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How to Love a Woman
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For all men and women who thirst to love and be loved by a woman, these words and stories of guidance from Clarissa Pinkola Estés are aqua vitae, the water of life for the soul.
Dr. Estés teaches that in love relationships, each partner challenges, nourishes, and transforms the other. To achieve this lifelong love requires an understanding of the mysterious internal cycles that fuel relationships.
Through irresistible storytelling, How to Love a Woman shows how every relationship fades and expires, only to be reborn in a fresh and strengthened form.
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- Review for How to Love a Woman Review by Trudi
Lovely and thoughtful for men and women. Great to have such transformative stories.
(Posted on 11/12/2013)
- Review for How to Love a Woman Review by Clare
As with all of Clarissa work, this cd set warms the heart, reminds us about important things and teaches how to attain the relationship we really want.
The stories Clarissa tells, in the best story telling voice I have ever heard, soothe the soul and speak directly to the psyche.
I cannot thank Clarissa enough for the work that she has done and the journey I have taken with her through all of her works.
(Posted on 9/17/2013)
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A beautiful gift of wisdom for anyone with a woman in their lives. I have bought copies for my partner, and my nephew. Thank you so much Clarissa, for your wonderful insights, wisdom, storytelling, and your amazing voice
(Posted on 6/27/2013)
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This was excellent. I loved it
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Ms. Estes is the superb storyteller who sweeps one into her magic. I especially appreciate the 12 traits she suggests to look for in a mate.
(Posted on 4/8/2013)
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I did not order this product. I ordered a cd from Carolyn Myss with this order which I did not receive and am still waiting for. I would like to return this cd because I did not order it and I already got a clarissa pinkola Estes cd in this order. Please let me know how to process a return
(Posted on 3/29/2013)
- Review for How to Love a Woman Review by Bill T
Mythical stories are interesting to children and third world cultures but, recently I've regained an appreciation of how mythology speaks to the metaphorical subconscious within us.
Clarissa is a lovely person and it shines through in her story-telling. She has a highly evolved inner emotional world that is simply world-class.
I'm an extremely picky person yet she had me hooked in minutes. You may never find a more intelligent high quality storyteller. This audio is densely and richly packed full of words to pull at your heartstrings.
(Posted on 3/28/2013)
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Very touching indeed !!! Body - mind-soul !!!! Great !!! Namasthe
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This was a gift for a friend of mine....I have listened to it many, many times.....I enjoy all of CPE's work....just fabulous!!!!!!!!
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Love the products at Sounds True. I am a dedicated customer!
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Captivating! Her voice and the stories remind us that at times we need to look back into history (herstory) for wisdom and truth.
(Posted on 2/22/2011)
- Review for How to Love a Woman Review by Joni Herman
this is a wonderful inspiring collection of work. Estes has been an inspiration to me for many years. Her CD's are especially touching, I love hearing her voice as she will often make the sounds of the wild bringing the listener into a world of fantasy/deep reality that we all connect with.
(Posted on 5/20/2009)
Contents 3 CDs (180 minutes) Date Published July 29, 2005 ISBN-10 1-59179-398-X ISBN-13 978-1-59179-398-4 Dimensions 5 x 5 inches Product Code AW00222D
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Contents 1 Audio download (3 hours) Filetypes M4B, MP3, PDF Date Published July 29, 2005 ISBN-10 1-60407-143-5 ISBN-13 978-1-60407-143-6 Product Code AW00222W


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Lafayette, Vermilion Border Dispute Heats Up
A ten-year-old agreement between Vermilion and Lafayette Parishes over the border between the two is out after a vote by the Lafayette City Parish Council Tuesday night.
The council voted unanimously to toss out the agreement.
Councilman Don Bertrand, who has spent considerable time investigating the situation, argues that agreement gave too much land to Vermilion Parish.
Bertrand contends that the line that was drawn during the last agreement did not take into account all historical records, and he adds that recent research shows where the line should really be.
While Tuesday's council action doesn't move the line, it does mean that the issue is back in legal dispute since both parishes can't agree on where the line should be.
The decision may end up in the hands of a judge or the Louisiana Legislature.

subset: commoncrawl


text:
LA Phil picks major European principal
November 1, 2017 by norman lebrecht
We hear that the Los Angeles Philharmonic has offered its principal oboe position to Ramon Ortega, principal of Bayerischer Rundfunk in Munich for the past nine years.
If he accepts, he will be the first player from a European orchestra to take a principal oboe seat in a major US orch.
Ramon, 29, originally from Granada, has asked for time to decide.
His dilemmas:
Jansons or Dudamel?
Skiing or surfing?
Sauerkraut or sushi?
No habla espanol or habla plenty?
Hochschule teaching or Hollywood?
Tough call.
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Comments (73)
Not exactly the first European. Labate, Gillet, Tabuteau (NY, Boston, and Philadelphia) come to mind. But it has been quite awhile certainly.
What about Erez Ofer as concertmaster of Philadelphia? He was previously also 1concertmaster of BR München!
The American oboe sound is quite different from the European sound and an American oboe reed is, to our way of thinking, a very peculiar animal. Historically, British and European principal oboes have had to put up with some quite cutting remarks from American critics and vice versa. Either he will have to drastically change the way he plays or the preferred sound in America is changing.
I was shouted down on a previous oboe thread for daring to express a preference for European oboe tone, exemplified by Holliger or Goossens, compared to Richard Woodhams's which was extolled as the most beautiful tone ever.
As a European?, you have a right to express your preference for the European oboe sound. As an American, I have the same right. However, calling one oboist's sound or another's as the most beautiful in the world (as you've done) is a stretch indeed.
It was Richard Woodhams's sound that was extolled as " the most beautiful tone ever" by an American poster on the other thread.
I never claimed that status for Holliger but purely expressed a preference. Please re-read what I actually wrote.
As noted previously, Tabuteau became the founder of the American oboe school through his teaching @ Curtis. I can't think of any major American orchestra today with a principal oboe, not in that lineage.
NY Mike is correct. This is a notable appointment for oboe positions in US orchestras, all of whom are descendants of the American school founded by Tabuteau. I believe the other finalist was the remarkable Met proncipal Nathan Hughes — a phenomenal American oboist — so this is a big development.
I can't think of one either. Ray Still is the only one who comes to mind, who was in a major orchestra in the last fifty or more years without being in the Tabuteau lineage.
He was in the lineage of Tabuteau. He studied with Robert Bloom, a Tabuteau student, at Julliard. On a separate note, he was the first American school oboe principal who didn't study with Tabuteau himself.
Ray Still studied with Robert Bloom, who studied with Marcel Tabuteau. Still's style was very much in line with the Tabuteau school, even though it had a "darker" quality than what we associate with the so-called "Philadelphia" oboe sound.
Hm… Personally, I find Ray Still's tone much thinner and nasal, as opposed to darker than many other Philadelphian oboists like that of Richard Woodhams.
And he would be the 2nd Spaniard to join the LA Phil as a Principal. David Rejano, Principal Trombone, hails from Badajoz, Spain! https://www.laphil.com/philpedia/david-rejano
He's a great player. I know the LA Phil is a great orchestra, and it may pay better than the BRSO, but LA vs. Munich? Jansons vs. Dudamel is now; Munich is forever.
The LA Phil pays better, be you a principal or section player, no question about it.
The monthly salary – which is not individually negotiable – for a 1st principal position in the BRSO winds starts at just over €7.100* for the first twelve years and caps out at just under €7.700* after nineteen or more years with the orchestra.
*monthly salary does not include possible supplemental earnings (ie. extra services, audio-/video recordings, etc.)
AFAIK the figures are slightly higher than that, according to the agreement starting from June 2016: around 7400,- and 7900,- respectively.
also, salaries are freely negotiable for concertmasters and "comparable soloists" .
Thanks for the updated numbers Andreas.
As far as I know, 1st Principal positions in the winds don't fall under the "comparable soloist" clause. Even if they did, the BR (or any other German orchestra) could/would never match the salaries paid to principals in the biggest American orchestras.
I agree, the Big 5(+X) pay sums not matched by German orchestras.
there also is, of course, the question of living costs and quality of life …
regarding the "comparable soloists" clause: I believe to have heard that at least one principal wind player of the BRSO has indeed such a freely negotiated contract.
One of the senior players, such as Mr. Schilli or Mr. Boucly perhaps?
It just speaks to the universalization of the orchestral sound. Every orchestra sounds like every other orchestra and its players are interchangeable.
What used to really distinguish one national sound from another was the woodwinds, particularly the clarinets and the oboes, to such a degree that a German clarinet would sound out of place in an Austrian orchestra, and vice versa, and the Concertgebouw had the distinction of playing on hybrid French and German clarinets.
I think only French orchestras are still managing to keep the French sound.
What really used to differentiate orchestras from one another, or one country's from another's, was usually the different ways in which they were bad: Scratchy strings (English), out-of-tune woodwinds (French), tubby brass (German), and so on. (These are stereotypes, dating back to the early days of recording, and of course every country had orchestras that transcended them — or fit the stereotypes of other countries 🙂 )
As standards have risen across the orchestral world — intonation, ensemble, blend of sound — now the chief complaint is blandness & uniformity. Plus ça change…
Not to mention French bassoons vs. German bassoons.
An oddity of America: about eighty or so years ago, we standardized on French flutes, French clarinets, French oboes with a reed distinctive to America, and German bassoons.
He's probably the best oboist in the world at the moment. He's a level above being a principal in a symphony orchestra and should concentrate on playing concerto's around the world and playing chamber music.
"He's probably the best oboist in the world at the moment"
While tastes will vary, have you ever heard of Albrecht Mayer, to name but another outstanding oboist?
A matter of temperament, probably. Some people prefer to be part of a team, live in one place all the time, etc.
I feel compelled to take issue with the notion that soloists are better players than orchestral musicians, especially among wind players but perhaps string players, too; former Berlin CM Guy Braunstein (who then left to be a soloist) is as fine a player as any big-name violin soloist I've heard. There is no solo flutist I can think of who could be deemed superior to any number of orchestral principals (and the most famous modern-day flute soloist is probably Berlin's Emmanuel Pahud), and I doubt any solo trumpet player ever considered him/herself superior to the likes of Bud Herseth or Phil Smith. Before his physical difficulties few Alex Klein was probably the best oboist in the world, and he clearly saw the best place to make music was the Chicago Symphony. The best oboist I've heard in recent years is Francoix Lelieux, who used to be in the BRSO (Ortega's predecessor, I'm guessing).
Richard Stoltzman has said he became a soloist because he couldn't win an orchestra audition – and said he did many.
In response to the opposition expressed on Norman's facebook page about posting this before Ramon has decided if he'll take the job – this is the thing:
Ramon won the audition. That is a fact. That's what other LA Phil members are posting. "Congratulations for winning the audition". Seems perfectly fine to me to be posting that, whether or not he accepts.
Another difference is that in Munich he is one of two joint principals, who are equals and do half the work each. This gives him plenty of time to do freelance work, such as concertos and recordings.
In LA, as in other orchestras in the US, he is the principal and has an associate principal, who is a no. 2. Whilst he can pull rank in LA in a way he can't in Munich, he will presumably be expected to do major gigs, unless there is a good reason and I think that someone wrote hear that the associate principal tends to do the first half of the concert as a sort of warm-up act and the principal comes on fresh for the major work in the 2nd half. This means that the workload in LA may be more than in Munich and he may possibly prefer the flexibility of life in Munich.
You are correct. LA used to be unique among US orchestras in having a few co-principals (Michelle Zukovsky and Lorin Levee on clarinet; various combinations on flute), but now seems to have adapted to the standard US model of a single principal.
Certainly there are a few good oboe concerti and sonatas, but the body of this repertoire is no match to the clarinet or horn repertoire, let alone to the one for cello, violin, or piano. So being solely an oboe soloist is probably not an attractive proposition to somebody who holds a major principle oboe position and has already plenty of opportunities to appear as a soloist. After all, musically speaking the real top oboe repertoire is all orchestra music. In any case, congratulations to Ramón for winning the LA audition! Whether he really will go there, I expect, will depend greatly on the effort the BR Symphony administration will be ready to make. Since I'm much closer to Munich than to LA, I would be very sorry if they would fail to keep him here.
I hope his success, but l remember Mr.Fora Baltacigil who had left the section of double bass in the Berlin Phil. for the position of Principal in the NYP. He returned to Germany after just one(two?) season to join the Munich Phil. as Principal. (I really love his Rachmaninoff; Romance. The double bass absolutely romantic.)
If I recall correctly Mr. Baltacıgil is on record, having stated that he left the NY Phil because the bass section lacked "harmony and peace", something he had found and come to appreciate in the orchestras he had played in before NY.
It seems that he found " harmony and peace " again in Munich? (and you can spell his name correctly! I wanted to do it, but I couldn't with my phone…)
Having worked briefly with Mr. Ortega, he struck me as a consummate young European gentleman in his demeanor. Elegant, reserved but quite pleasant, with lovely manners. He had been living in Germany just a few years and he seemed more like a German artistocrat than a Spaniard from Granada. He'd assimilated perfectly to his new country.
I am trying to imagine him in LA. I know he'd fit in beautifully with the orch. – Denis Bouriakov, Princ. Flute, is another refined European gentleman – but I just wonder about him living in LA – loud, boisterous unrestrained LA Would he be happy there?
This will all certainly be a hot topic for the LA Phil blog "All Is Yar". Can't wait to see what CK Dexter Haven has to say!
"– but I just wonder about him living in LA – loud, boisterous unrestrained LA Would he be happy there"
Yes, we are a simple and innocent people but remember he will be able to afford a quiet neighborhood and will be well protected from us commoners by the people he will also be able to afford. He may also be pleasantly surprised by the large number of paved streets and the availability of indoor plumbing in many of our buildings and homes.
The more interesting questions are about the identity that Los Angeles is seeking to develop. No doubt Ramon Ortega is a great player. But he plays in the German style. Will it be possible to create a unified sound within the oboe section and with the rest of the woodwinds in Los Angeles with this principal oboist? Will he change his reedmaking and approach to sound to match the style of the American school founded by Marcel Tabuteau? Does Los Angeles care? Are they going for something else entirely?
Mr.Ortega is a fine player,and LAPO is a great orchestra.My question is,will he fit in an american orchestra?I personally prefer the American school of oboe playing,John deLancie and Richard Woodhams in Philly were my favourites.In LA,i loved David Weiss and,particularly,Barbara Winters in the 60s,70s,and early 80s,and Arianna Ghez,Mr.Ortega´s precedessor.But today,the differences are less marked,and quite some players perform a mixture from both styles.Ortega is way better than Mr.Schilli in Munich,his joint principal,whose vibrato heavy sound i never really liked,.
His dilemmas (continued):
A= 441 or 445?
Long scrape or short scrape?
American or European gouge?
Marigaux or Loree?
Bell down or up in the air?
Ignore the conductor and confuse other players with your exaggerated conductor like body movements, or do your duty and remain relatively still?
Only oboists would get most of this.
Actually I'm a flute player & I know exactly what you mean, having had to work alongside both US & European oboists. There are huge differences, which you've named. Totally different styles.
Bell in the air is what always gets me about the Europeans. It's like having a permanent erection. What do they do when they finally get to Mahler and are SUPPOSED to have bells in the air?
This whole situation, while Mr. Ortega is a fabulous & deserving player, is kind of a slap in the face to the distinguished US oboe tradition.
Yes, it is. And also, there are no major principal oboes playing for European orchestras from America either.
Not for the moment, as far as I know, but there was for instance Bob Eliscu, who was already principal oboe with Munich Phil in the Seventies, a time when national schools played a much greater role among European oboe players than now. In any case I must admit that I have some difficulties understanding a mindset to believe that one's own national oboe school is superior to every other one, and at the same time to begrudge it if it happens just once that an outsider unexpectedly wins an audition.
Greetings, Gerhard- Bob Eliscu was a truly special musician, but he by no means played in the "American style". Perhaps there's a reason there are no proponents of the American school in major European positions? Or a reason every country on earth except the US has embraced the European style? I have been moved by American school oboists, but not by very many of them. Previous few seem to get beyond their obsession with making a sound like whichever American oboist is in their ear. Maybe it's just more difficult?
Hi Mallory – I believe it has something to do with the fact that the mainstream American oboe school has decided that everything has to come directly from Tabuteau. He certainly was for good reasons that influential, but his heritage is for many still the only acceptable one, which excludes a lot of potentially fruitful other influences, and nothing of it must be questioned or altered. I do appreciate a lot of things about the American approach. But I think every dogmatism has a stifling effect, and maybe this is what happened in America. It just seems that every oboe player has to sound exactly the same to have a chance of landing an orchestra job. The few who don't fit that mould to 100% have to create niches for themselves like the wonderful Allan Vogel, or work abroad as Bob Eliscu did.
What I see standing in the way of many American oboists who seek a job elsewhere is the utterly "instrumental" sound production the American school emphasizes. There are very well planned and finely executed dynamic shadings coupled with a most homogenous and unchanging sound color. Of course there is nothing wrong with this approach, but it sometimes misses out on shadings the oboe could do, and which are perceived by many listeners as expressive and attractive. From a European perspective it seems that this musical language doesn't like much to pronounce consonants and vowels. Strangely this is apparently an oboe speciality which is not shared by other American wind or string players. This might explain why there are more other American players in European orchestras than oboists.
"I believe it has something to do with the fact that the mainstream American oboe school has decided that everything has to come directly from Tabuteau. He certainly was for good reasons that influential, but his heritage is for many still the only acceptable one, which excludes a lot of potentially fruitful other influences, and nothing of it must be questioned or altered."
Food for thought: Would European school oboists ever accept the American heritage of oboe playing? Probably not.
There are many different styles within the American school of oboe playing. (Philadelphia school, Cleveland school, to name some). Eugene Izotov of the San Francisco Symphony and Richard Woodhams of the Philadelphia Orchestra, both oboists of lineage from Tabuteau, don't sound similar at all.
You are right, my formulation was not 100% accurate. I should have written: "It just seems that every oboe player has to use exactly the same general type of sound to have a chance of landing an orchestra job." It just seemed overly complicated, sorry. But yes, I'm aware and I agree that Eugene Izotov and Richard Woodhams do not sound exactly the same. Yet I would maintain that they sound a lot more similar than for instance Albrecht Mayer and François Leleux (and on a side note let me say that I think that all four of them are great players!). Otherwise I believe it should be clear what I meant. But I have a feeling you underestimate the way in which the American school has influenced oboe playing in Europe, and you seem to believe that Europeans generally do not "accept the American heritage of oboe playing".
When I started to study in the Seventies the different national styles in Europe played a much bigger role than today. But there was something they all had in common: the oboe sound, whatever it was, was very prominent, and it usually stayed that way in harmony settings as well. The one kind of players who seemed to care most and appeared to be best equipped to blend really well with other instruments were the Americans, and often their intonation was better, too. I can't make the claim that every European oboist picked up these things directly from America, but I certainly took it as a model from there. In any case these aspects of the American heritage have set a common standard for Europe, too.
So I would say, yes, European oboists have accepted the American heritage, whether they are quite aware of it or not. What they have not done is adopting each and every detail of it, and questioning everything and everyone whether there is a sufficiently direct lineage back to Tabuteau. I also couldn't imagine a similar outcry about not having the right pedigree, if an American player would happen to succeed Ramón Ortega or Albrecht Mayer. These are in my personal view the things we have and we have not in common.
"But yes, I'm aware and I agree that Eugene Izotov and Richard Woodhams do not sound exactly the same. Yet I would maintain that they sound a lot more similar than for instance Albrecht Mayer and François Leleux (and on a side note let me say that I think that all four of them are great players!)."
I feel that this is really a matter of perspective here. As a European not trained in the Tabuteau tradition, I am sure that there are many things that you overlook when comparing one oboist to the other. At the same time, as an American oboist not as familiar with European oboe playing, I can say that European players sound much more similar to each other than say, Eugene Izotov and Richard Woodhams.
"There are very well planned and finely executed dynamic shadings coupled with a most homogenous and unchanging sound color. Of course there is nothing wrong with this approach, but it sometimes misses out on shadings the oboe could do, and which are perceived by many listeners as expressive and attractive. From a European perspective it seems that this musical language doesn't like much to pronounce consonants and vowels."
From an American perspective, many European oboe players tend to play with very very exaggerated phrasing that can sound melodramatic at times.
Really, I feel like everything is a matter of perspective. As artists, musicians are bound to have different prioritized tastes and goals.
"Really, I feel like everything is a matter of perspective. As artists, musicians are bound to have different prioritized tastes and goals."
I agree. What we don't have on this side of the pond is one father figure who has left us directives how everything has to be done, and the feeling that there is an "us and they". European oboists might agree that we are all actors in sound, and that therefore melodramatic music requires a melodramatic rendition. But we are quite unlikely to agree when exactly this is the case, and what the right degree of it would sound like. We just don't have such a set of strong common believes. This leaves us with less security to do things the right way, but with more choices and less pressure to conform. The pressure to perform is already enough for us 😉
In any case I want to thank you for this nice and civil exchange of different viewpoints. This is not a matter of course on this site, and I appreciate it a lot.
"What we don't have on this side of the pond is one father figure who has left us directives how everything has to be done, and the feeling that there is an "us and they"."
I feel like a critical misconception among some European oboists is that American oboists worship Tabuteau.
We generally don't try to imitate Tabuteau's sound. It is nearly impossible to know exactly how Tabuteau sounded like given the horrible quality of audio recording back in the day. Neither do we try to purposely try to go after the "perfect American sound". As a American school oboe player myself, I have no idea what the "perfect American sound" is to this day.
Many (perhaps most) American oboists do not use the exact phrasing patterns/methods that Tabuteau advocated, for example, Tabuteau's numbering system. I've met oboists who don't use it all, and personally, I use it in a relatively limited sense.
I believe one of the lasting legacies of Tabuteau was the American/Philadelphian oboe reed, and the fundamental ideals behind it. The point of the American/Philadelphian oboe reed is to allow the player play up to pitch and with a decent tone while using minimal lip/jaw manipulation, so the player doesn't have to focus on "fighting" his reed.
On a separate note…
It is definitely my pleasure to have this conversation with you!
I would be quite surprised if you could name a single European orchestra which tunes to A = 445 Hz these days. How about another question:
Aiming for a more instrumental or a more vocal sound?
Berlin Phil??
A = 443 Hz, already since the previous millenium 😉
"A= 441 or 445?"
The BRSO tunes to A = 443 Hz and according to the LA Phil, they tune to A = 442 Hz.
I'm a viola player and I get it all…
I'd venture to suggest that if the music director and other principals and audition committee of the LA Phil DIDN'T think that his sound would blend – or that theirs could blend with it – he'd not have won the audition. Musicians adjust their sounds all the time. The sound one has in one's ear as one scrapes a reed changes subtly throughout one's career. A lot of variables go into the mix.
As an oboist i know this, but this will be a BIG change for him.
It's Miriam Green from South
Bend day's way back when
I'm in NY now please see site faceitart.weebly.com for my work
How is Maya? I was in touch w/Phil till about 3 yrs ago I'd love to hear from you
I refuse to believe there was no American qualified for the position. Unless we have reciprocity abroad, this should not be allowed, he should not get a visa.
So, firstly, you have NO IDEA what his immigration status actually might be. For all you know he already possesses US work authorization. Secondly, he is probably eligible for a rather esoteric nonimmigrant visa (the same kind available to foreign actors and directors – even to Maestro Dudamel, for that matter, but presumably their creative presence in the US doesn't bother you). And thirdly, "qualified" – w/r/t this job – means something very different from what you clearly think it means. There were probably a good hundred oboists who were *qualified* for this job. An audition like this is nothing like filling out a form at your local Home Despot. Unless YOU sat on the committee, you really have no room to talk on this point. And fourthly, there is a certain amount of reciprocity abroad for US citizens who can obtain an EU passport (usually through an immigrant parent or grandparent).
Full disclosure: I used to be a professional oboist, but now I work in immigration law.
To Rhonnda: "A certain amount of reciprocity abroad". Hmm. That reciprocity is quite limited in the world of professional orchestras.
Don Ho makes a very good point. There is NOT this type of reciprocity with European orchestras welcoming US players. There should be, but there is not. Every European player feels entitled to have a chance to work in the US but most European orchestras will always give preference to their own citizens.
Now 5 zillion people are going to come forward saying "What about such and such American in this or that European orch.?" Yes there are some Americans working in European orchestras. I am one of them. But it is not an easy path, believe me. I came in at an easier time. Now it is nearly impossible.
This is what kills me: every European nation thinks it's so great when their citizens win a job in the US, that it's their indelible right to be working in the US.But Don Ho is absolutely right. They are displacing qualified US musicians. When it comes time for those same European countries to consider a qualified American musician they so often pull the nationalism card and give preference to one of their own players.
This isn't right. Someone should be watching out for the interests of US players. It sure isn't going to be Dudamel. I first started noticing his favoring of non US talent in the LA Phil conducting fellowship program. Very few US conductors-in-training are ever chosen. It's almost all foreign talent, Dudamel's choice.
Similarly now with all the well qualified US born and trained orch. players why are the best paying jobs in the country going to foreign players?
Have you any numbers to back your claim that American orchestras hire more Europeans than the other way round? I'm asking because it contradicts my observations. Since I don't know where in Europe you have spent your decades in orchestra jobs, I cannot really comment, but I'm very sorry that they have left you so bitter. Here in EU orchestras nationality seems hardly to be a concern anymore. Perhaps this may still trouble a few people with a similar attitude as yours, but it has been a very long time since last I've heard remarks about a candidate's nationality in an audition, and I'm glad for it. This doesn't go for EU citizens alone, but for other people as well. European orchestras have plenty of players from outside the EU, too. Americans as well as Canadians, Latin Americans, players from practically every Asian country, Australians, New Zealanders and players from Africa play here. The paperwork are the same for all of them, and in the end it seems to work out every time. Perhaps you noticed that Berlin Phil hired an American concertmaster fairly recently? The Concertgebouw Orkest Amsterdam now has two Russian principal oboists. So what? I personally am glad and proud to work in such an open and international community. This doesn't mean that there won't be stereotypes and clichés, but they are certainly nothing that Americans are singled out to suffer more than others. Don't get paranoid!
Gustav, you are talking nonsense. There are many Americans hired by European orchestras. In my observation more than the other way around.
As a one-time consular officer I can assure he will get a US visa, and he certainly wouldn't be the first. I assume he would apply (via self-petition) for an E-1 immigrant visa for aliens of extraordinary merit. There is a checklist of about 10 criteria he would have to fulfill, but as a principal of a major European orchestra, prizewinner in international competitions, and winner of another international competition (the LAPO's audition), he can demonstrate that he is one of the most outstanding persons in his field, and that he can earn a living in the US. I issued such visas to far less deserving people.
I'm pretty sure an American seeking a job in an EU orchestra would be able to do the same thing. There are a couple Americans in the Berlin Philharmonic now, for starters.
Macrov, no, it does not work that way for US players wanting to work in the EU. Americans, always idealistic, assume that it does – that the generosity we show in offering employment to EU citizens in our orchs. will be reciprocated. But it simply is not the case.
If we are indeed able to win the job, to cut thru the red tape to be legal, we are not necessarily welcomed. Americans in Europe carry enormous baggage of stereotyping, high expectations professionally and more. Whatever a European player does at an audition or on the job, a US player must do "backwards and in high heels" and at a much higher level than any national in order to be accepted. And to counter all the stereotypes of loud, arrogant, overconfident Americans, an American trying to work in Europe must be understated, modest, extremely humble and always acquiesce to the way things are done locally.
The EU does not welcome non-EU workers in any profession. Unemployment is high and jobs are scarce. Non EU's, especially Americans (actually Europeans love to point out that the term "American" is incorrect when referring to a US citizens. It's one more way of making us feel smaller, less important.) are considered a threat to employment opportunites for EU citizens.
EU orchestras will often limit initial auditions to EU residents or those who already have working papers. In the EU country I live in, if a non EU is accepted for a position, the orchestra becomes responsible for the fees, paperwork and all the complications of making the person legal. That makes hiring non EU's, esp. Americans, a very unattractive option economically.
And again, there is always this underlying paranoia by Europeans that every American is going to try and dominate any situation. I get so sick of this constant defensiveness. Often in social settings, we just say we're Canadian to avoid conflict. Europeans, esp. in less sophisticated EU countries, seem obsessed with the fear that the US, and hence any American they encounter in a work situation is trying to achieve world domination.
So, no. Americans are generally NOT welcomed into European orchestras. There are many exceptions to that rule and I am one of them. But speaking from decades of experience I can tell you the the reciprocity expected when the US grants orch jobs to Europeans – the expectation that US musicians will be given similar opportunities in EU orchestras – simply does not exist.
Some theoretical American not being offered a job opportunity in Europe is not the LA Phil's concern, nor should it be. They held an audition to pick the most qualified artist to fill their principal oboe position, and that artist ended up being Spanish. He was, by definition, more qualified than any American player, in the only opinion that mattered, the audition committee's and Dudamel's. Should they punish themselves and hire a lesser player because another country has some protectionist labor practires? Smells like jingoistic foolishness to me.
Hear, hear. There may be 100 people "qualified" to be your spouse, but there's really only one you want…
Mallory, you've totally missed my point. Every point, in fact. It's not "some theoretical American" it's the entire species which, in principle, is not welcome in EU orchestras.
And at the level we are discussing, it's not about "being qualified' for the job. Someone mentioned that a MET principal was one of the finalists. You seriously think that person is "less qualified" than Ramon?
It's about the best fit for the orch., musical style, the collective tastes of the committee and music director. It's a subjective rather than an objective choice, and for that reason a candidate's country of origin and training can and should be part of the conversation.
I'm afraid you're the one missing the point, my friend. "Qualified" is, in this case, a term of art, so yes, we can unequivocally say the Met principal was less"qualified" for this job, if indeed he played the audition. It's not a value judgement, it's the simple reality that neither you, nor I, nor anyone else not on that committee has a vote in determining who's"qualified" for that job.
As to your other point, I'm absolutely sure that the candidate's training (country of origin is nationalist and potentially racist, also irrelevant) was discussed, and deemed to be what they were looking for. Do you seriously think it's some sort of nationalist conspiracy that keeps American oboists out of European orchestras? Of course not, it's just a very different approach, which is out of favor in virtually every non- North American orchestra.
Gustav, it sounds like you need some therapy.
Ramon should definitely stay! If not for the much better orchestra in München, then at least for the holy Weißwurst.
Alles andere ist Wurst.
Much better orchestra? A naïve statement. Better at some repertoire, probably. Just as the LA Phil is better in some regards. But a musician at Ramon's stage of career doesn't take an audition for fun- he's obviously looking for something different.
And I'm afraid you've exposed yourself as completely clueless by suggesting that food of any sort is a good reason to pick Munich over Los Angeles, one of the great food cities of the world!
LA might be a great food city, but until you reached the restaurant, you usually have starved to death in traffic jams on the freeway.
We don't know if he is looking for something different. He might just have looked for an opportunity to negotiate a higher salary in Munich actually.
Very funny, anon! Ok, the traffic in LA is definitely a bummer:)
I still contend that taking an audition on the other side of the world with the goal of squeezing the BRSO is a longshot. Time will tell…


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The Waterloo-Cedar Falls Symphony, led by music director Jason Weinberger, joins forces with the Cedar Valley Chamber Music Festival to bring audiences an eclectic array of American chamber music. Opening the concert is Walter Piston's Divertimento, written for nine instruments and commissioned by the International Society for Contemporary Music in 1946. John Harbison's North and South is a cycle of six settings of poems by Elizabeth Bishop, scored for mezzo-soprano, English horn, clarinet, bassoon, violin, viola, cello and bass. Selections from Morton Gould's Benny's Gig, duos for clarinet and double bass dedicated by the composer to Benny Goodman, are followed by Martinu's La Revue de Cuisine Suite. The program concludes with Barber's touching Knoxville, Summer of 1915, set to the prose of James Agee and performed by Iowa native, Karen Holvik.
(Concert recorded Nov. 16, 2012)


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Today on twitter Lori Edwards (@loriedwards) asked how can you check when was SQL Server installed with a T-SQL query. Otherwise this is pretty simple by looking at the creation time of master database (provided you never had to restore it).
But i wanted to find a nice way of doing this without resorting to any xp_ stored procedures. Of course this is possible by looking into the sys.syslogins compatibility view:
SELECT createdate as Sql_Server_Install_Date
FROM sys.syslogins
where sid = 0x010100000000000512000000 -- language neutral
-- loginname = 'NT AUTHORITY\SYSTEM' -- only English language installations
This query actually returns the creation date and time of the NT AUTHORITY\SYSTEM login which gets created when you install SQL Server. This of course won't work if you had to restore the master database.
Pretty simple if you know where to look :))
Print | posted on Thursday, July 16, 2009 6:55 PM |
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Czech Toilets review
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Friday, 29 January 2010
10 comments:
Thank you, much appreciated!
- 30 January 2010 at 14:20
- Richard said...
Hi, I couldn't find your email address, so I'm leave you a comment here instead...
Given the popularity and prevalence of twitter, I put together a list of 50 different doctors on Twitter that you can follow to potentially get some insight on their medical lives. If you wouldn't mind, could you share my list with your readers?
If you know of any other physicians that you follow on twitter, I'd love to add him/her to the list. Just leave a comment on the blog.
Here's the post:
Many thanks!
- 3 February 2010 at 01:26
- beachbody team said...
Yes, I am sorry to know all this His blog hasn't been updated since this news. A fiend of mine who was also a new doctor was operated with gall stones last year. She survived but that was just so little compared to your friend's situation. Hope he is well now.
- 20 February 2011 at 07:43
- family physicians said...
Last year was reall a hard time for me as I suffered badly with heart problem but thanks to family physicians. They helped me alot.
- 12 May 2011 at 10:12
- geriatrics physicians South FL said...
I too wish for better luck. My best wishes always. Keep posting.
- 2 December 2011 at 08:18
Wish you would start blogging again! Talk about leaving it on a cliff hanger.
- 3 February 2012 at 16:08
- Nurse and Hospital Stories said...
Ah, that is a bad news indeed from the little medic. I guess the burden of our every trouble depend on our perspectives on how heavy that burden is.:)
Take care,
Peny@hospital scrubs
- 14 March 2012 at 07:36
- infertility treatment mississauga said...
Our wishes go out to everyone involved.
- 2 November 2012 at 18:28
Does anyone in here knows an institution that offers scholarship for Asian teens?
- 22 September 2014 at 10:49
- http://proderma-clinique.pl/ said...
Wow. A fiend of mine who was also a new doctor was operated with gall stones last year. She survived but that was just so little compared to your friend's situation. Hope he is well now. ;)
- 19 September 2018 at 08:23


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Checking Out Rocks - sols 3152-3158, Dec. 5, 2012-Dec. 11, 2012: Opportunity is located at a place named "Matijevic Hill" (named in honor of Jake Matijevic) at the inboard edge of Cape York on the rim of Endeavour Crater.
On Sol 3153 (Dec. 6, 2012), the rover moved 7 feet (2.2 meters) to the west approaching an outcrop, called "Copper Cliff." This outcrop shows a distinct contact between two geologic units. On Sol 3155 (Dec. 8, 2012), Opportunity bumped 3 feet (1 meter) closer to a candidate surface target on Copper Cliff.
With surface targets now within reach of the robotic arm, the rover collected a Microscopic Imager (MI) mosaic of the surface target called "Onaping." This was then followed by an Alpha Particle X-ray Spectrometer (APXS) overnight integration. The plan ahead is to perform more in-situ (contact) science on surface targets within reach of the rover's robotic arm before moving to other locations.
As of Sol 3158 (Dec. 11, 2012), the solar array energy production was 524 watt-hours with an increased atmospheric opacity (Tau) of 0.923 and a solar array dust factor of 0.590.
Total odometry is 22.02 miles (35,432.84 meters).
Please follow SpaceRef on Twitter and Like us on Facebook.


text:
This tool version is unpublished and cannot be run. If you would like to have this version staged, you can put a request through HUB Support.
Object oriented finite element analysis tool
Launch Tool
Archive Version 184.108.40.206
Published on 21 May 2008, unpublished on 21 Aug 2008 All versions
doi:10.4231/D34M9194C cite this
Published on
OOF2 is public domain finite element analysis software created at the National Institute of Standards and Technology (NIST) to investigate the properties of microstructures. At the simplest level, OOF2 is designed to understand the effects of far fields (boundary conditions) on the local microstructural fields, or to assess the mechanical, electrical, and thermal reliability of a material with a complex topology.
OOF2 allows the user to study the thermal, electrical, and stress fields in a microstructure, along with couplings such as piezoelectricity, pyroelectricity, and thermal expansion. OOF2 can also perform crystallographic analyses of polycrystalline materials by using tensor form material properties.
The inputs necessary to perform a simulation include: 1) a microstructure (real micrograph or computer generated), 2) material properties and 3) boundary conditions. The specified information enables OOF2 to simulate the multiphysical properties, thus allowing to analyze and engineer the effect of microstructure.
The figures below is a lamellar directionally solidified eutectic of NiO and yttria-stabilized ZrO2 which was used as the input microstructure. Next a zoomed in view of the mesh is shown and finally the stresses developed in the microstructure due to an increase in temperature are displayed.
Source Code By:
Steve Langer
Andrew Reid
Edwin Garcia
Rhonald C. Lua
Valerie Coffman
Ed Fuller
Tutorial By:
Kei Yamamoto
Cite this work
Researchers should cite this work as follows:
- OOF2 homepage:
The OOF2 manual can be found at:
You can find the OOF2 reference manual at:
Please report any requests, comments, bugs, or cries for help you may encounter to:


text:
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text:
Check out my girlfriend's place for Friday Fragging( Mrs. 4444)
The title of this one came right from the radio, at the tail end of a song that I've usually tuned out because it's been so over played. It struck me as perfect for this morning. Can you tell which song it was?
We got up early yesterday morning to rush off to Cross Country practice. The boy was visibly a bit slower than usual - after all, he's never before played almost two straight hours of soccer at the intensity of the previous evening. I asked how he felt.
"Great, Mom. That was so much fun. But I think I should pass on the cross-country this year. I want to focus on the soccer, and save up for tonight. I don't want to be too hard on my body. I'll try out for cross country next year, if I don't make it into rep. "
And off he scampered, to log on to Xbox Live to chat with his overseas best friend.
Hmmmm, I suspect the Xbox had something to do with it. But I think 4 hours of soccer over two days is enough physical activity to balance that. I breathed a bit of a sigh of relief. I could do the shuttling, but it's great that he's taking charge of his own schedule and making his own, logical, decisions.
I am so proud of him for his dedication and ambition to make this soccer thing work. He's been finishing his homework at the after school program, making sure I sign his agenda, keeping me apprised of what's going on and then eating, getting himself ready with his soccer gear, even helping me get his sister ready in between. If he makes it on the team, the excitement will carry us into the crazy schedule.
You must be feeling the glow from me beaming through your screen.
What kind of commenter are you? Because of time constraints, even if I get to most of my fave blogs, I either don't get a chance to comment at all, likely because I have nothing cheeky or clever to say. And I think "great post" is somewhat lame. For me anyway.
Or I'll write comments of epic proportions. Crazy, eh?
I wonder how I had the discipline to work from home, when I was blogging with greater intensity. Oh yeah, I didn't really - explains why I was often working into the wee hours of the night. I suspect that a lot of bloggers blog while at work. I've made a decision not to do that, even during my lunch break. Just my own rule - not judging, or anything. It'd be easy enough to do as I have an actual door (yeah, big thing... I had an office for years, then went to open concept, which was tough after having a real door... so when I took this job it was imperative that I got my door back. How Les Nessman of me. Speaking of which, didn't you just love WKRP?
Oh wait, you're too young to remember.)
Hey, I still love my husband. But this guy, he's even Jon Stewart's "free pass".
So, I can be forgiven for just looking.
Come to think of it, I think I love Jon Stewart too.
This will be the first time that we'll be together with our family, our larger extended family, since my Dad's funeral.
Weddings and funerals. Family time.
Wish me luck. I think it might be a bit of an emotional weekend.
Thank goodness I'll be seeing my husband again tonight.
Yeah, he's been away all week playing "surfer dude" at a work event down in San Diego (remember the Bruno wig... yeah, I'll let you imagine that in your mind...)
And I can't wait. Boy do I miss him.


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Dear SOS: My co-worker raves about the chicken tequila fettucine from California Pizza Kitchen. Her birthday is coming up in February, and we would like to make the dish for a girls' night in to celebrate. Do you have the recipe?
Janelle Webb
Dear Janelle: Happy birthday to your friend, and have fun celebrating! California Pizza Kitchen was happy to share its recipe, which we've adapted here.
California Pizza Kitchen's chicken tequila fettuccine
Total time: 1 hour, 15 minutes
Servings: 4 to 6
Note: Adapted from California Pizza Kitchen.
1 pound dry spinach fettuccine
1/2 cup chopped fresh cilantro, divided
2 tablespoons minced garlic (about 6 cloves)
2 tablespoons minced jalapeño pepper, seeds and veins removed if desired
3 tablespoons unsalted butter, divided
1/2 cup chicken broth
2 tablespoons gold tequila
2 tablespoons lime juice (from about 2 limes)
3 tablespoons soy sauce
1 1/4 pounds chicken breast, cut into ¾-inch pieces
1/4 red onion, thinly sliced
1/2 red bell pepper, thinly sliced
1/2 yellow bell pepper, thinly sliced
1/2 green bell pepper, thinly sliced
1 1/2 cups heavy cream
1. In a large pot of boiling, salted water, cook the pasta until al dente, 8 to 10 minutes, or according to the package instructions. Drain, very lightly oil (to keep the pasta from sticking) and set aside.
2. In a medium saucepan, cook one-third cup of the cilantro (reserve the rest for garnish), garlic and jalapeño with 2 tablespoons of butter over medium heat until aromatic and the garlic is golden, 4 to 5 minutes. Stir in the broth, tequila and lime juice. Bring the mixture to a boil and cook until thickened to a paste-like consistency, 6 to 8 minutes. Remove from heat and set aside.
3. In a small bowl, drizzle the soy sauce over the chicken pieces and set aside to marinate for 5 minutes.
4. Meanwhile, in a large sauté pan, heat the remaining butter over medium heat. Add the onion and red, yellow and green peppers, and cook, stirring occasionally, until the vegetables have wilted. Stir in the chicken and soy sauce, then the tequila/lime paste and cream.
5. Bring the mixture to a gentle boil and cook until the chicken is cooked through and the sauce is thickened, several minutes. When the sauce is done, stir in the fettuccine and remaining cilantro.
6. Serve the dish family-style or plate on individual serving dishes. Serve immediately.
Each of 6 servings: 664 calories; 32 grams protein; 61 grams carbohydrates; 3 grams fiber; 32 grams fat; 18 grams saturated fat; 151 mg cholesterol; 4 grams sugar; 616 mg sodium.


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Survey Reveals Enterprises Grossly Unprepared to Prevent Exposure to Insider Fraud, Corporate Espionage and Nation-State-Sponsored AttacksMajority of Organizations Inefficiently Controlling Access to Vital Systems (February 22, 2012)
MOUNTAIN VIEW, CA -- (Marketwire) -- 02/22/12 -- Fox Technologies (FoxT), Incorporated, a leading provider of Enterprise Access Management (EAM) solutions, today announced the results of a recent survey of 327 information security professionals conducted in partnership with Echelon One, an IT security research leader specializing in security programs and guidance. The findings revealed that a startling majority of respondents, 59 percent, are using home-grown solutions (12 percent), sudo (10 percent), or manual enforcement of privileged user access and passwords (37 percent) to control access to enterprise servers. All of these methods expose the organization to insider fraud, corporate espionage, and nation-state-sponsored attacks. Enterprises also reported implementation of outdated access management technologies, which allows the theft and misuse of intellectual property and customer data once the network is compromised. Recognizing the risk of poor access management, 69 percent of organizations polled planned to pursue access management as a key strategic initiative for IT in 2012.
Risk and Consequences
"The threats organizations face continue to become more aggressive and expose them to a range of losses from intellectual property, customer lists, strategic plans and state secrets," said Bob West, CEO and Founder of Echelon One. "Failing to control access to mission critical servers and data creates both economic and national defense issues we need to address immediately."
The survey revealed these key findings:
- Manual enforcement of privileged-user access and passwords remains prevalent among 37 percent of enterprises polled.
Failure to automate access-management controls results in the sharing of privileged passwords. Once passwords are shared across multiple accounts users begin taking administrative shortcuts, enterprises are unable to track actions back to a specific user. Manual enforcement of privileged-user access represents an opportunity for data compromise and is the number-one compliance risk.
- Potential for insider fraud is widespread, with 76 percent of respondents unable to automatically administer user accounts across multiple servers.
Potential for access creep emerges when enterprises cannot automatically administer user accounts across the entirety of their server farm. Access creep results when employees accrue unmanaged access rights throughout their careers at an organization, resulting in more privilege than is established by their positions. Without central consoles that can administer user accounts across multiple servers, IT is unable to manually administer each individual user account within the organization due to a lack of available resources and staff.
- 73 percent of respondents reported that they are unable to centrally define the access rules and policies necessary to map access to employee role.
Enterprises that are unable to centrally define rules and policies create the opportunity for user-access controls to change from server to server, enabling data compromise and accelerating the operational costs of manual enforcement.
- Enterprises lack the critical infrastructure to enforce server access: 42 percent of those surveyed are unable to implement multi-factor authentication, and 37 percent are not able to define and enforce granular authorization rules.
The inability to automatically authorize and enforce who can access which servers, and even what commands they can execute based on the context of the request leaves enterprises open to the risk of a data breach.
"All too often enterprises focus their security strategies on network perimeter defense while maintaining compliance standards for access control to only a small subset of their servers," said Subhash Tantry, CEO, FoxT. "2011's prolific compromises proved that enterprises will continue to be targeted and fall victim to more sophisticated attacks. Proactive fine-grained authorization and policy enforcement, in addition to contextual authentication, must be in place to ensure only the authorized users have access to enterprise data with the assumption the network has already been breached."
Best Practices
FoxT and Echelon One recommend that organizations implement the following best practices to properly mitigate risk due to poor access management:
1. Automatically enforce access privileges with proactive, granular authorization and command controls
2. Deploy integrated, contextual, multifactor authentication
3. Add access management to AD, LDAP and IDM solutions to automate creation and removal of user accounts
4. Use the richest tools possible to authenticate users (biometrics, encryption and others)
5. Centralize account administration and manage access accounts across all server environments (Windows, Unix/Linux and virtual).
Investing in Control for 2012
The survey also revealed that over two-thirds of respondents plan to invest in access-management technologies in 2012 as part of their organization's strategic IT initiatives. Enterprises recognize the threat of unauthorized access to intellectual property and plan to explore the following areas of access management:
- 25 percent plan to invest in controlling access to virtual and cloud-based resources
- 23 percent plan to invest in local Windows account-control on servers and desktops
- 23 percent plan to invest in controlling access from mobile devices
- 17 percent plan to invest in controlling access to business applications
- 12 percent plan to invest in attribute-based access management
The 2012 Access Control Audit evaluated 327 participant organizations through an independent online survey conducted in December of 2011. Respondent organizations came from diverse industries including high tech (19 percent), banking and financial (15 percent), manufacturing (9 percent), government (7 percent), energy and oil/gas (6 percent), transportation (6 percent), healthcare (6 percent), retail (5 percent), services (5 percent) and education (5 percent) in addition to unidentified industries (9 percent). Twenty-seven percent of respondents represented organizations employing more than 5,000 individuals. Respondents included professionals ranging from administrators to the C-Suite: CEOs (4 percent), CTOs (5 percent), CSOs (6 percent), CIOs (14 percent), administrators (18 percent), managers (30 percent) and others (23 percent).
Access the full report here: Privileged Access Management Report: Survey Results and Best Practices (http://www.foxt.com/pdf/FoxT_Privileged%20Access%20Management%20Report.pdf)
About FoxT
FoxT protects corporate assets with an enterprise access management solution that centrally enforces granular access entitlements, in real-time, across operating systems and business applications on any networked device. The ability to proactively administer, authenticate, authorize and audit access across diverse platforms, down to the operating system resource level, enables organizations to greatly reduce compliance and audit costs, streamline IT security administration and protect corporate value by mitigating the risk of insider fraud. Headquartered in Mountain View, California, FoxT serves Global 1000 customers in 32 countries. For more information -- www.foxt.com or email [email protected].
Media Contact:
Justin Gillespie
Trainer Communications
[email protected]
Lynne Courts
Vice President-Marketing
650 687 6278
[email protected]
Copyright @ Marketwire
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Related Keywords: access management, access control, privileged user management, privileged user management, security, Manufacturing,Applications,Manufacturing/Production,Manufacturing,Education,Security,Computer Technology,Internet,Business Issues,Authentication,Threats,Perimeter Defense,Administration,Access Management,Authentication,Theft,Policy,Standards,Mobile Devices,Security,Administration,Internet Server Applications,E-mail,Web Servers,Management,CEO/CFO,Marketwire, ,IT (Information Technology),Security,Financial,Computer Science,Business,Email,


text:
Activision is celebrating July 4 with a limited time sale on all previously released DLC collection packs for Call of Duty: Modern Warfare 3 and Call of Duty: Black Ops.
All the packs are available at 50 per cent of their usual price on Xbox 360, PS3 and PC. The promotion runs for one week.
The Call of Duty DLC summer promotion content includes:
- Call of Duty : Modern Warfare® 3 Content Collection #1
- Call of Duty: Modern Warfare® 3 Content Collection #2
- Call of Duty: Black Ops First Strike
- Call of Duty: Black Ops Escalation
- Call of Duty: Black Ops Annihilation
- Call of Duty: Black Ops Rezurrection
A portion of sales from the DLC promotion will be donated by Activision to the Call of Duty Endowment, a non-profit organisation that provides job placement and training services for veterans.
In addition, Double XP Weekends will run for both games from Friday until Monday.


text:
WASHINGTON (AP) — Metro says shuttle buses will replace trains on a section of the blue and orange lines this weekend.
Metro says that beginning Friday at 10 p.m. and continuing through closing on Sunday, shuttle buses will replace blue and orange line trains between Federal Triangle and Eastern Market. The Smithsonian, Federal Center SW and Capitol South stations will be closed.
The L'Enfant Plaza station will be open for green and yellow line service only.
On the red line, trains will operate between Shady Grove and Glenmont every 16 minutes throughout the weekend. Between 9 a.m. and 9 p.m., additional trains will operate between Grosvenor-Strathmore and Silver Spring. Trains will run every eight minutes.
Customers can expect regular service on the yellow and green lines.
(Copyright 2013 by The Associated Press. All Rights Reserved.)


text:
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First Amendment Center
Americans once again don't run up big positive numbers in an annual First Amendment Center survey when it comes to being able to name all five freedoms in the opening 45 words of the Bill of Rights.
But once reminded of "religion, speech, press, assembly and petition," they do have some strong opinions about how those freedoms ought to work.
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LUDINGTON, Mich. (AP) — A trio of sobbing witnesses took the stand Wednesday at the trial of a man charged with killing a Michigan state trooper, describing how they found the victim face-down in the road with a gunshot wound to the head.
Paul Butterfield II was alive and aware of their presence as they tried to comfort him and stem the bleeding, the three witnesses said in Mason County Circuit Court.
They were among the first witnesses in the trial of Eric Knysz, who's charged with murder of a peace officer and other felony counts.
"He didn't answer or talk to me," said Connie Helton, who was the first to arrive on the scene, a few minutes after Butterfield was shot Sept. 9. "But he did raise up his head, pat his chest. ... He was patting his chest continuously. I knelt by him, told him to just hold on."
Butterfield, 43, was shot during a traffic stop at about 6:20 p.m. and died late that night after being airlifted by helicopter to Munson Medical Center in Traverse City.
Charles Comstock, who wept almost continuously as he testified, said he was upset by his inability to help Butterfield.
While trying to hold gauze to the wound above Butterfield's eye, Comstock tried the trooper's collar microphone, then his radio, while others on the scene called 911.
Before testimony got underway Wednesday, both sides presented opening statements.
Defense lawyer David Glancy asked jurors to remember that prosecutor Paul Spaniola's opening statement was his theory of what happened and that his client was innocent until proven guilty.
Spaniola told jurors that Knysz, 20, shot Butterfield because the defendant was transporting guns he had stolen from his father and feared being arrested.
Butterfield was the son of a state police officer, a high school cross country champion and a competitive runner at the University of Tennessee.


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Where others see a U.S. energy revolution of cheap and abundant fuel, David Hughes sees a short-term bubble that will bring higher economic and environmental costs.
The Canadian geoscientist, founder of the consulting company Global Sustainability Research, is part of a movement pushing back against conventional wisdom that the U.S. is on the verge of energy independence amid surging oil output and a 100- year supply of natural gas. Projections of 2,384 trillion cubic feet of gas supplies provide false confidence because they don't adequately account for the cost of production declines of as much as 47% a year that come with drilling in shale, Hughes said.
While President Barack Obama endorses the use of more gas as a power-plant fuel and the U.S. considers expanding exports to exploit the current glut, shale skeptics such as Hughes and Bill Powers, a director of Calgary-based energy producer Arsenal Energy Inc., warn that consumers and industry will feel the pain of rising prices when supplies fall short of estimates they say are based on a mistaken belief that the torrid growth seen in the past five years will continue.
"Human nature doesn't change, and we extrapolate recent trends far into the future even if those trends are woefully unsustainable," said Powers, author of "Cold, Hungry and in the Dark: Exploding the Natural Gas Supply Myth." Advances in shale-gas technology won't continue forever, he said, "and we're probably seeing them reach their maximum potential as far as production growth goes."
Fast Fade
Wells drilled into the hard rock of shale produce a burst of oil and gas after being hydraulically fractured -- a technique that cracks the rock to release hydrocarbons. The flow rapidly diminishes as gas must migrate farther through the rock to reach the fracturing site where it can enter the well. To counter the declines, companies drill more wells, longer wells and intensify the fracking process, all of which can raise costs.
About $42 billion must be spent every year just to offset decline rates in shale gas wells that generated revenue of about $33 billion in 2012, Hughes estimated in a report earlier this year for the Post Carbon Institute, which advocates options for a more sustainable world. Proceeds from higher-priced petroleum liquids contained in the most lucrative wells have helped offset the deficit for now, though the industry faces higher costs from increasingly uneconomic wells as the best prospects are exhausted, he said.
Wrong Assumptions
To Hughes, cheap gas and abundant gas are "mutually exclusive" in the long term. Instead of providing a reason to accelerate fossil fuel use, new supplies of crude and gas from shale fields just give the U.S. more time to develop alternative energy solutions, he said.
According to Arthur Berman, a Houston-area geologist and director of Labyrinth Consulting Services, basing U.S. policy on what he sees as overly optimistic supply and low-price projections is foolish.
Shale production mushroomed in the past decade as producers expanded the use of horizontal drilling and fracking to wrest oil and gas from previously impermeable rock. Gas output in the U.S. climbed 25% from 2007 to a record last year, according to U.S. Energy Information Administration data.
In April, the Potential Gas Committee, which issues a biennial report with support from the Colorado School of Mines, said the U.S. had a technically recoverable resource base of 2,384 trillion cubic feet of gas at the end of 2012, while other estimates claim the resource can last 100 years, the committee said on its website.
Copyright 2014 Bloomberg. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


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As the cold winter weather continues, scientists are measuring the greatest level of decomposition of the ozone layer ever recorded over the North Pole. The conclusion was reached by scientists from the University of Bremen using data from the atmospheric sensor SCIAMACHY. From its position in space, the sensor is currently detecting unusually high concentrations of chlorine dioxides. This means that extremely large quantities of ozone-destroying chlorine are being emitted. Some areas over the North Atlantic are already showing reduced ozone densities of just 30% to 50% of the normal level. The SCIAMACHY (Scanning Imaging Absorption Spectrometer for Atmospheric Chartography) atmospheric sensor is one of ten scientific instruments on board the Earth observation satellite ENVISAT, built by the European Space Agency (ESA) and operated by the German Aerospace Center (DLR).
The presence of chlorine compounds in the stratosphere is usually due to the use of CFCs (chlorofluorocarbons), which are emitted by spray cans and old fridges, for example. Harmless on the Earth's surface, these substances have a very long lifespan and can reach as far as the upper atmosphere. Here, the sunlight causes them to chemically decompose and release chlorine compounds that destroy the ozone.
Chemically active chlorine forms polar stratospheric clouds of ice crystals. The polar vortex that occurs every winter, a low-pressure zone 20km up from the Earth's surface, distributes the chlorine as far south as Europe. SCIAMACHY has measured this occurrence several times in recent years. Scientists from the University of Bremen have now been able to compare the distribution of active chlorine for the years 2003 to 2005. In 2003, active chlorine was only observed in the month of January. The winter of 2004 was relatively warm, so no noticeable level of chlorine activation was recorded. In the long, cold winter of 2005, on the other hand, large areas of high chlorine activation began to form in the stratosphere, resulting in marked decomposition of the ozone layer. Unlike the ozone hole that forms every year over the South Pole, ozone destruction of this magnitude is only seen over the North Pole during cold winters.
The ozone layer is vitally important to all life on Earth. It blocks the harmful ultraviolet rays from the Sun which cause skin cancer, providing the Earth with natural UV protection. Because of the shrinking of the ozone layer, it's particularly important when in the mountains to wear sunglasses and use sunscreen lotion with a high SPF to protect yourself from sunburn. DLR offers a free UV check service that provides information about appropriate suncare for different skin types.
Given the weather forecasts for the North Pole at a height of 20km, over the next few weeks the ozone layer in the far north will probably become thinner than ever before. SCIAMACHY is observing the situation day by day and will be providing us with information about how the ozone layer is developing.
In addition to data from space, DLR is analysing the processes inside the polar vortex in situ in collaboration with ESA, using the altitude research aircraft Geophysica.
The SCIAMACHY atmospheric sensor measures the concentrations of trace gases that are relevant to air quality, the greenhouse effect and ozone chemistry. The project is being managed by the DLR and the Netherlands Agency for Aerospace Programmes (NIVR). Scientific management of the project is the responsibility of the Institute for Remote Sensing and Environmental Physics (IFE/IUP) at the University of Bremen.


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Acknowledged by many Music Historians as the 20th Century's best songwriters, The Beatles wrote songs that still retain their popularity and substance after nearly 50 years. Now your young band musicians can learn and enjoy the catchy melodies, colorful harmonies and rhythmic hooks of some of The Beatles' best offerings.
In a versatile book format that contains both full concert band and individual instrument arrangements, this Essential Elements-correlated collection gives first and second year students an introduction to eleven exciting titles from The Fab Four. An optional CD contains a full recording of the band arrangements and additional tracks for use as accompaniments to the solo versions of the songs. A piano accompaniment book is also available.
Each student book has both a band part and a solo melody part, allowing the chance for even the "color" instruments, like oboe, horn and euphonium, to play the actual tune. Johnnie Vinson, John Moss and Robert Longfield did the outstanding and educationally-oriented arrangements that are correlated page for page with the Essential Elements Band Method Books, spanning from Book 1, Page 24 to Book 2 page 32.
People have been clamoring for a band instrument Beatles book for a number of years and due to various copyright restrictions, none have been available recently until this one. So now you and your students can relive the 1960's British Invasion with more than a touch of music education along with it! It's your Ticket to Ride, Here There and Everywhere!
Categories: Concert Band, Music Education, New Publications, Solo & Ensemble, Staff Picks


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Recently, in part 1 of this article, "Outlook 2010 and OneNote 2010 Integration: Part 1–Email Messages," InstantDoc ID 125720, I reviewed how to save an email message to a OneNote document. I also launched a new email message from OneNote sending the contents of a OneNote page as part of the message body. However, the integration between Outlook and OneNote isn't limited to email content. OneNote can also store and serve calendar items and can store and serve Outlook tasks.
Import Meeting Information into OneNote
If you maintain a OneNote Notebook for a specific project, you can easily import meeting information into a page in OneNote from Outlook. For example, I have Notebooks created for different versions of Outlook and within the Outlook 2010 Notebook, I have sections for Meetings and Tasks, each with separate pages covering OneNote integration. Within Outlook I have a Monday morning meeting to train the Executive staff on OneNote.
If you use OneNote as an all-purpose, free-form note-taking application you can import certain content from Outlook content with just a few clicks. OneNote can pull meeting information from Outlook and apply it to the current page. To do this, within OneNote select the Home tab to reveal the Office Ribbon. Then click the Meeting Details icon in the Outlook section of the Ribbon. This will query Outlook to retrieve meetings scheduled for the current day. If you aren't logged into Outlook at the time, you'll be prompted to do so. I did find that the prompt didn't come to the front of the open Windows so the prompt might not be obvious at times. Also, OneNote doesn't stay authenticated to Outlook. If you try to import information from another meeting, and you're not logged into Outlook, you might have to authenticate to Outlook for each meeting you want to import.
Figure 1 shows the drop-down list for my example with three meetings for the day. When I select the desired meeting, OneNote imports four things—Meeting Name, Location, Attendees, and the Message Body of the meeting when it was created in Outlook. OneNote appends this to the content of the current page and places the cursor under the heading of Notes ready for the user to type notes on the meeting. If you have an item selected within OneNote as you select the meeting, the meeting details will merge with that OneNote item. Figure 2 shows the meeting details with notes already present because the typed notes were highlighted within OneNote when the meeting was imported. Also, if the meeting you are looking for resides on a different day, you can use the drop-down menu to "Choose a Meeting from another day…" Figure 3 shows the calendar interface for that option. You can also submit content of a meeting form to OneNote from Outlook. Within a new meeting window in Outlook you can click the OneNote icon in the Office Ribbon. You will be prompted for a OneNote location to save the information. OneNote will save the Meeting Subject, Date and Location, Attendees, and the Message body of the Meeting request.
Importing Tasks from OneNote 2010 into Outlook 2010
Tasks can be easily created within OneNote and appear within Outlook. While this idea improves my potential use of OneNote, I am a little disappointed at the presentation of the tasks generated within Outlook. I'll show you what I mean.
While on a OneNote page, the user can select Home to reveal the Office Ribbon, and then Outlook Tasks in the Outlook section. This will expose a drop-down menu identifying different urgencies for a new task. In Figure 4, I selected a task due today. This selection created the familiar Outlook task flag within the OneNote page. Figure 5 shows the text for the task I typed next to the flag as "Print Out Session Notes for Attendees." After hitting Enter, this sentence becomes the name of the Task, which, if authenticated to Outlook, automatically appears in the Tasks and To Do List in Outlook. Figure 6 shows the new Task item generated in Outlook.
The actual task is created with a link back to the OneNote notebook, with a reference to the specific page within it. If the details of the task were generated within OneNote, they will not be immediately available within Outlook. The user will have to click the attachment in the task entitled "Link to Task in OneNote.one," which contains the link to the task location, whether saved in SharePoint, a web share location, or a file location. This example has the OneNote notebook located on the same workstation as Outlook and the link to the file appears as follows:
One of the Outlook Task options in OneNote is to create a custom task. This will open the standard New Task window in Outlook just as though you selected the option from within Outlook. Additionally, the Outlook Tasks menu lets you delete a task from OneNote, which will also remove it from Outlook. Finally, the Outlook Tasks drop-down menu is also available through the context menu when you right-click within the body of a OneNote page.
Overall, this integration is beneficial for those who have taken the time to experience OneNote. I find it a helpful resource for storing things. The integration between Outlook and OneNote adds some value to both applications.


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Chow, Baby
Filed under Featured In . Tags Tyler Florence, pasta, salsa.
Gourmet Cooking
Healthy eating doesn't have to mean whey protein doused with carrot juice. Let Mario Batali and three other top chefs turn you into a guy-food gourmet. It's an age-old adage: Give a man a fish, feed him for a day. Teach a man to buy a fish, sauté it, then serve it with a mound of mango salsa, and you feed him for a lifetime. Continue reading


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By David Schwartz
PHOENIX (Reuters) - A top Arizona prosecutor said on Wednesday that the state still plans to seek the death penalty for convicted murderer Jodi Arias for killing her ex-boyfriend, after a jury deadlocked last month on whether she should be executed.
Arias, a former waitress from California, was found guilty last month of killing Travis Alexander, whose body was found slumped in the shower of his Phoenix-area home in June 2008. He had been stabbed 27 times, had his throat slashed and was shot in the face.
But the same eight-man, four-woman jury that convicted Arias of murder and quickly ruled her eligible for the death penalty subsequently failed to reach a consensus as to whether Arias should be executed, prompting a penalty phase mistrial.
The state of Arizona now has the option of retrying the sentencing phase of the trial, which would require a new jury be empanelled. If there is another deadlock, a judge would sentence Arias to natural life in prison, or life with the possibility of parole after 25 years.
Maricopa County Attorney Bill Montgomery told reporters prosecutors would ask a new sentencing jury to do what the previous one could not - put Arias to death.
"At this point, we are still preparing to move forward to retry the penalty phase," Montgomery told a news conference.
After the jury failed to reach a unanimous verdict on May 23, Montgomery said that his office would assess its next steps, but was proceeding "with the intent to retry the penalty phase."
A status hearing has been scheduled for June 20. A July 18 court date was set to select a new jury in the case.
The sensational trial began in January, becoming a staple with U.S. cable television viewers with its tale of a soft-spoken young women charged with such a brutal crime. The trial was punctuated with graphic testimony and bloody photographs.
Arias, 32, took the stand for a marathon 18 days and maintained throughout that the killing was in self-defense despite fierce cross-examination by prosecutors.
(Editing by Tim Gaynor, Cynthia Johnston and David Brunnstrom)


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LONDON (AP) — A new investigation re-examining decades-old child abuse claims at 18 children's care homes in north Wales has identified 140 possible victims, British police said Monday.
The probe collected "significant evidence of systemic and serious sexual and physical abuse of children" at the care homes, police said in a report. The alleged victims, mostly men, were from 7 to 19 years old when they say they were targeted between 1965 and 1992. The alleged offenses ranged from verbal abuse to indecent assaults and rape.
"Many (of those interviewed) have provided graphic accounts of abuse, in some cases of very serious criminality," Detective Ian Mulcahey said.
The number of care homes was larger and the timeline involved was longer than previously thought.
The new investigation, known as Operation Pallial, was set up in November after a BBC report alleged that a previous inquiry failed to uncover the full extent of the abuse against children in the homes. The earlier inquiry, which concluded in 2000, settled dozens of claims on behalf of the victims.
Since Operation Pallial was launched, police said 140 complainants have come forward to name 84 individuals — 75 male, nine female — as being responsible for offenses. One person has been detained in the new investigation.
Detectives said the inquiry was continuing and urged anyone with information to come forward.


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Stockton, CA
Darlow Vay Unzicker
Darlow Vay Unzicker, 88, passed away at his home in Stockton on Thursday, June 13. He was married to his high school sweetheart and the love of his life, the late Lois Unzicker for over 50 years; with whom he raised two daughters: Lewana and Sandra. He was born and raised in Colorado, proudly served in the Navy during the Second World War and Korean War era and graduated from Denver University where he earned his Master of Music Education degree. Darlow was a music educator specializing in instrumental music. For 39 years he inspired countless children and youth ranging from 4th grade thru high school students. Darlow began his career by teaching concert and marching band in high schools located in Colorado. He also taught within the San Joaquin County public school system and the Department of Defense (Europe) overseas school system. He was honored by former students who selected him as a teacher who "made a difference" in their lives and so was acknowledged for "excellence as a distinguished educator" in Who's Who Among America's Teachers in 1992. Though Darlow received many awards throughout his teaching career he was especially touched by and proud of this award.
His keen wit and kind heart will be missed by all who knew and loved him. He was a most elegant man; a loving and conscientious husband, father, grandfather, great grandfather, brother and uncle. Darlow is survived by his daughter, Sandra; seven grandchildren, seventeen great-grandchildren, and his nieces and nephews. Darlow's wishes to not have formal funeral or memorial services are being honored by the family. In lieu of flowers, the family is requesting that donations be made to Hospice of San Joaquin, 3888 Pacific Avenue, Stockton, CA 95204.


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Out of Chaos
YES! Magazine turns 15 this year. I wrote this piece for the very first issue of the new YES! and it struck me as worth revisiting. What's your take? Do you see possibilities in a time of chaos?
There are times in history when two eras—with their respective world views, cultural patterns, and predominant means of livelihood—run in parallel. One may be exhausting itself while the other is still in its infancy. This can be a confusing and divisive time as different sets of cultural assumptions compete to give meaning and direction to life. And the decay of the dying era can seem to overwhelm the formative one.
But these are also times ripe with possibilities. Small actions and choices can have major, although unpredictable, effects in determining what comes next.
Among the possibilities is that the thousands of experiments and millions of choices to live more consciously will coalesce into a new civilization that fosters community, provides possibilities for meaning, sustains us while also sustaining life for the planet. Encouraging that process is the purpose of YES! Magazine and its non-profit publisher, Positive Futures Network.
A sustainable future is far from preordained. A time of chaos and transition can be terribly frightening and lead to a retreat into simplistic solutions and fundamentalism. Fundamentalism—which can happen on either the Left or the Right, in secular and spiritual realms—is characterized by a rigid belief system and a widening of the polarity between "us" and "them." Because it is founded in fear and divisiveness, it cannot tolerate diverse views and backgrounds, and is far less capable of creatively discovering answers within a context of complexity.
Fundamentalism, which has become all too prevalent in political discourse of late, is not up to the challenges of these times. Instead, the next stage in human evolution will grow out of creative, self-organizing innovations that offer sustainable and meaningful ways of living and interrelating.
Like natural evolution, human cultural evolution thrives in a context rich in diversity and complexity, in which there are myriad opportunities for interaction. In such a setting, self-organizing innovation can emerge out of the search for ways of living that sustain us in every sense of the word. These innovations become "attractors" that draw us out of the chaotic soup into further experimentation with sustainable communities, education, new means of livelihood, and new international connections. The most powerful attractors are those that respond to people's basic needs for survival and to their deepest yearning for such things as connection, meaning, transcendence, and wholeness. When these attractors resonate among large numbers of people, society shifts.
An "attractor" can only attract if people are aware of it, however. When people discover voluntary simplicity, sustainable communities, and the many other efforts we write about in YES! they often are surprised and elated to find that they aren't alone—that they are part of something larger which resonates with their deepest values.
A Resilient Community
YES! Magazine's special issue on building resilience for hard times ahead.
The media often ignores these efforts or sees them as blips in an overall downward spiral—when you only see the dying era, things that are full of life appear either irrelevant or poignant. What the media and many others have yet to realize is that these are not anomalies—they are indicators of a much greater dynamic that is allowing us to become whole. And while many of these efforts may now be separate and seemingly unrelated, awareness is growing and connections are developing rapidly.
The shift that is emerging out of these connections draws on the ancient wisdom traditions that have nourished human souls for eons while also building on the strengths of the modern era and our new global awareness.
These complex times are rich with possibilities. Through YES! we raise awareness of the promises and hazards of these times, with news of the ways that people all over are rethinking and re-creating communities, relationships to the natural world, their own sense of purpose and meaning. The Positive Futures Network seeks to help connect people to one another in dialogues that help empower action at all levels. Join us!
- :: YES! Magazine's first issue, published in 1996.
- :: The experiences of our ancestors offer us wisdom for surviving today's crises.
- :: It's time to talk honestly about collapse–no matter how others may respond.


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No Fourth of July fireworks at Tanglewood, park officials announce for 2nd year
No Fourth of July fireworks at Tanglewood, park officials announce for 2nd year
For the second year in a row, Forsyth County Parks and Recreation officials have announced they will not run a Fourth of July fireworks show at Tanglewood Park.
In a brief statement, parks and rec officials said they won't host their own display "due to the cost to put on the event exceeding the level of sponsorship in place."
Last May, parks and rec officials announced that Tanglewood's July 4 fireworks wouldn't happen due to a lack of sponsorships. However, two weeks later, they announced the show would go on after three businesses stepped forward as sponsors.
It costs about $10,000 to put on the fireworks show, parks and rec officials said last year.
Ericka Miller will have more Monday on WXII 12 News at 5 and 6.