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Director David Bowers talks "Astro Boy"
When considering how to make "Astro Boy" appeal to a worldwide audience, director David Bowers kept it simple. "People who like Astro Boy will, hopefully, like the movie. And people who don't know Astro Boy, it'll be just a way of introducing him," the director explained to CBR News.
The film, which opens Friday, will introduce the character to new audiences. By necessity, the film is an origin story. "It really starts out at the very beginning. We find out about Toby," says Bowers of the early parts of the movie. Toby is soon killed and "Astro Boy is created and given Toby's memories." The film, thinks the director, has a simple emotional core. "It's really about the father and the son, but then it goes off onto all this spectacle and there's lots of comedy," he said.
Despite the character's tragic beginnings, the director believes it does not hamper the lighter tone of the film. "When Astro comes back, he really is [much] the same kid, so I don't think you feel as though there's a horrible loss even though there has been," he explained. Bowers says he had support to keep Astro Boy's origin intact from the studio. "Imagi is an independent studio, so their able to things the bigger studios might not want to do or might shy away from," he said. "I was very explicit: if you're going to do an Astro Boy movie, you can't shy away from the more tragic elements."
Those elements add to the emotional core of the film. "You got to have valleys to have peaks. Emotionally, I wanted it to be a bit of a roller coaster and I wanted it to be moving as well, so I didn't want to shy away from what could be dark, but I think, ultimately, is very much light in our film," said Bowers.
In developing the project, the director went to the source. "I read the manga. I knew I wanted to make an origin story and I knew there were elements like the gladiator battles and Hamegg were great," Bowers recalled. "I knew I wanted an action climax that was super spectacular," he continued. Picking and choosing from the source material, Bowers and Imagi felt free to add new elements. "There's also an awful lot of invention and things that are new because I think it's important from something like Astro Boy to keep moving forward." Bowers explained. "Hopefully, I took the themes and the spirit of the Tezuka work and sort of woven new elements just to keep it fresh."
One aspect Bowers chose not to use was the theme song from the 60s animated TV series. To the director, the song was tonally inconsistent for the film he was making. "It's a bit old fashioned and this [film] is, hopefully, a very modern movie," he revealed. "That'd be a little bit like "'The Dark Knight,' which is a fantastic movie, using the theme from the Adam West 'Batman.'"
Imagi Studios operates both in Los Angeles and Hong Kong. Having two locations across the globe allowed the film to be produced quickly. "The time differences work out so well that our five o'clock was there nine o'clock [in the morning]," Bowers recalled. This also allowed for video conferencing between the two camps. "Every night we'd be on video conferences for an hour … so, the end of our day and the beginning of their day was always talking between us," he explained.
Bowers also made several trips to Hong Kong. "I was out there three times for just over a week each time," he recalled. Though there was plenty of work, he remembers the evenings featuring "a lot of eating and a lot of having fun." The director also has roots there. "My aunt is from Hong Kong. My uncle lived there all his life," he revealed.
Nicholas Cage gives voice to Astro Boy's creator, Dr. Tenma, in the film. It turns out Cage had bought the rights to property years ago. "I assume he was going to play Dr. Tenma," Bowers speculated. "And he plays Dr. Tenma in our movie so that's good." When the director and his team approached the actor, no one expected Cage to have any familiarity with "Astro Boy." Once the two began talking, Bowers learned that "he was extreme familiar. Even down to details on sound effects the way characters should talk and move."
The film opens with a 2-D sequence which explains the film's environment and principle location. "I wanted something that looked a little retro," Bowers said. "We ended up calling it 'retro-futurist,' because it looked a little retro, but it was modern enough that it felt contemporary. It was meant to harken back to the educational films of the 1950s, but sort of feel like a future version of that." Bowers, whose background is traditional 2-D animation, was "delighted to get to put in some nice graphic shapes and have some 2-D character animation."
Asked about the current trend toward 3-D presentation — where objects appear to have depth with the aid of special glasses — Bowers responded, "Anything that adds another dimension to the movies is wonderful." He is less enthusiastic about the current state of the technology, specifically, the special glasses. "The glasses have a grey sheet to them, so it's a bit like wearing sunglasses and the images get dimmed," the director explained. "To be honest with you, I'm not 100% sure it's more involving then a big, flat image on screen. To me, it generally looks as though everything is further away from you than it would if you're just watching a flat film." That said, the director does think "the recent spate of 3-D movies have done a really, really great job."
To Bowers, the various formats of animation have to serve the story. "My philosophy is that if the story's good, it could be shadow puppets and nobody would care," he explained. "The story is the important thing."
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Wobbly bass sounds and new dynamic textures abound in the fourth installment in this series.
Now things are getting interesting! LFOs and modulation will take your drone-like synth sounds and turn them into a lush world of wobbly, trembling laser noises. Want to get your music bumping and jumping? Learn to manipulate your sound with LFOs.
By the end of this course, you will know how to make your patches more interesting and dynamic by applying various forms of modulation to your sound. What are you waiting for?
Martin composes and produces music for commercial, educational, and artistic media, and records and performs internationally with many NYC-based artists. He also produces original electro and house music and remixes as MDFX, plus trap/jungle/bass music and remixes as WNNR, and will release his debut solo record later this year. His favorite cloud type is the lenticular cloud.
Who is this course for?
People with no prior knowledge of synths. Or people who think they know something about synths but really don't. They just know that tweaking that one button makes a slingshot sound.
What are the requirements?
Nothing whatsoever, but we do recommend starting with the precursor courses, Oscillators and Filters. At some point you're going to want your own synth to play with, but you can also use the built in ones from GarageBand or find one online.
What will I get out of this course?
By the end of the series, you should be able to make any synth sound you hear...


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Dial M for MurderDVD - 2004
From the critics
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Based on a stage play written by Frederick Knott, (he also wrote the screenplay for the film), this Hitchcock movie is one I watch whenever I am in the mood for a good crime mystery. It takes place in mostly one room, which is always fascinating, and features a great cast. Hitch does a wonderful job of bringing you along for the ride in this classic.
One of the great Hitchcock films that prettymuch only happens in one room. Great dialogue and interesting direction that would've made it a good view in 3D.
Hey, folks! - You know, I'm really trying to be fair and tolerant here about my rating and comments regarding this 1954 Alfred Hitchcock production - But, from my perspective - All that Dial M's story amounted to was just a stagy, little tale about a handy pair of scissors, latchkey lunacy and "Plan B" let-down.
Well - OK - There was actually a bit more to Dial M's story than just that - But, with that said, I couldn't believe how utterly pedestrian and annoyingly anti-climatic most of this film turned out to be.
With all of the talk-talk-talk (ho-hum!) that prevailed throughout Dial M's story, I was tempted (a number of times) to use the "silence" button on my remote in order to shut these gabby characters up once in a while. (I'm not kidding)
Anyway - If you happen to be Hitchcock fan and love Dial M to pieces - Well - I certainly don't hold that against you. But, as for me - I would never, ever recommend this truly disappointing film to anyone. Never.
I have seen this film many times, but this time I also watched the "special feature" documentary explaining some neat details of the film. I never knew that it was filmed in 3-D, since that was all the rage at the time. And I never noticed Grace Kelly's white outfit with her husband switch to a red outfit with her lover. Hitchcock was truly a master!
Well, "The Master of Suspense" (yes, that's director, Alfred Hitchcock, everyone) has done it again. "Dial M For Murder" is yet another one of "The Master's" misfired, mediocre tales of "murder-most-foul" that honestly doesn't even come close to living up to all of its hype.
Over the past few months I have watched a number of Hitchcock's most-applauded films of the 1950s (such as Vertigo and Spellbound) - And, yes, even when I take into account that they are now all 60+ years old, I still find that these films are really being grossly over-rated by (what appears to be) oddly sentimental reviewers who seem to be viewing Hitchcock's films through the hazy gauze of rose-colored glasses.
And, "Dial M for Murder" was a perfect example of what I'm talking about here. This very stagy, Technicolor production took the whole idea of a meticulously thought-out murder plot to preposterously implausible extremes. And this, in turn, left this viewer rolling his eyes to the ceiling (in pure exasperation) more than you can ever imagine.
A dated film by now, and limited by the plot which was originally meant for a play. For me it is one of the 'weaker' films from Hitchcock.
Wow ! What a well made movie. A masterpiece that should be mentioned among Hitchcock's greatest works. I agree with reviewers, Ray Milland's performance is better than his Oscar effort in Lost Weekend. The difference being a smooth, subtle delivery and not over-exaggerated actions. Grace Kelly is excellent as well. The direction, camera angles, story telling is beyond criticism. Hitchcock at his best !
Ray Milland's best movie and Grace Kelly is marvelous as well. This Alfred Hitchcock at his best. He is the master of crime movies. Without hesitation I call this one of the best movies I have ever seen. "Dial M for Murder" is a masterpiece of suspense. Thanks to KCLS for stocking 7 copies for patrons who will want to watch this remarkable film!
Hands down my favorite Hitchcock murder mystery and I was riveted from the opening frame to the final fade out. Hitch unravels his story as the film progresses, like a puzzle waiting for you to solve it. Ive always admired the acting of Ray Milland, and I found Grace Kelly at her most beautiful in this movie. This is one you'll want to sit and discuss with friends at the conclusion.
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Businesses need to be free of pests. Al cities have a board of health which does inspections to insure that businesses are doing what they should and that there are no bugs around that could make people sick. Failing an inspection is a big issue because a letter will be posted visibly in the window with a letter grading such as F that patrons will be able to see.
The best way to keep a business pest free is to have regular exterminating services performed every few months. There are many pest control companies that provide exterminating services, Action Pest in Melbourne for example. Employees should also make sure that they do not leave food around on their desks or in break rooms as these can attract bugs such as flies, ants and cockroaches. Commercial pest control services can be done to try to make a business protected from bugs.
There are special products that a commercial pest control company uses that is toxic to bugs so that they do not want to be around any longer. The presence of bugs can offend both employees and clients so managers need to be on top of this type of potential problem.
All surfaces should be washed down daily with bleach. Floors should be mopped or vacuumed on a daily basis as well. Bugs look for water sources and places to hide. Clutter can often be appealing to them. Stray boxes, crates, pallets and other items should be removed as well.
Trash should be disposed of every day. The dumpsters or trash cans should be closed at all times so that the garbage does not get disturbed by animals. Basements are often a hub for termites as they want to eat wood. It is important to have termite inspections done annually.
It is important for businesses to be proactive with pest related issues because bugs can multiply at a fast pace.Termites can destroy a structure very quickly. The bugs damage the wood and can even make it crumble.
Termite inspections allow professionals to come on site to examine the property for any signs of termites. If there are, then the company will tent the business over the weekend to spray chemicals to get rid of the termites. This is very important to do as business often incur serious financial losses if they have structural damage to their premises.


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Led by Principal, Elaine Bowker, the Executive Leadership Team sets the direction of the college and ensures it is focused on delivering excellence for all students.
The Board meets at least seven times a year and is responsible for overseeing the mission and activities of the College and ensuring effective strategic management and use of resources.
Find out what financial support is available at the College. Click here for more information or why not email email@example.com
The Learning Companies provide students with essential work experience in a commercially-run environment.
Our five campuses deliver a city wide reach, each with individual specialisms that provide the perfect environment where students can learn and develop.
Keep up to date with the goings on at The City of Liverpool College. A vibrant place to study, work and be involved in Liverpool.
The college has 2 nurseries: -
The Learning Exchange Nursery (L1)
Princes Road Day Nursery (L8)
We are the leading provider of apprenticeship training in the country, with links to some of the country's top companies and blue chip firms.
Our students are given unique opportunities to work with international brands, take part in major industry events and receive training from industry leaders.
Apprenticeship partners work closely with us to develop training which is second to none and give you the skills to go on to a successful career.
Home > Course Finder > Early Childhood Studies, BA (Hons) Top Up
The BA (Hons) top up level 6 qualification is a one-year full time higher education qualification for experienced early years practitioners who have successfully completed a Foundation Degree Early Years Practice or a similar undergraduate course. students develop knowledge and understanding of the principles and values that underpin the early years in order to develop their professional practice. The programme aims to encourage students to reflect and critically analyse a range of perspectives in relation to contemporary issues in the early years.
The course is awarded by the Open University.
Skills and knowledge developed: Students will gain knowledge and understanding of the principles and values that underpin early years in order to develop their professional practice. The programme aims to encourage students to reflect and critically analyse a range of perspectives in relation to contemporary issues in the early years.
On successful completion the student will be able to:
Demonstrate a systematic understanding of key aspects within the early years including acquisition of coherent and detailed knowledge, at least some of which is at, or informed by, the forefront of defined aspects of a discipline
Deploy accurately established techniques of analysis and enquiry
Devise and sustain arguments, and/or to solve problems, using ideas and techniques, some of which are at the forefront of a discipline
Describe and comment upon particular aspects of current research, or equivalent advanced scholarship, in the discipline
Appreciate the uncertainty, ambiguity and limits of knowledge
Manage their own learning, and to make use of scholarly reviews and primary sources
Apply the methods and techniques that they have learned to review, consolidate, extend and apply their knowledge and understanding, and to initiate and carry out projects
Critically evaluate arguments, assumptions, abstract concepts and data (that may be incomplete), to make judgements, and to frame appropriate questions to achieve a solution - or identify a range of solutions - to a problem
Communicate information, ideas, problems and solutions to both specialist and non-specialist audiences
Special features: Within the scheme, there will be opportunity for the learners to attain a level of professional practice. The level 6 top up degree in Early Years is an employment-related education qualification which will provide students with the specialist knowledge and skills required within the Early Years sector. All modules link theory to practice.
On completion of the course graduates can progress to positions of further responsibility within the early years workforce. Students can also apply for postgraduate qualifications including Teacher Training or Early Years Teacher Status. Students will need GCSE grade C in Maths, English and Science to progress onto a postgraduate course.
BA (Hons) in Early Childhood Studies
A full and relevant early years qualification at level 3. A level 5 qualification with 240 credits achieved from a Foundation Degree in Early Years or a similar undergraduate level 5 programme. Relevant experience within the Early Years. Students are required to obtain a Disclosure and Barring service (DBS) check.
The course is available from September 2018 and will run over one year.
Please click here to access regulations for validated awards of The Open University
The fee for this one year top up degree course is:
18/19 - £7,725
19/20 £7,957
If you would like to study courses in Higher Education, financial support is available. Please click here for further details about support available.
For more information, call the College Information Line on 0151 252 3000.
Knowledge and understanding will be acquired through the following range of approaches to module delivery:
Teaching and learning methods employed by the Programme Team will be balanced between tutor centred and student centred activities that enable conformity to the core values of the teaching and learning strategy to be implemented.
The following range of teaching and learning methods will be employed:
Lecture – This is used to impart a specific body of knowledge to students. In most cases, ideas generated by lectures will be developed through supporting seminars or through photographic practice.
Teaching Workshop – This is where a lecturer or visiting lecturer introduces and demonstrates practically based technology, working methods and skills, potential of materials, within a short period of intensive study.
Seminars - This functions as a forum for the discussion and debate of ideas. The primary function is the exchange of opinion between staff and students, or students and students. A seminar may be initiated and led by staff or may be focussed around a student presentation.
Group Critiques – This is considered to be an essential learning experience for the student. Its functions are to reveal individual objectives, to encourage students to examine work in relation to their peers, to relate work produced to the objectives of the module, and to focus attention on a range of interpersonal communication skills and an appreciation of group dynamics. Individual one to one critiques are used in conjunction with group critiques, to allow for more personally focussed discussion to be pursued in relation to the students work.
Self-Directed Learning - The concept of independent study is an integral part of the programme. It refers to the idea of student centred learning, whereby the student takes responsibility for setting his or her own goals and creating his or her own pathway of study within the framework of the course. With this in mind, the programme team will act more as facilitators, enabling and encouraging learning by developing study skills, suggesting areas of investigation and research, and providing academic advice and counselling.
Peer Group Learning – This is used throughout the programme and is the means by which a student develops an appreciation and understanding of different aspects of early years practice, through formal and informal discussion with their peers.
Written Work – The course involves a range of written assignments. These include essays, critical reviews, written discussions, project proposals, applications, letters of introduction, CV's, reflective logs and a contextual report.
Oral Presentation – Throughout the programme the student is required to use the spoken word to support their work in both formal and informal situations. This involves seminar debates, ideas tutorials, and oral reports to support practical projects, project proposals, portfolio presentations, group critiques and discussions.
Group Work – Certain assignments will require students to work together or in pairs, to practice or demonstrate learning or to initiate investigation and / or deliver presentations.
Library Study – The success of projects and the development of students personal knowledge and understanding of childhood and early years/early years education depends very significantly upon the use the student makes of Libraries and learning resources centres.
Visiting Speakers – Students benefit from contact with a wide range of professional activities through direct contact with practitioner specialists.
Mentoring Visits - Throughout the programme students benefit from mentoring visits from the programme team to support them in the workplace, this allows onsite tutorials to take place and involves one to one discussion on their progression within the programme and linking this to specific modules.
The programme aims to ensure it is holistic and coherent, inclusive and accessible. A variety of teaching strategies are used to meet the needs of the students whilst developing skills and knowledge. Teaching and learning takes place via the use of the latest web-based technologies. The VLE is accessible to all students to ensure that students have access to themes delivered in classroom session. Practical skills are developed through work based learning to link theory to practice. Independent study encourages research and scholarly activity whilst study sessions support the development of such skills.
The programme aims to provide key knowledge and develop transferable skills and assessment task are developed to put this knowledge into practice and research issues further. The methods listed will be employed both for learning and assessing of the learning achieved.
Students will receive timely, relevant and constructive feedback to enable skills to continue to develop. The variety of assessments include
Research Dissertation
Please click here to access the programme specification for this course.
Published information about the Higher Education (HE) learning programmes, offered by The City of Liverpool College, is intended for the public, prospective students, current students, students who have completed their studies, and those with responsiblity for academic standards. We are committed to providing information that is fit for purpose, accessible and trustworthy. You may compare our provision with other HE organisations' provision by accessing the following link: UNISTATS. Unistats is an independent website offering a range of useful info and statistics on university courses.
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|Carol Frampton <cfram...@adobe.com>
|Re: [MENTORS] Binary Files
|Thu, 31 May 2012 13:14:23 GMT
On 5/31/12 5 :04AM, "Bertrand Delacretaz" <firstname.lastname@example.com> wrote: > >> ...Yet in the Batik and Velocity source distributions there is a folder >>of JAR files and >> I don¹t see any option to build those JARs from source. Other notes >>indicate that >> downstream releases should build from sources of upstream releases. >>Again >> Batik and Velocity don¹t seem to be doing this.... Sorry to keep asking the same question but I don't think I've gotten an answer yet. We just forked velocity/batik from their source kits. Their source kits contains lots of dependent jars. Can we leave the velocity/batik structure as is in our source kit, including those jars, or do we have to "fix" them by removing all their dependent jars and download them as part of our build? It seems sort of silly to have their source but then have to download their source kit to extract those jars. > >>...C. Can our source release build script leverage JARs or must it build >>everything from sources?... > >Most Apache projects written in Java use Maven builds, which by >default get their dependencies from a central repository that we do >not control. But users can relatively easily replace that with their >own repository, and in theory they can build all dependencies >themselves before adding them to their local repository. > >Having a similar setup for Flex would be ok IMO: download binaries >from trusted sources by default, but allow people to supply their own >binaries if they want. If even the binary kit can't contain dependent jars that means that you can't run Flex "out of the box". With our current setup it means you'd have to have ant installed and run a target to download the dependent jars. Do you know of another Apache project that has to do this so I can take a look at it? Carol
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Do you have a question about your camera, taking pictures or about digital photography in general?
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I am far ahead of where I would be on my own or just relying on YouTube "how to" videos. Just look at the
catalogue of photos on his web site & you can see the vast & growing
amount of experience he has. From world travel to portraits & even real
estate shots, Scott has a knack for capturing the essence of the moment whether
it be people or things. This is the kind of stuff he can impart to you. His
teaching skills are excellent, very patient with a way of explaining technical
information in an understandable & down to earth fashion. I picked up some
great tips from Scott on choosing the right lenses for the right application,
choosing the correct aperture, shutter speed & ISO for various situations
to how to use a speed light & more subtle tips on how to take inconspicuous
street shots, how to carry your camera discretely etc.
I would highly recommend connecting with Scott if you really want to improve your photography skills."
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The Kinect is No Longer Mandatory for the Xbox One to Operate (But Will Still Come With One)
In a AMA on IGN with Marc Whitten, Chief Xbox One Platform Architect stated,
You have the ability to completely turn the sensor off in your settings. When in this mode, the sensor is not collecting any information. Any functionality that relies on voice, video, gesture or more won't work. We still support using it for IR blasting in this mode. You can turn the sensor back on at any time through settings, and if you enter into a required Kinect experience (like Kinect Sports Rivals for instance), you'll get a message asking if you want to turn the sensor back on in order to continue.
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Our management portfolio is expanding rapidly, and our clients can be very comfortable knowing Kathy is keeping a close eye on their properties.
Jacksonville, FL (PRWEB) November 15, 2012
Finlay Management, Inc., has selected Kathy Hensley as Florida Regional Manager to oversee the company's expanding portfolio of apartment communities.
Hensley is a seventeen-year veteran of the multifamily housing industry having served in leadership positions with some of the most influential companies in the real estate industry including Fairfield Residential and McKinley, Inc.
Starting her career as an assistant manager/leasing consultant, she advanced to roles of Training Coordinator and Human Resources Development Consultant as well as Regional Director for as many as 3,000 units.
Her honors include tribute for the oversight of a $2.5 million renovation project which garnered coveted awards. She was also responsible for a "property of the year," recognized for its unprecedented increase in NOI. Her experience also includes the successful transition of several fractured condo communities back to conventional apartment communities.
Says Christopher Finlay, President of Finlay Management, "We are delighted to welcome Kathy to the Finlay team. Our management portfolio is expanding rapidly, and our clients can be very comfortable knowing Kathy is keeping a close eye on their properties. "
Hensley graduated from Memorial University of Newfoundland with a Bachelor in Art, Honors. She holds a Florida CAM (Community Association Manager) license and is a CPM® Candidate. Active in the Apartment Association of Greater Orlando, she sat on the Board of Directors for three years and has served as CAPS Human Resources instructor.
Finlay Management, Inc., is a multifamily property management firm with a thirty-year history in market-rate apartments, affordable housing, and senior living. With offices in Texas and Florida, it focuses on fee management throughout the Florida, Texas and the Southeast. An Accredited Management Organization (AMO) ®, the company is actively expanding and seeking third-party management opportunities. For more information, visit http://www.finlaymanagement.com.


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Rate the Days of Future Past trailer
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Posts: 259
Re: Rate the Days of Future Past trailer
I didn't vote but I don't think it was a good trailer.
It seems like it was edited by a fan using short clips found on YouTube. The music is also VERY common and overused, I believe I heard it on the "Top Gear" last week. It's also the music used in anti-piracy ads that run before every film in the UK, so it's a very well known piece.
I know I'm gonna watch the film regardless but that trailer was poorly edited. The only thing I took from it is that there's a bunch of characters that I barely recognise, people crying and people screaming.
I understand it was put together for comic-con, so I'm guessing it was rushed together by the production team themselves. That works for a room full of fanboys but as a main trailer it falls flat. Personally I would have hired professionals.
I'm also guessing that Fox needed to push a trailer out in order to attach it to Thor and Hunger Games. They might have put it next to The Hobbit, Anchorman and Jack Ryan, those films come out later and they could have completed some "money shots" by then too, but due to Jack Ryan moving they had to rush it out now.
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Brooklyn, NY (PRWEB) November 19, 2012
Following their hugely successful evening at the 13th Annual Latin Grammys last Thursday, international pop icons Juanes and Juan Luis Guerra have now set their sights to assist families impacted by Superstorm Sandy. In partnership with Barclays Center and producer Cardenas Marketing Network (CMN), Juanes and Juan Luis Guerra, who took home Latin Grammys for Best Album and Best Long Video, Juanes MTV Unplugged and Best Producer, Juanes MTV Unplugged, respectively, are set to donate all proceeds from their upcoming Nov. 24th concert at Barclays Center to the American Red Cross to assist families impacted by the storm. Univision Communications Inc, the leading media company serving Hispanic America with its New York area TV and radio stations – WXTV Univision 41, WFUT TeleFutura 68, WFTY TeleFutura 67, WXNY (96.3FM), WADO (1280 AM) and WQBU (the new Mami 92.7FM), as well as Univision Network; Telemundo 47, one of the area's most important media outlets for the fast growing Hispanic community of New York; and Spanish Broadcasting System, Inc. (SBS), New York stations WSKQ-FM "Mega 97.9FM" and WPAT-FM "93.1FM La Variedad de NY!" have joined efforts as media partners of the event.
"We've both been blessed to have had extraordinary support throughout our careers from fans in the New York area and across the Caribbean. With so many people from these regions now facing immense hardships, we want to show our deep appreciation by utilizing our music to both raise spirits and more importantly, raise much-needed funds to help them through these times of great need."
– Juanes & Juan Luis Guerra
The highly anticipated concert at Barclays Center, produced by CMN, will mark the first-ever Latin show at the new, state-of-the-art facility. Tickets to the concert can be purchased via http://www.ticketmaster.com or by calling 1-800-745-3000.
"Superstorm Sandy has devastated the lives of many people and we are eager to work with the Red Cross," said Henry Cardenas, Chief Executive Officer/President of CMN and Co-founder of the Maestro Cares Foundation "We invite music goers and the community to support this cause and provide comfort to those who have lost so much."
In response to Superstorm Sandy and the following Nor'easter, the American Red Cross is on the ground distributing relief supplies such as food, shelter, and comfort across all five New York boroughs and New Jersey. Red Cross client casework teams are meeting with individuals and families in shelters to help identify additional resources to help in their recovery process. To aid faster access to food, shelter and relief supplies, the Red Cross's digital volunteers are playing a major role tweeting and updating the Disaster Online Newsroom with fixed feeding and bulk distribution sites.
"Coming to the aid of our local communities be it with information or relief is what companies should do – and it is who we are," said Jose Valle, president, Univision Radio. "We salute Juan Luis Guerra and Juanes for helping raise much needed funds through this benefit concert in Brooklyn. That is why we are leveraging all of our assets, including TV, radio and digital, to support their efforts - because we know that working together we will have a greater impact on our community."
To date, more than 9,000 Red Cross workers have been deployed from all 50 states to operations from North Carolina to Rhode Island, with the majority still in Greater New York and throughout New Jersey. 90% of these workers are volunteers.
"As the local Telemundo station in New York, it is our duty to support our community and help our viewers get through this rough time," said Carlos Sanchez, President/General Manager of Telemundo 47. "Through our local news and shows we've felt the devastation and hunger of the victims, so we are extremely grateful to Juan Luis Guerra and Juanes for creating such an opportunity to donate to the American Red Cross and give back."
Other donors have also stepped up. Goya, the presenting sponsor of the show, has donated 300,000 pounds of products and 25,000 meals to victims, while the Department of Tourism of the Dominican Republic, an inviting sponsor, is also providing support to those affected by Sandy. Artist sponsors MetroPCS and ZTE are set to donate ZTE Anthem 4G handsets and service to Sandy Relief efforts throughout the affected areas.
Eric Garcia, VP of Sales of SBS New York stated, "We encourage our listeners and viewers in the United States to help out with this extraordinary concert with Juanes and Juan Luis Guerra in New York City, in support for the thousands of people affected by Superstorm Sandy."
To donate directly to the American Red Cross/Sandy relief efforts, visit http://www.redcross.org or call 1-800-RED-CROSS (1-800-733-2767).
About the American Red Cross
The American Red Cross shelters, feeds and provides emotional support to victims of disasters; supplies about 40 percent of the nation's blood; teaches skills that save lives; provides international humanitarian aid; and supports military members and their families. The Red Cross is a not-for-profit organization that depends on volunteers and the generosity of the American public to perform its mission. For more information, please visit redcross.org or join our blog at http://blog.redcross.org.
Juan Luis Guerra and his band, 4:40, have sold over 30 million records and won numerous awards including 13 Latin Grammy Awards, two Grammy Awards, and two Latin Billboard Music Awards. He is one of the most internationally recognized Latin artists in the modern era. Guerra blends the perfect mix of merengue, bolero and Afro-pop/Latin fusion, resulting in universal hits such as "Ojalá Que Llueva Café" ("Wish It Would Rain Coffee"), "Bilirubina" and "El Costo de la Vida" ("The Price of Life"). A remix of his hit "La Llave de Mi Corazon" ("Medicine for My Soul"), with Taboo from The Black Eyed Peas, is a testament to his ability to fuse genres. A devout humanitarian, he established The Juan Luis Guerra Foundation in an effort to help children with disabilities and in need. He has supported the World Pediatric Project and has performed in benefit concerts including one for the Haiti earthquake victims. Guerra received Billboard's Spirit of Hope Award in 2005, was named the 2007 Latin Recording Academy's Person of the Year and was designated the UNESCO Artist for Peace in 2008, lending his support to UNESCO's action for youth violence prevention.
With six solo albums to his credit and multi-platinum sales of over 15 million copies, Juanes is the world's leading all-Spanish language rock artist - Both a GRAMMY and 19-time LATIN GRAMMY winner with eight #1 singles on Billboard's "Hot Latin Songs" chart. His most recent album, "JUANES MTV Unplugged" was released on May 29th of this year and quickly debuted at #1 on Billboard's "Top Latin Albums" chart and in 18 countries throughout Latin America. Juanes is also frequently recognized as one of the Spanish-speaking world's leading social media voices with an online following of over 10 Million fans. The Colombian superstar's dedication as a global activist also extends far beyond his passionate lyrics and is seen in his wide ranging charitable work for his own Mi Sangre Foundation and as a co-founder of the "Paz sin Fronteras" (Peace Without Borders) organization - which utilizes music to unite populaces regardless of political or geographic divides and advocate that all people are entitled to the basic human right of peace.
About CMN
Founded in 2003 by Henry Cardenas, Cardenas Marketing Network (CMN) is an independently owned, multicultural event marketing and sponsorship agency that creates brand impact through award-winning campaigns featuring music tours, sporting events and other interactive experiences that captivate target consumers across the nation. In 2011, CMN produced more than 2,500 live events for clients such as Wrigley, Anheuser-Busch, McCormick, H&R Block, General Motors and Goya, among others. With offices in Chicago, Los Angeles, Miami and New York, and a dynamic, results-driven team, CMN applies strategic thinking and flawless execution to deliver value for clients anywhere in the country.
About Barclays Center
Barclays Center, which opened on September 28, 2012, is a major sports and entertainment venue in the heart of Brooklyn, New York. Developed by Brooklyn-based real estate developer Forest City Ratner Companies, and designed by the award-winning architectural firms AECOM (http://www.aecom.com/architecture) and SHoP Architects (http://www.shoparc.com), Barclays Center has one of the most intimate seating configurations ever designed into a modern multi-purpose arena, with unparalleled sightlines and first-class amenities. Barclays Center is hosting an extensive variety of events, including premier concerts, monthly major professional boxing cards, top college basketball, family shows, the Brooklyn Nets and soon the New York Islanders. In addition to Barclays, the naming rights partner, Founding Partners for Barclays Center include American Honda Motor Co., Inc., American Express, Calvin Klein, Cushman & Wakefield, EmblemHealth, Foxwoods Resort Casino, GEICO, MetroPCS, Stolichnaya, and Ticketmaster. Located atop one of the largest transportation hubs in New York City, Barclays Center is accessible by 11 subway lines, the Long Island Rail Road, and 11 bus lines. For more information on Barclays Center, please visit http://www.barclayscenter.com.
For Juanes: John Reilly, Rogers & Cowan – 212.878.5076 / jreilly(at)rogersandcowan.com
For Juan Luis Guerra: Nanette Lamboy – 787.525.2877 / nanettelamboy(at)aol.com
For CMN: Diana Lopez – 312.731.8136 / dlopez(at)cmnevents.com
For Barclays Center: Barry Baum – 718.942.9533 / bbaum(at)brooklynnets.com
or Mandy Gutmann – 718.942.9587 / mgutmann(at)brooklynnets.com


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Press Releases
FOR IMMEDIATE RELEASE: March 15, 2012
CONTACT: Kathleen Fay, Executive Director
617-661-1812 | firstname.lastname@example.com
MEDIA ALERT: Legendary vocal ensemble The Tallis Scholars returns for their 23rd annual appearance with the Boston Early Music Festival on March 31, 2012.
The Tallis Scholars (United Kingdom)
Saturday, March 31, 2012 at 8pm
The Field of the Cloth of Gold: Music of Jean Mouton and William Cornysh
Jean Mouton: Nesciens mater
|Tickets priced at $19, $38, $49, and $66 each and can be purchased at WWW.BEMF.ORG and 617-661-1812; a $5 discount for students, seniors, and groups is offered by calling 617-661-1812.
Beloved vocal ensemble The Tallis Scholars with director Peter Phillips make their 23rd annual appearance with the Boston Early Music Festival. Pioneers in the performance of the glorious vocal music of the Renaissance, these singers continue to collect accolades for transcendent performances that are as intricately precise as they are expressively soulful. Their program is inspired by one of the most spectacular political summits of all time. In June, 1520, in the fields near Calais, Henry VIII of England and François I of France met to seal a treaty of friendship between their two warring countries. No expense was spared in crafting opulent events where each country eager to out-do the other, from wrestling, to feasts, and to the music.
Two of the period's most exception composers, France's Jean Mouton and England's William Cornysh, led their respective monarch's Chapels Royal, the carefully selected group of singers tasked with performing sacred music for the royal families. Each would have crafted special musical presentations showcasing the best their country had to offer. While the exact music performed has not been passed on to history, Peter Phillips has taken the splendor of this unique occasion as inspiration for selecting some of the greatest masterpieces from this period to honor this regal cultural exchange.
The Tallis Scholars were founded in 1973 by their director, Peter Phillips. Through their recordings and concert performances, they have established themselves as the leading exponents of Renaissance sacred music throughout the world. Peter Phillips has worked with the ensemble to create, through excellent tuning and blend, the purity and clarity of sound which he feels best serve the Renaissance repertoire, allowing every detail of the musical lines to be heard. It is the resulting beauty of sound for which The Tallis Scholars have become so widely renowned. The Tallis Scholars perform in both sacred and secular venues, giving around 70 concerts each year across the globe. Recordings by The Tallis Scholars have attracted many awards throughout the world including a Gramophone award, the Diapason d'Or de l'Année, and a Grammy nomination.
Peter Phillips has made an impressive if unusual reputation for himself in dedicating his life's work to the research and performance of Renaissance polyphony. He founded The Tallis Scholars in 1973, with whom he has now appeared in over 1600 concerts and made over 50 discs, encouraging interest in polyphony all over the world. Apart from The Tallis Scholars, Peter Phillips continues to work with other specialist ensembles including Collegium Vocale of Ghent, the VoxVocal Ensemble of New York, and Musix of Budapest. He has made numerous television and radio appearances, on BBC Radio 4 and the World Service as well as on German, French, Canadian and North American radio. Peter also works extensively with the BBC Singers with whom he gave a Promenade concert, in collaboration with The Tallis Scholars, from the Royal Albert Hall in July 2007, which was broadcast live and attended by over five thousand people.
Download artist photos: http://www.bemf.org/pages/press/images.htm
Recognized as the preeminent early music presenter and Baroque opera producer in North America, the Boston Early Music Festival has been credited with securing Boston's reputation as "America's early music capital" (The Boston Globe). Founded in 1981, the Boston Early Music Festival offers diverse programs and activities, including three Grammy-nominated opera recordings, an annual concert series that brings early music's brightest stars to the Boston and New York concert stages, and a biennial week-long Festival and Exhibition recognized as the "world's leading festival of early music" (The Times, London). The 17th Boston Early Music Festival is planned for June 9–16, 2013.
The 2011–2012 Boston Early Music Festival Concert Series is presented with support from the Massachusetts Cultural Council, National Endowment for the Arts, ConstellationCenter, 99.5 All Classical, Harpsichord Clearing House, Zuckermann Harpsichords International, The Gregory E. Bulger Foundation, U. S. Trust/Bank of America Private Wealth Management, and GTC Law Group.
For more information, images, press tickets, or to schedule an interview, please contact Kathleen Fay at 617-661-1812 or email email@example.com.


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Starting your own sweet potato slips is easy, and it's an interesting process to watch. When I was a kid, my grandmother used to start her own sweet potato vines using a potato left over from the previous year's crop. I don't know how many years she maintained the same line of plants, but I know she did it every year that I can remember, and her sweet potatoes always tasted extra good to me because I knew where they came from.
It takes about 6 weeks to get sweet potato slips that are ready to be planted, so plan back accordingly from planting time in your area. It may take 6 weeks, but your time and effort is very minimal, and the results are well worth waiting for.
To get started making your own sweet potato plants, you need the following items:
-A healthy sweet potato
-A glass jar
-some toothpicks
Select a good sized sweet potato that is firm and solid. You can simply get one from the produce aisle at the grocery store or better yet a local farmer's market. I just use one left over form my previous year's crop. It doesn't necessarily need to have the beginning of shoots coming out of the stem end. When I keep them in storage over winter, they just naturally start to sprout.
Find the stem end of the potato (this will be the top). Generally you can tell it from the root end by the shape. The root end tends to go to a sharper point than the stem end. Also the stem end usually has a flat scar where the potato was broken away from the stem when it was harvested.
Stick three toothpicks into the potato equally spaced around it about midway down the length. These tooth picks will support the potato when it sits in the glass jar and keep the end from resting on the bottom of the jar.
Place the potato in the glass jar. I use a pint canning jar for starting my sweet potatoes, because they always seem to be about the right size and there are plenty of them around the house. Fill the jar to nearly the top with water.
Set the jar and potato in a fairly sunny location in your house and wait. You'll be surprised at how quickly your sweet potato will begin to start sprouting little white rootlets, usually within 2 to 4 days. Within a very short time the jar will be filled with white roots.
Sprouts will begin growing within a week or so, and will continue to grow as long as you keep water in the jar.
My grandmother used to keep one growing all winter on a window sill in her kitchen for a house plant. She had sweet potato vines growing all around her window sill all winter and into spring.
Nowdays plant nurseries and greenhouses sell "ornamental" sweet potato vines in hanging baskets. I always knew Grandma was ahead of her time!!
When the sprouts are about 5 to 6 inches long, it's time to remove them from the potato. This usually takes 3-4 weeks from the time that you start the process.
Grasp a sprout near the base and pull sideways. The sprout should pull away from the potato, and leave a small hole or dent where it was removed. Remove all sprouts that are the right size.
If you didn't get enough slips from your sweet potato, leave it set in the jar, keep it watered and it will grow more sprouts within a few days. They can be removed in the same way, as they reach the right length.
Place all of the sprouts in another glass jar full of water, and leave them in the same sunny place. In a very few days you will begin to see little white rots begin to form and grow from the sprouts. These roots will grow very quickly, and soon fill the jar with roots.
After about two weeks, your sweet potato slips will have developed enough roots that they are ready to plant. Personally, I like to pot mine in individual pots with potting soil first then plant in my garden a bit later. Pot or plant them so that at least all of the developed roots are covered. There's no harm in planting them a bit deeper than that.
Potting them serves two purposes:
First, I can place the potted plants outside in a partially sunny location, which allows them to harden off gradually without getting their leaves sunburned like they would if you plant them directly into your garden.
Second, my garden is inevitably never ready when the sweet potato slips are. Either the soil is too wet, or I haven't gotten it tilled up yet. Potting the slips lets you have a bit of control over when they get planted. I like to leave the slips potted at least a week before planting them in the garden.
That being said, many people will plant their sweet potato slips directly into their garden with no ill effects. In fact I've done it before too. Do whatever seems right for you.
There is also a third advantage of potting your sweet potato slips. That is, that it is much easier to lay out the spacing in the row. You can simply set the pots in the row, and shift them around to space them out evenly until all the plants fit. Aim for spacings between 18 to 24 inches between plants
Plant your sweet potato slips in loose deeply tilled soil. Plant them at the same level as they were potted, or a bit deeper. When you remove them from the pot, you'll see that roots have already grown all the way to the edge of the pot - even after only one week.
Water them in well when you plant them. Unless it is very dry after you plant them, your sweet potato slips shouldn't need any additional care except for keeping them free of weeds until they get established and growing.
Once established, sweet potato vines require little care. I'll mulch
lightly around mine with dry grass clippings to help control weeds, but
that's about all until harvest time.
Use a potato fork to dig your sweet potatoes in the early fall before the first frost hits. You'll be amazed at how many you'll harvest.
The picture above shows most of our fall harvest from the same 16 plants. Imagine - all that from one sweet potato started in March!
your own sweet potato slips can save you the cost of buying slips from a
nursery or greenhouse, but it can also give you the satisfaction of
knowing that you can do it yourself. It's one more simple skill that
you can add to your tool kit of self sufficiency.
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|Ronghu Lake Hotel(4 stars)
Guilin Ronghu Lake Hotel is situated on the west bank of Banyan Lake in the center of Guilin city. The hotel is characterized by its villa-styled buildings. Around the hotel are many extraordinary hills and attractive small lakes, verdant bamboo trees and weeping willows. On the other side of the lake, are the famous scenic spots - the Ancient South City Gate and Thousand-year-old Banyan Tree.


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Dec. 8, 1918-Feb. 13, 2012
PIKEVILLE -- Inez Batts Pate, 93, 801 Nahunta Road, went to be with her Lord and savior Monday, Feb. 13, 2012, at Kitty Askins Hospice Center.
Funeral services will be held Wednesday at 3 p.m. in the chapel of Shackleford-Howell Funeral Home in Fremont. Burial will follow at Pikeville Cemetery.
The family will receive friends prior to the funeral from 2 to 2:45 p.m. at the funeral home.
Mrs. Pate was born in Wilson County Dec. 8, 1918, to the late Thomas and Martha Hill Batts.
She was a member of St. Joseph United Methodist Church in Pikeville and United Methodist Women.
She is survived by three sons, Tommy Pate and wife, Marjorie, of Pikeville, Richard Pate and wife, Rita, of Goldsboro and Harry Pate and wife, Mary, of Greenville, S.C.; a daughter, Janet Pate Barfield and husband, David, of Goldsboro; four grandchildren, Jeff Barfield and wife, Dale, Thomas Pate and wife, Dana, Martha Gurley and husband, Brent, and Taylor Pate; eight great-grandchildren; and brothers-in law, Charles Lanier and Lee Pate Jr. and wife, Shirley.
In addition to her parents, Mrs. Pate was preceded in death by her husband, Wilbert Lee Pate; brothers, Hubert and Howard Batts; sisters, Ruth Batts and Miriam Lanier; and her grandson, Rex Barfield.
Although flowers are welcome, memorial contributions may be made to St. Joseph United Methodist Church in Pikeville or Kitty Askins Hospice Center in Goldsboro.
Published in Obituaries on February 14, 2012 1:50 PM


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This handy little ruler from the Gear Squad has been made available to help you properly identify your drive shaft u-joints.
Simply place the ruler's notched end against the tab end of your yoke, see where the ruler falls against the opposite tab, and that will identify your yoke.
To measure your u-joint, place the tab end against the u-joint cup squarely and view size at opposite cup. Due to age and wear, the caps may not be exactly on the line but very close.
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This CTM U-Joint could be the last U-Joint you ever have to buy! The rebuildable feature is unique in the fact that now as long as the cross or caps are intact then the seals bushings and clips can be replaced indefinitely! The U-joints are currently being used in rock crawling competition which is one of the most abusive applications we could find for testing. These U-joints are designed for use with full circle clips which means you will need to install them into some high quality CHROME-MOLY axle shafts. CTM U-Joints use a bronze sleeve that shows little or no wear. Keep these sleeves well greased using a needle adapter on your grease gun and abuse them worry free. Make sure you have all of your equipment set-up correctly to ensure a proper fit and superior strength to all other u-joints.
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Some Great Days On The Avenue
( Originally Published 1918 )
Some Great Days on the Avenue—Pictures and Pageants—When a Prince Came Visiting—A Regiment Departs-Honour to the Captains—Funeral Processions—Receptions—Dinners—The Orient and the Avenue—When Admiral Dewey Came Home—Greeting a Marshal of France—The Roar of the City and the Guns of the Marne.
IN the stirring times in which we are living, it seems as if every day is a great day on the Avenue. Take a single example: The morning broke dark and threatening. Heavy clouds presaged showers. But after an hour or two they passed from the heavens, and warmth and golden sunshine came. In the course of various activities the writer made his way to points between the Battery and Fifty-ninth Street, and the means of travel employed included three journeys on top of Fifth Avenue buses. If one of the early settlers could only have seen the proud and amazing thoroughfare!
The air vibrant with excitement. Flags everywhere. Tens of thousands of the Stars and Stripes. Thousands of Union Jacks and Tricolours of France. Hundreds of pavilions of Italy and Belgium. Every few yards gaily decorated booths from which smiling women or lusty-lunged men harangued the passers-by to " come across or the Kaiser will."
On a platform erected on the steps in front of the Public Library a slight -figure in kilts addressing a swaying, surging crowd. As the bus, held up for a minute by the cross-town traffic, stopped, we could hear the pleasing burr of Harry Lauder. Two hours later; a mile and a half farther downtown. The sound of a band in the distance. The horses of the mounted policemen forcing back the curious thousands to the curb. A regiment of regulars, two regiments of militia, and then, swinging along lightly in loose step, a handful of men in soiled blue, Chasseurs a pied of France, who, at Verdun, in the Vosges Mountains, and on the Picardy front, had lived splendidly up to the traditions of the men with the hairy knapsacks and the hearts of steel whose tramp had shaken the continent of Europe one hundred years before.
It was just a day similar to other days that had gone before and to days that were to follow. To feel the thrill of what were held to have been the great days of the past we must put ourselves in the mood of old New York, or at the very least think of the world as it was wagging along a brief four years ago.
" The national banquet-hall where heroes and statesmen have been feted, or the parade-ground toward which a nation has turned to witness great demonstrations in celebration of national events of a civic or military or mournful nature. Along it have gone to the music of dirges and the sound of mournful drums the funeral corteges of many of the country's leading statesmen and greatest men, and here, too, have occurred riots and disastrous fires which have startled the city and shocked the nation." So runs the introduction to a little pamphlet issued some years ago by the Fifth Avenue Bank. One of the earliest and most notable visits, the brochure goes on to tell us, was that of the, then Prince of Wales, later Edward VII., in the autumn of 1860. He was then nineteen years old. The city turned out to greet him. On Thursday, October 11th, the revenue cutter, " Harriet Lane," brought the Prince to New York from South Amboy. Then, a day of blaring bands, of blended flags, of great transparencies, that eventually led to the Fifth Avenue Hotel. He was still very young, still very much of a boy, very much bored with all the tumult and ceremony. Once out of sight of the crowd he threw dignity to the winds and played leap-frog in the corridor with his retinue. But once again, from his bed, to which he had gone with a bad headache, he was called at midnight to acknowledge the salutes of the Caledonia Club. That organization, made up mostly of members of the Scotch Regiment commanded by Colonel McLeay, headed by Dodsworth's Band, marched up Broad-way to the hotel. In the Prince's honour a serenade was given, the band blared out with " God Save the Queen ! ", " Hail Columbia ! " and other national airs, and once more the sleepy and sorely tried royal visitor was obliged to appear to bow his thanks.
The next day, Friday, was given over to visiting such public buildings as the Astor Library, Cooper Union, the Free Academy, and in riding through Central Park.
A ball, famous in city annals, was given at the Academy of Music. Among those who attended that ball and left a record of it was the late Ward McAllister. " Our best people, the smart set, the slow set, all sets, took a hand in it, and the endeavor was to make it so brilliant and beautiful that it would always be remembered by those present as one of the events of their lives."
The ball was opened by a quadrille d'honneur. Governor and Mrs. Morgan, the historian Ban-croft and Mrs. Bancroft, Colonel and Mrs. Abraham Van Buren, with others were to dance in it. The rush was so great that the floor gave way, and in tumbled the whole centre of the stage.
Carpenters set feverishly to work to floor over the chasm.
"I well remember," said McAllister, "the enormous form of old Isaac Brown, sexton of Grace Church, rushing around and encouraging the workmen."
In the course of the evening the Prince danced with Miss Fish, Miss Mason, Miss Fannie Butler, and others, and was conceded to have danced well. The supper was served at a horseshoe table. At one end of the room was a raised dais, where the royal party supped. At each stage door a prominent citizen stood guard; the moment the supper room was full, no one else was admitted. " I remember," confesses Mr. McAllister, " on my attempting to get in through one of these doors, stealthily, the vigilant eye of John Jacob Astor met mine. He bid me wait my turn."
Despite the assiduity with which McAllister danced after the figure of the Prince, he was not among those presented. That honour he sought the next day, on the trip to West Point:
" As General Scott was presenting Colonel Delafield's guests to the Prince I approached the General, asking him to present me to his Royal Highness. A giant, as he was in height, he bent down his head to me, and asked sharply, ` What name, sir?' I gave him my name, but at the sound of ` Mc,' not thinking it distinguished enough, he quietly said, ` Pass on, sir,' and I subsequently was presented by the Duke of Newcastle."
Forty-three years after that clamorous greeting of New York to the young Prince of Wales the present writer was to witness in Paris the visit of Edward VII. for the purpose of cementing the Entente Cordiale. The tired face told the story of the hardest-worked public servant in the world. In 1860, on Fifth Avenue, he had already begun to pay the price of the royal privilege of his exalted birth to bear the arduous burden of royal responsibility.
There are extant many old wood-cuts showing the Prince at the Academy of Music ball. But the following morning, that brought repose to so many, brought none to him. There were visits to be paid to Brady's photographic studios at the corner of Tenth Street and Broadway, to Barnum's Museum, to General Scott at his Twelfth Street residence, and the Broadway store of Ball, Black & Company.
That night a great torchlight parade in honour of the Prince was given by the New York fire-men. The Prince, with his suite and a number of city officials, stood on the hotel balcony, while five thousand men in uniform, with apparatus and many bands, marehed by. Fireworks were set off, the brilliant beams of the calcium light—then a novelty—were thrown upon the standing, boyish figure of the Prince, thousands of flaring torches danced and waved against the darkness of the opposite square.
The next day, Sunday, October 14th, brought some rest. In the morning there were services at Trinity, where Dr. Vinton preached; then a quiet afternoon at the hotel. With Monday came the Prince's departure. At half-past nine he left the Fifth Avenue Hotel, and in company with the Duke of Newcastle, the Earl of St. Albans, and Mayor Wood, was driven down to the harbour where the " Harriet Lane " was waiting to take him to West Point and Albany.
The next reception that the chronicler of Fifth Avenue events has seen fit to record was that given to General Grant after the close of the Civil War. At the Fifth Avenue Hotel a number of the city's leading business men met and planned the public greeting, and one hundred and fifty men subscribed one hundred dollars apiece. The reception to the returning soldier, which took place at the Fifth Avenue Hotel November 20, 1865, was hardly one of which the city or the street had reason to be proud.
Loose management led to disorder and dissatisfaction. Twenty-five hundred jostling, pushing persons crowded the halls, corridors, and reception rooms. The General stood in one of the hotel parlours surrounded by the committee, with Mrs. Grant and other ladies to his right, and on his left Generals Wool, Cook, and Hooker, John Van Buren, Ethan Allen, and others.
Little judgment seems to have been used in issuing the invitations. The throng was indiscriminate. Farce comedy was in the air. Religious fanatics, passing before the hero, offered up prayers for the salvation of his soul. Precocious children were thrust forward to his attention. Preposterous questions were propounded by preposterous people. To add to the confusion the names of those persons who fought their way through the throng to be presented to the General were announced to him by a little man who got most of them wrong.
In a postscript to his " American Notes," written many years later, Charles Dickens told of the vast changes he found on the occasion of his second visit to the United States—" changes moral, changes physical, changes in the amount of land subdued and peopled, changes in the rise of vast new cities, changes in the growth of older cities almost out of recognition, changes in the graces and amenities of life." Making all allowances for that. greater charity, tolerance, and kindliness of judgment which comes with the riper years—nobody ever could have remained as Britishly bumptious, or as bumptiously British as Dickens was in his younger days when he first came to pay us a visit—taking also into consideration the fact that a certain explanatory softening of earlier criticisms was politic, that the novelist found a city far more to his taste in 1868 than he had found in 1842 is not for a moment to be questioned. Also, at the time he came to New York from Boston, he was naturally in a rather placid and contented mood. For in letters home, even while complaining of the trying changes of the wintry climate, he had told how he was making a clear profit of thirteen hundred English pounds a week, even allowing seven dollars to the pound. 'When he returned to New York in April, after an extended tour through-out the country, he had still better cause to be pleased with the young Republic. Says Forster in his " Life ":
" In New York, where there were five farewell nights, $3,298 were the receipts of the last, on the 20th. of April; those of the last at Boston, on the eighth, having been $3,456. But, on earlier nights in the same cities respectively, these sums also had been reached; and indeed, making allowance for an exceptional night here and there, the receipts varied so wonderfully little, that a mention of the highest average returns from other places will give no exaggerated impression of the ordinary receipts throughout. Excluding fractions of dollars, the lowest were New Bedford ($1,640), Rochester ($1,906), Springfield ($1,970), and Providence ($2,140) . Albany and Worcester averaged something less than $2,400; while Hart-ford, Buffalo, Baltimore, Syracuse, New Haven, and Portland rose to $2,600. Washington's last night was $2,610, no night there having less than $2,500. Philadelphia exceeded Washington by $300, and Brooklyn went ahead of Philadelphia by $200. The amount taken at the four Brooklyn readings was $11,128."
And only a few years ago there were Americans deploring loudly the shabby financial treatment we gave Dickens, and figuratively and literally passing round the hat!
Fifth Avenue's greeting to Charles Dickens, on the occasion of his second visit, was in the form of the dinner that was tendered to him at Delmonico's, on the evening of April 18, 1868. The hosts were two hundred men of the New York press. Covers were laid for a hundred and eighty-seven guests.
Five o'clock was the time appointed—we were a rugged, early-dining race in those days—but the guest had a slight stroke of illness and did not appear until after six. Then it was a limping old man, aged just sixty-six, who, by the aid of a cane, climbed laboriously up the great staircase. He was led to his seat at the table by Horace Greeley, and seated between Mr. Greeley and Henry J. Raymond. The editor of the "Tribune," acting as master of ceremonies, began the speech-making by referring to his first discovery, many years before, of a story by the then unknown " Boz."
In concluding his reply to the toast, Mr. Dick-ens promised : " manfully, promptly, and plainly in my own person, to bear for the behalf of my own countrymen such testimony of the gigantic changes in this country as I have hinted at here tonight. Also to record that wherever I have been, in the smallest place equally with the largest, I have been received with unsurpassed politeness, delicacy, sweet-temper, and consideration. . . . This testimony, so long as I live, and so long as my descendants have any legal right in my books, I shall cause to be republished, as an appendix to every copy of those two books of mine in which I have referred to America. And this I will do and cause to be done, not in mere love and thankfulness, but because I regard it as an act of plain justice and honour."
The amende honorable was not less welcome for being long due and the distinguished visitor sat down to loud applause and the strains of " God Save the Queen." Mr. Raymond responded to the toast " The New York Press," and was followed by George William Curtis, William Henry Hurlbert, Charles Eliot Norton, Joseph R. Hawley, Murat Halstead, Edwin de Leon, and E. L. Youmans.
Three and a half years after the dinner to Dickens Fifth Avenue greeted in a similar way a distinguished Russian guest. That was the Grand Duke Alexis Alexandrovitch, who was entertained by the New York Yacht Club at Delmonico's December 2, 1871. James Gordon Bennett, the younger, was then Commodore of the club, and received the Grand Duke in the restaurant's par-lours at seven o'clock. The guests included the Grand Duke and his suite, the Russian Minister, General Gorloff, Admiral Poisset, Admiral Rowan, members of the Russian legation, Russian officers, and members of the yacht club. Against the walls of the banquet hall the Stars and Stripes blended with the blue St. Andrew's Cross. The guests were in naval uniform. The " Queen's Cup," which had been won by the " America " in 1851, had the place of honour among the club trophies. To the toast to the Czar, General Gorloff responded. The club Commodore answered to that to President Grant. After the Grand Duke had been informed that he had been elected to honorary membership, he responded with a brief sailor-like speech.
On December 22, 1877, President Hayes was the guest of honour of the New England Society at Delmonico's. Among those there besides the President were Secretary of State 'William M. Evarts, Presidents Eliot of Harvard and Porter of Yale, General Horace Porter, ex-Governor Morgan, and Governor Horace Fairbanks of Vermont. Mr. Evarts answered the toast " The Day We Celebrate." The presidents of Yale and Harvard, speaking in behalf of their institutions, indulged in good-natured contrasts and comparisons. In the old days, according to President Porter, when they found a man in Boston a little too bad to live with, they sent him to Rhode Island, and when they found him a little too good to live with, they sent him to Connecticut, where, among other things, he founded Yale College; while people of average respectability and goodness were allowed to remain in Massachusetts Bay, where, looking into each others' faces constantly, they contracted a habit of always praising each other with special emphasis—a habit which they have not altogether outgrown.
The Union League gave a reception to General Grant on October 23, 1880, in the theatre of the club-house. Among those present were Joseph H. Choate, General Chester A. Arthur, Chauncey M. Depew, General Adam Badeau, Colonel Fred Grant, Peter Cooper, Henry Ward Beecher, General Horace Porter, and Rev. Dr. Newman. An-other reception to General Grant was given at the Hotel Brunswick May 5, 1883, by the Saturday Night Club. Certain remarks by the former President and by Roscoe Conkling on the subject of Mexico were considered of much significance at the time. Both spoke strongly in favour of the formation of a Mexican-American alliance. Mr. Conkling suggested General Grant as the logical leader of a great movement to aid the sister republic in developing its resources.
Nearly two thousand guests were present at the reception given by the Union League Club to President Arthur on January 23, 1884. With the Chief Executive, who arrived about nine o'clock, were Secretaries Teller and Folger, of his Cabinet. After shaking hands with the reception committee the President was escorted up-stairs by William M. Evarts. About the President were the Cabinet officers, Mr. and Mrs. Evarts, Jesse Seligman, and Salem H. Wales, and Attorney General and Mrs. Brewster. In the distinguished gathering were Mayor Edson, Dr. Lyman Abbott, General and Mrs. George B. McClellan, Whitelaw Reid, Henry Ward Beecher, Parke Godwin, Elihu Root, Cyrus W. Field, Mr. and Mrs. John Bigelow, and Lionel Sackville-West, the British Minister.
At the supper, which was served at midnight, one of the features was the striking pieces of confectionery. In gleaming white sugar was a model of the Capitol, and a tall monument sup-ported statuettes of the President and his Cabinet. Also there was a twenty-four-foot model of the Brooklyn Bridge with the President and troops crossing it.
At the banquet to Lieutenant Greely of Arctic fame, at the Lotos Club, on January 16, 1886, Vice-President General Horace Porter was in the chair, in the absence of President Whitelaw Reid. Besides Lieutenant Greely, Chief Engineer Melville, and Commander Schley, who headed the expedition to relieve Greely, were guests of the club, and among others at the table were Chief Justice Daly, Colonel C. McK. Leoser, Robert Kirby, Patrick Sarsfield Gilmore, Dr. Pardee, Frank Robinson, Herman Oelrichs, C. IL Webb, Colonel Thomas W. Knot, George Masset, J. O'Sullivan, Douglas Taylor, James Bates, and Chandos Fulton. In his speech the guest of the evening told the story of his expedition to the Far North and explained the reason for every action. Arctic exploration, he declared, could not be futile when eleven nations were offering the lives of their men in the cause of science. He told the story of the splendid spirit of his own men during the dreary months at Cape Sabine and lauded American courage and achievement in all the corners of the earth. There were speeches by Judge Daly and Commander Schley, and then two fun-makers were introduced in the persons of Thorne and Killington, Poo-bah and Ko-Ko, from the Gilbert and Sullivan opera, " The Mikado," that was then playing in New York.
Late in November of the same year the Lotos Club honoured another explorer, Henry M. Stan-ley, who had just returned to New York after many years' absence, completing Livingstone's work in Central Africa. Stanley sat between Mr. Reid, the Club's president, and Chauncey M. Depew. Others at the guest's table were Lieutenant Greely, General Porter, General Winslow, Colonel Knox, Major Pond, General Townsend, Lieutenant Hickey, Commissioner Andrews, G. F. Rowe, Bruce Crane, Henry Gillig, and Daniel E. Bandmann. The speakers, besides Mr. Stanley, were Lieutenant Greely, Mr. Depew, and Horace Porter.
At Delmonico's, December 20, 1889, a dinner was given by the Spanish-American Commercial Union to the visiting delegates to the Pan-American Congress. William M. Ivins, as the principal speaker, touched upon South American relations and international arbitration as a prevention of war. Among those present were Mayor Hugh J. Grant, Elihu Root, Andrew Carnegie, Chauncey M. Depew, and Horace White. On the walls were portraits of Washington and General Bolivar, and intertwined with the Stars and Stripes, the vividly coloured banners of the South American nations. At the right of the chairman, William H. T. Hughes, sat Senor F. C. C. Zegarra of Peru, and at the left Mayor Grant. The address of welcome was delivered first in English and then in Spanish by Mr. Hughes, who possessed a perfect command of both languages. Senor Zegarra responded. The toast " Our Next Neighbour " was answered by Senor Matias Romero of Mexico. Other toasts and speakers were: " International American Commerce," William M. Ivins ; " International Justice," Elihu Root; " Our Homes," Rev. Dr. John R. Paxton; " America—All Republican," John B. Henderson, and random addresses from the gallery by Mr. Depew and Judge Jose Alfonso of Chile.
The next Fifth Avenue reception of importance was that given by the Union League Club to General W. T. Sherman on April 17, 1890. It was a belated celebration of the old soldier's seventieth birthday which had taken place on February 8. In the centre of the decorations of the usual patriotic colours and design was the Daniel Huntington portrait of the General in uniform. Regulars of the 5th U. S. Artillery lined the stairway leading from the lobby to the reception hall. The General, reaching the club-house at eight-thirty, was met by James Otis, J. Seaver Page, and General S. Van Vliet, and, between the lines of soldiers at present arms, conducted to a place beneath his own portrait. There, surrounded by President Depew of the Club, Secretary of the Interior John W. Noble, and General Van Vliet, he greeted the six or seven hundred invited guests. The gathering included representatives of the army, the navy, the bench, the clergy, as well as business, professional, and political life. The Vice-President of the United States, Levi P. Morton, was there, and Secretary Noble, Senators W. M. Evarts and Nelson W. Aldrich, Generals Schofield, Howard, Porter, and Breckenridge, and foreign diplomats from Russia, Chile, Brazil, and Peru. Of the march to the sea Chauncey M. Depew said: " It was a feat which captured the imagination of the country and of the world, because it was both the poetry of war and the supreme fact of the triumph over the rebellion."
Another great day on the Avenue was August 28, 1896, which witnessed the arrival of the famous Chinese statesman, Li Hung Chang. He came as a special envoy of the Chinese Emperor and stayed at the Waldorf, then a comparatively new hotel. President Cleveland sent General Thomas H. Ruger to welcome the visitor. In his cabin on the " St. Louis " in the Bay Li Hung Chang received the welcoming delegation. The author of " Fifth Avenue Events " thus describes the great Chinaman on that occasion: " His appearance was most striking. Over six feet tall, with a slight stoop, he wore the bright yellow jacket denoting his high rank, a viceroy's cap with a four-eyed peacock feather attached to it by amber fastenings, and a beautifully coloured skirt of rich material. His finger-nails were polished till they shone, a huge diamond flashed on his right hand, and he peered out benignantly over the tops of a pair of gold-bowed spectacles. Dignified in bearing, he looked every inch the statesman and scholar. His gracious manner won him friends during his stay in New York, and his indefatigable propensity for asking questions—some of them rather embarrassing to those questioned, as when he politely inquired the ages of the ladies whom he met and the salaries of the officials who entertained him—aroused much merriment."
In the way of a distinguished visitor Li Hung Chang was a novelty. New York gave him a rousing reception. The Avenue was lined by cheering throngs as the Ambassador and his suite were driven to the hotel. The carriages were flanked by U. S. Cavalry. Over the gaily deco-rated Waldorf the golden imperial banner of the Celestial Kingdom with the great blue Dragon snapping at a crimson ball fluttered in the breeze. But Li Hung Chang did not pay the hostelry the compliment of relying on its cuisine, preferring the services of his own Chinese cooks. The day after his arrival the Ambassador was received by President Cleveland at the home of ex-Secretary of the Navy William C. Whitney, Fifth Avenue and Fifty-seventh Street. Surrounding the President were the Secretaries of State, War, the Treasury, the Attorney-General, and other officials. The visiting statesman was presented to Mr. Cleveland by Richard Olney, Secretary of State, and to the Chief Executive turned over his credentials from the Chinese Emperor.
The banquet that evening, given by former American diplomats to the Celestial Empire, began at six o'clock, as Li wished to set for the Western world the example of early retiring. In his attentions to the splendid repast before him he was most abstemious, but he finished by smoking a cigar. John E. Ward, a former Minister to China, began the speech-making by a toast to the Emperor, the President of the United States, and Li Hung Chang. George F. Seward, an-other former Minister to China, lauded the Ambassador's long and distinguished services to his country and to the world at large. After a brief response through his interpreter, Li left the banquet hall at eight-thirty, and went to his night's rest. His hosts, however, were not to be balked of their evening's entertainment, and the oratorical feast was continued till midnight.
About General Grant's tomb, when Li visited it, a crowd of more than twenty thousand persons was gathered. From his carriage Li stepped into his chair of state, and was borne to the tomb by four policemen. At the stairway he left the chair and made his way slowly and laboriously on foot into the vault. To those about him Li said that this visit to the hero's tomb was one of the chief things he had in mind in planning his journey to America, and that he had thought of it continually during the trip. General Horace Porter recalled that Li's contribution of five hundred dollars, one of the first received, was something that had never been forgotten by the American people. Other events of the Prime Minister's stay in New York were his reception of a delegation of American missionary societies, his visits to Chinatown, and to Brooklyn, and the dinner given to him at Delmonico's the evening of September 2nd.
Earlier events of the Avenue fade into comparative unimportance when we come to September 30, 1899. For Admiral George Dewey had come home, and Fifth Avenue had the chance to acclaim the victor of Manila Bay. Down the broad street, from Fifty-ninth Street, under the Arch at Madison Square, and on to Washington Square, the procession in the hero's honour passed. This was the order of march :
Major-General Roe and Staff.
Admiral Dewey, seated beside Mayor Van Wyck of New York in a carriage, at the head of a line of carriages containing Governor Roosevelt, Rear Admirals Schley and Sampson, General Miles, and others.
West Point Cadets.
When the head of the procession reached Thirty-fourth Street, the sailors from the Admiral's flagship halted and drew up along the side of the Avenue. The Admiral left his carriage and entered the reviewing stand at Madison Square. Admiral Sampson was on his right. Admiral Schley on his left. Surrounding them were officers of both branches of the service. For four hours Admiral Dewey stood there, acknowledging the salutes and saluting the flag. The following day, October 1st, saw the great naval parade through the waters of the Hudson River.
A decade passed, and then came the Hudson-Fulton celebration of September 25–October 9, 1909. Of chief importance to the Avenue was the civic procession of September 28th, when the floats, depicting a great number of historical events, moved down the Avenue to Washington Square. On the east side of the thoroughfare, from Fortieth to Forty-second Street, opposite the Public Library, there had been erected a Court of Honour. Against the stately pillars of the Court, the procession moved swiftly by. Every nation that went into the " melting pot " was represented, with the harped green flag of Ireland at the head of the long column. Following the Ancient Order of Hibernians and other Irish societies came the Italian organizations, then Poles, English, Dutch, French, Scotch, Bohemian, Hungarian, and Syrian.
It was the nation's history of four hundred years that passed in effigy on the floats. Pocahontas again interceded with her father Powhatan for the life of Captain John Smith. Balboa caught sight of the waters of the Pacific. The tea was dumped into Boston Harbour. The Minute Men stood fast on the Common. Mad Anthony Wayne stormed Stony Point. Molly Stark's husband said, " There are the red-coats. We must beat them today, or Molly Stark's a widow! " Cornwallis surrendered his sword at Yorktown. Somebody in the Mexican War said, " Give them a little more grape, General Bragg! " and Dewey said: " You may fire when you're ready, Gridley!"
In some of these events of the later years the writer had a personal share. From a seventh-story window at Twenty-first Street he looked down on the procession in honour of Admiral Dewey. From a vantage point at Thirty-fifth Street he witnessed the passing of floats in the Hudson-Fulton celebration. But there was one day on the Avenue, perhaps the greatest and most inspiring of them all, in which he did not share. That was the day that saw the visit of the Allied Commissions, the day of the coming of a Marshal of France. About the time that the guns on the warships and land batteries at Hampton Roads were thundering out their message of welcome to the distinguished guests, the writer in company with six other Americans who had been with the Commission for Relief in Belgium was entering French territory, after a neverto-be-forgotten journey through Germany. How such of us who claimed New York as our own thrilled as we pictured three thousand miles away the city's greeting to the grave, silent man whose cool genius had hurled back the Teuton hordes at the very gates of Paris ! How we built up on the limited descriptions that had been cabled across the Atlantic ! We saw the sweep of the procession up the Avenue, the thousands upon thou-sands of flags, the densely packed throngs lining the sidewalks, the eager faces in the windows of the tall buildings, and in the motor-car, for which all eyes were searching, the smiling, saluting Marshal.
"'About now," said one of us, "he should be passing Madison Square."
"I can see the people on the sidewalks and crowding the windows and the housetops," said another.
"And I," said a third, " can hear the roar that goes up from the Avenue when the people catch sight of him."
"When he hears that roar," said a fourth, "he will recall the guns of the Marne as gentle zephyrs."
To that last statement and sentiment we all proudly agreed. For despite the three thousand miles of intervening ocean it was our New York and our Fifth Avenue.