasn't interested when I didn't know him, which was an invitation for me to tell him that not only did he look like a potato, he dressed, talked, and ran like a potato. Alas, I chose not to indulge his masochistic invitation.
He asked where I was going and I told him. He asked if he could go with me and I told him he could go to Fez if he wanted but he shouldn't think he was going with me. He came. I quickly learned that he'd mastered the art of speaking in questions, which put me in the awkward position of answering him or ignoring him, which made me feel rude even though I'd told him I wasn't interested. When he found out I was a writer he got excited and said I must love the New Yorker! I told him I hated the New Yorker. He asked how I could hate the New Yorker and I told him that besides the fact that the New Yorker published shitty fiction (plus ça change, plus c'est la même chose), and the only gay fiction it published was assimilationist and boring, there was also the fact that an editor there (Dan Menaker, if we're naming names) had rejected a story of mine by suggesting in his correspondence with my agent (by which I mean that he wasn't embarrassed to write this down, let alone worried about repercussions) that psychological problems were preventing me from creating effective fiction. (By the way, fuck you, Dan.) None of which made any sense to Gar. The New Yorker was important so I must love it. I just didn't know I loved it yet. Or something like that. At some point in this exchange I remember saying something along the lines of Look, I'm just going to apologize now, because it's pretty clear that sooner or later I'm going to say something really offensive to you and your feelings are going to be hurt. I don't want to do that, but you're clearly not getting the fact that you and I don't look at the world the same way, and you keep thinking that if you hang around long enough we're going to find common ground, when all you're really doing is making our differences that much clearer. He laughed at this, one of those confused/nervous/defensive laughs, and if I'd been more mature I would have been more blunt and told him to get lost. But I too was a little deluded. I thought he had to get the hint eventually. But although I understood pretty much everything else about him, I failed to reckon fully with his lack of self-respect.
I told him I hated the New Yorker.
So: we got to Fez, where I ran into my friend Patrick (Cox, I think, but it's been a minute), who looked at me like, What are you doing with this weirdo? I wouldn't let Gar buy me a drink and I did my best to exclude him from my conversation with Patrick but he still wouldn't take a hint. He must have hung around for a good hour. My answers to his questions grew more and more peremptory. Bear in mind I wasn't disagreeing with him or dismissing his opinions just to get rid of him: we really had absolutely nothing in common. But we both read the New Yorker and we were both gay and we both wore clothes to cover our nakedness so clearly we were birds of a feather. Finally he said he had to leave. He asked for my number. I remember Patrick laughing in his face, but maybe that's just because I wanted to laugh in his face. I was like, Are you serious? And he was like, We have so much in common, we should get to know each other better! When I was fifteen years old a pedophile used that line on me in the Chicago bus station, and if I'm being honest I had more in common with the pedo, who was about 50, black, and urban, while I was a white teenager from rural Kansas, than I did with dear old Gar. I told him I wasn't going to give him my phone number or accept his. He seemed genuinely shocked and hurt, which of course made me feel like shit, which of course made me mad, because why should I feel like shit when I'd spent all night trying to rebuff him? He asked what he would have to do to get me to go out with him. Without thinking, I said, Take a good look at yourself and your world, reject everything in it, and then get back to me. It was the kind of soul-killing line people are always delivering in movies but never comes off in real life, mostly because even the most oblivious, self-hating person usually has enough wherewithal to cut someone off before they're fully read for filth. I believe I have indicated that Gar did not possess this level of self-awareness. His face went shapeless and blank as though the bones of his skull had melted. For one second I thought I saw a hint of anger, which might've been the first thing he'd done all night that I could identify with. Then he scurried away.
Now, I've said shitty things to people before and since, but this one's always stuck with me, partly because, though I'm a peevish fellow, it's rare that I speak with genuine cruelty, and when I do it's because I've chosen to. This just came out of me. But mostly I remember it because I knew I'd seriously wounded this guy, which, however annoying and clueless he was, was never my intention. I was and still am a very '90s kind of gay, which is to say that I believe in the brotherhood of homos and the strength of our community, that however different we are we're all bound together by the nature of our desire and the experience of living in a homophobic world. When one of your brothers fucks up, you school him. Sure, you might get a little Larry Kramer about it, but you don't go all Arya-and-the-Night-King on his ass.
I'm telling you this because it's what popped into my head when I tried to pin down my distaste for Pete Buttigieg. Mary Pete and I are just not the same kind of gay. (For those of you wondering about "Mary Pete" a couple of months ago I asked Facebook what the gay equivalent of Uncle Tom was, and this was the answer at which we collectively arrived.) But Mary Pete and I aren't different in the same way that Gar and I were different. Gar and I had nothing in common. Mary Pete and I have a lot in common, but at a certain point we came to a fork in the road and I took the one less traveled and he took the one that was freshly paved and bordered by flowers and white picket fences and every house had a hybrid in the driveway and some solar panels on the ceiling, but discrete ones, nothing garish, nothing that would interfere with the traditional look of the neighborhood or the resale value of your home.
By which I mean: Mary Pete is a neoliberal and a Jeffersonian meritocrat, which is to say he's just another unrepentant or at least unexamined beneficiary of white male privilege who believes (just as Jay Inslee believes he's done more for women's reproductive rights than Elizabeth Warren and Amy Klobuchar) that he can make life better for all those people who are not like him, not because he knows anything about their lives but because he's smart and nice and well-meaning, and when smart nice well-meaning people run things everything works out for the best. That's just, you know, logical. It's like, science. Like Kirsten Gillibrand, he believes in "healthy capitalism," which is a bit like saying you believe in "healthy cancer" Yeah, you can (usually) treat it, but wouldn't you rather be cured?
Pete and I are just not the same kind of gay.
Most of what I dislike about Mary Pete was expressed in this Current Affairs article, which does a good job of using his own words (mostly from, ugh, Shortest Way Home, his memoir pretending to manifesto) to damn him. Shortest Way Home conjures a young Harvard student who thinks the word "edgy" is sufficient to describe both proto-Dumpster fascist Lyndon LaRouche and Noam Chomsky. His description of Harvard Square takes in those actors who belong to the school; the homeless people who live there are invisible to him, or, even worse, not worth mentioning. He seems perfectly content to dismiss left-wing student activists as "social justice warriors" despite the fact that this phrase is paradigmatic in right-wing discourse. He speaks fondly of his time at McKinsey, a company regularly described as one of the most evil corporations in the world. He joined the military long after 9/11 could sort-of-but-not-really be invoked to justify the U.S. propensity to go to other countries and kill lots of people. By 2007 it was no longer possible to pretend that the wars in Afghanistan and Iraq were anything other than failed, murderous exercises in empire-building and/or revenge, but despite the fact that these were the only places he was likely to serve he signed up anyway. And though he loves to talk about the notes he left his family in case he didn't come back, by all accounts his chances of seeing combat were as low as they could be—but boy, he sure got a lot of cute pictures in uniform out of it!
Every move is simultaneously cynical and morally oblivious. They're the steps one takes not to learn about the world but to become a marketable political candidate (hmmm, what's a good counter to the whole sleeps-with-men thing? I know: military service!) (side benefit: you're surrounded by hot guys!) and if as a Harvard-educated Rhodes Scholar you decide not to be a captain of industry, then clearly the White House is where you belong. I mean, sure, he wants to make the world a better place. But the operative word in that sentence, just as it was with Bill Clinton, is "he," not "world," and "better," for Mary Pete, is just the neoliberal variation of "make America great again," which is to say that in Buttigieg's version of American history the progressive ideals in the First, Thirteenth, and Nineteenth Amendments, in the Civil Rights Act and Roe v. Wade and marriage equality, are the only authentically American ideas, whereas slavery and Jim Crow and border security and defense of marriage campaigns and heartbeat laws are nothing but aberrations, glitches in the code rather than yin to liberalism's yang, warp to its weft, a set of ivory chess pieces lined up across from a set of ebony chess pieces and equally powerful.
Like Obama, Buttigieg seems always to be saying that the United States is the only place where someone like him could've succeeded, and that he wants everyone to enjoy the same peculiarly American successes that he's had. But unlike Obama (whose naïvete was at least partly a pose), Buttigieg's biography belies the idea that his success was either hard won or particularly unlikely. He's lived the life of a comfortably middle-class white male, but he acts as if it's his natural gifts (by which he means his intelligence and his ability to speak seven languages and play the piano, although they're actually his whiteness and maleness and financial security) that have raised him above from the rabble. It's right there in his "Medicare for all . . . who want it" song and dance. To Mary Pete this is simple egalitarianism and freedom of choice. If you want Medicare, you should be able to have it. And if you want private insurance you should be able to have that. It seems never to occur to him to ask why one would want to pay three or four or ten times more for health care than you have to. Could it possibly be because private insurance will get you better results than Medicare? And could private health care possibly provide better service than Medicare not because of marketplace competition but because as long as there's a profit motive in health care medical corporations will always seek to maximize profits, and thus favor those "customers" who can pay the most? Embedded in this oblivion are both the liberal delusion that people are naturally good and the neoliberal sophistry that the market, like the tide, will raise everyone up with it.
Pete is just the neoliberal variation of "make America great again."
Or take his response at the Democratic debate to the murder of Eric Logan by the South Bend police: "I'm not allowed to take sides until the investigation comes back." Here is a mayor—a man—whose first allegiance isn't to the victim or the victim's family or the other people at risk because of a racist police force, but, at the very best, to the system, and maybe to nothing more than his own political future as a centrist Democrat. "I accept responsibility," he told us, in the same way that the white teenaged boy who gets caught stealing a car or drunk-raping a girl says "I accept responsibility" and fully expects to let off without punishment, because boys will be boys, after all, and isn't feeling bad punishment enough? Free education? Why, that's unfair to the working class! They'll end up paying for the education of all those millions and millions of billionaires' children! What are we, czarist Russia?
You keep looking for a politics rooted in justice or history or, at the very least, empathy, but everywhere you find nothing besides a kind of idealistic pragmatism, if that's a thing: a belief that if we only talk about nice things, only nice things will happen. If we only acknowledge our strengths, our faults will fade away. If we trust smart people to do smart things, nothing dumb will happen. Hey, José loved it when Pete answered him in Spanish, right? Education has brought us closer together!
All this makes Mary Pete different from every other left-leaning neoliberal in exactly zero ways. Because let's face it. The only thing that distinguishes the mayor of South Bend from all those other well-educated reasonably intelligent white dudes who wanna be president is what he does with his dick (and possibly his ass, although I get a definite top-by-default vibe from him, which is to say that I bet he thinks about getting fucked but he's too uptight to do it). So let's dish the dish, homos. You know and I know that Mary Pete is a gay teenager. He's a fifteen-year-old boy in a Chicago bus station wondering if it's a good idea to go home with a fifty-year-old man so that he'll finally understand what he is. He's been out for, what, all of four years, and if I understand the narrative, he married the first guy he dated. And we all know what happens when gay people don't get a real adolescence because they spent theirs in the closet: they go through it after they come out. And because they're adults with their own incomes and no parents to rein them in they do it on steroids (often literally). If Shortest Way Home (I mean really, can you think of a more treacly title?) makes one thing clear, Mary Pete was never a teenager. But you can't run away from that forever. Either it comes out or it eats you up inside. It can be fun, it can be messy, it can be tragic, it can be progenitive, transformative, ecstatic, or banal, but the last thing I want in the White House is a gay man staring down 40 who suddenly realizes he didn't get to have all the fun his straight peers did when they were teenagers. I'm not saying I don't want him to shave his chest or do Molly or try being the lucky Pierre (the timing's trickier than it looks, but it can be fun when you work it out). These are rites of passage for a lot of gay men, and it fuels many aspects of gay culture. But like I said, I don't want it in the White House. I want a man whose mind is on his job, not what could have been—or what he thinks he can still get away with.
So yeah. Unlike my experience with Gar, I actually want to tell Mary Pete to take a good hard look at his world, at his experiences and his view of the public good as somehow synonymous with his own success, and I want him to reject it. I want to do this not because I have any particular desire to hurt his feelings, but because I made a similar journey, or at least started out from a similar place, and I was lucky enough to realize (thank you, feminism; thank you, ACT UP) that the only place that path leads is a gay parody of heteronormative bourgeois domesticity: the "historic" home, the "tasteful" decor (no more than one nude photograph of a muscular torso per room; statuary only if they're fair copies of Greek or Roman originals), the two- or four- or six-pack depending on how often you can get to the gym and how much you hate yourself, the theatre (always spelled with an -re) subscription, the opera subscription, the ballet subscription, the book club, the AKC-certified toy dog with at least one charming neurosis and/or dietary tic, the winter vacation to someplace "tropical," the summer vacation to someplace "cultural," the specialty kitchen appliances—you just have to get a sous vide machine, it changed our life! Sorry, boys, that's not a life, it's something you buy from a catalog. It's a stage set you build so you can convince everyone else (or maybe just yourself) that you're as normal as they are. Call me a hick from the sticks, but I don't want someone who fills out his life like he fills out an AP exam serving as the country's moral compass. And no, I wouldn't kick him out of bed.


text:
Category: Pets
Comments Off on Hello world!
Hello world!
Anime Business Careers Casino Celebrity Cryptocurrency Deals Economy Entertaiment Esports Finance Games Gifts Health Healthcare Indonesia Markets Media Movie Music Pets Politics Real Estate Religion Retail Sabung Ayam Science Slot Sports Sportsbook Stories Strategy Streaming Style Supranatural Technology Togel Transportation Travel Worldwide
Welcome to WordPress. This is your first post. Edit or delete it, then start writing!


text:
Snow Child events north and south
Dear fun-seeking reader,
I want to let you know about some events I have coming up.
This Friday I'll be in Anchorage at Cyrano's Theatre Company with Leigh Newman. She recently published her memoir Still Points North about growing up in Alaska, seeing the world, and then coming home again.
The event is 7 p.m. to 9 p.m. Friday, April 26. Expect a reading from each of us as well as "snacks, fizzy beverages and merriment!" It should be lots of fun.
Then next week I head south to Bend, Oregon for Deschutes Public Library's "A Novel Idea…Read Together." It has been an delightful honor to have The Snow Child chosen for their annual program.
Everyone in the publishing world keeps telling me this is one of the best community reads programs in the country. It kicked off with three weeks of free cultural programs, book discussions, films, food tastings, lectures and art openings.
The program culminates with two presentations in Bend. On Friday May 3, I'll be reading at the Tower Theatre, but I understand these tickets are sold out. However, I'll also be at a non-ticketed event on May 4th at 11:00 a.m. at Ridgeview High School in Redmond.
So whether you're in Anchorage, Alaska, or Bend, Oregon, I hope you'll stop by and say hello.
3 Comments
Eowyn, I wish I was going to be back to see you in the Bend program, but unfortunately I will miss it. I hope to see you some other time, talking about The Snow Child or your next book, which I am eager to read. Meanwhile, I have been spreading the news of your wonderful writing, and have encouraged many book clubs to read The Snow Child, including one down here in Baja, in Mendocino and in Bend. Congratulations on all of your well deserved accolades and keep on writing!!
Hi, I'm Cameron's L.A. Grandma,
I was at the Los Angeles Times Festival of Books on Saturday and Sunday on the USC campus, and "The Snow Child" was prominently displayed at the Vrooman's Bookstore tent!
I'm from Bend, Oregon. And I can't tell you enough how much The Snow Child spoke to my feelings about Bend in the winter. I know it's not even close to Alaska's snowy cold months, but what you captured in your words really spoke to my heart. I'm sad that I'm not in Bend this weekend, as I live in Los Angeles now, but I know that Central Oregon will give you a warm welcome!