text:
Welcome to Graduate Studies
The College of Graduate Studies at Austin Peay State University fosters an intellectual community of advanced learning within an environment of scholarship, research and creative activities, and engages faculty and students with partnerships representative of a global society.
The College of Graduate Studies also develops advanced programs and services addressing national needs and provides a mechanism for collaborative opportunities in research, creative and scholarly activities. These connect university expertise with private and public resources and contribute significantly to the intellectual, economic, social, physical and cultural development of the region and therefore, the nation. Finally, the College of Graduate Studies engages students in graduate education that promotes the knowledge of society, global awareness and continuous learning.


text:
Charles J. "Chuck" Boylan
Charles J. "Chuck" Boylan, 82, of S. Michael Circle, St. Marys, died on Saturday, Nov. 27, 2010 at Elk Regional Health Center following a brief illness.He was born Oct. 6, 1928 in St. Marys, son of the late Joseph and Laura O'Hern Boylan.On October 27, 1951 in St. Mary's Church, he married the late Eileen A. Hanes Boylan, who preceded him in death on Dec. 18, 2008.Mr. Boylan was a lifetime resident of St. Marys and was a member of St. Mary's Church. He served in the U.S. Navy from 1945-1949. He retired from Straub Brewery after many years of service as a mechanic. He enjoyed spending time tinkering around his home and gardening. He was a longtime patron of Monica's Restaurant, where he enjoyed many meals and often visited daily. Most of all, he enjoyed spending time with his family.He is survived by two daughters and one son, Dineen, Mrs. Carl Gamarino of Brockport, Janice, Mrs. Robert Garner of St. Marys and Joseph Boylan and his wife Trudy of St. Marys; three grandchildren, C.J. and Stephen Gamarino and Samantha Garner; a brother, Patrick "Bits" Boylan and his wife Sharon of Mt. Joy; and numerous nieces and nephews.In addition to his parents and his wife of more than 57 years, Eileen A. Hanes Boylan, he was preceded in death by a sister, Claire "Petty" Hanes, and two brothers, Richard and John Boylan.A Mass of Christian Burial for Charles J. "Chuck" Boylan will be celebrated at the St. Mary's Catholic Church, Church Street, on Tuesday, Nov. 30 at 10 a.m. with Rev. Meinrad Lawson, OSB, as celebrant. There will be no visitation. Burial will be in the St. Mary's Catholic Cemetery.Memorial contributions may be made to St. Jude Children's Research Hospital, 501 St. Jude Place, Memphis, TN 38105.Lynch-Green Funeral Home, 151 N. Michael Street, St. Marys, is handling the arrangements.

subset: commoncrawl


text:
Tag Archives: US Banks
Mobile Banking has huge benefits
The evolution of Mobile banking have big benefit on both sides , banks and clients . Mobile banking give us faster access to our financial and business transactions and providing a new financial confidentiality .
Posted in Mobile Tagged App, Apple Pay, Bank, banking, evolution of Mobile, finance, finance businesses, Google Wallet, Mobile App, Mobile banking, Samsung Pay, todays banking, US Banks Leave a comment


text:
Suffer the Children
What do you do when a co-worker tells you about child abuse?
Get "Dear Prudence" delivered to your inbox each week; click here to sign up. Please send your questions for publication to email@example.com. (Questions may be edited.)
Dear Prudie,
I work with a woman who talks frequently at lunch and in group settings about the problems she's having with her children. She claims they are just unruly, then discusses some rather dysfunctional behavior that seems like a cry for help. She casually talks about how they've been kicked out of every day care they've been enrolled in for fighting, biting, spitting, and threatening graphic, personal harm on teachers. The most recent story involved one child trashing the house while she and her husband slept. Her solution was to lock her children in their rooms at night, but now she doesn't know what to do with the one who has taken to defecating in the corners during the night. It breaks my heart to hear these types of stories, so much so that if she starts telling me about the latest mishap, I try to steer the conversation in another direction. My spouse thinks I should stay out of the situation, but my heart feels for these children, and I have toyed with the idea of anonymously calling the local social services office to report the situation. Do I have a moral and ethical responsibility to step in and report possible neglect? Or should I keep steering the conversation off the topic and keep my mouth shut?
—Heartbroken and Torn
Dear Heart,
Make the call. That's the advice of both Caren Kaplan of the Child Welfare League of America and Dr. Keith G. Hughes, a consultant to the North American Child Welfare Resource Center, after I read each of them your letter. Hughes said these children are exhibiting signs of serious emotional distress, and that parents who lock children in their rooms to keep them under control need intervention to help them learn how to properly deal with their kids. He said most states allow people who suspect child abuse to call the authorities anonymously and be held harmless for making the call. While it's generally best to stay out of the personal lives of the people at the lunch table, your heart is telling you there is something very wrong in this woman's life and that you need to do what you can to stop it.
Dear Prudence,
My wife and I are in our 40s, married for years with great kids. In the bedroom, I have to supply the imagination or creativity, which can be politely summarized as a handful of positions and occasionally some tricks or treats. I consider my efforts to keep things interesting very modest by today's standards, but it's become a point of contention. My wife thinks what we do is way, way "out there," especially for people our age. She is sure that our neighbors are all missionary-with-the-lights-out types. I say that whether she can imagine it or not, they are almost certainly doing what we do and probably much more. In order to move forward, we need to agree on where we fall on the wildness scale—my wife thinks we're an 11 on a scale of one to 10, while I'm pretty sure we're about a three. Help!
—No Frame of Reference
Dear Frame,
Talk about keeping it up with the Joneses! Your bone of contention sounds like that scene from Annie Hall, in which Annie and Alvy complain separately to their therapists about the frequency of sex. He says, "Hardly ever. Maybe three times a week." And she says, "Constantly! I'd say three times a week." The issue here, however, is not whether the people down the block spend every night practicing reverse cowgirl, it's what makes the two of you happy. Her fallback is keeping things simple and basic; you consider that rutting yourselves into a rut. But could you be accommodating if your wife wants variety only every few weeks? And perhaps she doesn't mind the different positions, but she thinks tricks and treats should be left for Halloween. Maybe instead of your resenting doing it missionary-with-the-lights-out, you could consider it part of the repertoire of the suburban Kama Sutra. That you're open enough with each other to even have this conversation is good news. So keep talking, without becoming so rigid in your demands that she no longer wants to be flexible with you. You both need to accept that while your sexual styles may be somewhat opposed, you can come together and make it work.
Dear Prudence,
I am constantly having a battle of stuff with my mother that comes to a climax around Christmas. My mom loves to send me stuff—stuff she likes, stuff I don't need, knick-knacks, furniture, dishes. I live in a very small apartment and move often. After lugging my stuff across the country, I began taking carloads of it to Goodwill. I told her that if I get something I don't need, I'm giving it away. This did not go over well, so now I act grateful and then send it straight to Goodwill or a friend, feeling a little guilty. My system of donating these things was working fine (except for the guilt) until this year regarding Christmas, when she gave me an explicit admonition not to give anything away because the objects have sentimental value for her! How can I get the point across to her (if there's any clearer way of saying, "No, Mom, I have no room for that!")? Or should I just keep doing what I'm doing and bear the guilt?
—Drowning in Stuff
Dear Drowning,
It's one thing to give a true family heirloom with the understanding the recipient will keep it and in turn pass it on. It's another to declare that the set of Santa mugs from Wal-Mart has sentimental value and must be kept forever. Since your mother is trying to put restrictions on your disposition of gifts, let her know one more time that anything you don't have room for will be given away. Then take whatever you don't want and, in the spirit of the season, donate it to someone needier. There is one thing you should stop doing: feeling guilty for declaring your apartment will not be a warehouse for your mother's excesses.
Dear Prudence,
My girlfriend and I are extremely happy and have a healthy relationship. She is wonderful in every way and I feel bad about mentioning one flaw (if you could call it that). Despite being extremely attractive, she has a little bit of flub on her stomach. It's something that I'm not particularly bothered by, but I certainly wouldn't mind seeing it gone. She has also complained about it. Even though she acknowledges this, I don't know if I could suggest losing the weight to her; I don't want to come off as being shallow in some way. How should I approach this?
—Cut the Fat
Dear Cut,
The best way to see her little roll gone is the next time she mentions it, squeeze it between your thumb and index finger, waggle it, and agree with her that she should do something about it. Keep doing this and you have a good chance that the flub, and she, will disappear from your life. Would you enjoy her pointing out that she's bothered by the receding trend your hairline is taking? A normal-weight woman is a woman who sometimes comes with a little belly roll. I usually don't advocate deceit, but when a partner points out a physical flaw on herself that requires surgery to correct, a good phrase to memorize is, "Don't be ridiculous, you look great!" Using this approach, my husband has almost convinced me he can't see the bags under my eyes, and I love him for it.


text:
Chesterfield boss Paul Cook has bolstered his squad with the double loan signing of MK Dons forward Jay O'Shea and Hull defender Connor Townsend.
Former Birmingham forward O'Shea, who scored against the Spireites last season, has signed until January 5.
Townsend moves to the Proact Stadium on an initial one-month deal. The 19-year-old left-back is yet to make his first-team debut for the Tigers and spent most of last season on loan at Blue Square Bet Premier side Grimsby.
Cook, who took charge of the Spireites last month, is delighted to have added new faces to his squad.
He told the club's official website: "We need to increase the competition for places and these two players are quality additions to the squad."
The duo will go straight into the squad for Tuesday's match against Cheltenham.


text:
G-7 Confusion
G-7 finance ministers and central-bank governors said in the earlier statement released in London, "we reaffirm that our fiscal and monetary policies have been and will remain oriented towards meeting our respective domestic objectives using domestic instruments, and that we will not target exchange rates." They will join officials from the G-20, which includes the G-7 and emerging markets such as Brazil, China and India, in Moscow on Feb. 15-16.
The yen pared gains after a U.K. official said the G-7 statement on exchange rates today is not about an individual country or currency. The official spoke on condition of anonymity.
"Officially, the most important countries are not singling out Japan," Douglas Borthwick, a managing director and head of foreign exchange at Chapdelaine FX in New York, said in a telephone interview. "People understand that if anyone's going to have their feet to the fire right now in terms of currency weakness, it's going to be Japan. But it's very hard for most countries to throw stones because they're all living in glass houses."
Among U.S. stocks, Michael Kors Holdings Ltd. rallied after raising its forecast in anticipation of a jump in same-store sales. Avon Products Inc. jumped as adjusted profit topped analysts' estimates.
Facebook Inc. sank as Sanford C. Bernstein & Co. cut its recommendation. Coca-Cola Co. slipped after global volume sales missed analysts' estimates.
Earnings Season
Earnings have exceeded the average analyst estimate at about 74% of the 354 companies in the S&P 500 that released results so far in the earnings season, and 66% have beaten sales estimates, data compiled by Bloomberg show.
The S&P 500 has rallied almost 7% in 2013 as U.S. lawmakers reached a budget compromise. The gauge is about 3% below its record reached in October 2007. The index has more than doubled since bottoming in March 2009 as the Federal Reserve conducted three rounds of bond-buying to lower interest rates and boost economic growth.
Obama tonight will propose spending on infrastructure, clean energy and education, according to an administration official briefed on the speech. His argument, directed at congressional Republicans amid a battle over fiscal policy, is that fostering economic growth is the best strategy to narrow a federal budget gap that has exceeded $1 trillion in each of the last four years.
Copyright 2014 Bloomberg. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Copyright 2014 Bloomberg. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


text:
Netflix Inc. NFLX, -1.76% expanded its multiyear licensing agreement with PBS Distribution for U.S. and Canada to add the murder mystery drama The Bletchley Circle and other PBS programming.
Financial terms of the agreement, which begins this fall, weren't disclosed.
The online-video company recently signed multiyear deals with DreamWorks Animation SKG Inc. (DWA) and Walt Disney Co.'s (DIS) Disney/ABC Television Group to expand its programming for families.
Netflix said its PBS agreement also adds children's series, like Wild Kratts, Caillou and Arthur; documentaries from filmmaker Ken Burns, including Prohibition and Central Park Five; and past seasons of nonfiction series like Nova and Secrets of the Dead.
Netflix also said it will become the exclusive streaming-video-on-demand home of Super Why!, an award-winning preschool series, in 2014.
"While PBS stations will always be the first place to see our programming, this agreement with Netflix exposes our shows to new audiences and further expands PBS's presence across all media platforms," said Jason Seiken, general manager of PBS Digital.
The deals come as Netflix faces a raft of competition in its core U.S. streaming service from online video sites, cable television and other streaming services.
The company reported in April it swung to a first-quarter profit as the movie-subscription company continued to add more Internet subscribers and revenue jumped 18%.
Shares recently were trading $1.84 higher at $223.30 premarket. The stock has more than doubled since the start of the year.
Subscribe to WSJ: http://online.wsj.com?mod=djnwires


text:
I.C. Collections
The Original Double Seat Diaper Cover
$ 10.00
The original Double Seat Diaper Cover that started it all back in 1948!
White double seat diaper cover bloomers with embroidered eyelet edging. Inserted waist elastic. Bias cut seat.
NOTE: Diaper covers are sized to fit over diapers so are typically a little larger fit than you might expect from non-diaper cover panties.
Proudly handmade in El Campo, Texas, USA!
If you need to exchange your garment for a different size, please include a note with the following information:
1. Contact phone number. (in case we need to contact you)
2. IMPORTANT: New size you would like to exchange for.
To exchange your garment, you should mail your garment to:
Attn: EXCHANGE
220 Sam Bishkin
El Campo, TX 77437
Depending on where you live, the time it may take for your exchanged product to reach you, may vary.
Orders must be returned within 30 days to be eligible for a refund. Orders returned after 30 days will not be accepted.To be eligible for a return, your item must be unused and in the same condition that you received it.
When returning an item be sure to include a copy of your invoice, if you do not have your invoice, please send a note with your order number as well as the reason for your return so that we can properly process your refund.
To return your product, you should mail your product to:
LauraDareSleepwear.comYou will be responsible for paying for your own shipping costs for returning your item. Shipping costs are non-refundable.
Attn: RETURNS
220 Sam Bishkin
El Campo, Tx 77437
If you are shipping an item over $50, you should consider using a trackable shipping service or purchasing shipping insurance. We recommend USPS First Class or Priority, since it is both affordable and can include a tracking number.
When your return is accepted and processed, and a credit will be applied to your original method of payment.
Late or missing refunds
After 14 days, if you haven't received a refund yet, first check your bank or credit card account again. It may take some time before your refund is officially posted.
If you have verified that you have not received a refund, please contact us at


text:
Giacomo PucciniItalian
Puccini was the most important operatic composer of his generation. His music exploits the dramatic potential of his stories far more than that of his predecessors and his colourful orchestration is unique. His personal life was almost as torrid as that of one of his characters.
Giacomo Antonio Domenico Michele Secondo Maria Puccini was born in Lucca to a musical family. He studied piano with his uncle, Fortunato Magi, and at the age of 14 began playing the organ in the church of St. Martino and St. Michele, Lucca, and at other local churches. From 1880 to 1883, he studied at the Milan Conservatoire under Ponchielli and Bazzini. He began his career as a composer of opera with Le Villi, written as an entry to a competition. He didn't win, but the publishing house Ricordi arranged a production of the opera at the Teatro del Verme in Milan, and commissioned a second opera, Edgar, which was performed in 1889 and was less successful. But Puccini's real success began with the production of Manon Lescaut in 1893.
The effect of Manon's success was to bring international renown to Puccini, and it led to more operas. La Bohème is widely considered Puccini's masterpiece, but it did not do well when it was performed in Turin in 1896. Tosca, however, was staged at the Teatro Costanzi in 1900 and was far more successful. When Puccini wrote Madama Butterfly, he felt it was the best opera he had written, but when it was performed at La Scala in 1904 his rivals encouraged the audience to give it a very bad reception. Puccini revised the opera and it was performed three months later, to great acclaim. There then followed a long pause in Puccini's composing career, as a scandal surrounded his personal life. His wife, Elvira, accused one of the servant girls in their house of having an affair with Puccini. The girl committed suicide, and it was later discovered that she had been perfectly innocent. The publicity affected Puccini, and he did not complete another opera until 1910, when La Fanciulla del West was premiered in New York.
There then followed a period in Puccini's life where his operas were less well written and less well received. This lull continued until he decided to write another great opera, called Turandot. He began writing it, and moved to Viareggio. In 1923, however, he developed cancer of the throat. He died leaving Turandot unfinished. Two years later, his body was interred in his house in Torre del Lago, and when his widow died in 1930 the house was turned into a museum. Puccini did write some orchestral and instrumental music, but it is for his operas that he is remembered. His talent and originality were outstanding and he became famous for his melodic writing, dramatic harmonies and theatrical skill. His compositions have remained in the regular repertory of the world's opera houses.
Related Composers: Verdi, Mascagni, Leoncavallo, Debussy
Research on Puccini's love life exposed
The private life of Giacomo Puccini was famously as colourful as his operas, but only now has the truth emerged about the scandal that almost undid him. It's an extraordinary tale of infidelity, jealousy and vengeance that continues to haunt the lives of his descendants to this day
This year, the many celebrations marking the 150th anniversary of Puccini's birth are set to include the unveiling of a new al fresco opera house on the shores of the lake where many of his masterpieces were composed. Giacomo Puccini was the most commercially successful opera composer there has ever been. At his death in 1924 he was worth well over £130m by today's standards.
Much of this wealth came from the wonder years (1895-1904) when the Tuscan maestro turned out in rapid succession three of the most widely performed operas in the world, La Bohème, Tosca and Madama Butterfly, while living in idyllic surroundings in Torre del Lago on the shores of Lake Massaciuccoli. Then he seemed to run out of steam, not finishing his next work, La Fanciulla del West, until 1910. While accomplished, La Fanciulla isn't in the same league as Bohème, Tosca and Butterfly. So what went wrong?
For years it was assumed that the suicide of a maid working in the Puccini household may have had a lot to do with it. The story is well-documented. On 23 January 1909, Doria Manfredi committed suicide by taking three tablets of corrosive sublimate. It took three days for her to die from what today we would call mercury poisoning. Elvira Bonturi, the composer's 39-year-old wife, was blamed for her death, for she had hounded Doria and publicly accused her of having an affair with Puccini. When the local court ordered an autopsy, it was found that Doria was a virgin and Elvira was sued for slander. She was sentenced to five months and five days and only escaped prison when the composer offered 12,000 lire compensation to the Manfredi family. Subsequently the couple were estranged for some months, but this tragedy hardly accounts for the seven years it took Puccini to complete La Fanciulla. Besides, Elvira's persecution of Doria only began in the October of 1908. The dates simply do not match up.
Recently, fresh light has been shed on what went on in Villa Puccini 100 years ago. Giacomo Puccini had made his home in a fishing village called Torre del Lago. Here, surrounded by his common-law wife, his stepdaughter and son, he wrote music, went out in fast cars, or took his speedboat out on the lake. Or as he himself put it: "I am a mighty hunter of wild fowl, operatic librettos and attractive women."
It was Puccini's pursuit of women that created the great crisis in his life. This is a tale of infidelity, jealousy, vengeance and despair. It goes a long way towards explaining the composer's fallow period. Its repercussions are still being felt on the lakeside today.
The story begins not with Doria's suicide, but eight years earlier when Puccini was working on Madama Butterfly. It was not uncommon for the maestro to fall in love with other women when composing. He called these amourettes his "little gardens". In 1900, while working on Butterfly, Puccini fell for a young girl he met in Turin. He nicknamed her "Corinna" and was so obsessed with her that Elvira, in despair, contemplated leaving him .
Puccini and Elvira Bonturi were not married at the time. She was the wife of an old schoolfriend of his. The couple had met in 1884 when Puccini was hired to give Elvira piano lessons. They soon began an affair. In 1886, amid much scandal, Elvira had left her husband for Puccini, bringing her six-year-old daughter Fosca with her to Torre del Lago. In due course Elvira bore Puccini a son, Antonio, but the couple were unable to marry and legitimise the boy because divorce was not possible in Italy at that time. The situation may well have suited the composer, who claimed he enjoyed falling in love and certainly enjoyed teasing Elvira about his "little gardens". This time, however, the infatuation got out of control. There are suggestions that Puccini had proposed marriage to his Corinna.
However, on 25 February 1903, fate took a strange turn. On that night Puccini suffered the first-ever motorcar accident to receive widespread press coverage in Italy. Near Lucca, his chauffeur plunged off the road. The composer was found pinned underneath the car, almost asphyxiated by petrol fumes and with his right leg broken. He needed someone at home to care for him. And the very next day, by another strange act of fate, Elvira became a widow. Her husband Narciso died, leaving no obstacle to Puccini marrying his companion of 17 years.
Puccini's publisher and mentor, Giulio Ricordi, tried to convince the bedridden composer to give up Corinna and do the decent thing by Elvira. Goaded by Ricordi and pressed by his ever-attentive sisters, Puccini hired a private detective, who discovered that the Turinese girl had duped him. She was not the innocent she pretended to be. Not only was she having relationships with other men, there was ' a strong possibility money was changing hands. Puccini broke definitively with her in a note burning with shame and anger: "What an abyss of depravity and prostitution! You are a shit, and with this I leave you to your future."
Stung, Corinna wrote to him threatening legal action and to go public over the affair. Puccini panicked. We know this from a note that Elvira subsequently wrote to him.
"For that business [the alleged breach of promise] you could have gone to gaol... I still remember well how, when the famous letter [from Corinna] arrived, you became pusillanimous at the thought of a sentence and talked about fleeing to Switzerland."
According to recent research by musicologist Dieter Schickling and novelist Helmut Krausser, the situation was rescued when Corinna's father was convicted for importuning and exposing himself to an underage girl. Any accusations made by the daughter of such a family would have enjoyed little credibility in the Italian legal system. Puccini was saved but humiliated. Among Schickling and Krausser's discoveries was the fact that the Corinna correspondence was not in any Puccini archive but in the possession of the family of Elvira Bonturi's sister.
"Perhaps Elvira passed the documents to her sister for safe-keeping," says Puccini producer and scholar Vivien Hewitt, "so that she would always be able to remind him about them if he strayed in the future."
The following year, on 3 January 1904, a week after finishing Butterfly and as soon as the legal 10 months of widowhood were up, Puccini married his Elvira. It could hardly be called a good start to a marriage.
"Puccini's personal life and his creativity were always intertwined," says Hewitt. "His heartbreak over Corinna was probably instrumental in generating his most powerfully tragic music in the form of the last act of Madama Butterfly."
After 'Butterfly', the humiliated composer did not produce another opera for six years. When that opera was finally completed, it depicted a new kind of Puccini heroine: not a victim like Mimi or Butterfly, nor a jealous, destructive creature like Tosca, but a tough, capable woman, Minnie, who runs a saloon in a California mining camp.
Many people have asked where Puccini found his new muse. One of those intrigued by this question was Italian film director Paolo Benvenuti, whose film La Ragazza di Lago (The Girl of the Lake), premieres at the Venice Film Festival this August.
"Six years ago I started an in-depth research project centred on the suicide of Doria Manfredi. I soon noticed that while writing an opera, Puccini tended to fall in love with a real-life person similar to his protagonist. I could see no similarity between Doria and the heroine of La Fanciulla del West, but my research team revealed there was another woman in Torre del Lago who bore a striking similarity to the independent, gun-toting saloon owner Minnie. That woman was Doria's cousin, Giulia Manfredi."
Like Minnie, Giulia worked in a hostelry frequented by hunters and local farmers. This was the Chalet Emilio, named after her father, Emilio Manfredi. It still sits on the edge of Lake Massaciuccoli today, opposite Villa Puccini.
"She was independent and commanding but at the same time humble and affectionate with locals and strangers alike," says Benvenuti.
Gossip in Torre del Lago suggested that the composer had had an affair with Giulia, but Benvenuti had no evidence. "Then in October 2006 my research co-ordinator overheard a seaside pizza-parlour owner in Lido Di Camaiore saying that the illegitimate son of Giacomo Puccini and Giulia Manfredi always used to eat in his restaurant."
Believing that he was on to something remarkable, Benvenuti followed up the lead, tracing the Manfredi family to a modest house in Cisanello near Pisa. "The woman who answered the door was Nadia, a simple housewife who had always worked as a hairdresser. She was the daughter of Antonio Manfredi, a hotel night porter who had lived in Pisa almost all his life."
One thing Benvenuti noticed immediately: Nadia Manfredi has Giacomo Puccini's hooded eyelids.
"Nadia is a sweet, rather shy person," says Benvenuti. "She has suffered a lot from her father's sense of abandonment and his appalling doubts about his identity."
In January 2007, Nadia showed Benvenuti a dusty suitcase of her father's that had been kept in the cellar for years. Inside, the director found approximately 40 letters and various documents that revealed the truth behind the suicide of her great-aunt Doria. Most important among these was a handwritten, undated memorandum Puccini had written on two sheets of headed notepaper from a Milan hotel where he was staying. These notes reconstructed the sequence of events that led up to Doria's death.
The story that was revealed is much more complex than Elvira Bonturi's jealous persecution of an innocent domestic servant. The tragedy begins around the end of September 1908, when Puccini sent word that he was returning to Torre del Lago. By this time he had found his new "little garden" in the feisty Giulia Manfredi and was already working on Fanciulla. Puccini asked that Doria open up the house ahead of his return. "By accident," says Benvenuti, "Doria discovered Puccini's stepdaughter, Fosca, in flagrante with the librettist of Fanciulla, Guelfo Civinini, in Villa Puccini." Fosca was 28 at the time and married to the impresario Salvatore Leonardi. "Fosca was afraid that Doria would tell all so she decided to discredit Doria and accused the girl of having an affair with her stepfather. Puccini's wife Elvira sacked Doria."
Distressed, Doria wrote to Puccini, saying that Fosca had plotted against her to cover her own immoral behaviour. Puccini secretly met with Doria and reassured the girl that he would try to sort matters. We do not know if he did anything at all, but we do know that when news of Doria's accusation reached Elvira, she was furious. "She was convinced Doria was adding insult to injury," says Benvenuti. "Elvira was certainly spying on her husband at the time and one night she saw him in a compromising situation with another woman whom she now assumed to be Doria.
On 1 January 1909, Elvira accosted Doria and her cousin Giulia and called Doria a "gossip and a filthy creature". On 19 January she insulted Doria in front of the Villa Puccini before witnesses, calling her a "whore" and a "tart" and subsequently told the onlookers that Doria was a "tramp who ran after my husband" and that "sooner or later I will drown her in the lake". On 23 January she accused Giulia Manfredi of being a go-between for Puccini and Doria, and told her that Doria would never set foot in Torre del Lago again.
"Doria was entirely innocent," says Benvenuti. "But she could not defend herself without betraying both her cousin and the maestro, whom she revered and adored."
After Doria's drawn-out and painful suicide, the local court stepped in and ordered an autopsy, which revealed the girl to be a virgin; Doria's family took Elvira to court. She was convicted of defamation, slander and menaces towards Doria Manfredi on three separate occasions.
The impact on the Puccini family was huge. "Not only was there was a separation between Puccini and his wife," says Benvenuti, "but Fosca's husband, the impresario Leonardi, got wind of the truth and blackmailed her. Eventually Fosca appealed to her mother for financial help and confessed the truth [about her relationship with Guelfo Civinini and Doria's discovery that day in autumn 1908]. By this time, Elvira's finances were drained too and in the end she had to admit the truth to Giacomo and beg for help. He took her back, paying the Manfredi family to drop their legal action and Leonardi for his silence." Elvira avoided prison and as the repercussions died down, Puccini recovered something of his creativity.
But in researching his film on the two Manfredi girls, Benvenuti found he had uncovered much more than he expected. "Puccini's relationship with Giulia lasted until his own demise. Many years later, in June 1923, Giulia had a son and christened him with Puccini's grandfather's name, Antonio. The boy was farmed out to a nurse in Pisa and a contract was drawn up with her for the then-massive sum of 1,000 lire a month. Significantly for those who are sceptical that Puccini was the father of Antonio Manfredi, Benvenuti points out that the maintenance money stopped abruptly in December 1924, just days after the composer's death in Brussels.
Young Antonio was brought up away from Torre del Lago in the city of Pisa. Says Benvenuti: "Antonio Manfredi died in poverty, aged 65, in 1988. Like Giacomo and Elvira's son (also called Antonio Puccini), he died of a tumour. He bore a very striking resemblance to Puccini, as you can see from his photograph. In fact there is a resemblance that descends through the generations in the photographs of his daughter, Nadia Manfredi, his granddaughter, Giada, and his great-grandson, Giacomo Manfredi. Giacomo, now 10, is the spitting image of the young Puccini."
Emboldened by her conversations with Paolo Benvenuti, on 20 February this year Nadia Manfredi went before a court in Milan requesting a comparison between the composer's DNA and that of Antonio Manfredi. "I wish to establish whether my father was Puccini's son," she explained. "I am interested in the moral satisfaction of knowing the truth, one way or the other, so that I can put my ghosts to rest."
This move has been opposed by Simonetta Puccini, who owns Villa Puccini. In 1980, as Simonetta Giurumello, she went before Italy's highest civil tribunal, the Court of Cassation, to prove she was an illegitimate daughter of the composer's legitimate son, Antonio. Antonio Puccini had died without an heir in 1946. Thirty-four years later, Simonetta Giurumello was able to get herself legally recognised as his daughter. At that point she changed her name to Puccini, obtained a decree from Milan freezing all existing Puccini assets, and took possession of the villa in Torre del Lago.
Nadia claims she is not motivated by the Puccini fortune. "I want justice for my father because he died in complete poverty, like a beggar. My father spent his entire life not knowing who his father was. I hope to give a name to the father of my father."
Lawyers for Simonetta argue that in Italy, while the first generation have forever to prove paternity, a statute of limitation of just two years applies to subsequent descendants, such as grandchildren. Nadia's lawyers are requesting that the limitation should run for two years after finding evidence, not after the death of Giacomo Puccini.
It is significant that while Puccini's creative recovery began with La Fanciulla del West, he only regained the form that he had displayed in Bohème, Tosca and Butterfly with Turandot, the opera he was still writing at the time of his death. Interestingly, the composer hit a new musical wall in 1922 while telling the story of the vengeful, man-hating Chinese empress. It was only when he instructed his librettists to create the character of a poor servant-girl, Liu, who commits suicide rather than betray the opera's hero, that he was able to continue. Puccini died with the last act of Turandot incomplete, haemorrhaging in the aftermath of drastic throat surgery. According to the conductor Arturo Toscanini, the maestro laid down his pen after the suicide of Liu. Doria Manfredi was to haunt Puccini for the rest of his life, while her cousin was left holding the baby.
2008, (c) Adrian Mourby is the recipient of the 2007 Puccini Award for Journalism. An extended version of this piece was first published in 'Opera Now' magazineShow more
Top Albums
1. Chrysanthemums
2. Three Fugues for String Quartet
3. Suor Angelica
4. Three Minuets for String Quartet in A
5. Le Villi


text:
recipe index, I decided to re-shoot and update how to make this sorbet, since my earlier post had only one photo:
You need two Ruby Red Grapefruits (I bought them on sale 2/$1.00):
A Food Blog that shares tried & true recipes, and my passion for cooking and baking with a garnish of beginning gardening and some travel.
This is as refreshing at it comes. Perfect for any time of day or night. It reminds me that I need to get out and find some Mountain Dew:D
This sounds fantastic and refreshing Debby! I love sorbets, especially citrus for being such wonderful palate cleansers. And, at 2 for $1, such an economical treat. I hope you're able to find some more ruby reds.
Debby, what a fabulous light refreshing dessert! This would be a great sorbet to serve after a heavy meal, when you want something sweet, but not packed with guilt.
Many thanks...
Debby, I JUST received the ice cream attachment for my mixer this Christmas and I've been antsy to try something amazing to Christen it.
I think this is it!! I love grapefruit. Can't wait to try....
What fun! I'm with you - throw in those "Mom-friendly" ingredients!
What a refreshing treat with which to end a meal. The sorbet is, indeed, a feast for the eyes.
Sorbet + Grapefruit! I can almost feel a delicious tingle in my cheek. :) This sounds wonderful!
What a great idea, we have some really great citrus here now too! I am going to make this dang it!
You'll just have to come to Texas to get some more. This looks so refreshing Debby!
I had the best grapefruit sorbet at a tea shop--high tea lunch and keep thinking I need to make some. This looks wonderful! The vodka is a great tip for keeping it "sorbet" like.
The picture is making me drool. I have to see if I can find Ruby Reds here. I can't stop staring at the picture.
Even though the wind is blowing outside and I'm sitting by my computer with my warmest sweater on and a hot cup of coffee in my hand, I would love to taste this cold sorbet, The blood orange sounds fabulous!
Oh yes!! This sounds incredible!
I do remember the Grapefruit diet in the 70's! Oh my - I was so sure it was the answer to my prayers! The Ruby Reds are so good - you've inspired me!
Usually just have lime or mango sorbet. Time to break out of that rut. This grapefruit sorbet sounds and looks delicious
This literally made my mouth water as I read your blog. It's time to go put the ice cream maker in the freezer to get ready for the weekend. I must try this lovely concoction!
Hi. Love your site! Nominated you for a Beautiful Blogger Award!
Lisa at Joyincooking.blogspot.com
This sounds so refereshing. A perfect afternoon snack or after dinner delight. I love lemon sorbet, and I would think that grapefruit, especially the Texas Ruby Red grapefruit (smile) would be a wonderful citrus sorbet, with just enough tang to really cleanse the palate.
Oh, boy that looks fantastic! I'll be honest my jaw started tingling when I saw the photos and read the title.
I love grapefruits especially sprinkled with a bit of sugar...and if you broil it for a couple of minutes. Needless to say I need to give this a try. Yeah, I have a couple of blood oranges, too.
I love sweet staff especially after meals, this is ver refreshing.
presto pressure cooker
Lovely sorbet and lovely pictures. Now I wish I hadn't gotten rid of my ice cream maker.
Oh, yum, I can almost taste this wonderful sorbet, now! Sounds and looks so delicious and refreshing! Thanks for sharing!


text:
Hartsville, S.C. – Four members of the Coker College men's soccer team received All-Conference honors on Thursday from Conference Carolinas. Senior Marc Mergena (Port-au-Prince, Haiti) and freshman Eric Stiefield (Eustis, Fla.) were each named Second Team All-Conference, while junior Daniel Shrizad (Orlando, Fla.) and freshman James Sweeney (Huntingtown, Md.) were each named Third Team All-Conference.
Conference Carolinas All-Conference selections are announced during the weeks of the Conference Carolinas Soccer Championships. Head Coaches from conference member institutions nominate and then vote upon the award winners who represent the best of the best for the conference.
Mergena anchored a Cobra defense that has allowed just 19 goals all season, while leading Coker to its best season in the school's NCAA history (11-5-2). Stiefield is Coker's point leader with 15 total points on the year, including seven goals and an assist. Along with Shrizad, Stiefield has provided a much needed offensive catalyst to the Cobra offense.
Shrizad has tallied 14 points on the year for the Cobras, with all 14 coming off of seven goals, while Sweeney has been a wall in goal for Coker, making 44 saves in more than 1500 minutes of play with a 0.92 goals against average. Sweeney has earned himself an 11-4-2 record in the goal, including seven shutouts.
The #5 seed Cobras return to the field on Friday, when they travel to Banner Elk, N.C. to face the top-seeded Lees-McRae Bobcats in the Semifinals of the Conference Carolinas Men's Soccer Championships. Kick-off is scheduled for 7:00 p.m. with live video and live stats available at www.lmcbobcats.com.
Men's All-Conference 1st-Team
Berin Boracic, Lees-McRae – Forward
Emmanual Yamson, Belmont Abbey – Forward
Paulo Passini, Anderson – Forward
Alistair Benson, Limestone – Forward
Lasse Sohrweide, Anderson – Midfielder
Kash Knight, Pfeiffer – Midfielder
Renato Barbosa, Pfeiffer – Midfielder
Dale Parker, Lees-McRae – Defender
Luke Duffy, Lees-McRae - Defender
Dominic Casciato, Limestone – Defender
Sean Paradise, Lees-McRae - Goalkeeper
Men's All-Conference 2nd-Team
Richard Guffens, Lees-McRae – Forward
Alex Landim, Pfeiffer – Forward
Eric Stiefield, Coker – Forward
David Palmer, Lees-McRae – Midfielder
Keegan Ziada, Limestone – Midfielder
Lee Smyth, Limestone – Midfielder
James Moseley, Anderson – Defender
Marc Mergena, Coker – Defender
Jack Reid, Belmont Abbey – Defender
Wilver Menacho, Pfeiffer – Defender
Alex Moreno, Pfeiffer - Goalkeeper
Men's All-Conference 3rd-Team
Daniel Shrizad, Coker – Forward
Junior Ellis, Limestone – Forward
Daniel Montero, St. Andrews – Forward
Luke Perry, Lees-McRae – Midfielder
Jack Kimber, Erskine – Midfielder
Nick Brindley, Pfeiffer – Midfielder
Jamie Bladen, Lees-McRae – Midfielder
Rayon Markland, Anderson – Defender
James Burke, Limestone – Defender
Luke Vernon, Pfeiffer – Defender
James Sweeney, Coker - Goalkeeper
Freshman of the Year
Luke Perry, Lees-McRae
Player of the Year
Berin Boracic, Lees-McRae
Coach of the Year
Chris Whalley, Lees-McRae
Regular Season Champions


text:
Featured News - Current News - Archived News - News Categories
John D. Ceretto will be sworn-in and begin his second term as a New York state assemblyman on Monday, Dec. 31.
"I am honored and humbled to be entering a second term," Ceretto said. "While these last two years have seen tremendous progress for New York state and Western New York, there remains hard work to be done. I will work with my colleagues in Albany and locally to keep the momentum going. I am honored that Councilman (Chris) Aronica will be able to join me, and thank the Town of Grand Island and its residents for welcoming me for this ceremony."
Ceretto was first elected in 2010 to the 138th Assembly District. He was re-elected, but for the newly created 145th Assembly District, on Nov. 6. The 145th Assembly District is made up of the towns of Cambria, Grand Island, Lewiston, Niagara and Wheatfield, the City of Niagara Falls, and portions of the City of North Tonawanda.
Swearing in Ceremony for Assemblyman John Ceretto and Grand Island Town Councilman Chris Aronica
Town Justices Hon. Sybil Kennedy and Hon. Mark Frentzel will administer the oath of office to Assemblyman John Ceretto and Councilman Chris Aronica.
The public is welcome to attend.
Town Grand Island Hall, Second Floor Courtroom
2255 Baseline Road
Grand Island, NY 14072
Monday, Dec. 31, at 4 p.m.


text:
Las Vegas, Nevada - DealsYouLove, the premier online source of coupons and savings, is pleased to announce new savings on Saks Fifth avenue products. Consumers interested in saving on Saks Fifth avenue products, can save up to 75% off.
Learn more about these Saks Fifth avenue coupons/discounts by visiting DealsYouLove.
DealsYouLove offers great savings on categories such as: travel, party supplies, health & beauty, cosmetics, books, gifts, outdoor gear, toys, shoes, office supplies, furniture, baby goods, music/movies, apparel, flowers, and more.
About DealsYouLove - DealsYouLove is a company that helps consumers get steep discounts on brands they love. With hundreds of thousands of coupons, and discounts, consumers can save up to 65% on brands, and products.


text:
Featured News - Current News - Archived News - News Categories
St. Peter's R.C. School in Lewiston has recently participated in Jumpstart's Read for the Record, which is an annual reading celebration in the U.S. that highlights the need for a quality early education by mobilizing adults and children to set a record for the largest shared reading experience.
At St. Peter's, teachers connected the book "Ladybug Girl and the Bug Squad," by Jacky Davis, with lessons on the following themes: sharing, feelings and being a hero, treating others the way you would like to be treated.
Guest readers spoke about the importance of literacy and planned various activities, including a creative writing activity.
Carol Beebe, project director of Niagara University's Department of Education, provided kindergarten students with special Beanie Baby reading buddies.
"Jumpstart's Read for the Record is a call to action to Americans to recognize the importance of quality early education, especially for our most vulnerable children," said Jessica Lemke, St. Peter's pre-K teacher. "When children start behind, they tend to stay behind. We are proud to support this campaign."
Shown is the pre-K class with Carmelo Raimondi, guest reader Cherie Hibbard, Liam Farnham, Ava Pannozzo, Trevor Ingham, Fernando Angueira and Haley Payne.


text:
February 14, 2012 14:27 ET
Ortsbo Files for US Patent on Its Real Time Closed Captioning Language Translation System
NEW YORK, NEW YORK, and LOS ANGELES, CALIFORNIA, and SAN MATEO, CALIFORNIA and TORONTO, ONTARIO--(Marketwire - Feb. 14, 2012) - Intertainment Media Inc. ("Intertainment" or the "Company") (TSX VENTURE:INT)(OTCQX:ITMTF)(FRANKFURT:I4T) announces that its real time, experiential communications platform, Ortsbo.com (www.ortsbo.com) together with Variety Magazine has unofficially smashed Ortsbo's Guinness World Record established in May 2011 together with its live coverage of the 2012 Orange British Academy Film Awards (BAFTA) with 161 countries viewing the event in 53 instantly translated languages. The broadcast featured live interviews with some of today's biggest stars including George Clooney, Viola Davis, Kenneth Branagh, Berenice Bejo, Octavia Spencer, Tom Hiddleston, Chris Hemsworth, Jim Broadbent, Neil Stiles and Daniel Radcliffe live from the Red Carpet instantly translated with Ortsbo's Real Time Closed Captioning Language Translation System. Ortsbo also provided coverage and commentary of the Winner's press area with award winners including Meryl Streep and Martin Scorcese answering Ortsbo questions from fans around the world.
Ortsbo's Real Time Closed Captioning Language Translation system allows viewers to watch video broadcasts and view an accompanying language real time text stream, like closed captioning found on television broadcasts, but in their personally selected choice of over 50 languages. The system, when combined with other Ortsbo technologies allows viewers to interact with the broadcast, asking questions, providing comments and chatting with other participants in almost any language, in real time.
Since launching its Real Time Closed Captioning Language Translation system at the Variety Entertainment Summit at the 2012 Consumer Electronics Show in Las Vegas, NV, and follow up coverage of the Sundance Film Festival featuring a Live & Global event with Gene Simmons and Stan Lee, Ortsbo has been refining their new leading edge system with its technical team, system concept creator and Ortsbo's Senior Marketing Consultant, Richard Abramson, introducing improved feature sets.
Ortsbo has initiated the filing process with the US Patent Office for its patent pending Real Time Closed Captioning Language Translation System, as it continues to create and define a new category of Internet services, "Real Time Experiential Communications".
The current patent filing is the latest in a series of technical innovations and patent filings that Ortsbo has initiated since its launch in July 2010. Ortsbo's accelerated growth in social media and the growing demand for its services in entertainment, sports and other showcase events is evidence that Ortsbo is breaking down the language barrier enabling every corner of the world to consume real time content in their own language on almost any device.
"The potential business, cultural and communications implications of Ortsbo's Real Time Closed Captioning Language Translation system are immense," said Intertainment and Ortsbo CEO David Lucatch. "Ortsbo's patent pending system allows broadcasters of any size, for almost any event, large or small, to reach anyone, anytime or anywhere from a single point of content creation while allowing users to give instant comment and feedback - creating a true global village experience."
As previously announced, Intertainment Media Inc. continues to move forward with its plans to "spin out" Ortsbo as an independent structure for listing on senior Exchanges in Canada and the United States. As part of the "spin out" transaction, Management of Intertainment has proposed that shareholders, as of a determined record date, will receive a distribution of up to 30% of Intertainment's value of the proposed spin out. This transaction will be subject to all applicable board, shareholder and regulatory approvals. The Company expects to provide further updates throughout February 2012.
To become a Facebook Fan of Ortsbo, sign up at www.facebook.com/ortsbo.
Follow Ortsbo on Twitter
For the Company's corporate blog, please visit www.intertainmentmedia.com/blog.
About Ortsbo's Real Time Closed Captioning Language Translation System
Ortsbo's Real Time Closed Captioning Language Translation System allows viewers to watch video broadcasts, and also view an accompanying language real time text stream, like closed captioning found on television broadcasts, but in their personally selected choice of over 50 languages. This game-changing proprietary system, which is part of Ortsbo's Live & Global platform, provides the ability for universal language broadcasting on a global basis, regardless of the native language of the broadcaster, potentially changing the face of ethnic, cultural, sports, entertainment, business and other forms of online, video and television live and pre-recorded broadcast programming.
Once a user reaches the event web broadcast page, the Language Captioning System will default to the user's pre-set system language. The users can also select the language of their choice from an on-page drop down menu, with continuous live streaming updates. The system will automatically deliver a "real time" effective stream of "closed captioning" in the user's chosen language.
About Ortsbo Inc. www.ortsbo.com
With over 40 Million monthly users in over 170 countries and territories, Ortsbo (www.ortsbo.com) enables real-time conversational translation in over 50 languages and seamlessly integrates with today's most popular social media platforms.
Ortsbo's flagship product for social media (www.ortsbo.com) supports global communications with instant translation capability, real time multi-lingual social media chat connects to PC and Mac computers, mobile browsers as well as all major chat platforms including MSN, Google, Facebook, Twitter and Yahoo! and others.
Ortsbo allows users to communicate with family, friends and colleagues around the world, providing users with the ability to break down language and cultural barriers through its easy to use, language centric interface.
Ortsbo also provides plug-in email translation capabilities for Microsoft Outlook.
Ortsbo's Live & Global platform offers a unique solution for broadcasting events to a global audience, with video and real time, multi-lingual chat. Ortsbo currently hold the Guinness World Record for the most nationalities in an online chat.
International rock legend, accomplished global entrepreneur and one of the world's most recognized personalities, Gene Simmons has endorsed Ortsbo.com, having signed on as a business partner and to serve as Ortsbo's official spokesperson.
Two-time NBA MVP Steve Nash is an official spokesperson for Ortsbo. Leading Ortsbo's global sports fan program, Nash will present and participate in a number of online fan chats with international athletes from a number of sports disciplines.
Ortsbo is an Academy Partner to the Orange British Academy Film Awards in 2012.
Headquartered in both Los Angeles, CA and the Toronto, Canada area, with additional offices in New York and San Mateo, CA, Ortsbo Inc. is a subsidiary of Intertainment Media Inc. a publicly listed company on the Toronto Venture Exchange under the symbol "INT" (TSX VENTURE:INT) and traded in the US on the OTCQX under the symbol "ITMTF". Intertainment is also traded in Europe, on the Frankfurt Exchange on the XETRA trading platform under the symbol "I4T".
This news release may contain certain forward-looking information. All statements included herein, other than statements of historical fact, is forward-looking information and such information involves various risks and uncertainties. There can be no assurance that such information will prove to be accurate, and actual results and future events could differ materially from those anticipated in such information. A description of assumptions used to develop such forward looking information and a description of risk factors that may cause actual results to differ materially from forward-looking information can be found in the company's disclosure documents on the SEDAR website at www.sedar.com. The company does not undertake to update any forward-looking information except in accordance with applicable securities laws.
This release may contain forward looking statements within the meaning of the "safe harbor" provisions of US laws. These statements are based on management's current expectations and beliefs and are subject to a number of risks and uncertainties that could cause actual results to differ materially from those described in the forward looking statements. Intertainment Media Inc. does not assume any obligation to update any forward looking information contained in this news release.
Neither the TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in the policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this release.
For Ortsbo / Intertainment Media Inc.:David Lucatch, CEO800-395-9943 / firstname.lastname@example.com learn more, visit: www.ortsbo.comTo learn more, visit: www.intertainmentmedia.comPublic Relations / Media Inquiries:SS / email@example.com
See all RSS Newsfeeds


text:
Rose Lehrman Arts Center
We built the Rose Lehrman Arts Center in 1975. It houses the Performing Artist Series and the Rose Lehrman Art Gallery. The center also houses college theatre, music and art programs.
We use the Rose Garden Plaza adjacent to the gallery for receptions. The Rose Lehrman Arts Center Box Office, concession and coatroom are located in the lobby. We also use the lobby for receptions.
Convenient location and free parking
The Rose Lehrman Arts Center is located on HACC's Harrisburg Campus. It is within a ten minute drive from anywhere in the Harrisburg area. There is free parking close to the center. Wheelchair parking is located at the front of the south parking lot. Ramped entrances are located at the south and rear of the building.
Call the Box Office at 717-231-7673, Monday 11 a.m. – 2 p.m., Tuesday – Friday 11 a.m. – 3 p.m. during the school year for more information. At other times, call the Performing Artist Series office at 717-780-2545 or 1-800-ABC-HACC, ext. 2545.
Call 717-780-2435 for more information about the Rose Lehrman Art Gallery.
- Download Auditorium Theatre Technical Data (pdf).
- Download Rose Lehrman Arts Center Auditorium Theatre Floor Plan (pdf).


text:
Online Coursework Programs in Education (General)
Refine School Matches
Hide filters
Showing schools in your area
Matching School Ads
Autism Spectrum Disorders (Certification) - Online
- For the 12th consecutive year, Cal U was named one for the best schools in the Northeast by The Princeton Review
- Recognized by the U.S. News and World Report for: Best Online Programs, Bachelor's 2017, Best Online Programs, Grad Education 2017 and Best Online Programs, Bachelor's for Veterans 2017
- Quality Online courses at Cal U have the same objectives, content and learning outcomes as campus-based programs and are taught by the same expert professors.
- Offers private school amenities at a public school cost. Student-to-teacher ratio of 20:1
- CAL U online programs complete an annual assessment of student learning to ensure outcomes are focused on your success in career entry, advancement or enhancement!
- Accredited
- Online Courses
- Accelerated Programs
- Financial Aid
- Transferable Credits
- Your Accredited Degree from a TOP College Awaits! - Education Connection
- Education Connection is a 100% Free College Matching Service used by 50,000 People Daily.
- Affordable and Flexible Business Degree Programs from Top Colleges Across the Nation. Both Online And Campus!
- Just Fill Out a Few Questions and You Can Find Your Perfect Business Degree Program Within Minutes.
- Start Using our Fast, Free, and Easy Matching Service Right HERE and Right NOW!
- Online Courses


text:
Matt Robertson is a multi-talented programmer/producer/orchestrator/sound engineer and synth enthusiast (he has his own"Anablog" where he features and reviews analogue synthesizers), and on top of this he was Björk's MD on her "Biophilia" tour. We caught up with Matt in a rare pocket of his free time to have a chat with him about all of his different roles, what equipment he uses in the studio/live and more…
I love the ISA 430 MkII - it's basically my front end for everything.
Tell us a little bit about yourself, and what you do!
I guess mainly I'm a freelance programmer/producer/orchestrator, probably in that order. I have multiple different roles within a lot of the projects that I do – I think because of the nature of the music industry now, a lot of people are doing what used to be three different peoples' roles (partly because of budget and partly because of time), and if you can send a job to one person and get them to do a bunch of things, then that's great! That's those jobs done.
The project that I'm doing at the moment is a nature documentary with a very strong music handle. I'm doing synth sound design, some programming and orchestrating, so it's pretty varied, but it means that quite a small group of people can do a project and complete it really quickly.
That's the majority of what I do.
It's similar with the live side of things too. What I do with Björk is also a multi-role position – I play keyboards and synths on stage and some electronic music stuff, but I also MD the show, put all the music together for the choir and do some of the arrangements for them.
Out of all of the things you mentioned, which do you enjoy doing the most?
I like messing around with synths! I've always been really fascinated by electronic sounds, so I think that's where my background really is. I started being a piano player but then got into little synths twenty years ago, and weird noises that go "woaawww!". Over the years, I've been collecting old bits of gear with lots of knobs, sliders and cables. Any opportunity that I can get to make weird synth noises is great.
A friend of mine, Steve Price, did the score for The World's End (the new Simon Pegg film). One of the things they wanted in it was a whole bunch of synths, like a radiophonic workshop/50's Doctor Who-style sound palette, so Steve sent me over the score and said "can you just make a load of things to make this sound like it's in the 1950s?" I said, "yeah great!"
I love those kinds of projects, because I just get to sit in my studio and make character noises and put them through spring reverbs. It's a lot of fun!
Can you tell us a bit about your first ever synth, and what it meant to you?
My first ever synth was a Roland SH09 that I got when I was about 16, and what I really liked about it was the fact that I could make all the sounds off the first Jamiroquai record on it! It was a very 'clean' synth I guess – it was the opposite of the Korg synths, which were much more gnarly. I had the Roland for a couple of years, and then the teacher at the school I was at found a Korg MS20 in the skip, and I thought "this is a totally different synth!" Matt Robinson Focusrite Novation All the features were the same, basically, but the sound of it was completely different, and so I then started getting into discovering different synth sounds – how the architecture is broadly similar but the sound world is totally different. I'd had both those synths, which are gloriously monophonic, for 20 years, and then I started thinking it would be nice to be able to play more than one note at a time. I then got a Juno 60, which was second hand and wonderfully cheap at the time. The really cool thing about buying these kinds of synths in the early 90s was that they were literally around £30, because everyone was getting rid of them and buying Korg M1s and other similar synths. It was only in early 2000/2001 when synths suddenly started to get stupidly expensive. I distinctively remember that when I had the SH09, you could buy a Minimoog in the back of Future Music for £300, and there were loads of them – now they're around £2,500-£3,000!
I started getting into the more 'polyphonic' synths, bought and sold a bunch of synths, and recently I've been getting into the whole Eurorack thing – just because it's totally open architecture synthesis. Most of the synths I had were fixed routings, so although you might be able to send the envelope to 3 different places, those were the only 3 places you were ever going to be able to send it. So I started getting really interested in the Modular gear, where you can plug anything anywhere, and that's sort of where I've got to.
Talk us through the equipment you have in your studio – which pieces of gear are the most fundamental to your day-to-day work?
I generate pretty much all of my sounds from analogue synths, but as there's no way to recall them (and you never get the same sound twice out of them), for me the easiest thing to do if I actually want to perform with that in any way is to make lots of recordings.
For live, it's a two stage process – I'll use all of the analogue gear to do the sound generating and creation, and then use Ableton, Launchpads and MIDI controllers to translate that into a system that I could actually perform with. The controllers are integrated in the production side of things as well, although not quite as much. Sometimes I'll make a bunch of noises on the modular synths, put them into Kontakt or the Ableton sampler and use the Novation Zero SL MkII to manipulate it in different ways from how I could on the actual modular synth. For me, all of the controller equipment is more of a live manipulation tool than a studio manipulation tool.
I'm putting together a live set at the moment where I'm using all of the multi-tracks of the songs that I've done, and then trying to come up with ways in Ableton to have some sense of control over the sounds, and which don't mean taking all the synths with me!
With the controllers in other live set-ups, such as for Björk, what does each unit control?
The Björk show is pretty unique - every song is very different from every other song. Dave Bracey (FOH) and Manu Goodwin (monitors) both use DiGiCo live desks, so you can do all sorts of massively complicated routing and then just recall it from one song to the next. My Ableton set-up has got an 8 I/O audio interface on it, but from one song to the next I might have totally different audio coming in and different audio coming out. Because of that, all of the stuff that I'm using also changes its role.
On stage the Zero SL MkII is in front of me, and it's usually doing things like delay sends and filters – sometimes it will be filtering feeds from the electronic drum kit that Manu Delago (Björk's drummer) is playing. I'll get his audio coming to my rig, and then I'll mess with it, and that will go to FOH. Other times it will be just manipulating samples that I'm triggering myself, and sometimes it controls the Tesla Coil lightning machine too.
I mainly use a 61 key SL MkII as a keyboard controller but I've got a couple of assignments on it as well. I started off having a template for every song but it just got way too complicated, so what I've done now is made all of the mappings on the Zero SL MkII and the SL MkII keyboard the same – they're just assigned to different things in Ableton. It's covered in Dayglo tape and Sharpie markings, so I've got some idea of what does what. It means I can do things from one side or the other on stage.
How does the Launchpad fall into your set-up?
I've got a Launchpad that sometimes I use to trigger one-shot samples, or to do the more conventional 'scene launch'. Some of the songs are very fixed structurally because they have video content to them which you can't really change, so we'll tend to play though those ones. There are other songs where we have a bit more leeway, so scene-launching with the Launchpad is pretty amazing for that too. There's also a couple of songs where I use it to fire little MIDI patterns/events to some of the organs and celeste/gamaleste that we've got on stage, which are MIDI controlled acoustic instruments.
Although I use it as a 'launcher', the Launchpad is also really good for visual cues – it means that people can see things light up which is very important, because then the audience think "oh! That's where that sound comes from!" Otherwise, I think a lot of it is very obscure – you can hear all of these things happening and you can see people doing things, but it's very difficult to tie up who is doing what. Anything that lights up is good – the more lights, the better!
Do you use the MIDI controllers the same way in the studio as you do in a live situation?
In the studio set-up, it's a bit different – I've got a bunch of different templates for the Zero SL MkII. I'm actually using it way more complexly than in the set-up for Björk – on the one hand I've got some presets that literally just swap the MIDI channel output, and then I've got a bit of software called "MIDI Pipe" which routes the MIDI from the Zero SL MkII into a CV converter which then goes to each of the different synths in the studio, so I can just press buttons on the Zero SL MkII and control anything that's in the room which is cool!
That comes out of one MIDI port, and with the other MIDI port things are assigned to the RME mixer, which lets me swap templates on the mixer and change levels etc. I don't have a patch bay in my studio, so the mixer is basically my patch bay. For example, if I want to set up a recording rig and send something to an effect or a bit of outboard, I do it in there and route it back into the computer. The SL MkII keyboard also lets me control all of that stuff (basic MIDI controller numbers etc.). The third side of it is using it as a standard MIDI controller for Logic – I've got some environments set up to let me do useful things like harp tuning and arpeggios.
The Zero SL MkII is doing three separate things, but it's totally become the 'control centre' – I haven't been able to find anything else that lets me do that. A lot of the modules in the studio don't have keyboards attached to them, so I've found it really helpful to have one controller keyboard and be able to route that to everywhere really quickly – so I can literally press one button to access a particular synth. It makes it very quick and easy.
How are all of the synths connected together? There's so many in here!
They're all routed through a 16 track CV and gate sequencer, so there is CV and gate that goes to everywhere, and then the MIDI routing swaps the CV and gate output of the sequencer – the routing is all done on the hardware sequencer [Sequentrix Cirklon]. It's partly controlled by the SL MkII keyboard, and partly controlled by Logic.
Although there's this huge revival in synths and analogue synths, there are actually very few people that are coming up with ways to integrate them into a modern studio environment in a way that is elegant, quick and easy. Without that, I'd have to have some sort of clunky MIDI patch bay! The other great thing about the Cirklon is that it lets me do a whole bunch of pattern sequencing without actually having to do it in Logic or Ableton.
I've put a lot of hours into trying to make access to a complex system simple – I'm really into this idea of everything being plugged in, ready to go at all times and being really simple to route things from one place to another. For me, the Novation controllers let me do that. On the one hand, they're simple and you can just pull up a template and assign all of your controllers in Ableton to do whatever you like, but on the other hand you can be a lot more complex in terms of routing – those kind of things for me are hugely important, because it lets me have a really complicated routing set up but actually be able to access it really quickly. It's massively flexible!
What was your first experience with Novation equipment?
I had the first generation Remote SL 61, and at the time it was pretty much the only controller you could get where you had that amount of freedom of assignability of controllers. Even just the fact that it has 2 MIDI outputs on it was huge – now so few things have MIDI on them, I guess it's not such a big deal. I've found it really useful just to have a controller where I can go "this fader is always routed to this place".
Which DAWS do you mainly use?
Ableton and Logic. I use Ableton for everything that is live, and Logic for everything that isn't. Logic allows you to be a bit more 'tweaky' with things. A lot of the work that I do is on film projects or orchestral projects where you'll end up with these gargantuan sessions, and Logic has a great way of visually arranging things so you can still keep track of where things are in the project. If you want to do a live show, though, it's got to be Ableton!
I noticed you have the Focusrite ISA 430…
Yes! The old one and the new one. I love them – that's basically my front end for everything, and I have the 1176 on the insert of it.
Particularly in the patch-bay-less, computer driven studio, having a couple of inserts on a bit of analogue hardware is really, really useful. I think they're great – I've recorded pretty much everything through the ISA 430 MkII for about 6 years now. Having a decent front-end analogue EQ is really nice.
I'm also into mobile recording – I use three OctoPre MkII Dynamics in a rack in my mobile rig. I do a lot of jazz location recordings – I did a record around 18 months ago for a band called Phronesis, which was a live gig they did in London. Their next album is going to be a live recording and I'll be doing in November – we're going to record two shows on consecutive nights. I think that's a really fun thing to do, because it's the opposite of the film music world where everything is very stretched out, and you have 30 options on every single event – if you go and record a live gig, you start the gig, press record and that's your schedule! Of course there's mixing and a little bit of editing, but it's a totally different mentality in production to studio or film music production. I really like the two aspects of those different worlds.
I've used the OctoPres MkIIs for quite a few mobile recordings, and they're great.
For more information on Matt Robertson, head to:


text:
CarbonVisuals [carbonvisuals.com] is the "world leader" visualizing carbon dioxide emissions and other greenhouse gases.
Accordingly, CarbonVisuals have already developed several visualizations that aim to make such emissions feel more real, and in particular more graspable, as it compares the physical dimensions of several tons of CO2 emissions to everyday objects.
For instance, the CO2 emissions of the city of New York has been represented as a huge mountain of blueish balls - each basically representing 1 ton - that overgrow a 3D virtual city model of New York, while the according emissions statistics of its buildings has been turned into life-size - or huge-size - bar graphs. Alternative renditions, ranging from the level of a city- to that of a single potato, exist as well.
Watch the movies below.


text:
Edward L. Ayers was the Festival Luncheon Speaker at the 18th Virginia Festival of the Book on Thursday, March 22, in Charlottesville, VA. Dr. Ayers is a historian of the South, President of the University of Richmond, and editor of America's War: Talking About the Civil War and Emancipation on Their 150th Anniversaries, an anthology of Civil War readings published in October 2011 by NEH and the American Library Association. The anthology is the cornerstone of a reading and discussion program, "Making Sense of the American Civil War," currently taking place at more than 200 libraries around the country. After his luncheon speech, which received a standing ovation, Dr. Ayers signed many copies of the anthology, which was available for sale at the Book Festival.
Bridging Cultures is an agency-wide initiative, engages the power of the humanities to promote understanding and mutual respect for people with diverse histories, cultures, and perspectives within the United States and abroad.


text:
A simple message for the people of 'O'
Long ago, the people of "O" built a bank to protect those who provide services that the people cannot do for themselves. It was decided that each "server" would have a special account, and each account would be filled with deposits from the servers and from all the people.
Each server, after 30 years of work, would receive one-half of an average top salary for the remainder of his/her lifetime — 60 percent for police and firefighters. And for a time, the servers were pleased.
Rules were created. The people hired administrators to oversee the work … lawmakers and other officials to create and enforce the regulations … and judges to decide any disputes that arose.
All of them were given their own accounts in the special bank. The people were willing to pay into all the accounts, often including the share previously paid by the servers. They were confident that the Land of O would benefit from such a progressive system of caring for the valued servers.
However, the servers hired agents to seek additional benefits. Those agents — working among the administrators and lawmakers and officials and judges — found ways to produce spectacular increases in payments from the special accounts.
At first, the people didn't understand what was happening. They stood by as the agents persuaded regulators to make unsustainable commitments. Lifetime payments escalated to 60 percent, 80 percent, 100 percent of salary and even much higher for some servers, plus disproportionate annual increases.
The people limited future payments for new servers, creating inequities, but that wasn't enough. So the people began eliminating jobs and reducing services.
The agents sponsored campaigns to increase taxes. They agreed to a few inadequate changes and called upon the people to pay more to subsidize the special accounts.
"No," said a small band of lawmakers — lawmakers like McLane and Conger and Richardson in the House, and Ferrioli, George and Boquist in the Senate, among others.
Some people pilloried those lawmakers, accusing them of abandoning the children. Take more money from businesses and higher-income citizens, they said; keep feeding the special accounts.
The lawmakers for reform are outnumbered. They wonder when the people of "O" will rise behind them to demand real change to a system that threatens financial stability throughout the land. They speak to the people of "O" in a unified voice, saying simply:
Fix PERS.
Jeb Bladine can be reached at jbladine@news register.com or 503-687-1223.


text:
Last week, I wrote about Microsoft's announcement of Exchange 14. As with most product introductions, the E14 introductory video was a necessarily cursory look at something that has a lot more detail when examined up close. Unfortunately, the video's all we have to go on at this point—at least until a public beta is released! I was particularly struck by one thing in the video, though: note how E14 is introduced. KC Lemson's opening calls E14 "the first version of Exchange built from day 1, from the ground up, to be both software and a service." Of all the potential ways to introduce E14, why choose this one?
KC goes on to say that E14 will allow you to split your users between your own self-hosted Exchange Server systems and Microsoft's Exchange Online service, part of its Business Productivity Online offering. That's an extremely interesting statement because of what it implies. For example, there obviously has to be a way to route messages seamlessly between your servers and Microsoft's—but there must also be a way to federate directory information so that servers on each side of the link know which users are authorized internal users and which aren't. The mechanics of creating, provisioning, and maintaining mailboxes and user objects will probably prove to be pretty interesting, too.
More broadly, though, this announcement is a big step forward for Microsoft's Software Plus Services (S+S) strategy. It's one thing to offer a single product in both hosted and on-premises versions; Microsoft, IBM, Zimbra, and other messaging and collaboration vendors have done this for a good while. You might call that approach "software or services" because there's generally no migration path and fairly limited interoperability between software and service-based offerings. Having E14 (and, presumably, other future offerings from Microsoft—hosted SQL Server, anyone?) available in an S+S model offers the potential of a great deal more flexibility. For example, you could keep users who routinely work with confidential or sensitive information on your own servers, then put the bulk of your workforce on the hosted service. This possibility is especially appealing to companies that have lots of employees who work out of the office or where there's a high degree of turnover. It also enables some useful scenarios; for example, schools and universities can cheaply provide web-based services for students with Exchange Online, then host their own mailboxes for faculty and staff.
Cost will have a huge effect on whether this S+S play will be successful for Microsoft, of course. A lot of the discussion around first-generation cloud-based services, such as Google's Google Apps bundle, has focused on the cost of providing the service alone. This discussion ignores the fact that in a split environment, you still have to pay to maintain your internal directory, Help desk, and so on. Reducing the cost of email itself is useful but not sufficient if you still have to maintain multiple directories and provisioning systems. However, if you can tightly couple your internal services with your collaboration service provider, the overall cost of the service can be much more reasonable. Of course, we won't see real cost figures on the E14 S+S combination for quite some time, so for now all I can do is speculate!


text: MainEurope/Eurasia2012 sees ties between Special Olympics and Paralympics Listen 2012 sees ties between Special Olympics and ParalympicsLondon 2012 marks new ties between Paralympics and Special Olympics Did you know 120 athletes with intellectual disabilities have qualified for London 2012 Paralympics competing in track & field, aquatics and table tennis. It was nearly 25 years ago when the IOC first recognized Special Olympics with a Protocol of Agreement during the 1988 Winter Olympics. In 2009, the IPC membership voted to include athletes with intellectual disability in competitions, including the Paralympics, starting with the 2012 London Summer Games. This reversed a decision made for the 2000 Sydney Paralympic Games to exclude athletes with intellectual disabilities from the Paralympics and other IPC sanctioned competitions.People often ask the question "What is the difference between Special Olympics and Paralympics?"Special Olympics, the International Olympic Committee and the International Paralympic Committee are complementary organizations, each one a testimony to the power of sport. As Tim Shriver, Chairman of Special Olympics International puts it: "We are both trying to use the power of sport to change the way the world sees people who have differences"Each is a pillar of the Olympic movement charged with fulfilling the Olympic vision in a distinct way. Special Olympics welcomes all athletes with intellectual disabilities (age 8 and above) of all ability levels to train and compete in 32 Olympics-type sports.Paralympics welcomes athletes from six main disability categories: amputees, cerebal palsy, intellectual disabilities, visually impaired, spinal injuries and Les Autres (French for "the others", a category that includes conditions that do not fall into the categories mentioned before). To participate in Paralympic Games athletes need to fulfill certain criteria and meet certain qualifying standards.It is our sporting philosophy that differentiates us the most.Special Olympics believes deeply in the power of sports to help all who participate to fulfil their potential and does not exclude any athlete based upon qualifying scores, but rather divisions the athletes based on those scores for fair competition against others of like ability. For Special Olympics athletes' excellence is personal achievement, a reflection of reaching one's maximum potential-- a goal to which everyone can aspire. To participate in the Paralympic Games, athletes have to fulfil certain criteria and meet certain qualifying standards in order to be eligible. These criteria and standards are sports-specific and are determined by the IPC Sports Chairpersons, the Sports Technical Delegates and the relevant international sports organizations. The Paralympics are about elite performance sport, where athletes go through a stringent qualification process so that the best, or highest qualified based on performance, can compete at the Games.


text:
Stijntgen Vercoilgen (d. 1569)
Stijntgen Vercoilgen, an Anabaptist martyr, burned at the stake on 22 April 1569, at Kortrijk (Courtrai) in Flanders, Belgium. Van Braght's Martyrs' Mirror erroneously gives 9 March 1569, as the execution date. The official name of this martyr was Josyne Andries (dochter), wife of Rougier van Quoilge. Although she had wanted to join the Mennonite congregation of Kortrijk since 1567, she was not baptized until the end of 1568. She was tortured on 1 March 1569, but remained steadfast, and refused to name her fellow members. Though information is scarce, we may conclude that this martyr was well-to-do, since her property was confiscated. During the execution special measures were taken to guard the site, apparently because the magistrates feared intervention from sympathizing spectators.
Braght, Thieleman J. van. Het Bloedigh Tooneel of Martelaers Spiegel der Doops-gesinde of Weereloose Christenen, Die om 't getuygenis van Jesus haren Salighmaker geleden hebben ende gedood zijn van Christi tijd of tot desen tijd toe. Den Tweeden Druk. Amsterdam: Hieronymus Sweerts, 1685: Part II: 388.
Braght, Thieleman J. van. The Bloody Theatre or Martyrs' Mirror of the Defenseless Christians Who Baptized Only upon Confession of Faith and Who Suffered and Died for the Testimony of Jesus Their Saviour . . . to the Year A.D. 1660. Scottdale, PA: Herald Press, 1951: 740. Available online at: http://www.homecomers.org/mirror/index.htm.
Verheyden, A. L. E. Le Martyrologe Courtraisien et la Martyrologe Bruxellois. Vilvorde: R. Allecourt, 1950: 38, No. 21.
|Nanne van der Zijpp
|Date Published
Cite This Article
MLA style
Zijpp, Nanne van der. "Stijntgen Vercoilgen (d. 1569)." Global Anabaptist Mennonite Encyclopedia Online. 1959. Web. 19 Aug 2018. http://gameo.org/index.php?title=Stijntgen_Vercoilgen_(d._1569)&oldid=129695.
APA style
Zijpp, Nanne van der. (1959). Stijntgen Vercoilgen (d. 1569). Global Anabaptist Mennonite Encyclopedia Online. Retrieved 19 August 2018, from http://gameo.org/index.php?title=Stijntgen_Vercoilgen_(d._1569)&oldid=129695.
Adapted by permission of Herald Press, Harrisonburg, Virginia, from Mennonite Encyclopedia, Vol. 4, p. 633. All rights reserved.
©1996-2018 by the Global Anabaptist Mennonite Encyclopedia Online. All rights reserved.


text:
Product Description
Featured on the ABC World News Now and in Woman's Day Magazine. The Sound & Play Busy Table has a whimsical, modern design for a beautiful addition to any playroom. This wooden toy has everything developing baby needs to keep busy for hours! Pound, slide, peek, explore and make music! 8 fun activities including a xylophone and drum! Call a friend -up to 3 can play at a time! For ages 18 mos.
- Features also include 2 peek-a-boo doors, spinning gears, curvy bead maze, ~2 track sliders and a wooden mallet. Measures 26.4″ L x 18.5″ W x 7.5″ H ~(67 cm x 47 cm x 19 cm).
- Easy adult assembly. Phillips screwdriver required.


text:
You are hereHome ›
Narrow Search
Now showing results 1-4 of 4
Building Intuition for In-water Optics and Ocean Color Remote Sensing: Spectrophotometer Activity with littleBits™
This activity demonstrates optical properties of water: that different constituents in water affect the transmission, absorption, and scattering of different colors in the visible light spectrum. Inexpensive, off-the-shelf components are used to... (View More) build a light sensor and source, creating a simple spectrophotometer that can measure light absorption. In the second part of this activity, principles of ocean color remote sensing are applied to measure reflectance. Using components that are clearly visible allows students to configure them in different ways. Playing with the instrument design gives students a practical understanding of spectrophotometers, in-water optics, and remote sensing. As an extension of this concept, students are encouraged to think about how ocean color is used to estimate the concentration of chlorophyll to infer phytoplankton abundance, colored dissolved organic matter, and suspended sediments. (View Less)
This article describes an approach designed to decrease math anxiety and teach students about the use of mathematical symbols simplifying radicals. A deck of cards is used in a demonstration, and a problem set using real life examples to master the... (View More) use of radicals is included. This resource is from PUMAS - Practical Uses of Math and Science - a collection of brief examples created by scientists and engineers showing how math and science topics taught in K-12 classes have real world applications. (View Less)
Materials Cost: 1 cent - $1 per group of students
In this activity, students build a model of an active galaxy. From this, they will learn about the geometry of the components of an active galaxy and develop an understanding that different viewing angles can lead to dramatically different... (View More) interpretations of a galaxy's appearance. The activity includes background information, glossary, essential questions, extension activities, transfer activities, adaptations for visually-impaired students, and an answer key. Additional materials needed to do this activity include a compass. This is activity one of three in the Active Galaxies education unit. (View Less)
Materials Cost: $5 - $10 per group of students
Using real data from NASA's Fermi satellite, students determine the size and energy of an active galaxy flare region. This activity includes background information for teachers, student worksheets, procedures, adaptations, extensions, an assessment... (View More) rubric, and related resources. This is activity 3 of 3 in the "Active Galaxies Educator's Guide." (View Less)
Materials Cost: Free


text:
Zoning Ordinance Interpretations
The Zoning Administrator is responsible for the administrative functions of enforcing and interpreting the provisions of the Zoning Ordinance, as well as various conditions and stipulations of zoning related entitlements.
The Zoning Administrator, with the staff of Current Planning, make decisions on a daily basis in the act of enforcing the Zoning Ordinance. Official written interpretations are posted below.
Zoning Administrator, Randy Grant
Request an Interpretation
Any request for a Zoning Ordinance interpretation or decision must be made in writing to the Zoning Administrator. The Zoning Administrator responds in writing to such requests for ordinance interpretations or other decisions within 45 days from the date of the written request. Written interpretations or other decisions may be appealed, which may stay all proceedings in the matter appealed.
For more information, contact the Current Planning office at 480-312-7000.
Recent Interpretations
Contact the Current Planning office at 480-312-7000.
Appeal an Interpretation
The appeal of Zoning Ordinance interpretations or other decisions by the Zoning Administrator may be initiated by any aggrieved person affected by the interpretation or decision. Appeals must be filed no later than 30 days after the interpretation or decision is issued. Appeals are heard by the Board of Adjustment.
For more information, contact the Current Planning office at 480-312-7000.
View previous appeals and results.
The listing provided below is for reference only.The listing does not include all interpretations, and some listed may be obsolete due to code changes that occurred after the interpretation was made. For specific information related to your project, please call 480-312-7000 or email firstname.lastname@example.com.
The following documents are provided as PDF documents, are generally only 1 page and typically take only a few moments to open. If you have any problems accessing these documents, or need them in a different format, please call 480-312-7800 or email email@example.com.


text: You're my girlfriend now Like About Share Download complete video now! 0 views 0% 0 0 From: sexfunporn Date: August 18, 2017 Creampie girlfriend Leave a Reply Cancel reply Your email address will not be published. Required fields are marked *CommentName * Email * Website This site uses Akismet to reduce spam. Learn how your comment data is processed.


text:
Sony Xperia Tablet Z
£TBC; released in summer
Following up the well-received Xperia Z mobile phone, Sony's tablet is thin and light at less than 7mm and 500g. Although Sony emphasises that the gadget is powerful and easy to integrate with other devices, the defining characteristic is the design that for the first time challenges the cheap plastic of almost every device except the iPad. Sony's challenge, however, will be to persuade people to use its music and film services when so many others are available, and to price it right when so many competitors are very cheap.
Nokia 105
Nokia announced new Windows Phones that will sell for several hundred pounds, but the most exciting products were those aimed squarely at the developing world. That makes particular sense when the predecessor to the 150 sold 100million units over its life span. The new model offers a battery that lasts for a month at just £13. Although cheaper phones are available, brand recognition across Africa for Nokia remains huge. For the future, the company promises to introduce smartphone features lower down its ranges, potentially allowing it to capture a new market that will become more lucrative.
Firefox OS
Price varies
The Firefox web browser is soon to be expanded to power entire mobile phones aimed initially at the developing world. Made by the not-for-profit Mozilla Foundation, the aim is to provide cheap devices using software that is completely free for manufacturers to use. This in theory challenges Android, but apparently widespread support from operators may not run very deep if it doesn't impress early on. Sadly, the devices on display don't yet do enough or run sufficiently smoothly to convince.
Samsung Galaxy S4
Price and date TBC
It used to be Apple that tried to spoil MWC with big announcements – now it's Samsung. The Korean giant successfully overshadowed much of the show by announcing that the world's most anticipated Android handset would launch next month in New York. Few have any idea what it will do, but since no new flagship phones were announced at MWC itself this year, the company was able to capitalise on a news gap. The S4 will be a key product for Samsung: it needs to maintain the growing loyalty of consumers to its innovative products, and continue to introduce serious new features rather than simply to improve its current best-seller. With Google powering the software, the market leader must prove it's got more than simply momentum on its side.


text:
Change 5.84 to decimal
Convert from percent to decimal. Here is the answer to the question: Change 5.84 to decimal or how to convert 5.84% into a decimal equivalent. Use the percent to decimal calculator below to write any percent as a decimal.
Percent to Decimal Calculator
Enter a percent value:
% Ex.: 0.7, 3/4, 2, 10 ,33, 125, etc.
Detailed Answer:
Decimal result
How to convert from percent to decimal
Let's see this example:
- Percent means 'per 100'. So, 5.84% means 5.84 per 100 or simply 5.84/100.
- If you divide 5.84 by 100, you get 0.0584 (a decimal number).
- So, to convert from percent to decimal, simply divide by 100 and remove the '%' sign.
- ➥ There is a easy way to convert from percent to decimal:
Just move the decimal point 2 places to the left. Note that if the percent value is a integer, the '.' is at the right of the right most digit.
See also:
Percent to Decimal Calculator
Please link to this page! Just right click on the above image, choose copy link address, then past it in your HTML.


text:
Doll Making Seminars
The Character Doll Class is recommended to anyone who wishes to learn beginning to advanced doll making.
Salt Lake City, June 23-24-25, 2017. Apryl Jensen shows the students how to sculpt an eleven inch baby doll using the materials in our special kit (kit is included in the class). Tuition for this 3 day workshop: $395.00
Tuition: $950 per Student. We teach an annual Masters Course for advanced doll makers. The course will include all of the supplies and two instructors. We will only have four students in this five day course. This class is by invitation only. To qualify you must have had a beginners course and an advanced course. It will cover making an advanced sculpture, photography, and marketing. Each student will leave with a Masters Certificate. Call for details and to see if you qualify, 801-510-3006 for Jack or 801-616-1539 for Apryl. Dates are still being decided, so if you'd like to join us for this course, contact us and we will take your date input into consideration.$950.00
Apryl Jensen will teach a Mini Character doll class.
This training session is for Family and Friends. It enables group specific learning environment.
The beginning and advanced workshop is designed for all skills levels.$495.00
This four day course will include making a completed ProSculpt BJD. The course is located just south of Salt Lake City, UT. It will be taught in Apryl's home with special appearances from Jack Johnston. We start at 9 am and go til 5 pm each night. We break for lunch each day and go to local restaurants. We have special arrangements with the Hampton Inn in Lehi, UT (Thanksgiving Point) to give you a special hotel rate. We will pick you up for class each morning from the hotel and return you in the evening. The hotel is surrounded by many shops and restaurants. Discount codes do not apply to seminars.$0.00


text:
In what was possibly the most one-sided of all of the GSL finals IMNestea defeated oGsInca in a quick 4-0 route.
IMNestea showed his fierce understanding of the game, his excellent technical timing builds to counter whatever was thrown at him and his excellent unit composition and timing in taking out Inca in a slaugther.
In other news, the Code S and Code A up and downs have been finished and we have some of the surprises for you: First surprise... no Slayers players made it into Code S. Ryung and MMA both sadly faltered in the up and downs to most people's shock.
Who is going to be in Code S:
Who is going to be in Code A:
Check out the team season for GOM coming up soon!
Submitted by OneManZerg on Sat, 2011-05-14 15:39


text:
Limited edition = Limited supply! Act fast!
Race as never before in the Arena Powerskin Carbon-Flex VX jammers for men. Arena's athlete-tested VX design and carbon cage fabric combine in a powerful racing suit for swimmers of long and short distances. The V-flex system of bonded seams along quads and hamstrings produces greater range of motion for better starts, turns and kicks. The new X construction gathers seams at the back below the waistline for a better feeling suit, keeping legs high and body position optimal. The high-tech fabric incorporates carbon fibres that compress muscles when needed increasing control and reducing drag.
52% Polyamide 47% Elastane 1% Carbon Fiber