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Once again the El Rhythmo Salsa Club is bringing the Festival world-class bands in an intimate club atmosphere, together with beginner-level dance lessons so you can learn to get your body moving the Latin way! This year they are taking over the Pussy Parlure – the wonderful 1930s wood and glass "Spiegel tent" with built-in dance floor in the Dance Village – from midnight every night, for their bands. Classes will be held in the daytime both there and at various locations around the site, so you should never be too far away from a Salsa experience!
Click here for the full lowdown on their acts and classes.


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Fur Market Report: November 2006
By Parker Dozhier
It's taken a couple of years, but most carry-over raccoon inventories have finally been depleted. North American Fur Auctions' late-September sale reported 100 percent clearance of lots containing pelts from sundry shippers. About the only unsold raccoon still waiting for buyers are large collections controlled by dealers.
Don't view these carry-over dealer lots as a drag on the market. Dealer lots often have unreasonably high limits — especially at this time of the year, just before the fresh goods become available.
Some years, this type of market speculation pays off. Other years, it doesn't. However, some fur buyers use this tactic as a bargaining tool — claiming they are still holding "20,000 from last season." It is not an uncommon buying ploy.
Starting in late August, then really picking up through September, private treaty sales of raccoons at both auction houses were robust.
Don Rumford of Fur Harvesters Auctions said the sales have been all over the map.
"We've had the Russians and Greeks looking for heavy goods, the Turks wanting the semi-heavies and the Chinese buying the coat types," he said.
Demand for fur in Russia and China continues to grow. And it was evident at the recent late-season ranch fur auction in Copenhagen. The late-season auction usually consists of breeder mink and foxes, and low-grade goods that have been passed over at previous sales.
Remarkably, prices advanced 20 percent over the June offering. In fact, ranch mink prices have more than doubled since 2003. The market advance is attributed solely to the increasing demand from the Russians and Chinese.
The upbeat activity in the ranch fur industry is beginning to have a direct impact on wild fur prices. We have already seen the effect on the muskrat market. The recent NAFA sale featured a small offering of 23,000 spring muskrats. Averages on late-harvested region 1 and 2 goods should have dropped a dollar or two, simply because of the springy nature of the collection. But that didn't happen. Averages for the spring goods were in line with the more seasonable good winter collections.
An increasing number of high fashion designers are seeking a new look. They are finding it in marten, fisher and spotted cats. Now, they need to discover raccoon, red fox, coyote and wild mink.
To address the growing interest in wild fur, NAFA will soon announce the opening of the NAFA Design Centre in Toronto. According to Tina Jagros, executive director of the North American Fur Association, the school is tailored toward introducing fur users who are unfamiliar with wild furs to the many uses of these items. It will focus on uses beyond garments.
The challenge facing those involved in the wild fur harvest is in meeting the needs of increased usage by designers. When prices are suppressed, or collections are carried over from one season to the next, some trappers lament that we have overproduced. Nothing could be farther from the truth.
Last season, the ranch fur industry marketed 36 million mink — not including the internal production in China, believed to be in excess of 15 million. Yet ranch mink remain in short supply and prices continue to advance.
Admittedly, wild furs have a much narrower appeal than ranch mink. But the fact remains: The larger the offerings, the more international buyers the offerings will attract. Major Chinese users of muskrat, for example, would be reluctant to travel halfway around the world to attend a sale offering only 25,000 skins. But they would come ready to buy at an auction offering 300,000 or more.
The more wild fur we produce, the more users and buyers we will attract. A fur garment designer working for a major manufacturing company will not use a fur available in only limited quantities.
Roughly 25,000 otters remain unsold, awaiting further developments in China. It could be a long wait. Reportedly, NAFA agents in China are holding unofficial discussions with Chinese government leaders. The problem is truly a basket of snakes. There is the tariff imposed on importing otters into China. Plus, once in China, the otters are subject to the highly punitive Value Added Tax.
As if these taxes were not enough to dampen the trade, add the problems associated with CITES regulations. Simply stated, most Chinese customs officials can't tell a shipment of our legal river otters from a boatload of sea otters. So rather than attempt to learn the difference — it is certainly not that difficult — they keep all otters from entering the country. According to a spokesman with the U.S. Fish & Wildlife Service, the identification problem is being addressed.
The Canadian government's failure to fully fund an adequate staff of CITES enforcement agents is another problem.
Otter collections have been mainly withdrawn from the international auctions since May. A small number of darks have moved to Russia and Europe. Apparently, auction officials in Canada are rethinking the pricing structure of otters in light of these punitive taxes and burdensome regulations. They are preparing to see what can be sold, and at what price, at the February sales.
Fur buyers will certainly be watching the weather, particularly in Russia and Eastern Europe. Another mild winter in Russia would put the brakes on the immediate demand for raccoon and soften markets for other wild furs. However, a typical harsh winter, Russia's expanding economy and the free flow of goods into the country could boost prices later in the season.
Each year, the amount of wet fur and green goods sold on the carcass at trapper-hosted auctions appears to be increasing. No doubt, this is because of the time involved in fleshing and stretching, or simply the lack of experience and equipment. Understandably, this usually results in a significantly lower price than the prevailing market.
Bob McQuay, spokesman with NAFA, points out that selling wet or on the carcass might not be a bad idea for some harvesters.
"If the fur can't be finished right, it's best to let someone who knows how do it, do the work," he said.
That's a good point. An otherwise perfectly good pelt that is improperly finished will be listed as damaged if it shows signs of excessive grease.
Participation in the fur harvest is expected to increase a little this season. Expect to see a few new faces attracted by somewhat higher prices, but not many.
Regardless of the size of the harvest this season, it will still be minuscule compared to the harvest 20 years ago. During the early 1980s, we produced 5 million raccoons, 10 million muskrats and 80,000 bobcats and lynx each season. I doubt we'll harvest even close to a million raccoons this season.
If we are guilty of anything, it's not harvesting enough fur.

subset: commoncrawl


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Your hometown Pioneer Library offers a variety of services beyond the 'traditional' in our brick and mortar buildings. We have the professionals and resources available to get you on your way.
Select one of the following Special Services to learn more:
Adult Literacy Services - English as a Second Language and Adult Leaners
Book Discussion Kits - Everything needed to for a book group. Titles available for Children, Teens & Adults
Business Services - Assistance with developing a business plan, learning how to use our free resources for entrepeuners and more
Growing Like a Read - An early literacy program designed by professional at the library. Geared for children birth - 4 years of age.
Home Services - No matter your age, if you live in our service area and are unable to visit our libraries in person, we can get books to you at no charge.
Interlibrary Loan - Just because we do not have a book or journal in the library or online does not mean it is off limits. You can request we borrow it from another library.


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Social media like Facebook, Twitter, YouTube, and Blogs is important to CycleBeads because it allows for a worldwide connection. Our community spans the globe, from California to the Congo and from Indiana to India. Being in touch directly with our community helps us innovate, address concerns, and respond to questions.
With the transparency and flexibility of social media, we can share what we represent, provide the latest updates on CycleBesads, and up to the minute contraception and fertility news. Not to mention, we get to hear from you!
So, if you aren't already following CycleBeads on Facebook, Twitter, and YouTube, check us out.
Posted in: Social Media, Technology


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The 932i treadmill is equipped with a commercial-grade 4 HP AC-motor.
Our Assurance Series treadmills deliver a more natural, low impact workout much like running outside. Our patented Ground Effects® impact control system delivers dynamic shock control and optimal push off stability. Integrated Footplant Technology™, our patented belt system, adjusts belt velocity 100 times per second to match natural changes in foot speed, producing a more rhythmic stride and reducing impact.
Our standard console is designed with clear visuals and familiar layout to increase program exploration, leading to greater satisfaction. This console is complete with 6 workouts, numeric keypad, workout profile, Quick Start, tactile membrane key motion controls, and essential exercise metrics (time, distance, calories, speed, incline, resistance level, Cross Ramp level).
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Contact Precor Sales and get a personalised quote today.


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Understanding the basics of stock market terms is the gateway to the larger world of investing. A good, fundamental foundation is paramount to be able to eventually grasp more complicated products and strategies. Stock market trading may offer profitable opportunities, and an education on the basic terms should be your first step. Start here with stock market basics, then make your way through our Education Center to build your knowledge of investing.
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GREENVILLE, Ill. - After a Saturday postponement, the baseball team resumed play against NCAA Division III defending national champion Illinois Wesleyan in a Monday afternoon doubleheader. Greenville failed to produce offensively in the two games, dropping contests 9-1 and 3-0 to the Titans.
The Panthers were limited by Illinois Wesleyan pitcher Jason Pankau in game one. Pankau pitched six shutout innings of one-hit baseball in the opener to stunt any production from the Panthers. Justin Hubbard managed two hits for the Panthers and scored Greenville's lone run. Derek Reckmann was Greenville's losing pitcher, tossing four innings and allowing four runs.
The night cap showcased much of the same as junior Joe Sweeney dealt six quality innings and turned the game over to fellow junior Pat Hayn who tossed a shutout inning to close the doubleheader. Greenville mounted a one-out rally in the bottom of the seventh, loading the bases and bringing the winning run to the plate. However, Hayn struck out pinch hitter Reid Cerutti and Scott Voyles bounced into a fielder's choice to the shortstop to end the game.
Voyles and Daniel Covert each had two hits for Greenville. Covert also tossed 5 1/3 innings and allowed three runs on seven hits while striking out five. Covert was saddled with the losing decision.
The baseball team (0-3) will next take the diamond in Winter Haven, Fla., as they will kick off an eight-game spring trip on Monday, March 14.


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Empowering Excellence in Government through Great People.
We lead and serve the Federal Government in enterprise human resources management by delivering policies and services to achieve a trusted effective civilian workforce.
"...The Director of the Office of Personnel Management shall serve as the Suitability and Credentialing Agent..." ~Executive Order 13467, as amended
"...primary executive branch service provider for background investigations..." ~Executive Order 13467, as amended
OPM's Human Resources Solutions organization can help your agency answer this critically important question.
Developing senior leaders in the U.S. Government through Leadership for a Democratic Society, Custom Programs and Interagency Courses.
Visit this federal site to search for our regulatory notices, proposed and final rules.
See the latest tweets on our Twitter feed, like our Facebook pages, watch our YouTube videos, and page through our Flickr photos.
Credit hours are hours that an employee elects to work, with supervisory approval, in excess of the employees basic work requirement under a flexible work schedule. (Information on flexible work schedules is available in OPMs Handbook on Alternative Work Schedules.) The basic work requirement for full-time employees is 80 non-overtime hours in a 2-week pay period. Agency policies or union agreements may place restrictions on earning or using credit hours.
Employees are not paid basic pay or overtime pay for credit hours when they earn them. An employee may use credit hours during a subsequent day, week, or pay period, with supervisory approval, to allow the employee to be absent from an equal number of hours of the employees basic work requirement with no loss of basic pay. (See the definitions of basic work requirement and credit hours in 5 U.S.C. 6121(3) and (4), respectively.)
Full-time or part-time employees under flexible work schedules may earn credit hours if agency policies for flexible work schedules or union agreements permit. Agencies may permit GS employees, wage employees, senior level or scientific professional employees (SL/ST) and DOD nonappropriated fund employees under flexible work schedules to earn credit hours. Members of the Senior Executive Service (SES) may not earn credit hours. See 5 U.S.C. 6121(2) and 5 CFR 610.408.
Agency policies or union agreements may permit part-time employees to earn credit hours if they elect to work in excess of their basic work requirement. Part-time employees under flexible work schedules may have a basic work requirement of between 32 and 64 hours during a biweekly pay period. See 5 U.S.C. 3401(2). Overtime pay standards do not have to be met before part-time employees may earn credit hours. Part-time employees may accumulate a maximum of one-fourth of the hours in their biweekly basic work requirement as credit hours for carryover to the next biweekly pay period. See 5 U.S.C. 6126(a).
Yes. An employees election to work a flexible work schedule and earn credit hours is subject to limitations prescribed by an agency to ensure that the duties and responsibilities of a position are fulfilled. Subject to any applicable negotiated agreement, the head of an agency may determine that any organization within the agency is being substantially disrupted in carrying out its functions or is incurring additional costs because of use of flexible work schedules. If such a finding is made, the agency head may restrict the use of credit hours, limit flexible time bands, or exclude any employee or group of employees from using flexible work schedules.
Even without such a finding, an agency may establish limitations on how credit hours are earned and the number of credit hours that may be earned. (See 5 U.S.C. 6122(b).)
The definition of credit hours in law (5 U.S.C. 6121(4)) provides that credit hours may be earned only within an employees flexible work schedule. This means that an employee may earn credit hours only by working within the flexible time bands established by the agency or union agreement. Hours that will count toward the basic work requirement may not be considered credit hours. For example, if an employee would otherwise complete 9 hours of his or her 80-hour basic work requirement on a workday, the ninth hour is not a credit hour. If the agencys flexible time bands are broad enough, the agency may permit the employee in this situation to work a 10th hour voluntarily and earn 1 credit hour.
Yes, agency policies or an applicable union agreement may permit employees to earn credit hours on Saturdays or Sundays. An agency that wishes to permit employees to earn credit hours on Saturday or Sunday must establish flexible time bands on Saturdays or Sundays.
No. Credit hours are worked voluntarily by employees in excess of their regularly scheduled 80-hour biweekly basic work requirement, which may include flexible hours. (See 5 CFR 610.111(d).)
For a full-time employee, only 24 credit hours may be carried over to the next pay period. For a part-time employee, not more than one-fourth of the hours in the employee's biweekly basic work requirement may be carried over to the next pay period. An agency policy or union agreement may place stricter limitations on how many credit hours may be accumulated or carried over.
Only 1 credit hour is earned for each hour of voluntary work in excess of the basic work requirement. (See 5 U.S.C. 6126(a).)
No. There is no authority in law or regulation to advance credit hours. Time cannot be charged against credit hours until credit hours have been earned. For this reason, some agencies do not permit employees to use credit hours until the pay period following the one in which they are earned.
Even if an agency has such a policy, the agency may still permit supervisors to approve changes in the time when employees will work flexible hours (part of the basic work requirement) after the beginning of a week or a pay period. For example, an employee may be permitted or required to shift some flexible hours from the first week of a pay period to the second week of the pay period. As long as the employee completes his or her 80-hour basic work requirement during the pay period, this can be done without any charge to leave. (See OPM Handbook on Alternative Work Schedules, Flexible Work Schedules, Overtime Work Determinations, paragraph 2).
A full-time employee receives pay for a maximum of 24 unused credit hours at his or her current rate of basic pay when Federal employment ends, when the employee transfers to another agency (as defined in 5 U.S.C. 6121(1)), or when the employee otherwise is no longer subject to an agency's flexible work schedule program. A part-time employee who is no longer subject to an agency's flexible work schedule program receives basic pay for accumulated credit hours that are not in excess of one-fourth of the hours in the employee's biweekly basic work requirement. Agencies should have policies for determining whether employees continue to be subject to an agency's flexible work schedule program after other personnel actions or work schedule changes occur. (See 5 U.S.C. 6126.)
The premium pay limitations in 5 U.S.C. 5547 do not apply to payment for credit hours even though they apply to payments for unused compensatory time off.
Typically, credit hours may not be earned for travel since travel is always ordered by an agency. Travel hours are not hours that an employee elects to work with supervisory approval. Subject to agency policies or the provisions of negotiated agreements, agencies should consider placing employees on standard work schedules during extended periods of travel. (See OPM Handbook on Alternative Work Schedules, Flexible Work Schedules, Travel, paragraph 5.)Under certain conditions, an agency may permit an employee to earn credit hours by performing productive and essential work while in a travel status. For example, while traveling, employees may use a laptop computer to write speeches and draft or edit reports and other correspondence. Since travel itself does not generally constitute hours of work, the work that is done must be approved and verified by a supervisor. All of the following conditions must be met to allow an employee to earn credit hours while in a travel status are:
If work is required during travel time outside of the employees basic work requirement, overtime pay must be paid for work that is ordered in excess of 8 hours in a day or 40 hours in a week. (See 5 U.S.C. 6121(6).)
No, credit hours cannot be earned if training or homework is required by an agency. If training is required, it does not constitute hours that an employee elects to work with supervisory approval. (See the definition of credit hours in 5 U.S.C. 6121(4).)
Agencies may place employees on a standard work schedule (8 hours a day, 5 days a week, Monday through Friday) during a period of training or on a work schedule that corresponds to the hours of training. Employees must be notified of changes in their basic work schedule in advance of the agencys administrative workweek.
No overtime pay or compensatory time off may be paid when employees earn credit hours or when credit hours are liquidated because Federal employment ends. (See 5 U.S.C. 6123(b) and 6126.)
No night pay may be paid when credit hours are earned. That is because when employees earn credit hours, they are not performing regularly scheduled work. By contrast, night pay is authorized for work performed at night during an employees regularly scheduled tour of duty. See 5 U.S.C. 5545(a).
No night pay may be paid for credit hours that are used at night to be absent from the employees basic tour of duty. This is because under 5 U.S.C. 5545(a) and OPM regulations, employees must generally perform work at night to earn night pay. There is no provision of law or OPM regulations that permits night pay to be paid when credit hours are used to be absent from regularly scheduled nightwork.
For requirements on entitlement to night differential when credit hours are earned by wage (prevailing rate) employees and employees employed under title 38, United States Code, see 5 U.S.C. 6123(c)(2).
No. Credit hours may be earned only when employees work voluntarily, with supervisory approval, in excess of their regularly scheduled basic work requirement. Sunday premium pay is paid only when full-time employees are required to work during a Sunday tour of duty that is part of their regularly scheduled basic work requirement. Sunday premium pay is limited to 8 hours for each regularly scheduled basic tour of duty that begins or ends on Sunday. Thus, Sunday premium pay may not be paid when employees earn credit hours.
Also, employees may not receive Sunday premium pay if they are permitted to use credit hours in order to be absent from their regularly scheduled basic work requirement on a Sunday. Employees may not receive Sunday premium pay for any period of time when they do not actually perform work on Sunday. (See Section 624 of the Treasury and General Government Appropriations Act, 1999, which is a permanent restriction.)
When a GS employee performs work during any part of a day for which hazardous duty pay is authorized, the employee is entitled to hazardous duty pay for all hours in a pay status on that day. (See 5 CFR 550.905). This means that if an employee is entitled to hazardous duty pay during any part of a day when credit hours are earned or used, the employee must be paid hazardous duty pay for the credit hours as well. Subject to the provisions of any applicable negotiated agreement, an agency may establish a policy that employees cannot earn and/or use credit hours on any day when the employee is entitled to hazardous duty pay.
No. Excused absence means that employees are excused from their basic work requirement on that day. As explained in the answer to the first question above, credit hours are hours worked voluntarily by employees in excess of the their basic work requirement, with supervisory approval.
If employees work during the hours of their basic work requirement despite having been excused from work, they are not entitled to any additional compensation or to credit hours. However, if permitted by agency policies or negotiated agreements, supervisors may approve requests from employees under flexible work schedules to earn credit hours for work in excess of their basic work requirement on a day when excused absence is granted.
Employees may not earn any additional compensation or credit hours for working voluntarily during holiday hours. If permitted by agency policies or negotiated agreements, supervisors may approve requests from employees under flexible work schedules to earn credit hours for work in excess of their basic work requirement on a holiday.
Full-time employees under flexible work schedules are excused only from 8 hours of their basic work requirement because of a holiday. (See 5 U.S.C. 6124.) Therefore, an agency may find it desirable to schedule only 8 hours of an employees basic work requirement on a holiday. Flexible work schedules may be changed to accommodate this policy. If an employee is scheduled to complete 9 or 10 hours of his or her basic work requirement on a holiday, the agency may permit the employee to use previously accrued credit hours or annual leave in order to be absent with pay during the 9th and 10th hours.
If employees under flexible work schedules are required by an agency to work during holiday hours (their basic work requirement if not for the holiday), they are entitled to holiday premium pay for a maximum of 8 hours.


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March 6, 2013
RUMEC has been at the forefront of the new labor movement. We would like to unify our people through construction, religion, art, music and education. We seek the liberation from outside forces that foment ignorance, oppression and poverty. We aspire to escalate into an established position of recognition and respect as an independent, all inclusive institution that represents our striving people.


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First it was just little girls into My Little Pony; then it was a select group of adults; soon adults who formed conventions; then Andrew W.K; now? Game developers. That's right, Ron Gilbert, the man known for such classic adventure games as Manic Mansion and Monkey Island has joined their ranks.
People can watch what ever they want, hell, I catch myself watching an episode of Pokemon or Spongebob every so often, but the primary "bronies" found on the internet are the most sickening creatures I have ever seen. If you watch MLP, more power to you, but if you pile over top fellow 30 year olds in Toys R Us to get the new pony toy, there is something wrong with you.
that's cool. i wonder why so many people hate bronies? i mean, my definition of one is a teen/Adult fan of the show, so i guess that makes me one, but i didn't know liking something that's intended for a certain demographic was so wrong.
Hell, i'm a dude who enjoys musicals, and all my friends and family seem to think i'm fine.
i dunno, i guess i understand being creeped out by the loads of pony R34, but for those of us who aren't in to that weird sh!t, we get hate.


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Published by: Vinn Nieves
Resolution: 970x970px
Category: Chair, More >>
Published at: Saturday, April 07 2018 10:37:09
If you want comfort and relaxation then a Lazyboy chair is certainly one piece of furniture that you should invest in. Often regarded as the ultimate lads chair, the Lazyboy is a highly comfortable chair that is available for both indoor and outdoor. Consider the body type of the person who will use the chair. If you are buying for a good number of employees, make it a point to choose chairs that you think can accommodate most body types even if you are only planning to purchase standard office chairs.
The most common type of chairs are sofa table with chairs. Almost every home has at least a upholstered side chair, and they are mainly found in the living room in linen wingback chair. There are also smaller version that can be found in bedrooms. Some variants of these are wooden chairs with arms, rattan arm chairs, leather slipper chair or antique wingback chair, but they all look pretty similar. The second most common type of reclining chaise lounge chair are small lounge chair. You find them surrounding your dining room table. They are also available in different shapes, sizes, material and designs. You can opt for the backless dining chair, or a eames side chair with a comfortable upholstery.


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Interactive Tool: From Embryo to Baby in 9 MonthsSkip to the navigation
What does this tool help you learn?
You can use this tool to discover the amazing changes that happen during a pregnancy. Get a close-up peek at the early embryo. See how much a growing fetus changes every few weeks. Read about what's new every month.
You'll also find links to helpful information about testing, healthy pregnancy choices, premature birth, and labor and delivery.
What should you keep in mind?
Every baby is different. Every fetus is different. The images we show you may not be your skin color or your fetus's exact size. But they do tell you a lot about what happens over the course of a pregnancy.
This tool links you to information about prenatal tests. Some of these tests are new and not available everywhere. For example, you might not have chorionic villus sampling or nuchal translucency ultrasound in your town. The good news is that you still have excellent options, such as triple or quad screening.
What's next?
If you have any worries about your pregnancy, be sure to talk to your doctor or nurse-midwife. For more information, see the topics Pregnancy, Birth Defects Testing, and Labor and Delivery.
Related Information
Other Works Consulted
- Campbell S (2004). Watch Me Grow! New York: St. Martin's Press.
- Moore KL, et al. (2013). The Developing Human: Clinically Oriented Embryology, 9th ed. Philadelphia: Elsevier Saunders.
ByHealthwise Staff
Primary Medical Reviewer Sarah Marshall, MD - Family Medicine
Martin J. Gabica, MD - Family Medicine
Adam Husney, MD - Family Medicine
Kathleen Romito, MD - Family Medicine
Specialist Medical Reviewer William Gilbert, MD - Maternal and Fetal Medicine
Current as ofMarch 16, 2017
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Current as of: March 16, 2017
This information does not replace the advice of a doctor. Healthwise, Incorporated, disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use. Learn how we develop our content.
To learn more about Healthwise, visit Healthwise.org.
© 1995-2018 Healthwise, Incorporated. Healthwise, Healthwise for every health decision, and the Healthwise logo are trademarks of Healthwise, Incorporated.


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SAN JOSE, Calif. — May 22, 2012 — North America-based manufacturers of semiconductor equipment posted $1.60 billion in orders in April 2012 (three-month average basis) and a book-to-bill ratio of 1.10, according to the April Book-to-Bill Report published today by SEMI. A book-to-bill of 1.10 means that $110 worth of orders were received for every $100 of product billed for the month.
The three-month average of worldwide bookings in April 2012 was $1.60 billion. The bookings figure is 10.7 percent higher than the final March 2012 level of $1.45 billion, and is essentially flat compared to orders posted in April 2011.
The three-month average of worldwide billings in April 2012 was $1.45 billion. The billings figure is 13.0 percent more than the final March 2012 level of $1.29 billion, and is 11.0 percent less than the April 2011 billings level of $1.64 billion.
"Equipment orders in April increased to the value last reported one year ago," said Dan Tracy, senior director of Industry Research & Statistics at SEMI. "Since the last book-to-bill report, indications of increased spending have come from both the foundry and packaging subcontractor segments."
The SEMI book-to-bill is a ratio of three-month moving averages of worldwide bookings and billings for North American-based semiconductor equipment manufacturers. Billings and bookings figures are in millions of U.S. dollars.
Nov 2011
Dec 2011
Jan 2012
Feb 2012
March 2012 (final)
April 2012 (prelim)
Source: SEMI May 2012
The data contained in this release were compiled by David Powell, Inc., an independent financial services firm, without audit, from data submitted directly by the participants. SEMI and David Powell, Inc. assume no responsibility for the accuracy of the underlying data.
The data are contained in a monthly Book-to-Bill Report published by SEMI. The report tracks billings and bookings worldwide of North American-headquartered manufacturers of equipment used to manufacture semiconductor devices, not billings and bookings of the chips themselves. The Book-to-Bill report is one of three reports included with the Equipment Market Data Subscription (EMDS).
SEMI is the global industry association serving the nano- and micro-electronic manufacturing supply chains. SEMI member companies are the engine of the future, enabling smarter, faster and more economical products that improve our lives. Since 1970, SEMI has been committed to helping members grow more profitably, create new markets and meet common industry challenges. SEMI maintains offices in Beijing, Bengaluru, Berlin, Brussels, Grenoble, Hsinchu, Moscow, San Jose, Seoul, Shanghai, Singapore, Tokyo, and Washington, D.C. For more information, visit www.semi.org.
Association Contacts
Dan Tracy/SEMI
Tel: 1.408.943.7987
Email: firstname.lastname@example.com
Deborah Geiger/SEMI
Tel: 1.408.943.7988
Email: firstname.lastname@example.com
Editor's Note:
Next SEMI Book-to-Bill: June 21, 2012 at 3:00pm PDT
For information on SEAJ Book-to-Bill Report, visit www.seaj.or.jp
# # #


text:
Armeniaca vulgaris
|Scope: Global
Language: English
|Participants of the FFI/IUCN SSC Central Asian regional tree Red Listing workshop, Bishkek, Kyrgyzstan (11-13 July 2006). 2007. Armeniaca vulgaris. The IUCN Red List of Threatened Species 2007: e.T63405A12666025. . Downloaded on 19 September 2018.
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text:
WASHINGTON (AP) — President Barack Obama and German Chancellor Angela Merkel agreed Wednesday to hold a high-level meeting between security officials from their countries in the coming days to discuss in greater detail reports of surveillance activities by the U.S. National Security Agency, the White House said.
In a statement, the White House said the two leaders discussed by telephone reports last week that the NSA bugged European Union offices in Washington, New York and Brussels. The revelations were attributed in part to information supplied by former NSA contractor Edward Snowden, who has admitting revealing key details of U.S. surveillance activities.
While traveling in Africa last week, Obama pushed back against objections from key allies over a report in the German weekly Der Spiegel that the U.S. had installed listening devices in EU offices, suggesting that such activity by government is not unusual.
Obama has said the administration will evaluate the claims in the report and inform U.S. allies about the allegations. He assured Merkel during the conversation that the U.S. takes seriously the concerns of its European allies and partners.
The White House said the leaders also looked forward to the initiation of a U.S.-EU/EU member state dialogue, which could begin as early as next week, on the collection and oversight of intelligence and questions of privacy and data protection.
During the call, Merkel also offered her condolences on the deaths of 19 firefighters in Arizona.


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Join us for Story Thyme in the Every Child Outdoors (ECO) Youth Garden every Wednesday from 1030-1130, rain or shine!
Free to KBGA Family Members, $5.00 per family per session for non-members. Geared to the pre-school aged gardener and their guardians.
This week's theme is SEEDS, we will read the book The Tiny Seed.
2743 Wimpole Avenue | Knoxville, TN 37914 | p: 865.862.8717 | f: 865.862.8721
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|Model Eve
Short review: Model Eve is a lovely brunette that was born after the time she should have been. She really could be one of the lovelies that you would see pinned up inside of a soldier's locker from World War II. She poses, and she plants the seduction into your mind nicely before going a bit more wicked with self stimulation and lesbian acts as well, with some calling for a nice fetish spin to them.
Content Amount: The actual count for material of this site is pretty nice, they are high in pictures and videos with updates being promised on a pretty much weekly basis. When additions are made, they are done in quantities which are a plus.


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Historic Season Tips Off on Friday at Holy Cross
NEW HAVEN, Conn. — It is a milestone year for the Yale University women's basketball team, and while the Bulldogs will be celebrating the 40th season in their history, they are hoping those celebrations extend well past the end of the 2012-13 regular season.
To do that, Yale will need to finish in either first or second place in the Ivy League standings. A first-place finish will give Yale its first Ivy League championship since 1979 and its first-ever berth in the NCAA Tournament. The Bulldogs can return to the WNIT after making their first-ever appearance in that tournament two years ago with a second-place finish.
With the opening game of this historic season scheduled for Friday night at Holy Cross, the Bulldogs are going into this season aiming to find their way back to postseason play, and they view either tournament as the perfect way to cap off the celebration of the 40th season in their history.
"I think this is a really good team. It wouldn't surprise me if we won the Ivy League, but it wouldn't surprise me if we didn't win the Ivy League, but I think we are capable of it. I think we are going to be a factor in the Ivy League," said Chris Gobrecht, the Joel E. Smilow, Class of 1954, Head Coach of Women's Basketball. "Some things have to break our way. It's like anything else. You have to get a little lucky along the way. A lot will depend on how quickly the freshmen come along."
The Class of 2016 includes guards Whitney Wyckoff and Nyasha Sarju, forward Meredith Boardman and center Emmy Allen. All four freshmen were rated highly by a variety of publications during their senior high school seasons, and all four have already shown a tremendous desire to make an immediate impact to Yale's 40th season celebration plans, and if those plans are to end with a run to the postseason, all four freshmen will be counted on heavily right from the start.
"The reliance on them comes from the fact that they are good," Gobrecht said. "They are all capable of giving us something and we are going to take advantage of that."
However, the four newcomers complement what Gobrecht already has at her disposal. That begins with Allie Messimer. Messimer will enter her senior season as the 35th captain in the 40-year history of the women's basketball program at Yale University, as voted upon by her teammates. The 5-8 guard has played in all of Yale's 85 games in her three-year career with 10 starts. In her three seasons, Messimer has averaged 5.1 points and 1.9 rebounds, but it is her leadership on and off the court that has stood out in her Yale career, and she will be asked to help guide her teammates through this historic season.
Messimer and the rest of the guard corps will be relied on to jumpstart the Bulldogs' attack this season, and that attack begins with a pair of guards in senior Megan Vasquez and sophomore Sarah Halejian.
Vasquez, who became the 17th player in Yale's history to record 1,000 career points, enters the season in 11th place on Yale's all-time scoring list with 1,117 points and needs just 52 points to move into the top 10. She has been Yale's leading scorer in each of her first three seasons and should be the top scoring threat again in her final season with the Bulldogs, but she is not the only scorer in the lineup. Halejian had a fabulous freshman season that ended with her being honored as the Ivy League's Rookie of the Year after averaging 8.1 points, 2.3 rebounds and 1.9 assists in a season that saw her earn a Yale-record six Ivy League Rookie of the Week honors.
In her previous two seasons, junior guard Janna Graf has been another top scoring threat for the Bulldogs. She was second on the team in scoring as a sophomore (10.6 ppg.) and led the team in rebounding (5.8 rpg.). She spent the summer playing on Germany's U-20 National Team and helped lead that squad to a second-place finish at the European Championships. The international experience puts Graf in line for a breakout season, and if that holds true, she could become the 18th player in Yale's history to reach 1,000 career points. She is just 456 points away from joining Vasquez in that club.
Messimer, Sarju, Wyckoff and junior Amanda Tyson will rotate off the bench to keep Yale's attack running at full speed for the game's entire 40 minutes. Tyson could prove to be one of Yale's unsung heroes this season. She showed signs of being able to take over a game during her sophomore season, especially in her breakout game against Brown on Jan. 13 when she recorded career-highs in points (12), rebounds (8) and offensive rebounds (7) to lead the Bulldogs to the big 75-65 win in Providence.
She and junior center Zenab Keita have shown significant improvement during the preseason workouts following a summer of hard work and hope to bring more options to the Bulldogs' rotation. Keita is expected to move into the starting lineup and lead a post attack that also includes sophomore Arrice Bryant, and newcomers Boardman and Allen.
"Zenab and Amanda both went home this summer and really got after it. They worked on their weaknesses. They worked out consistently and worked on their game," Gobrecht said. "Both of them have taken a big jump and they look really good."
However, the biggest key to Yale's 40th season could be the health of the 11 active players on the roster. Before the players reported to the first practice on Oct. 1, Gobrecht knew she would likely be without one key player this season with two more out for an extended period of time. Sophomore guard Hayden Latham will likely miss the entire season after tearing the ACL in her left knee during preseason workouts in September, while junior forward Alexandra Osborn-Jones will miss at least the first few weeks of the season while recovering from surgery on her right ankle that was performed over the summer. Along with the loss of Latham and Osborn-Jones, Yale will also start the season without Bryant, who broke a bone in her hand last month. However, she is expected to return to the lineup after missing a couple of weeks.
"Our numbers are a little concerning," Gobrecht said. "It will be very difficult for us to absorb any more injuries. We just have to pray that we stay healthy."
If the Bulldogs can remain healthy throughout the season, this could be a historic season on multiple levels as the roster has the talent to challenge Princeton, Harvard and the rest of the Ivy League for the championship. The run to the title should be a fun one to watch for all associated with the Bulldogs.
"The interesting thing about this team is, with the improvement of the returning players and the quality of the freshmen, everybody can play. So the team has a really high level of confidence in everybody and it shows in how they play together," Gobrecht said. "From their overall demeanor out on the floor, you can tell that they are not worried about anybody. They know everybody can play. It's been really fun to watch."
Be the first to know what's going on with the Bulldogs — Follow @YaleWBBDawgz on Twitter, become a fan of Yale Women's Basketball on Facebook!
Report filed by Jon Erickson Jr., Yale Sports Publicity


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News List
TDPUD Hires Conservation Program Administrator
Trisha Ruby joins TDPUD
Click here for .pdf of Press Release
Media Contact: Wrenn Johns
Switchback PR + Marketing, Inc.
530.550.2252 ext. 103
For Immediate Release
TDPUD Announces Trisha Ruby as the New Conservation Program Administrator
Truckee, Calif. (Aug 11, 2012) - The Truckee Donner Utility District is pleased to announce that Trisha Ruby has come on board as the new conservation program administrator following Scott Terrell's recent retirement from the position. Ruby comes to the PUD with an extensive background in product development and mechanical engineering and brings with her a passion for renewable energy and energy conservation.
Ruby is originally from Reno, but has lived in the Truckee area for the past 10 years. She holds a bachelors degree from the University of Nevada, Reno and a master's degree in mechanical engineering from the University of California, Davis. The bulk of her career has been in product development where she worked on everything from satellites to orthopedic implants. She was most recently with Synergy Technology of Reno for the past 13 years. Ruby has always been personally interested in energy conservation and specifically energy efficient products. Ruby feels that the position of conservation program administrator will allow her to put her fascination with energy conservation to practical use.
The conservation program administrator is responsible for developing new programs and managing existing commercial conservation programs. In addition to overseeing program creation and implementation she will find new products that work within program guidelines. "I bring a unique perspective to the position because of my product development background. Especially when it comes to lighting products, I believe that LED's are the future, but still in their infancy. We have a good idea of what to expect from the future and it is exciting to be a part of it," said Ruby. "We had many qualified candidates and Trish rose to the top" said Steven Poncelet, TDPUD public information and conservation manager, "Our customers are really going to benefit from her knowledge and experience."
About Truckee Donner PUD:
The TDPUD is a non-profit, publicly owned utility agency created in 1927 and overseen by a locally elected board of directors. TDPUD provides the greater Truckee area with reliable and high quality water and power services while guiding the community to conserve resources. For more information about the TDPUD, call 530-587-3896 or visit www.tdpud.org.
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Ozzie Guillen sounds skeptical about Chone Figgins, wants Bobby Jenks and Co. to report in shape
By Mark Gonzales
DETROIT - Before the White Sox embarked on a 4-1 lead over Detroit Saturday night, manager Ozzie Guillen expressed optimism over the Sox's chances in 2010.
"I love the way we look for next year," said Guillen, referring to the mid-season acquisitions of pitcher Jake Peavy and center fielder Alex Rios. "Do we have to get better? No doubt. In the meanwhile, I said it two months ago, if I had this ballclub early, it would have been a little different.
"We thought some guys could help us, they never did. It put us in deep hole to climb out of.''
Guillen is relieved the rotation appears set, and Freddy Garcia enhanced his chances as the fifth starter by blanking Detroit through the first seven innings.
The leadoff spot will be an area of scrutiny, and Guillen expressed some doubt about free agent Chone Figgins because of the demand for a player of his skills and the price he could command.
That would make Scott Podsednik, who exceeded expectations in that spot, as the favorite.
"I don't think Figgins," Guillen said. "To be honest with you, would we like to have players like him? (Bleep), everybody does. But this kid is going to cost you a lot of money. If we figure out this guy is going to solve our problem, then (chairman) Jerry Reinsdorf will take a shot because Jerry wants to win.
"Jerry wants to win. (General manager) Kenny Williams wants to win. I want to win. Everybody wants to win. In the meanwhile, Kenny is going to go see the market and we are going to see how.
"I would love to have Podsednik back but that's not my call. It's between Podsednik's agent and Kenny and the White Sox, but we just need someone."
Guillen thought that injured closer Bobby Jenks would return, although he admitted that Matt Thornton has pitched well even in that role in place of Jenks.
"We don't want to trade him," Guillen said. "But in the meanwhile, Kenny's never going to say no to any trade if he thinks it's going to help this organization. I still think Bobby's going to be our closer next year.If something happens between now and next year, then we'll make a move.
Guillen, however, warned that Jenks and others much heed the words of chairman Jerry Reinsdorf during a Sept. 25 talk and report to spring training in top shape.
"Jerry said if you don't prepare yourself for next year, well let us know and we'll do something about it," Guillen said. "That didn't come from me, that came from the boss. Like I say, the warning is there."


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Top Reasons to Visit Cambria Suites
- From the hotel, visitors can drive to the University of Wisconsin – Madison, downtown Madison, and the city's lakes in 20 minutes or less.
- Reflect, the onsite restaurant, serves bistro fare for breakfast and dinner, as well as desserts from the Cheesecake Factory.
- Spacious suites feature flat-screen LCD TVs and a media hub for laptops and MP3 players.
- The hotel has a full-service bar and a 24-hour sundry store where guests can get gourmet salads and sandwiches.
- The hotel is especially convenient for business travelers, since it's located in the American Center business park, home to many corporate headquarters.
- Other nearby attractions include the Wisconsin State Capitol and East Towne Mall, which has more than 100 shops and about a dozen restaurants. Be sure to walk down Madison's State Street, a pedestrian avenue lined with restaurants, bars, and student hangouts.
Madison, Wisconsin: Capital City and College Town Surrounded by Water
Madison is nicknamed "The City of Four Lakes" because of its proximity to Lakes Mendota, Monona, Waubesa, and Kegonsa. All that water gives Wisconsin's capital city an almost coastal feeling—there are striking views almost everywhere you look.
A few blocks from picturesque Lake Monona, you'll find the capitol building, a white-domed structure that's the tallest building in Madison. You can take one of the free tours that leave hourly from the information desk or just gaze at the colorful murals painted on the rotunda 200 feet up. On Saturdays, make sure to check out the year-round Dane County Farmers' Market at Capitol Square. More than 160 local vendors at indoor and outdoor stands sell handmade cheeses and honey as well as farm-grown produce.
From Capitol Square, make your way down State Street, a popular pedestrian thoroughfare packed with quirky and upscale shops, ethnic eateries, and bookstores. It's also packed with students—State Street eventually leads to the campus of the University of Wisconsin–Madison.
Several museums worth visiting are located nearby. The Madison Museum of Contemporary Art is currently showing a collection of prints by famed American painter Ellsworth Kelly, and the Wisconsin Historical Museum has an exhibit of popular inventions and ideas born in Wisconsin.


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Mitch Miller, who helped shape musical tastes in the 1950s and early '60s as the head of the popular music division at Columbia Records and hosted the hit "Sing Along With Mitch" TV show in the early '60s while becoming one of the era's most commercially successful recording artists, has died. He was 99.
Mitch Miller: The obituary of music icon Mitch Miller in Tuesday's Section A said he produced the legendary "Charlie Parker With Strings" sessions while he was artists and repertoire director at Mercury Records. Jazz impresario Norman Granz, who had Parker under contract, produced the sessions. —
Miller died Saturday after a short illness at Lenox Hill Hospital in New York City, said his daughter, Margaret Miller Reuther.
A top oboist and English horn player who joined the CBS Symphony Orchestra in the 1930s and later recorded with legendary conductor Leopold Stokowski, Miller wound up his more than seven-decade musical career guest conducting symphony orchestras around the world.
A show business icon with his trademark goatee and baton, Miller is considered one of the most influential producers in the history of recording.
He made a career switch from playing to producing in the late 1940s by becoming A&R (artists and repertoire) director at Mercury Records, a small label that he turned into a major force in the industry.
At Mercury, Miller nurtured the careers of such singers as Vic Damone, Patti Page and Frankie Laine.
He also played on and produced the legendary "Charlie Parker With Strings" sessions and, as a technical innovator in the studio, he was a pioneer of overdubbing in the days before tape, recording from acetate to acetate on a 1949 Page recording of "Money, Marbles and Chalk" on which Page sings to herself.
But it was at Columbia Records from 1950 to the early 1960s that Miller became a recording industry legend.
As Columbia's high-profile A&R head responsible for single popular records, Miller produced a string of hits for Doris Day, Rosemary Clooney, Tony Bennett, Jo Stafford, Johnnie Ray, Jerry Vale, Johnny Mathis, the Four Lads, Laine, Damone and many other artists.
Within two years of his arrival at Columbia, Miller had moved the fourth-place label to first place in industry revenues.
In the world of pop music during the Truman and Eisenhower eras, Miller was the man song publishers besieged with new material.
By mid-1953, Columbia's popular records "artistic czar," as Miller was dubbed in a New Yorker profile, had overseen 51 hits in three years.
In a Billboard listing of the 30 most profitable records of 1952, 11 were released by Columbia — compared to five from archrival RCA-Victor, according to the New Yorker profile in June 1953.
In the previous 18 months, the only two records that had sold 2 million copies were produced by Miller: Johnnie Ray's "Cry" and "I Saw Mommy Kissing Santa Claus," sung by 12-year-old Jimmy Boyd.
As Columbia's A&R man for popular records, Miller chose which songs would be recorded, how they would be treated musically, and which singers and musicians would perform them. He then supervised the recording sessions.
Miller was well known for producing novelty tunes with sometimes quirky orchestrations (French horns, bagpipes and, most famously, the sound of a snapping whip on Laine's 1949 million-plus seller for Mercury Records, "Mule Train").
For Rosemary Clooney's 1951 novelty song for Columbia "Come On-a My House," a quasi-Armenian folk song, Miller used an amplified harpsichord.
He had to threaten to fire Clooney before she would record the gimmicky, fast-paced song, which he insisted she sing with a fake Armenian accent. But within weeks of its release, "Come On-a My House" was one of the biggest-selling records in the country and went on to sell more than a million copies.
"My secret," Miller once said of his flair for producing hits, "was that I was a trained musician; I knew whether something was good or a crock."
Not every singer in Columbia's stable of artists agreed with Miller's instincts.
In 1951, he convinced Frank Sinatra to record "Mama Will Bark," a duet with TV's busty blond actress-comedian Dagmar, on which barking and growling noises are heard.
The song, which reached No. 21 on the Billboard chart, is often cited as the worst song Sinatra ever recorded. The singer is said to have never forgiven Miller for "Mama Will Bark," and he and Miller argued constantly over material.
Sinatra, in fact, blamed Miller for the downward spiral of his singing career and in 1953 he left Columbia for Capitol Records.
Miller strongly disagreed with Sinatra's accusations then — and continued to do so decades later.
"When I came to Columbia, he was already at the nadir of his career," Miller told the Chicago Tribune in 1987. "He had lost his television show, he had lost his movie contract, he was chasing after Ava [Gardner], he was behind in his income taxes. In short, his records would not sell, his voice was gone."
Other singers, including Tony Bennett, who, while praising Miller for believing in his talent and boosting his career while at Columbia, also battled Miller over material.
In his 1998 autobiography, "The Good Life," Bennett mentioned how Miller always tried to push novelty tunes on him.
"As much as we liked each other," the singer wrote, "there was always tension between us. I wanted to sing the great songs, songs that I felt really mattered to people."
Leslie Uggams, who was discovered by Miller and signed to Columbia Records when she was 16 and later became a regular on his TV show, told The Times in 2002: "For a lot of people it was his way or no way, but I didn't have that experience, I just adored Mitch; he couldn't have been better."
She added, "We're talking about an era where most of the A&R men had been musicians themselves, so he had an incredible ear for the least note that was wrong: He could hear it. Mitch and I were always on the same page."
While at Columbia, Miller wasn't known just for producing mainstream hits.
He signed gospel singer Mahalia Jackson to her first major label contract and worked with top jazz musician Erroll Garner.
Although he became a legendary A&R man, Miller's musical tastes weren't in sync with the changing times as rock 'n' roll took control of the airwaves.
Miller reportedly turned down Elvis Presley in 1955, telling Presley's manager, "Colonel" Tom Parker, that Presley was asking for too much money. And he told Buddy Holly's manager that he wasn't interested in Holly's "That'll Be the Day," which went on to become a hit.
Simply put, Miller didn't like rock 'n' roll, which he referred to as "musical illiteracy." Time did not alter his opinion.
"I can't get interested in people who can only sing songs with three chords in them," he told the Boston Globe in 1996.
In 1958, Miller launched his own counter-assault of sorts on rock 'n' roll by recording his first sing-along album in which he led an all-male chorus singing old favorites such as "By the Light of the Silvery Moon." (The words to the songs were printed on the album cover so listeners could sing along with the chorus).
More than 22 million copies of the series of "Sing Along with Mitch" albums were sold and for nearly a decade Miller reportedly was the best-selling album artist, until the Beatles displaced him in 1974.
The success of Miller's recordings led to "Sing Along With Mitch," a top-rated musical-variety show that ran on NBC from 1961 to 1966.
The formula of the show, which overnight turned Miller into a national celebrity, was simplicity itself: The baton-wielding Miller led his Sing Along Gang in singing the old favorites and some current popular tunes, while the lyrics were superimposed on the screen.
The show included occasional guest stars and lavish production numbers and was a showcase for Miller discoveries Uggams, Diana Trask and Sandy Stewart.
"I think we struck a chord for a few reasons," Miller told the Chicago Tribune in 1987. "The music was good, the sound was good, we didn't use any canned applause, and, most important, we brought across the idea that you didn't have to be beautiful to be talented.
"I always made a point of hiring singers who were tall, short, bald, round, fat, whatever — everyday-looking guys, so that the people at home could empathize with the people on the screen.
"Also, we did songs that were part of people's everyday life, songs that had risen to the top over the years and stayed there."
The show made Uggams a household name. But some stations in the South refused to air "Sing Along With Mitch" because Uggams, an African American, was on it.
"I wasn't naive while we were doing the show," Uggams told The Times. But, she said, she didn't learn until decades later how much flak Miller received from the network and sponsors for having her on as a regular.
She said Miller first strongly refused requests to not have her be a regular. Having done that, he then refused requests to isolate Uggams from the other performers when she did her numbers, saying "She's part of the family."
"He took a lot of heat, to the point where he said, 'If she's not on it, no show,' said Uggams. "I owe him a lot."
Born July 4, 1911 in Rochester, N.Y., Mitchell William Miller was the son of Russian Jewish immigrants.
When Miller was 6, his father bought a piano, and Miller and his two older sisters took weekly lessons. At 11, he abandoned the piano in favor of the oboe, but only because he joined his junior high school orchestra so late that the oboe was the only instrument left.
He displayed a talent for the difficult instrument and when he was 14 he began taking oboe lessons at the Eastman School of Music in Rochester. A year later, he was good enough to join the Syracuse Symphony Orchestra.
In 1929, the 18-year-old Miller began attending the Eastman School on a full-time scholarship. He graduated cum-laude in 1932.
Miller was a member of the Rochester Philharmonic Orchestra from 1930 to 1933, followed by playing a season at the Metropolitan Museum of Art concerts in New York.
He was on the road playing in the orchestra of "Porgy and Bess" in 1935 when he was offered the job of solo oboist with the CBS Symphony Orchestra, under the direction of Bernard Herrmann. Miller stayed with the orchestra until 1947.
During those years, as his fame as an oboist grew, he also appeared locally with groups such as the Saidenberg Little Symphony and the Andre Kostelanetz and Percy Faith orchestras.
In 1947, Mercury Records hired Miller to supervise classical recordings at the small company. The first Miller-produced recording, Schubert's "Death and the Maiden" with the Fine Arts Quartet, won a Grand Prix du Disque in France. But he soon became the head of popular artists and repertoire.
At Mercury, when Miller wanted a "halo" around a singer's voice, engineer Robert Fine reportedly invented the first echo chamber.
"Everybody sounds great in the bathroom," Miller recalled in a 1996 interview with the Boston Globe. "So he put a speaker and a mike in a toilet, and that bit of added resonance gave us the halo we wanted. The other record companies went crazy trying to figure out what we'd done."
At Mercury, he began earning a reputation for what the press called his "fresh approach to popular music."
For Frankie Laine's "Mule Train," Miller dreamed up a musical background that the 1953 New Yorker profile of Miller described as "three guitars, to furnish inarticulate grunts and snarls, and two wood blocks, to furnish whip cracks, and by lavish use of an echo chamber. As a result, Laine sounded as if he were leading a cavalry change down an Arizona gulch."
"Mule Train" sold more than a million copies and helped put Mercury on the map.
Around the same time, Miller became musical director of Little Golden Records, a new adjunct of Simon & Schuster, which became one of the most successful children's recording companies.
The success of the records, which sold alongside the popular Golden Books, had much to do with Miller's theory that, as he told the New Yorker, "only wind and percussion instruments — no strings — should be used on children's records, and that the rhythm should be relentless."
After moving over to Columbia Records, Miller had to chose about 400 new songs a year for the label's artists to record. To do so, he listened to about 40 or 50 songs a day and held an open house in his office every Monday afternoon for song publishers wanting to show him new material.
Before launching his sing-along albums in 1958, Miller already had scored hit choral recordings as "Mitch Miller and His Gang," beginning in 1950 with his adaptation of the Israeli folk song "Tzena, Tzena, Tzena" and including his million-selling "The Yellow Rose of Texas," which spent six weeks at No. 1 in 1955. He also had a number of hit instrumentals, including the "Colonel Bogey March" from "The Bridge on the River Kwai."
After his popular TV series ended in 1966, Miller continued to make sing-along records and lead sing-along tours. He also launched a new phase of his career guest conducting symphony orchestras in America and Europe. He averaged 80 concerts a year.
"I've been very lucky; I worked at what I love, and very few people get that in life," he told the Boston Globe in 1996. "For me, music is still a turn-on."
At the Grammy Awards ceremony in 2000, Miller received a Trustees Award recognizing his "outstanding contribution" to the music industry.
In addition to his daughter Margaret, Miller is survived his other daughter, Andrea Miller; his son, Mitchell Miller; two brothers, Leon and Joseph; two grandchildren and two great grandchildren. Miller's wife, Frances, died in 2000.


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This week on Rizzoli & Isles, lesbians start to ship every other character but Rizzoli and Isles themselves. Like Mama Rizzoli and Lieutenant Cavanaugh. With a line out the door at the Division One Cafe, Lt. Cavanaugh stands up for Mama R when Stanley gets grumpy at his own success. Who has a good shipper name for them? Cavangela? Cavela? Cavazzoli? Whatever. It's all a distraction because the Rizzoli & Isles we've come to know and love to obsessively dissect the subtext of isn't the Rizzoli & Isles we're seeing on screen. Instead it's Rizzoli & Isles & the Beard of the Week. Which, besides being a kinda cumbersome title, is also a kinda boring show.
Luckily, before we all lapse into a coma, Maura jogs up in her running togs. Jane can't help but look because The Rack of God + Lycra Top = Glory, Glory Hallelujah. Eyes up, Det. Rizzoli.
Maura wants Jane to go "running" with her. Jane uses the "I already showered" excuse. See how when you put things in quotation marks it all seems dirtier? Like, it even works on the word "dirtier." Speaking of dirty, Maura sniffs Jane to verify her shower claim, because all platonic best friends smell each other in public places. Maura tells Jane she needs endorphins from physical activity because she is depressed. Hey, you know what gives you more endorphins than running? Yeah, you know what.
Jane says she's not depressed. Maura says she is depressed about Casey. Jane says it's about a ding in her car door. Maura says she's lying because her left eyebrow moved. And Maura should know because she has studied that face and it's magnificent features for hours on end. Traced its lines. Caressed its angles. Memorized its every move. Wait, where was I? Oh year, dumb boy stuff. Blah blah balh. I'm going to pull a Jane and just put my fingers in my ears until it's all over.
In comes Rondo to brighten the day. Jane is complaining about Mama R making bunny pancakes and he says "things taste better with a little shape." No quotation marks really needed there, that's dirty enough on its own. He tells Jane she shouldn't lose any more weight because he likes his detectives with "a little meat on them." The look on Maura's face is all, "Me too!"


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The Book Report Network
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May 26, 2016
Tosca Lee has a long list of award-winning, bestselling books to her name. Her latest entry, THE PROGENY, is the present-day saga of a 400-year-old war between the uncanny descendants of Elizabeth Bathory, the most prolific female serial killer of all time, and a secret society dedicated to erasing every one of her descendants. In this interview, Lee talks to Bookreporter.com's Melanie Reynolds about discovering her characters, how her own life spills over into the fiction she writes, and how much she appreciates her readers --- even if she has to pretend they don't exist in order to write honestly.
Nathaniel Philbrick is the award-winning, New York Times bestselling author of IN THE HEART OF THE SEA, among many other works of nonfiction. His latest book, VALIANT AMBITION, offers a unique perspective on the middle years of the American Revolution, and the tragic turn in the relationship between George Washington and Benedict Arnold. In this interview, Philbrick discusses the key things people don't know about history's most infamous traitor, including how his marriage influenced his politics and how Congress --- and Washington himself --- failed Arnold at a crucial moment.
May 19, 2016
Some people (everyone) refer to Mary Kay Andrews as the "Queen of the Summer Beach Read," while others (the Bookreporter staff) refer to her as "MKA." Whatever you happen to call her, one thing's for sure: She knows how to deliver a compulsively readable summer book. In this interview, MKA talks to Carol Fitzgerald, the president and co-founder of The Book Report Network, about THE WEEKENDERS, another trademark beach read...with a dark twist. She discusses the importance of female friendship, how her ever-optimistic outlook finds its way into all her stories, and tips for decorating her summer homes --- which make it no wonder she's so good at writing "house porn"!
Mary Kubica is the New York Times bestselling author of THE GOOD GIRL and PRETTY BABY, and her latest book, DON'T YOU CRY, continues her tradition of riveting, character-driven thrillers. In it, one woman's disappearance may or may not be related to the mysterious arrival of a stranger in a small town, although only one thing is certain: The past will always catch up to us in the end. In this interview conducted by Carol Fitzgerald, the president and co-founder of The Book Report Network, Kubica reveals why she is drawn to characters who are experiencing inner turmoil, the themes that keep coming up unexpectedly in her work, and a surprising detail about her personal life.
May 5, 2016
Laura Barnett is a writer, journalist and theater critic, whose first novel, THE VERSIONS OF US, is now available in the US. It's a story of how lives intersect, of possibilities and consequences that ring across the shifting decades, of how even the smallest choices can define the course of our lives. In this interview with Carol Fitzgerald, the president and co-founder of The Book Report Network, Barnett discusses the challenges and delights of writing three versions of the same story and which story she likes best. She also opens up about her own feelings regarding fate and why she may not be as much of a romantic as she'd thought.
EVERYONE BRAVE IS FORGIVEN, #1 New York Times bestselling author Chris Cleave's latest book, is a spellbinding novel about three unforgettable individuals thrown together by war, love and their search for belonging in the ever-changing landscape of WWII London. In this interview, Cleave reveals why he could not have written this book without the illuminating conversations he had with people who lived through the war, the one and only way a love letter can bridge the distance between two people, and why prestigious prizes should be awarded to all the books that remain unpublished.
Since her debut, Laura Lippman has won multiple awards and critical acclaim for her excellent crime novels, set in her hometown of Baltimore. Her latest book, WILDE LAKE, is as provocative and timely as ever; the New York Times bestselling author challenges our notions of memory, loyalty, responsibility and justice in this psychologically complex story about a long-ago death that still haunts a family. In this interview, Lippman talks to The Book Report Network's Sarah Rachel Egelman about why she prefers to write about strong women ("write what you know"), what she learned about rape culture while thinking about and researching this novel, and how WILDE LAKE parallels the Harper Lee classic TO KILL A MOCKINGBIRD --- while diverging in one key way.
Browse by last name: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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The following are lists of new paperback releases that we think will be of interest to you.
Copyright © 2018 The Book Report, Inc. All Rights Reserved.


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It's a play the brothers had practiced thousands of times in the backyard.
It's a play the brothers had practiced thousands of times in the backyard.
For years the siblings have alternated roles, with one blazing up the wing, centering a pass the other, who bangs it in for the win.
Tuesday night it was Jesse Wear's turn to be the hero, and older brother Jimmy was all-too-happy to play the supporting role as the senior delivered a perfectly-placed ball to his younger brother, who stiffly struck the game-winner to knock off visiting Niceville, 1-0, in overtime of the Class 4A region final.
"We practice it a lot," Jesse said of the game-winning play in the 87th minute. "We just pound the ball in the back of the net as much as possible.
"Jimmy had been sending them through the middle of the box all night, and I finally just looked him in the eyes and let him know this is the one, just pass it to me outside the 18, and I promise I'll score it. It was there, so I just hit it and it went in."
The victory adds another first to Forest's record-setting season as the 23-0-2 Wildcats collected their first overtime victory of the year. More importantly it sends Forest, who entered the postseason a combined 0-10 all-time in regional play, to the school's first-ever state semifinal after reeling off three straight 1-0 playoff victories.
According to the FHSAA website late Tuesday, the Wildcats are now scheduled to hit the road to face Lutz Steinbrenner, a 3-1 winner over Deltona Pine Ridge, Friday night at 7 for a shot at a state title berth.
"Now we're going to states," Jesse Wear said with a smile. "Hopefully we can finish it."
For the game's first 50-plus minutes it didn't look like the 'Cats would get that chance.
Something wasn't right from the opening kick. All the little things that the Wildcats had done so well for so long this season seemed to disappear early on their biggest stage.
The passes weren't quite as crisp. The shots were just slightly off-target. And the Wildcat defenders, who had consistently outworked most of their opponents over a program-record 22 wins coming in, were a step slow to the 50-50 balls.
Even the crowd, which had been big and boisterous in the district championship win over Vanguard and the two previous regional victories, seemed stuck in the same fog as the team.
Niceville, meanwhile, was happy to play along. The Eagles, who clearly lacked the ball skills of Forest's last opponent -- defending state champ Fleming Island -- employed a disciplined defense determined to run bodies at leading scorer Jimmy Wear and keep the 6-foot-3 Jackie Kay from playing anything in the air on their end.
First-year head coach Knox Strawbridge, who has still yet to lose a high school soccer game, pointed to his squad's quick turnaround as one reason for the slow start.
"Fleming Island definitely gave us a battle Saturday night, so it's a tough turnaround for us," the 23-year-old Strawbridge said. "We kind of had some heavy legs and were a little flat tonight, but at the end of the day they still battled through it.
"One of our (mottos) has been: bad skill days happen, but bad hustle days never happen. So they continued to hustle all game long, put the work in, and we got one when it counted."
The Wildcats shook off the rust late in regulation, and were decidedly the more active team in overtime, directly leading to the winning goal.
The Forest defense held Niceville (21-7-1) to just eight shots on the night as goalkeeper Lex Craggs posted his 16th personal shutout, and the 21st for the team this season. It's been more than a month since Forest allowed its last goal, and the Wildcats have surrendered just four all season.
Craggs recorded six saves in the win, while Niceville's Zach Bailey stopped nine of the Wildcats' 13 shots.
"We knew Niceville was gonna come in and battle us hard," Strawbridge said. "We knew that they had a great work ethic. But we expect everybody's best at this point."


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Coach Gus Malzahn's Auburn Tigers held a two-hour full-contact practice Wednesday morning at the Auburn Athletics Complex practice fields, highlighted by 45 minutes of situational scrimmage work. This was Auburn's fifth workout of the spring practice period.
"I told the guys after practice we've got a long way to go. Watching everything, we've got to get better at our assignments, as far as body language, as far as effort, everything," Malzahn said afterward.
"But the great thing is that the next couple of practices, we should see improvement. We've got most of our stuff in now and we should start seeing some improvement.
"We're trying to get them to think like we want them to think, play like we want them to play, everybody be together with great effort, great body language, the mental and physical toughness. We're straining them – they're out of their comfort zone, which is good – but after five practices, we should start seeing improvement."
Auburn returns to the practice field Friday morning. The Tigers are in their second week of spring workouts leading up to A-Day on Saturday, April 20, scheduled for a 1 p.m. CT kickoff at Jordan-Hare Stadium. View complete information for all the events surrounding A-Day and purchase tickets at AuburnTigers.com/aday.
INFORMATION SOURCE: Auburn Athletics Dept.


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News Release
Tokyo, November 28, 2013, Ricoh is launching a project to develop a series of new online pieces in collaboration with "frontline creators," people who map out the future in the form of fiction, manga, and video games. Based on the concept of freely imagining the year 2036, we explore different scenarios and ways in which people will work and communicate with one another in the future. Ricoh researchers follow up by talking again to the creators about the futures they have mapped out, to help expand their visions further.
In the first story, a science fiction author Hideaki Sena, known for his novel "Parasite Eve" takes his turn in imagining the year 2036. He is due to be followed by a well known manga artist and then a popular game creator. Throughout this three-part series, young and energetic illustrator Zain visualizes images of the future conjured up by each of the creators. Her sophisticated illustrations will bring the creators' visions to life, and will be featured as content on the website, alongside the conversations with researchers.
Ricoh is constantly proposing work styles that offer people new value, at the interface of people and information. That has been part of Ricoh's DNA since the 1950s, when the company pioneered "Office Automation." Meanwhile we have all been enthralled by images of the near future since we were children, as fiction, manga and video games have continued to fire our imaginations. Bringing together researchers, whose job is to conceptualize new products and services with an eye to the future, in collaboration with creators, who map out the future with their imagination, will help to generate even more creative ideas and act as a driving force for change.
The corporate tagline "imagine. change." embodies Ricoh's goal of leveraging the collective imaginations of its people to drive change and deliver new value to customers.
Ricoh is a global technology company specializing in office imaging equipment, production print solutions, document management systems and IT services. Headquartered in Tokyo, Ricoh Group operates in about 200 countries and regions. In the financial year ending March 2013, Ricoh Group had worldwide sales of 1,924 billion yen (approx. 20 billion USD).
The majority of the company's revenue comes from products, solutions and services that improve the interaction between people and information. Ricoh also produces award-winning digital cameras and specialized industrial products. It is known for the quality of its technology, the exceptional standard of its customer service and sustainability initiatives.
Under its corporate tagline, imagine. change. Ricoh helps companies transform the way they work and harness the collective imagination of their employees.
For further information, please visit www.ricoh.com/about/
Information in the news releases is true and accurate at the time of publication.
Manufacture, sales, price and specifications of products may be subject to change.


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Punk star Joey Ramone, left, in 1995 with his long time hairdresser and friend, Hugh Mack Dill.
Joey Ramone trusted his mane to this man
By Ronda Kaysen
Joey Ramone, the front man of the iconic East Village punk band the Ramones, took his hair very seriously.
For 17 years, until his death in 2001, Ramone relied on a sprightly East Villager named Hugh Mack Dill to transform his unruly mane of curly black hair into, well, an unruly mane of curly black hair.
Dill, known to his friends as Huck, has been cutting hair for 34 years. Now 55, the Paul Mitchell-trained stylist met Ramone while he was cutting hair at the now defunct Village VIP on Third Ave. and E. 10th St.
Ramones mother, Charlotte Lesher, recommended Dill her own hairdresser at the time to her rock star son. If he likes it, hell be with you for life, she told the fledgling stylist, according to Dill.
And like it he did. Dill, a native of Scranton and Wilksbury, Penn., who moved to New York in 1979 with his own aspirations of a career in show biz found himself washing and blow-drying Ramones hair backstage on David Letterman and whisked away with the punk band and their entourage on star-studded European tours where he brushed shoulders with Keith Richards and partied with Ronnie Spector of the Ronettes.
It was a lot of fun, he demurred, during an interview at a deli in Midtown near his current studio, Jean-Claude Biguine on W. 45th St.
Hugh [Dill] loved being a part of that whole gestalt, the whole backstage show thing and getting Joey [Ramone] ready. He knew what Joey wanted and he was good for him, Ramones mother, Lesher, said in a telephone interview. Ramone and his mother lived in the same E. Ninth St. apartment building, around the corner from Village VIP, at the time.
Ramone did not perfect the overgrown, shaggy dog look on his own, Dill says. It was long and straight, I thought it should be more rock n roll, the stylist said of his first encounter with Ramone. He chopped the rock star a fringe of heavy bangs and layered his black locks, bringing out the curls. Voila, punk rock!
Ramones mother, however, disagrees about who crafted her sons quintessential look. Joey more or less told Hughey what he wanted and you could not cut too much hair. He liked his hair long and Hughey understood him, Lesher explained. Hugh cut Joes hair the way Joe wanted it and perhaps that created the kind of look that kept Joey coming back.
Regardless of who created the ragged look, Lesher agrees with Dill about the relationship that followed: It was a happy union between the two of them, they became good friends, she said.
The union was so chummy that Ramone gave Dill a nod in the acknowledgements page of the bands album Mondo Bizarro. (I was part of history, Dill said.)
When the corner of Bowery and E. Second St. was officially renamed Joey Ramone Pl. in 2003, Dill gave a speech for his late client. He did the same for him two years earlier at a memorial service for the singer at CBGB, shortly after Ramone succumbed to cancer in 2001.
I never knew he was sick, he said. He kept it to himself.
Dill, a St. Marks Pl. resident since 1987, is not the sort of fellow one would imagine carousing with rock stars. A petite wisp of man, with an oval face, wire-framed glasses and large ears that are as enthusiastic as his personality, he gushes about his life and the people who have touched it. You must mention my grandmother Mae McCarthy! he gushed. (She gave him his nickname, Huck.) He said the same about his Aunt Mary Jule McCarthy, whom he described as the Mary Poppins of the entire world.
Donning a black Hairspray baseball cap (he ushered at the Broadway performance), Dill gets easily choked up retelling his own trials and travails in show business. Ive struggled so much in my life, he said, clutching his chest.
Dill attempted his own career in the theater in part to fulfill a promise he made to his mother, Mary Jean McCarthy Dill, a thespian at Dills hometown playhouse. She died of cancer when Dill was 16. I want to make it because she never had the chance, he said tearfully.
If you could hear the singing voice that comes out of that little fellow, you would never believe it, said longtime client and fellow actress Paula Martin. He has a Broadway show musical voice.
Mostly, however, Dill has made his mark cutting hair for the stage. Ive been touched by God. He touched me on the shoulders and said, You are going to be a great hairdresser, he explained.
He cut Gaylen Rosss hair on the set of the original Dawn of the Dead in 1978 and also appeared in the film as one of the zombies. He did not cut his own hair for the role, however. In addition to cutting hair for the 2003 Tony Awards and Picnic at the Roundabout Theater, he has cut his fair share of musical hair. He cut the musician Michael McDonalds hair and in keeping with the Ramones spirit, Dill began cutting fellow Ramone band member Marky Ramones hair recently and his wifes hair, too.
Cutting hair, Dill says, may not be a life in the spotlight, but it has its perks. If I never make it in showbiz, at least I have this, he said of Joey Ramones hair. I dont want to go through life and not mean anything.
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Jets agree with former Ravens kicker
Cundiff signs with New York on Tuesday
Jets agree with former Ravens kicker
Cundiff signs with New York on Tuesday
The New York Jets have agreed to terms on a one-year deal with veteran kicker Billy Cundiff, who will compete with Nick Folk for the job in training camp.
Cundiff worked out for the Jets on Monday and was signed Tuesday. He was last with the San Francisco 49ers, who signed him during the playoffs last January to compete with a struggling David Akers but didn't play.
The Jets are the 12th organization Cundiff has been with since being signed as an undrafted free agent by Dallas in 2002. A Pro Bowl pick in 2010 with Baltimore, Cundiff is perhaps best known for missing a potential tying 32-yard attempt in the closing seconds against New England in the AFC championship game in 2012.
The Jets also released kicker Brett Maher.


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Arsenal Football Club has a reputation for paying its players astronomical wages, so it came as a surprise to see that not a single one of Arsene Wenger's charges featured in the latest Premier Leagur rich-list.
A recent study by wealthx.com - which revealed the 10 wealthiest footballers currently playing in England's top-flight - was dominated by stars from Manchester United and Chelsea, with Manchester City and Liverpool featuring also.
Even more interesting, was the fact that the shortlist was heavily weighted in favour of English born individuals, despite the ever-increasing contingent of foreign players plying their trades in the Premier League.
With that in mind - and off the back of last week's released figures, GiveMeSport brings you a breakdown of the top 10 richest foreigners in the division.
Click through the tabs - above or below - to see the results from 10 to 1, and leave a comment in the message box provided with any surprise inclusions or omissions.
Do YOU want to write for GiveMeSport? Get started today by signing-up and submitting an article HERE: https://www.givemesport.com/writeforgms


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The American Library Association (ALA) once again released it's list of books which were most often challenged by the public to be banned from libraries in America. As usual most of the books are children's or YA titles and are challanged by parents who believe they are targeted to an age group too young for the content.
Top 10
1. And Tango Makes Three by Peter Parnell and Justin Richardson
Reasons: Homosexuality, religious viewpoint, unsuited to age group
2. The Absolutely True Diary of a Part-Time Indian by Sherman Alexie
Reasons: Offensive language, racism, sex education, sexually explicit, unsuited to age group, violence
3. Brave New World by Aldous Huxley
Reasons: Insensitivity, offensive language, racism, sexually explicit
4. Crank by Ellen Hopkins
Reasons: Drugs, offensive language, sexually explicit
5. The Hunger Games by Suzanne Collins
Reasons: Sexually explicit, unsuited to age group, violence
6. Lush by Natasha Friend
Reasons: Drugs, offensive language, sexually explicit, unsuited to age group
7. What My Mother Doesn't Know by Sonya Sones
Reasons: Sexism, sexually explicit, unsuited to age group
8. Nickel and Dimed: On (Not) Getting By In America by Barbara Ehrenreich
Reasons: Drugs, inaccurate, offensive language, political viewpoint, religious viewpoint
9. Revolutionary Voices: A Multicultural Queer Youth Anthology edited by Amy Sonnie
10. Twilight by Stephenie Meyer
Reasons: Religious viewpoint, violence


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This content has been marked as final. Show 4 replies
1. Re: Problems with @Inject annotationDominik Obermaier Nov 17, 2011 6:43 AM (in response to Rene Lenno)
Do you Inject your AnyPresenter when using it? It is important, that the container is responsible for managing the Presenter. Dependendy Injection will not work if you do e.g. "new AnyPresenter()".
2. Re: Problems with @Inject annotationChristian Sadilek Nov 17, 2011 10:54 AM (in response to Rene Lenno)
For classses other than the EntryPoint (like your AnyPresenter) you need an @ApplicationScoped annotation, and like Dominik mentioned above, you also need an injection point to use them.
3. Re: Problems with @Inject annotationRene Lenno Nov 18, 2011 2:52 PM (in response to Rene Lenno)
Thanks for the advice. I will fix that next week.
4. Re: Problems with @Inject annotationDavid Hahn Feb 22, 2012 11:24 AM (in response to Rene Lenno)
did you solved the problem already?
I tried the above mentioned solution (injecting the presenter and use @ApplicationScoped for it) without success
Could you also provide some proper snippets?


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Make A Bold Statement! Order Your Own Iconic Kiss Sofa Today!
Jan 2, 2013 12:01:14 PM
The Red Kiss Chair is a modern classic piece. This chair is covered in red fabirc. As the name implies, the kiss chair's seat and back are made in the shape of a pare of kissing lips. When the chair is viewed from the front, it looks exactly like lips that are ready for a kiss. The chair's soft curve make it a very comfortable place to sit and relax. The bottom of the chair rests on the ground. The kiss chair does not have armrests.
This sofa chair is a contemporary peice of furniture and will be an unusual accent in a room. It is constructed out of high quality materials and is made to last. The Kiss Chair has a wooden inner frame and is suitable for use inside home.
The seat of the kiss chair is 41 inches wide and the chair is 30 inches deep. This size provides ample room for someone to sit quite comfortably without feeling cramped. A person of any size occupying this accent chair will be able to stretch and change positions with ease. The absence of armrests contrbutes to the freedom of movement that the kiss chair allows.
The list price for this lip kiss chair is $800 but it can be purchased for $499 here at EZmod!
Everybody knows the Bocca Sofa, used by numerous hotels and restaurants all over the world. But do you know its real history? Who created it, redesigned it…?
We decided to investigate a little further and discovered some interesting things.
Original Design by Dali
The Bocca history started back in 1936 with Salvador Dali. It was first edited by the Italian designer, Gufram. Influenced by two artistic movements, the Dadaism and Surrealism mouvements, Dali was impressed by the lips of Mae West, an American actress from the 1930′s. Not only did Dali create the Sofa, he even reproduced the full body of Mae West through a complete room.
Remake by Studio 65 (We have our reproductions to this particular model)
Over the years, this sofa has held various names: first called Sofa Mae West, it became the Bocca or Lips Sofa. It is considered an emblem of contemporary art. Despite being a unique piece of art, in 1971 The Studio 65, an Italian design and architect company, decided to produce 1 000 copies of the sofa as a tribute to Salvador Dali by using the lips of Marylin Monroe. This version is the one which is now used in several hotels, including the Costes K Hotel in Paris.
Porcelain version by Bertrand Lavier
Get your own, custom made! Lead time is 8-12 to have manufactured. Take a look at the colors we offer in both cotton and cashmere below:
If you have any questions about obtaining your own iconic piece of Modern Design Furniture, please contact us at 1-866-630-6161 x222
Emily G
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