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if you are planning to have an operation (including dental
surgery). This is because some anaesthetics can lower your
blood pressure and it may become too low.
if you have a build up of fluid in your abdomen (ascites).
if you have diabetes.
if you have a collagen vascular disease.
if you undergo LDL apheresis with dextrane sulphate.
VASCACE 1mg TABLETS
CILAZAPRIL 1mg TABLETS
VASCACE 2.5mg TABLETS
CILAZAPRIL 2.5mg TABLETS
VASCACE 5mg TABLETS
CILAZAPRIL 5mg TABLETS
(cilazapril monohydrate)
Your medicine is known by the above names but will be referred to
as Vascace throughout the following leaflet.
Information for other strength of Vascace i.e Vascace 0.5mg
Tablets also may be present in this leaflet.
If any of the above apply to you, or if you are not sure, talk to your
doctor or pharmacist before you take Vascace.
You must tell your doctor if you think you are (or might become)
pregnant. Vascace is not recommended in early pregnancy and
must not be taken if you are more than 3 months pregnant, as it
may cause serious harm to your baby if used at that stage (see the
sections on 'Pregnancy' and 'Breast-feeding').
Read all of this leaflet carefully before you start taking this
medicine because it contains important information for you.
Keep this leaflet. You may need to read it again.
Vascace is not recommended for use in children.
If you have any further questions, ask your doctor or
Other medicines and Vascace
This medicine has been prescribed for you. Do not pass it on to
others. It may harm them, even if their symptoms are the same
as yours.
If any of the side effects gets serious, or if you notice any side
effects not listed in this leaflet, please tell your doctor or
Please tell your doctor or pharmacist if you are taking or have
recently taken any other medicines. This includes medicines
obtained without a prescription and herbal medicines. This is
because Vascace can affect the way some medicines work. Also
some medicines can affect the way Vascace works.
In particular, tell your doctor or pharmacist if you are taking any of
the following medicines:
Diuretics ('water tablets') — see 'High blood pressure
(hypertension)' in section 3 on 'How to take Vascace'.
Any medicines used to treat high blood pressure.
Medicines called 'non-steroidal anti-inflammatory drugs'
(NSAIDs). These include aspirin, indometacin and ibuprofen.
Insulin or other medicines used to treat diabetes.
Lithium (used to treat depression).
Steroid medicines (such as hydrocortisone, prednisolone and
dexamethasone) or other medication which suppress the
immune system.
Vascace contains a medicine called cilazapril. This belongs to a
group of medicines called 'ACE inhibitors' (Angiotensin Converting
Enzyme Inhibitors).
Potassium supplements (including salt substitutes) or
potassium-sparing diuretics.
Aldosterone antagonists.
Vascace is used to treat the following:
High blood pressure ( hypertension)
Anaesthetics, narcotics.
Chronic (long-term) heart failure.
Tricyclic antidepressants, antipsychotics.
It works by making your blood vessels relax and widen. This helps
to lower your blood pressure. It also makes it easier for your heart
to pump blood around your body if you have chronic heart failure.
Gold compounds (used to treat rheumatoid arthritis).
Your doctor may give you other medicines as well as Vascace to
help treat your condition.
Vascace with food and drink
What is in this leaflet:
1. What Vascace is and what it is used for
2. Before you take Vascace
3. How to take Vascace
4. Possible side effects
5. How to store Vascace
6. Further information
Tell your doctor or pharmacist if you are taking food supplements
that contain potassium.
Do not take Vascace
if you are allergic (hypersensitive) to cilazapril or any of the
other ingredients of Vascace (listed in section 6: Further
if you are allergic (hypersensitive) to other ACE inhibitor
medicines. These include captopril, enalapril, lisinopril and
if you have had a serious side effect called angioedema after
taking other ACE inhibitor medicines, hereditary angioedema or
angioedema of unknown cause. The signs include swelling of
the face, lips, mouth or tongue.
if you are more than 3 months pregnant. (It is also better to
avoid Vascace in early pregnancy – see the sections on
'Pregnancy' and 'Breast-feeding'.)
Do not take Vascace if any of the above apply to you. If you are not
sure, talk to your doctor or pharmacist before taking Vascace.
You must tell your doctor if you think you are (or might become)
pregnant. Your doctor will normally advise you to stop taking
Vascace before you become pregnant, or as soon as you know you
are pregnant, and will advise you to take another medicine instead
of Vascace. Vascace is not recommended in early pregnancy, and
must not be taken when more than 3 months pregnant, as it may
cause serious harm to your baby if used after the third month of
Tell your doctor if you are breast-feeding or about to start breastfeeding. Vascace is not recommended for mothers who are breastfeeding, and your doctor may choose another treatment for you if
you wish to breast-feed, especially if your baby is newborn, or was
born prematurely.
Driving and using machines
Warnings and precautions
Check with your doctor or pharmacist before taking Vascace
You may feel dizzy while taking Vascace. This is more likely to
happen when you first start treatment. If you feel dizzy, do not drive
or use any tools or machines.
if you have a heart problem. Vascace is not suitable for people
with certain types of heart problem.
if you have had a stroke or have problems with the blood supply
to your brain.
if you have severe liver problems or if you develop jaundice.
if you have kidney problems or have a problem with the blood
supply to your kidneys called renal artery stenosis.
if you are on kidney dialysis.
if you have recently been vomiting or have had diarrhoea.
if you arc on a diet to control how much salt (sodium) you take
Always take Vascace exactly as prescribed. You should check with
your doctor or pharmacist if you are not sure.
if you are planning to have treatment to reduce your allergy to
bee or wasp stings (desensitization).
Vascace contains
Vascace contains lactose, which is a type of sugar. If you have an
intolerance to lactose, talk to your doctor before taking this
Taking this medicine
Take one tablet of Vascace each day.
Swallow each tablet with a drink of water.
It does not matter what time of day you take Vascace. However,
always take it around the same time.
Vascace may be taken before or after a meal.
High blood pressure (hypertension)
Rare (affects less than 1 in 1,000 people)
The usual starting dose for adults is 1 mg per day.
Your doctor will then increase your dose until your blood
pressure is under control - the usual maintenance dose is
between 2.5 mg and 5 mg per day.
Blood tests showing a decrease in the number of red blood
cells, white blood cells or platelets (anaemia, neutropenia,
agranulocytosis and thrombocytopenia)
A type of severe allergic reaction (anaphylaxis)
If you have problems with your kidneys, or if you are elderly,
your doctor may give you a lower dose.
Cerebral ischaemia, transient ischaemic attack, ischaemic
stroke (may occur if blood pressure becomes too low)
If you are already taking a diuretic ('water tablets'), your doctor
may tell you to stop taking it about 3 days before you start
taking Vascace. The usual starting dose of Vascace is then 0.5
mg per day. Your doctor will then increase your dose until your
blood pressure is under control.
Myocardial infarction (may occur if blood pressure becomes too
Irregular heartbeat
Interstitial lung disease
A disorder resembling systemic lupus erythematosus
Chronic heart failure
Pins and needles or numbness in the hands or feet
The usual starting dose is 0.5 mg per day.
Your doctor will then increase the dose - the usual maintenance
dose is between 1 mg and 2.5 mg per day.
A feeling of fullness or a throbbing pain behind the nose,
cheeks and eyes (sinusitis).
If you have problems with your kidneys, or if you are elderly,
your doctor may give you a lower dose.
Soreness of your tongue
Pancreatitis (inflammation of the pancreas). The signs include
severe pain in the stomach which spreads to your back
Changes in the way your liver or kidneys work (shown in blood
and urine tests)
Liver problems such as hepatitis (inflammation of the liver) or
liver damage
Severe skin reactions including blistering or peeling of skin
Increased sensitivity to light
Hair loss (which may be temporary)
Loosening or separation of a nail from its bed
Breast enlargement in men
If you have liver cirrhosis without ascites, your doctor will not
give you a dose of more than 0.5 mg per day and will carefully
monitor your blood pressure.
If you take more Vascace than you should
If you take more Vascace than you should, or if someone else takes
your Vascace tablets, talk to a doctor or go to a hospital straight
away. Take the medicine pack with you. The following effects may
happen: feeling dizzy or light headed, shallow breathing, cold
clammy skin, being unable to move or speak and a slow heart beat.
If you forget to take Vascace
If you forget to take a dose, skip the missed dose. Then take
the next dose when it is due.
Do not take a double dose (two doses at the same time) to
make up for a forgotten dose.
If you have any further questions on the use of this product, ask
your doctor or pharmacist.
If any of the side effects gets serious, or if you notice any side
effects not listed in this leaflet, please tell your doctor or pharmacist.
Do not use Vascace after the expiry date which is stated on the
carton and blister strip. The expiry date refers to the last day of
that month.
Tablets should not be thrown in your bin or put down the drain.
If they are out of date, or no longer suitable for you, return them
to your pharmacist.
Do not store above 25°C.
Store in the original package.
Like all medicines, Vascace can cause side effects, although not
everybody gets them.
Severe reactions:
If you have a severe reaction called angioedema, stop taking
Vascace and see a doctor straight away. The signs may include:
Sudden swelling of the face, throat, lips or mouth. This can
make it difficult to breathe or swallow.
Blood problems reported with ACE inhibitors include:
Low numbers of red blood cells (anaemia). The signs include
feeling tired, pale skin, fast or uneven heart beat (palpitations)
and feeling short of breath.
What Vascace contains
Vascace 1mg Tablets: each tablet contains 1mg of the active
ingredient, cilazapril (as the monohydrate).
Low numbers of all types of white blood cells. The signs include
increased number of infections, for example in your mouth,
gums, throat and lungs.
Vascace 2.5mg Tablets: each tablet contains 2.5mg of the
active ingredient, cilazapril (as the monohydrate).
Low numbers of platelets in your blood. The signs include
bruising easily and nose bleeds.
Vascace 5mg Tablets: each tablet contains 5mg of the active
ingredient, cilazapril (as the monohydrate).
The other ingredients in both strengths of tablets are: lactose,
maize starch, sodium stearyl fumarate, hypromellose, talc and
titanium dioxide (E171).
Feeling dizzy
Vascace 1mg Tablets also includes iron oxide (E172).
Vascace 2.5mg Tablets also includes red and yellow iron oxide
Feeling tired
Other possible side effects:
Common (affects less than 1 in 10 people)
Uncommon (affects less than 1 in 100 people)
Low blood pressure. This may make you feel weak, dizzy or
light-headed and may lead to blurred vision and fainting.
Excessive lowering of blood pressure may increase the chance
of heart attack or stroke in certain patients
Vascace 5mg Tablets also includes red iron oxide (E172).
What Vascace looks like and contents of the pack
Vascace 1mg Tablets are pale yellow tablet marked 'CIL 1' on one
side with a breakline on the other.
Vascace 2.5mg Tablets are reddish yellow tablet marked 'CIL 2.5'
on one side with a breakline on the other.
Vascace 5mg Tablets are reddish brown tablet marked 'CIL 5' on
one side with a breakline on the other.
Increased heart rate
Feeling weak
Pains in the chest
Breathing problems, including shortness of breath and tightness
in the chest
Procured from within the EU and repackaged by the Parallel Import
Product Licence holder: Chemilines Ltd, Chemilines House,
Alperton Lane, Wembley, HA0 1DX.
A runny or blocked nose and sneezing (rhinitis)
Dry or swollen mouth
Lack of appetite
This product is manufactured by F. Hoffmann-La Roche A.G.,
Grenzacherstrasse 124, CH-4070 Basle, Switzerland.
Change in the way things taste
Diarrhoea and vomiting
Skin rash (which may be severe)
Muscle cramps or pain in your muscles or joints
Leaflet revision date: 26 November 2012.
Vascace is a registered trade mark of Roche Products Limited, UK.
Sweating more than usual
Sleeping problems
Tablets are available in blister packs of 28 and 30.
Product Licence holder
PL No. 8747/0670
PL No. 8747/0671
PL No. 8747/0672
Vascace 1mg Tablets
Vascace 2.5mg Tablets
Vascace 5mg Tablets
670-2 LEAFLET Vascace 20121126
Further information
Always consult your healthcare provider to ensure the information displayed on this page applies to your personal circumstances.


text:
Infectious is a good word to describe the energy of Kristin Chenoweth.
With her new holiday CD, "A Lovely Way To Spend Christmas," and her
When we asked how the songs she'll be performing on the TNT special were chosen she said the producers, "listened to the album and they picked them for me. And I love the songs they chose for me but I'm a little disappointed that I don't get to do "Do You Hear What I Hear?" which is my favorite track on it but … who knows what everybody else is doing that has to fit into the program. I'm excited to do the classic "I'll be Home For Christmas" and then, of course, "What Child is This?" is beautiful so I think doing it with a full orchestra — that's
On the subject of the long-anticipated biopic of legendary singer Dusty
Though the project is still some time away from actually lensing (she didn't
One of the other reasons she feels so strongly about audience learning more
With her undeniable talent stretching across many mediums, Chenoweth had a
Chenoweth (left) with Idina Menzel in Broadway's Wicked

subset: commoncrawl


text:
Fitness icons, illustration
F019/6886 Royalty Free
Please login to use the price calculator
Credit: MACROVECTOR / SCIENCE PHOTO LIBRARY
Release details: Model release not required. Property release not required.
Keywords: achievement, apple, application, artwork, bar, barbell, body, bodybuilding, building, cgi, club, collection, design, diet, digitally generated, dumbbells, equipment, exercises, fitness, gym, gymnasium, healthy, heart, hygiene, icons, illustration, lifting, physical, pictogram, power, program, programme, progress, protein, rate, scales, slimness, sport, strength, training, vector, weight
Licence fees: A licence fee will be charged for any media (low or high resolution) used in your project.


text:
Presented by Old Fort Bay Sotheby's International Realty
For more information go to http://s.sir.com/2ccCEDd
Capturing the essence of Island living in grand style while still retaining a cozy intimate feel this 7,000 sq. ft. home offers everything a beachfront homeowner would need in this exclusive gated community of Old Fort Bay. Built in 2004 with 5 bedrooms and 6 bathrooms plus a media room all situated on a 1 acre lot offering 150'of sandy beachfront. Designed to take advantage of the scenic beach and sea views at every opportunity this well designed house provides an ocean view from the master bedroom on the 2nd floor with its mahogany lined walls & bookshelves. The guest bedrooms are bright and spacious all with breathtaking views of the beach and the canal. Impeccably well designed kitchen with breakfast nook, butler's pantry and stainless steel appliances leading out to a sweeping outdoor covered patio and swimming pool and access gate to the beach. In addition is a pool house with shower and bathroom facilities. This fabulous beachfront home is a stones throw away from the exclusive Old Fort Bay Club. Walk the beach and enjoy the best of gourmet dining under the stars or in an intimate setting. Additional features include a guest apartment, laundry, generator with auto transfer switch plus the use of a dock slip which can accommodate a boat up to 40′.
Property ID: W833DK


text:
When David Raines, Coke's VP-integrated communications, explained that Publicis Groupe's Starcom and MediaVest had the best ability to think through the issues facing Coca-Cola (such as media clutter and audience fragmentation), he sent a clear message: that lip service to the important changes taking place in media today would no longer suffice.
The days of trotting out the "new-media guy" for the pitch, and then putting him back in his box and going back to business as usual after the assignment is won, are over.
It is almost a cliche to write that digital technology is rapidly changing marketing and media. Anyone with children who have access to a PC and an iPod knows consumer control and convenience is at the root of it. The next generation will behave very differently than their cable-TV era parents. It's already happening. TiVo is the Neanderthal Man of consumer electronics. We are evolving rapidly.
The irony of the dismantling of mass media is that brands will matter more, not less, in this new era. Consumer control is a huge force toward commodity pricing. Brands become an even more important fortress against the commoditizing effects of the Internet and other digital technologies. As Spence Hapoienu, founder of database marketing firm Insight Out of Chaos, has written, "Consumers have learned to rule with an iron whim because of the power of choice and the abundance of information."
Marketers must begin to organize around this control shift. Devising responses cannot be left to middle managers. They won't do it. Senior management, many of whom may be uncomfortable with change and with new technologies, must demand that middle managers support innovation, must derive new measures to understand what is happening and then must hold people accountable.
As a part of this process, senior marketing managers must carefully define what they can expect from their agency partners, which partners add thought leadership and which are simply going through the motions. If these managers expect their agencies to be a part of the solution, they must really reward the agency for getting in the game and driving innovation, and punish them when they don't. Change involves risk. Managers unable to deal with risk must go.
Substantive progress almost always occurs from the top down, when the CEO and team are aligned around a brand- and business-building strategy that leads to marketing innovation. Bottom-up change is too slow. It happens on the margins, in experimental ghettos. When we look at the most innovative players, we see engaged CEOs (often risk-tolerant founders) who simply do not tolerate business-as-usual approaches. Examples:
Three CEOs take charge
JetBlue drives its marketing proposition through everything: its cost structure to its Web site to its distribution strategy. The brand has become a destination online, allowing CEO David Neeleman to stay clear of Web intermediaries such as HotWire and Expedia. Southwest is the granddaddy of this approach, but JetBlue has taken it to a new level by doing 60% of its bookings online.
When Gary Loveman came to Harrah's in the late `90s, the casino was falling behind larger competitors. He developed a new business strategy based on leading-edge retail-marketing principles, rooted in customer analytics and loyalty while investing heavily in the brand. Its eTotal Rewards program is among the most innovative in any industry.
BMW CEO Helmut Panke speaks passionately about the "promise aspect" of his brand, the fact that premium pricing leads to better engineering and "content," and the authenticity aspect of BMW's marketing strategy (think BMW Films on the Web). While the Internet has dramatically shifted power in the car buyer's direction, BMW sells its cars at or near the Manufacturer's Suggest Retail Price.
Three CEOs. Three different categories.
It is no coincidence that each of these companies leads its industry in financial performance. By recognizing the control shift in consumer behavior and the impact digital tech- nology is having on customers, each of these companies is breaking further from the pack.
Now, as Coca-Cola Co. enters the fray, we shall begin to see how one of the world's largest packaged goods brands will lead in a whole new category.
Martin Nisenholtz is CEO, New York Times Co.'s New York Times Digital.


text:
Triumph 1500 Spitfire
Price: - Item location: Amarillo, Texas, United States
- Condition: Used
- Make: Triumph
- Model: Spitfire
- Type: Convertible
- Year: 1974
- Mileage: 66,411
- Color: Red/Grey
- Number of cylinders: 4
- Transmission: Manual
- Drive type: FWD
- Interior color: Red/Black
- Options: CD Player, Convertible
- Vehicle Title: Clear Want to buy? Contact seller!
1974 Triumph Spitfire1974 Triumph 1500 Spitfire
- 4-Speed Transmission
- 66,411 Miles
- Clean Title
This classic apple red Spit has a reputation for double takes and eye candy for not only car lovers but drivers who can't help but stare. Winningmultiple local awards this TriumphSpitfire will be your endless project making it thebest Triumph in town.
Garage kept and covered this paint job is close to being perfect, with the grey racing strip adding to thecustom perfection.
Under the hood is what's most impressive. Adding the list of parts below was crucial to making this car run as good as it looks.
- New Starter
- NewAlternator
- New Fuel Pump
- New Slotted Cross Drilled Rotors
The interior is the most unique part of the Spit. With new custom seats and added row bars itdefinitelycompetes with the musclelook. Although itdoesn't have theoriginal stereo we canpromise you plugging in your favorite song viaiPod will suit you better on the road.Theoriginal dashboard withtheoriginal emblem is stillintact, reminding you why the Triumph Spitfire isthe best car around.
There are many added features that give this modeled 1500 Spitfire it's good looks. From the custom Triumph wheel caps to the rare paint to match hardtop/new convertible top boot this car has manygifts to givewhile driving down yourfavorite strip.
Please Call or Text ANY and all questions! Do Not Bid unless you have all yourquestions answered. Even though thisSpitfire has been taken care of it is still a antique vehicle.Johnny Quintana: 806-418-1071


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Textile Collections
Just4Children operate a licensed clothing collection throughout the UK.
Donating your clothes is a great way to help us.
When you receive a collection bag from us you can help us to raise funds by filling our charity bag with your unwanted clothing, shoes in pairs & fashion accessories.
Feel free to use additional plain or unmarked bags if required.
You can then leave your bag(s) visible from the road on the stated collection date printed and marked on the bag.
If for any reason it isn't collected please do not hesitate to call 01708 685074 or 07795 146805 displayed on the bag.
Textile collections not only provide us with a fundraising opportunity, they benefit the environment too – because by recycling your clothes for re-use, you will be helping to reduce the amount of waste going to landfill.
This is the authorised bag used by Just helping children.
More Information
- Challenge Yourself
- Charity Car
- Charity Helplines
- Fact and Figures
- Fire Walking
- Fourex
- Frame Football
- Fundraising Ideas
- GoSkyDive
- How to start Fundraising
- JustGiving Information
- Keeping Your Fundraising Safe
- Medical Injury Compensation Claims for Children
- Promoting Independence
- Selling on eBay
- Specialist legal help
- Superhero Series
- Textile Collections
- The Council for Disabled Children
- Ultra Challenge Series 2019


text:
Wee Adventures (formerly known as Biscuiteering) is the home of Richard Turner, more commonly known as Biscuit. A well known adventure sports coach, canoe specialist, expedition leader and general outdoors enthusiast, Biscuit has a particular flair for entertaining young and old alike.
We specialise in adventures, big and small, in the great outdoors. Wee Adventures facilitates outdoor fun and coaching through:
The options are endless but one thing is guaranteed: Wee Adventures will leave everyone with a GIANT smile. Biscuit's enthusiasm is infectious, even in the rain!
Have a look to see what Wee Adventures can do for you, we are open for bookings all year round, be inspired and get in touch. Check out our Activity Calendar for great adventures in the school holidays.
Our 7 year old son's comment: "This was my best birthday party ever" - that says it all really!
"We just wanted to say thanks again for a fabulous weekend, I think me and kate and the kids all got a lot from it and it has given us the confidence to get out on the water as a family. Everybody is now planning our next canoe adventure!"
"My two boys, Finlay and Alex (8&6) had the most incredible day today as Pirates, canoeing across Loch Tay. They had a most amazing day, didn't stop talking about it all the way home. Biscuit, thanks so much, we will definitely be looking to book further adventures with you and give our boys some fantastic life skills."
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E: firstname.lastname@example.com
Registered Address:
West Borlick Steading, Aberfeldy, Perthshire PH15 2EA
Company No: SC522201
© 2018 WEE ADVENTURES Ltd. ALL RIGHTS RESERVED.


text:
Article by Brian Sewell
It was perhaps, not the most serious of misfortunes to have been introduced to Shakespeare not only at my mother's knee, but in the open air and played in modern dress. I had seen pantomimes, Peter Pan and an appalling exercise in jingoism for children called Where the Rainbow Ends, all in costume of a kind, all thrillingly different from real life, but here was Shakespeare, incomprehensibly unfamiliar in spite of the Tales retold by Charles and Mary Lamb for their Juvenile Library, with actors who looked exactly as though they had dropped in on my mother for a drink. I did not ponder the problem at the time, for I cannot have been more than eight and Regent's Park Theatre in gusting wind and rain was not the place to debate the mysteries of drama – besides, one brief adventure among the storm-drenched bushes that shaped that auditorium was not enough on which to base opinion – but now, most of a lifetime later I have concluded that men's trousers mark the death of art – in every form, from monumental sculpture to grand opera.
In Shakespeare's day, however, there can surely have been no concept of historical drama as we now see it on television, with painstaking accuracy in costume and set (though not in script and idiom) – for him Twelfth Night and even Julius Caesar must have been in some sort of modern dress. In the centuries between, the evidence of the designs for masques by Inigo Jones is that the theatre had taken a great leap into the realistic representation of mythology and allegory even in Shakespeare's later day, though only in the theatre of the Stuart Court, not in the public playhouses; the evidence of the many Georgian painters of the theatre suggests that historic costume, when not derived from the Commedia dell'Arte, was pretty well that of their present day, but made preposterous by extravagant materials and ludicrous bedizening. There were grotesque absurdities – an ancient Roman "kilt", worn with body-formed breastplate and plumed head-dress, all possibly derived from Inigo Jones but certainly not from antiquity, were the costume of the tragic hero for two centuries, though Garrick parted from it in 1758 when, playing an ancient Greek, he wore the costume of a Venetian gondolier based, no doubt, on a painting by Canaletto, wrongly convinced that all gondoliers were of Greek origin, and therefore that their bonnets and exceedingly baggy pantaloons must be authentic ancient costume. On the other hand, John Hoppner's portrayal of Dorothea Jordan, mistress of William IV, as Viola in Twelfth Night when pretending to be a youth, records her in a modern costume that could easily be that of a late 18th century British hussar, so distant is the sense of period from post-medieval Illyria. "Correct" historical costume was of interest to both Kean and Kemble early in the 19th century and came into full vogue in Queen Victoria's day – so much so that by the century's end increasing pedantry had begun to militate against the drama it was intended to support. It was in tentative revolt against such bookishness that modern dress productions were occasionally attempted between the two world wars.
Twelfth Night was the play that I saw that summer evening in Regent's Park, presented as though it were French without Tears by Terence Rattigan – all English flannel, long cigarette holders, high-heeled court shoes and Brilliantine. I do not know if it was risible, only that it was considered daring, fashionable and smart, as much a poke in the eye for the bourgeoisie as smoking Balkan Sobranie or driving an Alfa-Romeo. The hint of naughtiness about it then has long since worn away and the modern dress production, though not a commonplace, has lost even the faint sense of outrage generated when Shakespeare is removed to Japan, ancient Greece or the Wild West – though not quite yet with opera.
Modern dress in opera is more hazardous than with conventional drama; with opera the audience must suspend so much more disbelief, must accept singing in an alien language in place of English speech, must believe that the fat are slim, the old young and the ugly handsome, and must credulously assent to plots constructed of absurd improbabilities. All this was possible with Jonathan Miller's Rigoletto at the English National Opera, perhaps largely because the Chicago of the Prohibition years has itself taken on an historic cast and seems a period or two ago in history, sufficiently distanced from our day to be credible rather than anomalous. It was not possible with the Othello of Tom Phillips, a Bosnia-cum-Angola-cum-Sierra Leone setting that grated intolerably harshly against the original characterisations and the plot. I have seen Carmen as a ballet set in the steamy south of Tennessee Williams, and been utterly convinced by it, and Cosi fan Tutte dressed in pale suits crumpled enough for Martin Bell and Peter Langan seemed as mellifluous as any in the court dress of Bourbon Naples, but Wagner's
Ring at Covent Garden, with Norns dressed as slatternly charwomen and a Ford Capri as a pun on deus ex machina (the machina was the equipment that lowered gods onto the stage of ancient Greek theatre), seemed monstrously abusive and ridiculous.
It is perhaps not the costume that matters but, for want of a better word, the respect paid to the original plot and music of the opera. The music must have absolute primacy – better Parsifal in a concert performance by which our imaginations are so much unleashed that we see what we hear and the mind's eye sets the scene, than see it on the stage betrayed by the mechanics of production teetering on the brink of the absurd, sublime music jeopardised by the impossible requirements of the staging and of singers who, as actors, must lend conviction to the unperformable. Direction and production must never be so obtrusive that they affect our concentration on the music. I have seen the curtain rise on sets so beautiful that the audience has instinctively applauded – and why not, when we applaud the orchestra? – but these have invariably been sets that complemented and enhanced the drama, sets that within seconds have subsided into being no more than sets, taking their place in the hierarchy of interest once the playing has begun. The problem comes when some detail of production, to put it bluntly, gets in the way – as it does with Jonathan Miller's insistence on a realistic portrayal of Violetta's death from consumption, febrile and sweating, lying on a bed designed by Tracy Emin; even as late as my boyhood there was widespread belief that consumptives on the point of death experienced one last guttering burst of energy, and then, burnt out, expired – nonsense to the wise Dr Miller, who prefers the literal trust, but no doubt believed by Verdi and perfectly portrayed in the music and libretto of La Traviata. The simple point is that there is no place for literal trust in high romantic drama if it works against the plot and wrecks the sense of period – and the nearer a production comes to our own day, the more inclined we are to wrestle reason into both, yet reason in the context of opera is a lie.
Trivial detail with some particular period connotation can be as disturbing and disruptive as the wholesale removal of an opera to another time and place – perhaps even worse. John Copley, a quarter of a century ago, was in charge of Aida at the ENO at precisely the time when black leather and steel studs were coming into open fashion as sexual accoutrements, and an otherwise unremarkable production was stricken by the helpless giggling of the audience whenever Radames came on the stage, for he was not only plump, but so short that he needed high heels to reach Aida's nipples, and yet Copley had dressed him in the leather harness, straps and other bits and bobs of the games played by sado-masochists. It was enough that the audience had to suspend its disbelief in a
hero so unheroically short and fat and almost naked, but dressed as a cross between Humpty-Dumpty and Miss Whiplash, he was an irredeemable absurdity on podgy pale and hairless legs. Ah, legs… "He has a fine leg," his courtiers said of the Emperor Charles V when mounted on his stallion (they could hardly praise his prognathous jaw, rotting teeth and halitosis), but a fine leg is granted to few who pace the stage – many actors with noble heads enhanced the life of Queen Elizabeth I as reconstructed by Dr. David Starkey, but when we saw them walking, they turned out to be spindle-shanked, knock-kneed and pigeon-toed, hopeless and hapless in tight hoses their dignity undone. This is as true of baritones and tenors.
There was a time, quite recently, when the ENO could hardly mount any opera without introducing monstrous rubber dildos (not, I think in Suor Angelica) or some other irrelevant affront. Why, for example, did the executioner have to sodomise the Persian prince in the first act of Turandot, such an odd respond to the crowd's plea for mercy? And this year it has suffered extreme opprobrium for Calixto Bieito's production of A Masked Ball, played at first to half the audience that conventional staging might command. It was in modern dress and set in Spain just after General Franco's death in 1975 – and why not, when the original was based on the assassination of Gustav III, King of Sweden, in the Stockholm opera house in 1792 (a comparatively fresh event when Verdi wrote the opera in 1858 and politically sensitive), the king transformed first, by order of the censors, into a Duke of Pomerania and subsequently into an English Count of Warwick, appointed Governor of Boston, Massachusetts, at a time when gypsies and witchcraft were unremarkable there. If 1692 or 1792 why not 1892 or 1992? If Stockholm, if Stettin, if Boston, then why not Barcelona or Madrid? Why not indeed, for a Spanish setting suits the preposterous story very well and even the present day might be compelled to fit it without excessive incongruity. But then the Coliseum's propensity to outrage its audience came to the fore and we had to have the curtain rising on a row of doorless lavatory cubicles – a feature familiar to British public schoolboys of a certain age but with no known Spanish connotation – and be spectators of a homosexual rape for which there is authority in neither libretto nor music nor in contemporary Spanish behaviour.
"Toilet humour opera down the pan," was one broadsheet headline, "Adults-only opera barely flushed with success", another – and no doubt there were more incorporating chain-gang, tubes and round the bend. This production was crowded with ideas that did not impede or obscure the opera, but lent it logic in its later 20th century context; it contributed greatly to my understanding and acceptance of what has always seemed, in costume, one of the sillier of Verdi's plots, and in this body of the dead boy, garrotted after his rape by four soldiers, played a particular purpose, lending reality, rather than a spectre to Amelia's vigil in the orrido campo of Act II. This was a production that the press took to be typical of the ENO's dependence on an adolescent quality of shock, often as offensive and irrelevant as deliberately saying "bugger" during the Lord's prayer, but the press was in grave error – it was a production that made sense, that had in its 20th century allusions a vile and sinister beauty that has always, by period costume, been denied it.
That said, it is better, by and large to do too little rather than too much to help an opera along: there is a rough and ready law that the more the business on the stage, the more coming and going the more raising and lowering, the less the music matters and the fewer reasons the audience has to stay in its seats other that the hope of calamity. Covent Garden's Semele was so animated and energetic that stage business and machinery eclipsed the singers and the orchestra, and the Cirque du Soleil could have learned a turn or two from it. Forbearance is not an absolute law – Carmen needs the crowds and frantic activity the Coliseum gives it – but experienced audiences who often know better than inexperienced directors, know at once when a production is as gay as the king's candle. This is not to suggest that we should invariably resist the radical restaging of a classic opera, for many of the most popular are sufficiently universal (an overworked word in this context) to survive unscathed in all essentials almost any shift in time and place, and some have been enlighteningly enhanced – and we must not forget that stealing plots and crossing the county boundaries with them to avoid discovery is precisely what librettists have always done, dramatists too. Shakespeare, taking the plot of Hamlet from the 13th century Danish historian Saxo Grammaticus via the Histoires Tragiques of Françoise de Belleforest late in the 16th century, left it in Denmark, but could easily have removed it to ancient Greece or Renaissance Italy, for in equal measure it is imbued with Sophoclean inevitability and Webster's morbid humour. If the thirty-six operas employing the plot between 1789 and 1987 (eighteen in the last half century) only two moved any distance from it, and they as well as all the others have been forgotten – a pity, for a modern operatic Hamlet might have had its moment as successor to West Side Story.
The re-staging, re-dating, re-setting argument is very simple – if it offers an opera no significant new insights, it should not be done. If its purpose is no more profound than the gratification of a director's vanity and self-indulgence, it should not be done. If it does a violent mischief or even merely militates against the gravity, dignity, beauty and integrity of the original, it should not be done. Opera is not the equivalent of a colour reproduction of the Mona Lisa in the hands of some musical Marcel Duchamp who can give her a moustache and glasses or write rude words on her without blemish to the original – every performance is original; every performance should be true to the composer as the first. Opera is not the equivalent of gardening and interior decoration and directors should not seem to emulate the work of Charlie Dimmock and Lawrence Llewellyn-Bowen; opera can stand on bare ground and in a naked shell and still be wonderfully beautiful; opera's needs are extremely simple – only voices and an orchestra, not makeovers and modern trousers.


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lunes, 27 de abril de 2009
Sandra Feva: The Need to Be (1979) ... plus
Detroit vocalist Sandra Feva may be an unfamiliar name to those who didn't follow indie soul scene in the late '70s-early '80s, but she certainly was not unknown to real soul enthusiasts at the time. On the contrary, it seemed that every connoisseur rated her very high, and compared her to Gladys Knight, Betty Wright, Margie Joseph and other songstresses of the same calibre. Soul Express scribe Heikki Suosalo wrote in early 1983 that he "hasn't heard a better album by a female singer this decade", John Abbey in Blues & Soul considered Sandra on a par with Gladys, and Clive Richardson cites in the liner notes of this reissue release that "here was a new voice to match the newly-solo Gladys Knight and the vibrant Patti LaBelle". Feva earned a good local reputation, but gained more national notoriety as a background vocalist with Aretha Franklin, George Clinton, and Prince than on her own as a solo act. Husky-voiced and with enough lung capacity to cause a minor windstorm, she occasionally stepped out of the shadows to show off her own vocal prowess, although she didn't get much chart success. Sandra recorded for a variety of labels, including Venture, Krisma, Catawba, Grandstand, and Robbins. She also released on the Buddah label what would be her first single (as Sandra Richardson, her then-married name): the original version of 'I Feel a Song (in My Heart)', from 1973. But the two solo singles that came closest to making an impact for her were 1979's 'The Need to Be' and 1981's 'Tell 'Em That I Heard It,' the latter of which was produced by Tony Camillo (renowned writer of 'Midnight Train to Georgia') on his Venture label, and peaked at #33 on the R&B charts (I added both sides of this 1981 single as bonus tracks). Her 'Savoir Faire' LP, from that same year, has been an acclaimed "must have" item for soul collectors ever since. One note for those who stop listening to music from the late-'70s on (and most of the time I am one of them!): don't let the release date discorauge you. This is PURE DEEP SOUL at its best, with touches of modern soul on the uptempo tracks. The balance is great, and really makes the album a fresh one: hardly the usual soul set from the time, and a record that really holds up over the years! Trust me, if you are a real soul fan, you don't want to miss this. http://www.soulexpress.net, http://www.allmusic.com/.
Publicado por Noelia Almenara en 0:19
5 comentarios:
- Nosi dijo...
- 27 de abril de 2009, 0:20
- jahcisco dijo...
Thanks. Much appreciated.
- 27 de abril de 2009, 12:06
- pedro dijo...
wil i must say i do have one single by sandra and good it is too look forward to this thanks
- 28 de abril de 2009, 5:41
- Dreamer456 dijo...
Thanks a lot.
- 1 de mayo de 2009, 15:44
- josé neves dijo...
Sandra Feva! your blog is essential, many thanks!
- 23 de junio de 2009, 1:36
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The Fix: California State Senator Wants to Ban OxyContin Prescriptions For Those Under 21
California State Senator Anthony Portantino has introduced a measure that would make prescriptions of the painkiller oxycodone illegal for people younger than 21, in hopes of keeping young people from becoming hooked on the powerful opioid.
"The abuse of this drug is a national epidemic and we need to protect our children from being prescribed this highly addictive substance," said Portantino, a Democrat, according to the Los Angeles Times. "Lawmakers, regulators and medical professionals have been wrestling with how best to control this synthetic heroin and I'm saying, while we're looking for solutions, let's make sure we keep it away from our most vulnerable population."
Read Full Article Here


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A chest x-ray is an x-ray of the chest, lungs, heart, large arteries, ribs, and diaphragm.
You stand in front of the x-ray machine. You will be told to hold your breath when the x-ray is taken.
Two images are usually taken. You will first need to stand facing the machine, and then sideways.
Tell the health care provider if you are pregnant. Chest x-rays are generally not done during the first 6 months of pregnancy.
There is no discomfort. The film plate may feel cold.
Your doctor may order a chest x-ray if you have any of the following symptoms:
It may also be done if you have signs of tuberculosis, lung cancer, or other chest or lung diseases.
A serial chest x-ray is one that is repeated. It may be done to monitor changes found on a past chest x-ray.
Abnormal results may be due to many things, including:
In the lungs:
In the heart:
In the bones:
There is low radiation exposure. X-rays are monitored and regulated to provide the minimum amount of radiation exposure needed to produce the image. Most experts feel that the benefits outweigh the risks. Pregnant women and children are more sensitive to the risks of x-rays.
Review Date:
Reviewed By: Denis Hadjiliadis, MD, MHS, Paul F. Harron, Jr. Associate Professor of Medicine, Pulmonary, Allergy, and Critical Care, Perelman School of Medicine, University of Pennsylvania, Philadelphia, PA. Also reviewed by David Zieve, MD, MHA, Isla Ogilvie, PhD, and the A.D.A.M. Editorial team.


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Via: Richard Dolan:
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Monday, July 25, 2011
Two cats for two kids, ages 5 and 8.
It was a few weeks before Christmas, work was crazy busy and I hadn't even started shopping.
I dropped into the local animal shelter, unprepared for the emotional impact of so many tiny, fluffy creatures when I would only be taking two with me.
I took a lap of the room — filled with cages — and Snowy stood out for me straight away. She was alone in her cage, a little grey kitten with white and ginger, a loner which should have alerted me to her nature.
I chose the other kitten from a litter of identical ginger kittens, though he stood out as the one jumping up down and pouncing on his siblings.
I picked them up on Christmas Eve and hid them next door for a surprise Christmas morning gift. The male kitten went to my son and he named the ginger fluffball Milo. My daughter named her kitten Snowy. Not very original, but hey, she was 5!
The thing that I will remember the most is that Snowy used to perch on the chair behind my cat-hating husband and groom his close-cropped hair. It was his lap she always sought and we often caught them hanging out together, my husband watching TV, Snowy purring contentedly while he scruffed her behind the ears.
We'll be taking her home from the vet today to bury her in the garden.
Thanks for your kind wishes.
7 comments:
- Lynn Priestley said...
Karen, my deepest sympathy to you and your family. It's a tough path to tread when we lose a furry family member. May Snowy be somewhere beautiful, chasing butterflies and conjuring the next nine lives xx
- July 25, 2011 at 9:41 AM
- Sue Lawson said...
You know...xx
- July 25, 2011 at 11:13 AM
- Sue Lawson said...
Or should that be "shut up"? xx
- July 25, 2011 at 11:13 AM
So sorry to hear about the loss of your beloved Snowy, KT. I am suffering too at the moment with the passing of my dog, Saffy.
- July 25, 2011 at 11:42 AM
- karen tayleur said...
Lynn, I think you're right. She is probably prancing around somewhere, being chased by Saffy and chasing him back. Sorry to hear about your loss, Gabi. No matter how you might try, it's just too hard to keep those four-legged creatures from getting to you.
And so, yes I do respond way better to 'shut up'.
Thank you.
- July 25, 2011 at 2:14 PM
- Corinne Fenton said...
. . . our animals are such a big part of our lives and we wish they could be around forever. It just doesn't work out that way. Love to you and Caitie too. xoxox
- July 25, 2011 at 9:04 PM
- August 27, 2011 at 5:59 PM


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Saturday, October 16, 2010
Honey Boosts Healing of Radiation Burns Following Breast Surgery
Curr Clin Pharmacol, 2010 Sep 6
Introduction: Breast-conserving therapy is currently the standard of management of breast cancer cases. Radiotherapy is an integral part of it; however, it has several complications. Radiation induced burn is a common complication of radiotherapy that requires more effective lines of management rather than the classically used ones. We investigated whether the addition of pentoxifylline (PTX) alone or in combination with topical honey is effective in its management compared to the standard measures.
Methods and Materials: In this prospective study, patients were randomly allocated into three groups each of 50 cases. Group A received standard burn treatment (control group). Group B received additionally 400 mg PTX twice daily. Group C received the same treatment as Group B with adding topical purified honey ointment. Patients were assessed initially and subsequently after 4 and 12 weeks, for projected coetaneous surface area (PCSA) of burn, Pain severity, limitation of movement and exudation.
Results: There was a striking regression of the mean PCSAs of lesions among groups B and C at 12 weeks, with reduction rates (86±61%) and (76±58%) respectively (p<0.0001***). The addition of honey was associated with marked pain reliving effect and rescue of proper motion. Finally, honey was associated with shorter duration of treatment as 74% of group C patients completely recovered after 12 weeks, compared to only 54% and 36% of groups B and A in order.
Conclusion: Combination of PTX and honey is an ideal measure for treatment of radiation-induced burn following breast conservative surgery.
1 comment:
let me know if it ould work for bladdrs burn
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Free Draught Busting Workshops for Camden Residents!
Sat 3 Dec 1:00pm - 4:00pm
Location to be announced
Beat the winter chill with Free Draught Busting Workshops!
Following the success of the ten Draught Busting workshops we ran in collaboration with Camden Council last winter we are very pleased to announce that we will be delivering further hands on workshops this winter to help Camden residents to beat the winter chill, save money on fuel bills and cut tonnes of CO2.
- Our hands on workshops are delivered by the Transition Belsize Draught Busting Team - Lauren, Partick and Sarah, and are held locally in a Camden home.
- During the workshop you will be shown how to install high quality draught proofing materials around sash windows and doors.
- Every attendee will receive £20 worth of free draught proofing to get started on their own homes.
- Anyone Hosting a Workshop will receive £40 of free draught proofing materials.
The dates scheduled so far are:
- Wednesday 16th November 1-4pm
- Wednesday 30th November 6.30 – 8.30 pm
- Saturday 3rd December 1-4pm
If you would like to attend or host a Workshop please reserve your place asap by contacting Matthew Bailey by email: firstname.lastname@example.com or phone: 020 7974 4027
- Login to post comments


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Spotted Street Style: Look of the Day
As our reporters scavenged for street looks of the week, a recent fashion expedition through Coconut Grove exhibited the importance of style to fashion lovers, even on serene Monday afternoons.
An interviewee, unexpected by our approach as she got out of work, stated that her quick fix stores are Zara and Forever21. Inspired by Kim Karsashian, she claims to use black a lot, for it is chic and easy to put together.
Balancing out a simplistic menswear blazer, she wears flats with bows on them, adding a feminine touch to her look.


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We will be leaving Xela at 4:00 in the morning so hopefully our blogs will become frequent and exciting once again. Cristóbal joined us in Guatemala on the 10th and Mark will blog about their journey to Xela soon I´m sure. They have some great photos.
Meanwhile, goodbye to our teachers and new friends. Cristóbal took two days of intensive one-on-one Spanish classes with Oscar and learned an amazing amount. In fact, he says
that he has already learned more in just over a week than he did all year in school.
Thank you Eureka, the best school in Xela!
My teacher Irene was a perfect match for me and our six weeks of one-on-one school flew by. We spent five to six hours per day together and I can literally say she has taught me everything I know. Check out the sweet certificate. Oh yeah baby!
Mark and I took some cooking classes at my school along with some other students.
The group of gals were from Poland and they brought some strong and tasty vodka from home to share. It sure made cooking fun!
The classes were amazing and of course authentic vegetarian.
When we settle again we will post some fabulous photos of some hikes with Cristóbal. In the meantime. . .
Mark, Michelle, and Cristóbal
Tuesday, July 21, 2009
Adios Xela
Posted by Mark & Michelle at 6:11 PM
Labels: Travel
2 comments:
Your blogs are anything but boring. They ooze adventure, fun, instruction, life, joy, daring, human interaction, and many other things one truly loves reading about. So glad Cristobal is adapting and able to share this experience of a lifetime! Great photo's, great writing. You guys are becoming real travel journalists.ReplyDelete
Love from Aaron, myself, and the Sullins clan
Michelle! Mark!ReplyDelete
the vodka is called zubrowka (żubrówka) - bison grass vodka. It is waiting for you in my fridge!
Adios y hasta la vista!
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A Little Pumpkin History.
Pumpkins are believed to have originated in North America and contain potassium, Vitamin A and Vitamin C. Seeds from related plants have been found in Mexico dating back to 7000 to 5500 B.C. References to pumpkins date back many centuries. The name pumpkin originated from the Greek word for "large melon" which is "pepon." "Pepon" was changed by the French into "pompon." The English changed "pompon" to "Pumpion." American colonists changed "pumpion" into "pumpkin."
Native American Indians used pumpkin as a staple in their diets centuries before the pilgrims landed. They also dried strips of pumpkin and wove them into mats. Indians would also roast long strips of pumpkin on the open fire and eat them. When white settlers arrived, they saw the pumpkins grown by the Indians and pumpkin soon became a staple in their diets. As today, early settlers used them in a wide variety of recipes from desserts to stews and soups. The origin of pumpkin pie is thought to have occurred when the colonists sliced off the pumpkin top, removed the seeds, and then filled it with milk, spices and honey. The pumpkin was then baked in the hot ashes of a dying fire.
Perfect Pumpkin Pie
This pumpkin pie recipe makes the perfect dessert for a special get-together with your beloved family and friends.
Active time: 45 min
Start to finish: 4 3/4 hr
Servings: Makes 8 servings.
Servings: Makes 8 servings.
Butter Pastry dough (see recipe below)
Butter Pastry dough (see recipe below)
15-oz can canned solid-pack pumpkin (about 2 cups)
1 cup heavy cream
1/2 cup whole milk
2 large eggs
3/4 cup packed light brown sugar
1 teaspoon ground cinnamon
1 teaspoon ground ginger
Pinch of ground cloves
1/4 teaspoon salt
1/2 cup whole milk
2 large eggs
3/4 cup packed light brown sugar
1 teaspoon ground cinnamon
1 teaspoon ground ginger
Pinch of ground cloves
1/4 teaspoon salt
Special equipment: pie weights, uncooked dry beans, or raw rice
Accompaniment: lightly whipped cream (optional)
Accompaniment: lightly whipped cream (optional)
Make pastry dough as directed. Roll out dough into a 14-inch round on a lightly floured surface and fit into a 9-inch glass pie plate (4-cup capacity). Crimp edge decoratively and prick bottom all over. Chill 30 minutes. Preheat oven to 375°°F.
Make pastry dough as directed. Roll out dough into a 14-inch round on a lightly floured surface and fit into a 9-inch glass pie plate (4-cup capacity). Crimp edge decoratively and prick bottom all over. Chill 30 minutes. Preheat oven to 375°°F.
Line shell with foil and fill with pie weights. Bake in middle of oven 20 minutes. Remove weights and foil and bake shell until pale golden, 6 to 10 minutes more. Cool in pan on a rack. Whisk together pumpkin, cream, milk, eggs, brown sugar, spices, and salt, then pour into shell.
Bake pie in middle of oven 45 to 50 minutes, or until filling is set but center still trembles slightly. (Filling will continue to set as pie cools.) Transfer to rack and cool completely.
Cooks' notes:* To prevent overbaking custard, you should start checking the pie's doneness at 45 minutes, as ovens vary. * Pie may be made 1 day ahead and chilled, covered, but crust will not be as crisp as if made day of serving.
* An egg substitute is an excellent alternative to eggs if you want to cut your intake of fat and cholesterol, which are concentrated in the egg's yolk.
Butter Pastry Dough
May be prepared in 45 minutes or less but requires additional unattended time.
Servings: Makes enough dough for a single-crust 12-inch pie.
Ingredients2 cups all-purpose flour
1 1/2 teaspoons salt
1 1/2 sticks (3/4 cup) cold unsalted butter, cut into bits
6 to 7 tablespoons ice water
In a large bowl whisk together flour and salt and with a pastry blender or fingertips blend in butter until mixture resembles coarse meal. Add ice water, 1 tablespoon at a time, tossing with a fork to incorporate, until mixture begins to form a dough. On a work surface smear dough in 3 or 4 forward motions with heel of hand to slightly develop gluten in flour and make dough easier to work with. Form dough into a ball and flatten to form a disk. Wrap dough in plastic wrap and chill 1 hour. Pastry dough may be made 1 week ahead and chilled.


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An antique picker's warehouse is likely to house a wide selection of items from various eras and various parts of the world. Some of the most common antiques that people collect are furniture, paintings, jewelry, motor vehicles, and figurines or similar toys.
The term "antiques" refers to any item that is relatively old compared to the current year, and either no longer in production or an older variety of something that is currently in production. Its age and the inability to obtain a similar item easily is what brings value to the antique.
One of the most common categories found in an antique picker's warehouse or store is furniture, because older furniture was made under very different circumstances than modern furniture. Certain pieces of antique furniture were made by a single craftsman, rather than a machine in a factory. Some antique furniture uses types of wood and other materials that are no longer readily available due to political embargoes or physical extinction.
Dolls and figurines are also commonly found at antique stores because of their limited availability. Some items, such as porcelain dolls, were only made in limited quantities. Their scarcity and age is what makes them valuable and frequently sought after.


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Cold brew coffee is a hot trend these days and you're not alone if you'd like to enjoy this tasty drink at home. Before you slap your cash down on the counter for a consumer cold brew appliance, there are a few very important things to mull over.
How much do you want to spend?
Brewing coffee without heat isn't rocket science. All you really need is coarse coffee grounds, water, time and gravity. A method to strain spent grounds from your drink at the end can also help. Some people simply cold brew with a plastic bucket, a kitchen sieve and a roll of paper towel.
For a less spartan experience, thankfully you don't have to splurge all that much. Unless you plan to buy a ground-breaking piece of hardware such as the upcoming $299 FirstBuild Prisma (converting roughly to £230 in the UK and AU$400 in Australia) then $20 to $50 is about what you should expect to pay.
Time is a huge factor
The biggest ingredient to making cold brew coffee, besides water and beans, is patience -- and lots of it. By nature the lower the water brewing temperature, the lower the rate at which coffee compounds will leach into the solution -- a process commonly referred to as extraction . This is why a batch of cold brew typically takes 12 to 24 hours before it's ready, and a pot steaming drip just five or six minutes.
In this case that's a good thing since if done right, proper cold brew has a sweet, syrupy taste that's rich, complex and never bitter. Bitterness is a telltale sign that too much coffee essence has escaped into your brewing water (known as over extraction). In terms of cold brew, slow and low is the tempo.
Strong, weak or a lot
Some cold brew products are designed to make big batches of coffee concentrate at a time. The $50 (roughly £40, AU$65) Oxo Cold Brew Coffee Maker, $40 (roughly £30, AU$55) Toddy Cold Brew System and $40 Filtron Cold Water Brewer are good examples. All three make concentrated cold brew in carafes ranging from 24 ounces (0.7 L) all the way up to 36 ounces (1.1 L).
Now consider that the manuals for these brewers suggest cutting 1 or 2 ounces of their concentrate with 7 to 8 ounces of water, ice or milk, and you begin to understand why you might save some in cold storage for later. The concentrate can last up to two or three weeks in the fridge.
Be willing to get your hands dirty
Making your own cold brew is usually messy business. For best results you'll have to grind your own beans or at least get fresh grounds at your local roaster or grocery. Either way cold brew calls for two, four, even five times the amount of coffee grounds you typically use for ordinary drip. That's a lot of beans to handle and increases the chance for spills and making a big mess.
I've found that the Oxo Cold Brew Coffee Maker, thanks to its thoughtful and stable design, minimum of parts and a mechanical decanting switch instead of a basic rubber stopper greatly reduces the potential for mayhem. For that I'm willing to spend a little extra.
Cold brew, French Press or both?
Many coffee drinkers prefer the taste of strong French Press to sweet cold brew coffee. You don't need to settle for one or the other though when products such as the $60 (roughly £45 and AU$80) Espro Press P5 can tackle both tasks with great results.
The P5 is more pricey than basic French Press products from popular coffee maker Bodum and others. It uses a clever dual filter plunger to strain gritty coffee bean bits from its brewed coffee. Still, traditional press brewers can do both hot and cold brewing so if you'd like to take the frugal route this path is available too.
No matter what cold brew coffee style gets you revved up, however, a little thought to what type of beverage and appliance will go a long way toward happy shopping.


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If you already know that the groundbreaking technology used in the ill-fated Titanic was actually pioneered by wooden Chinese junks built in the15th century, then you can skip the first segment of the fifth episode of CNN's ambitious new 10-hour series "Millennium." But that's about all you should miss, because unless you are an avid student of every inch of the globe's history of the past 1,000 years, there will be something new to whet your intellectual fancy in this continent-hopping overview.
Coming on the heels of its whopping cold war program this past season, "Millennium" is Ted Turner's latest brain child. The series airs on consecutive Sundays, 10-11 p.m., Oct. 10-Dec. 12.
"While we were doing 'The Cold War,' even before we finished, Ted [Turner] had another big idea, which was 'let's tell the history of the last 1,000 years,' " says Pat Mitchell, president of CNN Productions and co-executive producer.
Ms. Mitchell laughs when she recalls that Mr. Turner was not ruffled by the obvious obstacles to creating a video record of the nine centuries preceding the development of photography. "He would not be deterred by the fact that for 900 of those years, there were no visual materials or eyewitnesses."
The series is remarkable not only for the sheer diversity of the stories it recounts, but also for its scant reliance on the usual standbys of paintings and historical documents that pepper even the best of most documentaries. The technique favored by the producers, led by Sir Jeremy Isaacs (best known for his award-winning "World at War" series), is real-life footage, newsreels, and reenactments.
For instance, instead of describing the marketplace of the 13th-century Mongols, we see a mesmeric line of camels and merchants wending its way across a vast desert and into a bustling marketplace teeming with life and commerce.
Many scenes begin with modern-day footage of countries like Turkey, Japan, India, and Italy, before segueing into either a full-scale historical recreation of an earlier era, such as the Mongol hordes pouring across the Asian steppes. Or, sometimes, as with the depiction of 12th-century Siena, they intersperse historical figures with modern-day life.
This last technique is playful yet effective. To see elaborately dressed courtiers from 800 years ago trotting on horseback alongside 20th-century shoppers on an Italian street is to understand that, underneath the clothing, people from different moments in time may not be all that different.
The series also uses computer re-creations to fabulous effect. One moment, a lone man stands amid the ruins of another time. Suddenly, thanks to the genius of today's computer simulations, he is transported to the splendor of the Calif's palace in Cordoba.
The team traveled more than 100,000 miles to 28 different countries to recount the most compelling stories. "How many of us know that in the 11th century, of all the great cities of Islam, the greatest was Cordoba in the south of Spain?" asks Sir Isaacs. "How many know that in the 12th century, Christians in Ethiopia carved churches out of solid rock?"
From the whirling dervishes - shown in their modern-day trances - nearly unchanged for hundreds of years to the Rus- sian fur collections to the fascinating discussion of Aboriginal dreamtime sand paintings, "Millennium" weaves the story of the past 1,000 years in just the right amounts of grand sweep and intimate close-up. Across continents and centuries, it concludes in the present with an eyeful, an earful, and just the right handful of information to enable us to feel at least aware of the past thousand years before we begin the next.
(c) Copyright 1999. The Christian Science Publishing Society


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The tiny Watch Hill Park is a lovely place to relax and take a stunning view of the coast line. It also has a cliff side trail that leads off the South Road.There are great picnic spots at the eastern side of the park. Bus #1 comes close to Watch Hill Park. It's located just on the eastern side of Spittal Pond and on South Road.
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If you started a tech company in 1999 and grew to over 100 employees by 2000, how would you have survived the ensuing tech bust? Reggie Aggarwal, CEO of event management software company Cvent (NYSE:CVT), was in just that position. Mr. Aggarwal visited Motley Fool headquarters in March as part of the Fool's CEO interview series. Mr. Aggarwal spoke with Motley Fool CTO Mark Brooks and charted Cvent's journey: a path that lead it to the leading position it enjoys today in the event management software industry.
A six-person company at the end of 1999, Cvent grew to 125 employees over the next year while burning through millions of dollars in venture capital. Their story took a perilous turn in 2001 as the market crashed.
"We had to cut 80% of our employees," Aggarwal said. "[We were] kind of like the 'Walking Dead' from 2001 to 2004."
Aggarwal noted that the company learned three main lessons during that period. In order to survive and succeed, Cvent had to:
1) Hire great people
2) Build the best products
3) Focus on your customer
Aggarwal's strategy eventually succeeded. Today, Cvent employs over 1,450 jobs worldwide. Cvent software helped manage 8.7 million event registrations and 205,000 meetings in 2013. For his part, Aggarwal was recently named the "CEO of the Year" by the Washington Business Journal.
"Tumultuous times is really what I think got us to where we are. And then we just naturally, organically grew for the next decade."
Check out the video below to hear Aggarwal's Cvent story.
Matt Trogdon has no position in any stocks mentioned. The Motley Fool recommends Cvent. Try any of our Foolish newsletter services free for 30 days. We Fools may not all hold the same opinions, but we all believe that considering a diverse range of insights makes us better investors. The Motley Fool has a disclosure policy.


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Predator firefly, SEM
C037/0309 Rights Managed
530 pixels on longest edge, unwatermarked
Request/Download high-res file
Uncompressed file size: 26.0MB
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Credit: DENNIS KUNKEL MICROSCOPY/SCIENCE PHOTO LIBRARY
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Keywords: 210383a, american, antenna, antennae, attraction, beetle, beetles, big, bioluminescence, black and white, bug, bugs, claw, coleoptera, common, compound, dipper, eastern, electron, eye, false-colored, fatale, femme, fire, fireflies, firefly, flies, fly, glow, head, insect, insects, invertebrate, invertebrates, lampyridae, leg, legs, lightning, luciferase, luciferin, mandible, mandibles, mating, micrograph, mimicry, monochrome, mouthpart, mouthparts, north, ommatidia, ommatidium, pad, photurinae, photuris, predator, predatory, pulvillar, pulvilli, pulvillus, rover, scanning, scanning electron micrograph, sem, seta, setae, tarsi, tarsus, tenent, thorax, type
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text: Interested in selling us your vehicle? Simply enter in the vehicle information below along with your contact information and we will contact you shortly. Describe Your Vehicle Year: Make: Model: Mileage: Vin: Lien Holder: Payoff Amount: Vehicle Description: Contact Information First Name: Last Name: Email Address: Day Phone: Home Phone: Preferred Contact: <Please Select> Email Phone Morning Phone Afternoon Phone Evening Street Address: City: State: Zip Code:


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My piece, "Puck the Folice," for the City of Ink's 2nd year anniversary show, "Enough Iz Enough: Artists United Against Police Brutality" :
The wall of awesomeness. The painting on the lower right, "I Pledge Allegiance," was designed by mr. soul, the artistic mind behind the design of my piece and the Creative Director at the City of Ink.
My lovely friend, Maven D, with a copy of my book, [If] Life's Rotten, Write to the Core. You can purchase it here.


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The Magazine Reader
Dalliances At Disney, Picked Up By Radar
Tuesday, May 24, 2005
Every once in a while, you read something in a magazine that just makes you feel better about the whole wide world. The premiere issue of the reborn Radar magazine contains just such a story.
It's called "Wild Kingdom," and it reveals the deliciously tawdry goings-on among the "long-suffering, hard-drinking, cross-dressing" folks who play Goofy and Pluto and Cinderella at Disney World.
As an American parent coerced by hype-induced prepubescent whining to cart my kids to Orlando's money-sucking happiness machine, I'm delighted to report that when some of these "cast members" finish a hard day of hugging your drippy-nosed rugrats, they just can't wait to get stoned out of their minds and have kinky sex.
Go ahead, admit it: This revelation brightens your day and gladdens your heart, doesn't it? In fact, there are sentences in this story that made me want to belt out a chorus of "Supercalifragilisticexpialidocious." Here's one of them:
"Trevor Allen, a former Disneyland Pluto who wrote a play called 'Working for the Mouse,' relates an incident when Winnie the Pooh dropped acid, went on set, literally tripped, and rolled down a flight of stairs onto Disneyland's Main Street U.S.A."
Surely, nobody who reads that sentence could fail to believe in a just and righteous God. Besides, you've gotta love a story that quotes people identified as "one former Pluto" or a "former Mickey and Minnie."
At one point in the article, a "former Minnie Mouse" named Susan Santamauro recounts the tale of a crew of costumed characters riding in a van to a breakfast appearance at Disney's Polynesian Resort when suddenly Goofy and Pluto started to . . . well, we can't report exactly what Goofy and Pluto did because this is a family newspaper.
Tyler Gray, author of the article, used to cover Disney World for the Orlando Sentinel, and he has good connections among the folks who make $6.50 an hour prancing around in those hot, sweaty costumes. They tell him tales of dope and sex, and they take him to the "head room," a cavernous storage space where "hundreds of Minnies, Donalds and Mickeys hang side by side, their lifeless heads impaled on posts."
They also invited Gray to a party at "Vista Way" -- a 1,000-unit dormitory complex for Disney's low-level serfs and a notorious "party mecca" for off-duty Mickeys and Cinderellas.
"I hop from party to party," Gray writes. "One room features a wall dedicated to pilfered panties. In another, a stolen Disney security guard uniform is draped over a cardboard cutout character from 'Grand Theft Auto.' Nearby, a mock Disney street sign directs visitors to the bedroom: DRUNK AND HIGH CAST MEMBERS NEXT RIGHT."
Too bad I didn't read this story before I took the kiddies to Disney World. I would have enjoyed the place a lot more.
Asked to respond to the article, Disney World spokeswoman Jacquee Polak said, "This is a publicity stunt to sell a new publication."
The new Radar magazine is a resurrected version of the old Radar magazine, which published two issues in 2003, then went broke. Founding editor Maer Roshan refused to give up and found new backers, including Mort Zuckerman, owner of U.S. News & World Report.
I didn't much like the old Radar, which seemed to believe that making fun of celebrities constituted courageous muckraking. The new Radar exhibits some of that sophomoric spirit, too. There's a story identifying "TV's Dumbest, Meanest and Vainest Anchors." This childish exercise is an insult to the esteemed profession of broadcast journalism and I refuse to dignify it with comment, except to say that CNN's Aaron Brown was among the "vain" and NBC's Ann Curry and CNN's Rick Sanchez were among the "dumb."
Fortunately, the new Radar has more substance than the old one. In "Being There," reporter Bartle Breese Bull captures the off-duty life of the soldiers in one Army platoon in Iraq in all its glorious details, including their fondness for video games, Internet porn, junk food from home and, believe it or not, Fashion TV, which they watch avidly, waiting for the models' breasts to accidentally pop out of their gowns, which apparently happens more often than you'd expect.
Manufacturing Doubt
Back in 1969, an executive at the tobacco company Brown & Williamson wrote a line that summed up Big Tobacco's attempt to confuse the public about the health effects of smoking: "Doubt is our product since it is the best means of competing with the 'body of fact' that exists in the mind of the general public."
"In recent years, many other industries have eagerly adopted this strategy," David Michaels writes in an important article in the June Scientific American. The article is called "Doubt Is Their Product," and it exposes how drug and chemical corporations hire "product-defense" companies to create "scientific" studies that whitewash the dangers of their merchandise.
Michaels, a professor of environmental and occupational health at George Washington University, knows his subject. He watched these companies in action in the 1990s, when he was assistant secretary for environmental safety and health at the Energy Department and was trying to regulate the highly toxic element beryllium.
"If a pharmaceutical firm faces questions about the safety of one of its drugs," he writes, "its executives trumpet company-sponsored trials that show no significant health risks while ignoring or hiding other studies that are much less reassuring. The vilification of threatening research as 'junk science' and the corresponding sanctification of industry-commissioned research as 'sound science' has become nothing less than standard operating procedure."
To illustrate his point, Michaels recounts the tales of how drug companies used dubious studies to defend the pain-reliever Vioxx, which was shown to cause heart attacks, and the appetite suppressant PPA, which caused hemorrhagic strokes in young women. Both drugs have now been withdrawn from the market.
The Bush administration and its allies in Congress have aided these corporations, Michaels says, by passing a bill in 2001 that made it easier for companies to challenge government-funded research.
"I believe it is fair to say that never in our history have corporate interests been as successful as they are today in shaping science policies to their desires," Michaels writes. "We need a better balance between health and money."
Geraldo's Fantasy Island
Unlike most American mags, the Atlantic Monthly doesn't do many celebrity profiles. But the June issue features a long piece on Geraldo Rivera, who took reporter Sridhar Pappu to the island he owns off Puerto Rico and revealed his dream of retirement:
"I'm really a hippie at heart. I'd love to live on my island and look like Howard Hughes and have the kids come and pick the lice out of my hair."


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Pictures: Richard Caputo Memorial
Family, friends and dignitaries gathered on the Rocky Hill center green Sunday to dedicate a new memorial to Richard Caputo, a Rocky Hill soldier who was killed 45 years ago in Vietnam. He was the only Rocky Hil resident to be killed in action in Vietnam.
Rick Hartford
Copyright © 2018, Courant Community


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It's always nice to have a special, handmade gift ready and wrapped for giving on a moment's notice. This quick-to-make, embellished, multi-use Ultrasuede cover is a great way to use up treasured fabric scraps.
Note: The measurements given below are for a standard size cover.
Measure your checkbook to determine if you will need to make the cover larger or smaller. Make appropriate adjustments before cutting and remember to add seam allowances.
Cover - (one piece) 6-7/8" W x 7-3/4" L
Pockets - (two pieces) 6-7/8"W x 3-1/4" L
Embellishment Design - small pieces of Ultrasuede in contrasting colors
One sheet of Steam-A-Seam2ģ for edges and appliquťs
Accuracy is important when cutting. For best results, use a rotary cutter and a cutting mat.
Before cutting the appliquť pieces, fuse Steam-A-Seam2 to the wrong side of each piece.
Cut pocket pieces with matching nap so that they will appear to be the same color when they are attached to the cover.
Cut geometric or free-form shapes for appliquť design similar to those shown in the drawing. Make sure that Steam-A-Seam2 completely covers the back of each piece.
Cut approximately 28" of 1/8" wide Steam-A-Seam2. This will be used to temporarily attach the pockets to the cover.
Fusing appliquť pieces to the cover
Remove protective paper from applique pieces
Place applique pieces on lower left edge of the cover. Experiment with the design. Before fusing, look at the design in a mirror and make adjustments for balance and color harmony.
Carefully cover the design with a press
cloth and gently fuse the design into place.
Note: Never put an iron directly on Ultrasuede without the protection of a press cloth.
Fusing pockets to cover
On wrong side of pocket pieces place a 1/8" wide strip of Steam-A-Seam2 along three outside edges as shown at the right. Note: Do not place fusible web on one lengthwise edge of each pocket.
Remove protective paper from fused strip
Position pocket pieces directly over the wrong side of the cover, marching the fusible web to the outside edges.
Cover pockets with a press cloth and fuse pocket pieces into place
Completing the cover
Using a mat and rotary cutter, trim cover precisely to final size needed
Machine stitch close to the edge around all outside edges as shown at the right
Insert calendar or checkbook into cover
Enjoy using or give proudly
Embellishment Explosion Pattern #39
More information on Total Embellishments
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