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Symphony, a lengthy form of musical composition for orchestra, normally consisting of several large sections, or movements, at least one of which usually employs sonata form (also called first-movement form).
Symphonies in this sense began to be composed during the so-called Classical period in European music history, about 1740–1820. The early part of this period and the decade immediately preceding it are sometimes called pre-Classical, as are the symphonies written before about 1750. During the 19th century, which included the Romantic period, symphonies grew longer, and composers concerned themselves with ways of unifying the movements; extramusical programs and new approaches toward tonality (the major-minor system of chord progressions) were among the solutions to the problems of large-scale symphonic form. Late in the century, symphonies—and orchestras—had grown to such an extent that reaction set in, culminating in the Neoclassical movement of the early 20th century, in which composers turned again toward principles of balance and formal discipline, using new techniques to achieve dynamic coherence. Economic considerations forced a reduction in the size of orchestras and amount of rehearsal time available to mid-20th-century composers, further justifying a return to less extravagant symphonic thinking.
Throughout the 19th century, however, a number of outstanding symphonists were able to reconcile the demands of fashion with strict musical logic. These composers represent the mainstream of symphonic activity, and their works remained models for much 20th-century activity in the genre. Throughout the following article two concerns predominate: a survey of the chief symphonic works and composers and consideration of the evolution of symphonic thought.
The concept of symphony before c. 1750
The word symphōnia was used by the Greeks in reference to notes sounding together in harmony and by extension meant an "ensemble" or "band" rather than a musical form. The word implies a pleasant concord of different notes and has been used in fields other than music to denote a pleasing combination of various elements. In the New Testament Gospel According to Luke (King James Version), symphōnia is translated as "musick," as distinct from choroi, "dancing." In the Middle Ages the name was given to several musical instruments, among them a double-headed drum, bowed stringed instruments, a large hurdy-gurdy, and bagpipes. Mention is made in 1582 of eine Symphonie, evidently a stringed keyboard instrument.
From the mid-16th century, symphonia (and related spellings) is a term often found in titles in which it simply indicated ensemble music, whether for instruments with voices or either alone. A collection of madrigals published in Antwerp in 1585 is entitled Symphonia angelica…raccolta per Huberto Waelrant. Later notable examples are the Sacrae symphoniae of the Venetian composer Giovanni Gabrieli (Book I, 1597; Book II, 1615), collections of elaborate instrumental and vocal music, often for multiple choirs; and the Symphoniae sacrae of his celebrated German pupil, Heinrich Schütz (1629, 1647, 1650). Schütz's collection reveals his debt to the colourful and brilliantly orchestrated Italian style in works ranging from several voices to large polychoral compositions with solo parts and instruments. His countryman Samuel Scheidt's 70 Symphonien auf Konzerten-Manier (1644) likewise combine instrumental and vocal ensembles to enrich the texture and heighten the drama of his music.
Symphonies for instruments alone during the early Baroque era (c. 1600–30) occur as independent pieces and as introductions or interludes in theatrical productions. The Italian Biagio Marini's sinfonia La Orlandia (1617) is a duet for violin or cornetto (a wind instrument with finger holes and cup-shaped mouthpiece) and continuo in five brief contiguous sections, distinguished by contrasting metres and new melodic material in each section. (The continuo is a harmonic accompaniment improvised over the written bass line, usually played on a keyboard instrument and a bass viol or other bass melody instrument.) Early operas often include instrumental symphonies. Jacopo Peri's Euridice (first performed 1600) includes a sinfonia for three flutes; Claudio Monteverdi's lavish musical drama Orfeo (1607) is punctuated with five richly scored sinfonias, while a sinfonia da guerra ("sinfonia of war") accompanies a staged battle in his Il ritorno d'Ulisse in patria (The Return of Ulysses to his Country; 1641). Each act of Stefano Landi's opera Il Sant'Alessio (1632) opens with a sectional sinfonia. Many other opera and oratorio composers used short descriptive or introductory sinfonias, often of sectional form with contrasting metres and tempos.
It remained for a Neapolitan, Alessandro Scarlatti (1660–1725), to formalize the overture to his operas as a fast–slow–fast sinfonia avanti l'opera, as in his opera Dal male il bene (1681; "Good from Evil"). The so-called Italian overture of this and later works, scored for strings and continuo, has been widely considered to contain the germ of the later three-movement symphony. In contrast with the more contrapuntal (based on interwoven melodic lines) French overture, which begins with a pompous slow movement and continues in a fugal section (involving imitation of a melody among several voices), the Italian style is immediately tuneful and predominantly homophonic (chordal) in texture. The first fast movement may be trivial; its symmetrical phrasing is unexpressive. The contrasting second movement may be more lyrical, perhaps anticipating tunes heard later in the opera. The last movement, sometimes a minuet, is an exuberant curtain raiser. This format spread quickly outside Italy, even to France. Jean-Philippe Rameau's Zoroastre (1749), for example, includes such a fast–slow–fast overture. Rameau, indeed, was considered an exponent of the Italian style, particularly in his lucid harmonic treatment. This late Baroque concern with tonal clarity prefigured the attitudes of early Classical symphonists. Among the devices used to assure clarity are melodies constructed of arpeggiated ("harplike," or broken) chords and passages in unison or in parallel thirds or sixths (sequences of harmonies formed by thirds, such as C–E or D–F, or sixths, such as C–A or D–B). These features are not common in Baroque music that is strictly contrapuntal in texture.
While the opera overture settled into a form that eventually inspired early symphonists, the term sinfonia, or symphony, as yet had no formal definition. As late as 1771 the Encyclopædia Britannica, reflecting ancient Greek usage, defined symphony merely as "…a consonance or concert of several sounds agreeable to the ear, whether vocal or instrumental, called also harmony." Sinfonia was used interchangeably with concerto, consort, overture, suite, and so on. Commonly, a brief instrumental interlude, as in a song, was called a symphony, even into the 19th century. In the late Baroque era (c. 1700–50) the term was applied to such dissimilar pieces as Johann Sebastian Bach's didactic Three-Part Inventions for keyboard, called Sinfonien in the 1723 copy, and the orchestral "Pastoral Symphony," a quasi-descriptive interlude in George Frideric Handel's Messiah (composed 1741), said to have been based on an Italian shepherd bagpipe tune and very much in the tradition of earlier descriptive symphonies in opera.
Bach's Sinfonia VII in E Minor and Sinfonia XI in G Minor are interesting in that in each piece the opening material recurs at the end. In Sinfonia VII this repetition is merely suggested, but in Sinfonia XI the last eight measures of the piece virtually duplicate the first eight. The whole intermediate body of these pieces develops the motivic material presented at the beginning, and the initial material is transformed contrapuntally and harmonically. In the closing bars the tension thus aroused resolves and the rhythmic drive reins in. This suggestion of an expository unit moving from the home key to a different key, followed by an extended development that explores still more remote keys and the motivic and contrapuntal implications of the beginning, concluding with a recapitulation in which the energy of the development is somewhat dissipated by a return to the opening material, prefigures the sonata form of the Classical symphonists. Bach uses this technique in some of his instrumental concerto movements; the concertos have other elements in common with early symphonies, especially in the mood of their lyric slow movements and fast duple-metre finales.
The word sinfonia was applied to a trio sonata for flute, oboe, and continuo in Johann Joseph Fux's Concentus Musico-instrumentalis (1701), a collection of suites each comprising a number (as many as 15) of bipartite (two-section) dances and descriptive pieces. An intellectual and influential Viennese court composer, Fux departed in this sinfonia from the typical 17th-century suite, which is merely a collection of contrasting dances in the same key. The work falls into two major divisions, both comprising three short movements; the key scheme is F major, D minor, F major—F major, D minor, F major, and the last three movements have programmatic titles. Here is not merely a collection of various dances but a conscious attempt to relate movements tonally and thereby create larger hierarchic units. F major and D minor are closely related keys, and it would not be possible to omit a single movement without destroying the symmetry of the whole (not that either group of three, or even each dance, does not sound good by itself). By means of this simple, balanced harmonic structuring, Fux advanced beyond the looser architecture of the typical suite, and, by framing a minor-key movement between two movements in the same related major key, he anticipated the overall form of many early symphonies.
Both Fux and Bach were products of the evolution of tonal harmony, a system of key relations which brought with it the possibility of basing large-scale forms not only on melodic variation or counterpoint, as earlier, but on harmonic tension and modulation. (Modulation, unlike simple change of key, implies the establishment of a new tonic, or tonal centre, by means of progression through a number of related keys.) The wide-ranging modulations and affective harmonic progressions of German Baroque composers depended on equal temperament, a system that permits exploration of keys distant from the tonic without the necessity of retuning to accommodate the remote harmonies. Bach exploited this system to the utmost, as did many of his North German contemporaries, but their rich harmonic palette was foreign to the south, where many important symphonists arose. Concerned less with powerful emotions (Affekten) and more with clarity, the southerners avoided intricate counterpoint and convoluted harmonic progressions, preferring a restricted chord vocabulary and clear-cut symmetrical phrasing dominated by tuneful melody.
Besides the suite and opera overture, the short humorous intermezzo, which originated in Naples and flourished about 1685–1750, strongly influenced pre-Classical symphonists. Neapolitan composers, headed by Alessandro Scarlatti, concerned themselves in the intermezzo with dramatic, comic interplay between two singers in two or three short acts made up of arias, recitatives, and duets. Because the texts demanded clear articulation and careful declamation, they influenced the melodic phrase structure, giving rise to repeated-note figures and brief rhythmic or melodic motives. These phrases normally fall into two-measure units. Counterpoint was abandoned, for it tended to obscure the text, and harmonies became simple and slow-moving. Intermezzo melodies abound in ornaments, sudden accents, syncopation (displaced accents), and playful leaps reflecting the text declamation and lack the broad, spun-out arch and driving rhythm of typical Baroque melodies. Rather, they are made up of short motives joined one to another and give rise to frequently articulated phrase groups. This word-derived idiom furnished the melodic impulse of the early symphonies.
The early Classical period
Chord-generated melodies (those arising from arpeggiated triads, or three-note chords) abound in 18th-century symphonies, among which a number of stereotyped "theme families" can be distinguished. These furnished raw material for further development. In fact, composers' originality found expression not so much in their original themes as in the realization of the implications of those themes later in the composition. Certain tunes are by nature not highly implicative; they are perfect closed units that cannot be easily developed and so are superficially inappropriate for symphonic use. Such, for example, are many folk tunes, and this explains why great symphonists rarely use folk tunes without at least distorting them so as to open them to development. On the other hand, motivic melodies, such as those in the intermezzi, coupled with slow harmonic motion, lend themselves well to fragmentation, recombination, extension, elision, reharmonization, and other developmental techniques. By the 1740s, Italian symphonists had learned to sustain interest by these means and to obtain contrast by dramatically apposing tunes of different character in different keys (usually the tonic, or home key, and the dominant, located five tones above the tonic, or related major or minor keys).
Among Italians influenced by these factors was Tomaso Albinoni (significantly, a composer of 48 operas). The third movement of his Sinfonia in D Major, fifth of the Sei sinfonie a quattro (1735), displays a simple sonata form. Sonata form, crucial in the symphony's evolution, is based on the dramatic apposition and eventual reconciliation of contrasting keys. In essence it consists of an exposition in which one or more themes are presented, the first (often forceful in character) in the tonic key and the second (often lyric) in the dominant. Sometimes a third, closing theme follows in the dominant. The two key areas contrast not only harmonically and melodically but often in instrumentation, loudness, and texture. So-called monothematic sonata movements lack a contrasting second melody; indeed, it is not so much the character of the tunes but the dynamism of the opposed key areas that is essential to the dramatic structure. The transition between tonic and dominant areas was to become a focus of interest to later composers, but in early symphonies the transitions were brief and simple.
The exposition, often marked to be repeated, comes to a close on a key other than the tonic (usually the dominant) and is followed by a development section, beginning on the dominant, in which themes previously heard are reharmonized, fragmented, or otherwise reshaped. Again it is not melodies so much as harmonies that arouse tension in the development. The composer confronts the problem of returning to the tonic via more distant chords, and this is sometimes accomplished by modulations that bear no thematic relation to the exposition. In early symphonies this process is only tentatively exploited, and developments are brief, sometimes involving merely transposition of the original first theme to a new key. Later the development assumed the character of the meat in the sandwich, as it were.
Following the development comes a recapitulation of the exposition, this time all in the tonic key (before c. 1770 the recapitulation sometimes retained the key scheme of the exposition, except for the closing bars), resolving the harmonic tension of the development. The recapitulation may be simply a virtual repetition of the exposition, with appropriate key changes, or may be truncated, expanded, or otherwise varied so as to continue developmental processes. Many early symphonies take advantage of the implications of a varied recapitulation, literal repetition being abhorrent to imaginative composers. It will be observed that when both themes appear recapitulated in the tonic, the function of the transition between themes differs from that in the exposition, in which it leads from one key to another. After the 1750s, however, the first theme was often omitted in the recapitulation. Obviously, the recapitulation's tonal scheme allows extended treatment of the tonic, but sometimes a coda (tail) is added after the recapitulation to consolidate further the focal nature of the tonic.
It is important to understand that sonata form was subject to great variation and deviation from "textbook" norms throughout the symphony's history. Ideas of a "typical" sonata form did not evolve until about 1830. Nevertheless, the vocabulary of exposition, development, recapitulation, transition, and so on is capable of wide application and will simplify the remainder of the present section.
Albinoni's Sinfonia in D Major as a whole is forward-looking. The orchestra lacks a continuo, harmonic orientation replaces counterpoint, and the movements are of larger scale than typical Baroque dance movements. The central minuet-and-trio movement, surprisingly modern-sounding, contrasts lightheartedly with the sonata form. Minuets and song-form movements relieve the dramatic tension of sonata movements, and from this time on minuets appeared frequently in symphonies. Gradually losing dance character, they moved from the last or middle position to penultimate place when, later, a fast fourth movement appeared as finale.
A leading early symphonist, the Italian Giovanni Battista Sammartini, is known from some 77 extant symphonies, some of them available in modern editions. A prolific composer of instrumental chamber music, his use of incipient sonata form, restricted harmonic vocabulary, and motivic, not highly ornamented melodies pointed to the future. Though dependent on Baroque models for inspiration during his first period of activity (to c. 1740), he had abandoned the continuo by about 1760, filling the harmony instead with horns or trumpets—which, however, were restricted in their ability to play in certain keys and therefore operated to constrict the available harmonic vocabulary. More than many contemporaries, Sammartini infused inner parts with contrapuntal life, especially in earlier works, although he rarely used extended imitation. His rhythmic energy was appreciated by opera-writing contemporaries, from whom (especially the Italians Niccolò Jommelli and Rinaldo di Capua) he perhaps drew inspiration for the long, expressive cantabile (songlike) phrases that, along with a firm grasp of modulation, characterize his later works. His slow movements are especially rich. Another late characteristic is the extended role of wind instruments, which are given independent, idiomatic parts. Sammartini wrote for oboes, flutes, and bassoons among the woodwinds (bassoons doubling the bass line); clarinets were also in use at this time, usually interchangeably with oboes. Significantly, Mozart heard Sammartini's music during a visit to Milan.
A third Italian, Giovanni Battista Martini, renowned as a teacher and music historian, left 24 symphonies dating roughly between 1736 and 1777. There is remarkable consistency within this corpus. All but one of the symphonies are in the then-normal three movements (Sammartini wrote a number in four), and all have outer movements in a major key, whereas the middle slow movements are nearly always minor. Music of the Classical period greatly favours major keys; according to one investigator, all but about 2 percent of 18th-century symphonies are major (excepting their expressive slow movements). Martini, although trained in counterpoint, avoided it in these works, favouring instead a treble-dominated texture over a simple, slow-moving bass. His chord vocabulary was restricted, his orchestration elementary. His melodies reflect a number of banal formulas in current use, but his manipulation and development of these formulas was skillful. Mozart visited Martini several times in Bologna in 1770.
In the hands of these and other Italian composers, symphonic style evolved considerably by 1740, and there was continued fruitful experimentation through the 1750s. That Italians influenced contemporary and later German and, especially, Austrian symphonists cannot be doubted, but the extent of indebtedness and mutual influence cannot now be fully determined, because of the scarcity of available scores. Relatively few of the surviving early symphonies have appeared in reliable modern editions, and those known to survive in manuscript represent but a fraction of the thousands composed. The early history of the symphony remains, therefore, a matter of speculation and debate, despite the enormous progress in research and publication since the mid-20th century.
Germany and Austria were important centres of symphonic composition after about 1740. In Mannheim, Germany, the Bohemian Johann Wenzel Stamitz developed a remarkably well-trained orchestra that by 1756 comprised (in addition to 30 strings) four horns, pairs of flutes, oboes, clarinets, bassoons, trumpets, and timpani. With this ensemble, independent wind writing and creative orchestration flourished. Stamitz—himself a violinist and composer of more than 70 symphonies, chiefly mature works—and his contemporary Ignaz Holzbauer evolved a bold style born of the confluence of Italian melody and German seriousness. Counterpoint is abandoned; expression arises from orchestral crescendos and diminuendos (anticipated by Jommelli), characteristic melodic effects such as sighing appoggiaturas (short ornamental notes that resolve into principal notes) and rocketing arpeggiated (broken) chords, and strong dynamic, thematic, and textural contrasts. This style degenerated into mannerism with Stamitz's son Carl (composer of about 80 symphonies) and Johann Christian Cannabich, who enlarged the Mannheim orchestra.
Mannheimers paid special attention to their development sections, which have been described as a "mosaic of fragments." They tended toward incomplete recapitulations, wrote tender slow movements, and extended the number of movements to four—allegro (lively), andante (slow), minuet, and presto (rapid). Insisting on disciplined and precise performance, they wrote all parts out in full instead of leaving some to be realized by the players. With the rise of independent wind parts after about 1770, the continuo became redundant and was abandoned; in outdoor music and in huge orchestras it had become inaudible anyway. Musical textures, which in early works were equally appropriate for string quartet or orchestra, became truly symphonic. Holzbauer occasionally features bassoon solos (as in the Symphony in E-flat Major, Opus 4, No. 3), liberating that instrument from simply doubling the bass. The elder Stamitz and Holzbauer were particularly highly regarded in Paris and strongly influenced symphonic activity there.
In Berlin and northern Germany another school arose, dominated by Carl Philipp Emanuel Bach (a son of Johann Sebastian Bach), Johann Gottlieb Graun, and other musicians reared in a tradition of rigorous counterpoint and formal conservatism. Retaining three-movement format and avoiding strongly contrasting themes, they maintained contrapuntal interplay in the prevailingly homophonic texture. Even more than the Mannheimers, they concerned themselves with melodic development and ornamentation and with emotional expressiveness—an aesthetic approach they termed Empfindsamkeit (sensitivity). C.P.E. Bach's set of six symphonies commissioned by Baron Gottfried Bernhard van Swieten (completed 1773) aroused enthusiasm for their humour, technical challenge, and novelty of harmonic invention. Even more intensely passionate are the late Orchestral Symphonies for Twelve Obbligato Parts (1780), with their clever instrumentation and affective harmonies punctuated by unison passages. Reflecting the literary Sturm und Drang ("Storm and Stress") movement, the Berliners powerfully influenced Haydn and Mozart and even Beethoven.
Another son of J.S. Bach, Johann Christian, the so-called London Bach, was perhaps yet more important for the future, influencing Mozart, who met him in London (1764) and again in Paris (1778). His 50 or so symphonies lack the passionate gestures of the Berliners' but are finely wrought and sophisticated in melody and orchestration. The Sinfonias for Double Orchestra, Opus 18, reflect in their style galant tunes the influence of his study with Martini in Italy, as well as French and Mannheim characteristics (galant was the 18th-century term for modern, light, elegant style). Numbers two and three of the set served as opera overtures. Simple in form, complex in texture, J.C. Bach's works are now considered to epitomize elegant, fashionable chamber music.
The style most influential on Haydn, Mozart, and Beethoven was that of the Viennese school, headed by Matthias Georg Monn and Johann Joseph Fux's pupil Georg Christoph Wagenseil. The Viennese experimented further with orchestration and tone colour, emphasized the violin's melodic role, and displayed popular influence in their playful minuets. Monn, though perfectly at ease with counterpoint, ignored it in his symphonies. His four-movement Symphony in E-flat Major for pairs of oboes and horns, strings, and continuo is noteworthy for its wide dynamic range and gracious melody so characteristic of Viennese music. The first movement's first theme recurs in the recapitulation transformed into a virtuoso horn duet, reflecting the skill of the players at his disposal and the liberation of horns from a mere harmony-filling role. Elsewhere in the movement are found the slow, repeated-note bass and inconsequential viola part common in early symphonies. As yet the development is quite short and thematically limited, and the movement's scale is small—only a little more than three minutes. But as is often the case, the first movement is the most extended of the four, first movements having gained importance beyond the first movements of opera overtures. In later works Monn dropped the continuo and extended the role of the winds. Together with Johann Stamitz he has been considered highly influential in establishing modern symphonic style, although perhaps Wagenseil, an experienced keyboard player and opera composer, was a more successful composer, especially notable for skillful thematic construction and manipulation, working ornamentation into structure. Also active in Vienna was Haydn's friend Karl Ditters von Dittersdorf, who contributed no fewer than 115 symphonies.
The Viennese style became widely disseminated in Europe. As many as 25 Viennese composers migrated to Paris; others moved to Dresden, Mannheim, and Munich and even as far as Dublin, Saint Petersburg, and North America. Their style thus became truly international, and the innovations of these minor masters paved the way for the fully developed symphonic style of Haydn and Mozart. The music of the Viennese composers, mainly intended for elite entertainment, reflects the virtuosic attainments of many private orchestras and the cultured taste of aristocrats who commissioned a constant stream of symphonies and lighter chamber music.


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|Stop Payment Request (Online Banking)(checks only)
|$25 per request
|Deposit Item Returned
|$6 per item
|Deposit Item Returned (Foreign)
|$25 per item
|Deposit Item Re-run
|$7 per item
|Personalized Check Card Fee
|1 Personalized Check Card per accountholder at no additional charge; $10 for each additional Personalized Check Card
|Replacement Card Fee
|$5 ($10 for Personalized Check Card)
|Rush Replacement Card Fee
|Statement Upgrade Fee (Image Statement Fee)
|$5 per statement cycle
|Special Statement
|$5 per statement cycle
A special statement may include, but not be exclusive to the following: daily statements, duplicate statements, hold statements and statement printouts.
(all fees are per transfer)
|- Incoming (Customer)
|- Outgoing (Customer)
|- Outgoing Repetitive (Customer)
|- Outgoing (Non-Customer)
|- Fax/Email
|- Mail/Phone
|- Incoming (Customer)
|- Outgoing (Customer)
|- Fax/Email
|- Mail/Phone
|Cash Handling Fees:
|- Rolled Coin
|$0.10 per roll
|- Strapped Currency
|$0.20 per strap
|- Bank Bags (Zipper)
|$5 per bag
|- Bank Bags (Locked)
|$20 per bag
|Check Charges:
|- Temporary Checks
|$1 each
|- Personal Checks
|Personalized check order charges, including tax and shipping and handling, are debited from your account when your order is placed. Check order charges vary.
|Collection Items (all fees are per item):
|- Incoming
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|- Non-Customer
|- Bond Coupon
|- International
|$20 plus costs
|Deposit Fees:
|- Deposit Correction Fee
|$2.50 per item
|- Deposits to Closed Accounts
|$28.25 per deposit
|Legal Fees:
|- Garnishments, Levies, Court Orders
|$150 plus attorney fees
|Reconcilement/Research Fees:
|- Reconcile Statement
|$25 per hour
|- Research
|$25 per hour
|- Copy of Fax
|$3 per page
|Staff-Assisted Call (over 5/month)
|$1 per call over 5 in a month
|Telephone Transfer Fee
|$3 per transfer
|Online Banking
|No additional charge
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|No additional charge
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|No additional charge
Message and data rates may apply - check with your wireless provider.
Your account will be subject to the terms and conditions, including all fees and service charges, applicable to BBVA Compass accounts in the state where we maintain your account. For purposes of this disclosure, your account will be deemed to be maintained in the state where you opened your account. Your account is considered to have been opened: if you opened your account by mail, at the location where the mail was received by us; or if you opened your account electronically (including by telephone) and your address is in a state where we have branch offices, in the state of your address at the time you opened your account; or if otherwise, in Alabama.
For additional terms governing your account, please consult the Consumer Deposit Account Agreement.
NOTE: The above noted fees and service charges are not set bank–wide. These prices are driven by the competition in your local market.
We reserve the right to change terms, conditions, and/or pricing of our products upon reasonable prior notification.
Rev. 4/2015

subset: commoncrawl


text:
I Love You, Man
Paramount, $29.99; Blu-ray, $39.99
The usual criticisms apply to the shaggy, Apatow-esque "bromantic comedy" "I Love You, Man." The movie's story of an uptight nerd (Paul Rudd) who learns to unwind with the help of a self-possessed slacker (Jason Segel) oversells the glories of male immaturity at the expense of its female characters and at the expense of such niceties as emotional depth and narrative unpredictability. But the usual praise applies to the movie too. It's very funny, and Rudd and Segel give strong performances as, respectively, a man so uncomfortable in his skin that he can't even complete a coherent sentence and a man so settled in his routine that he's become almost sociopathic. The DVD and Blu-ray add a commentary track, deleted scenes, a gag reel and a featurette.
Vivendi, $26.99
In writer-director Matt Aselton's mega-twee indie comedy "Gigantic," Paul Dano plays an emotionally distant New York bed salesman attempting to adopt a baby from China, while Zooey Deschanel plays a Zooey Deschanel type, adept at using her own damaged soul to heal other damaged souls. "Gigantic's" parade of at once affectless and affected New Yorkers might hold some appeal to people who are wildly pro-quirk, but anyone not on the movie's wavelength will likely find it insufferable. The DVD adds two short deleted scenes.
The First Season
Paramount, $49.99
Before the CW's remake of "Beverly Hills, 90210" ever aired, it was subject to enough behind-the-scenes drama to fuel a dozen prime-time soaps -- including the loss of two show-running teams and rampant rumors about which old cast members would put aside long-running quarrels and pop up on the new show. Sadly, "90210" is nowhere near as interesting as its back story. It's a rote teen drama about troubled rich kids, with little of the juice of "Gossip Girl" or "The O.C." The first-season DVD set comes with chatty cast commentary on select episodes and a handful of peppy featurettes.
Paris 36
Sony, $28.96
"The Chorus" writer-director Christophe Barratier follows up that Oscar-nominated art-house hit with the ambitious period musical "Paris 36," about a down-on-his-luck stage manager who discovers a star in a bright young singer (played by Nora Arnezeder) and enjoys a rare moment of success in economically depressed pre-World War II France. "Paris 36" is handsomely shot and packed with catchy old tunes, but Barratier paints with such broad strokes that it all seems too much like something out of a storybook -- not a movie with any modern relevance. Still, there's a lot to like about the DVD, which contains more than an hour of featurettes, 20 minutes of deleted scenes (including cut songs) and a commentary by Barratier.
17 Again
Warner, $28.98; Blu-ray, $35.99
"17 Again" stars Matthew Perry as a miserable middle-aged family man who's magically de-aged to his high school self (as embodied by Zac Efron!) and given a chance to befriend his own kids and understand their problems. The "old guy becomes a young guy" routine has been done repeatedly in movies and for good reason: It's a reliably entertaining plot, with built-in sentimental value. It's too bad that "17 Again's" creative team didn't do more to contemporize this story, but it's always nice to see Perry on screen, and with each new project Efron proves all over again why he's a star. The DVD and Blu-ray include deleted scenes, outtakes, a trivia track and featurettes.
All titles available Tuesday.


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Welcome Orissa High Court, Cuttack
By Resolution dated August 19, 1942 the Law Department of Government of Orissa appointed a committee with Sri Bira Kishor Ray as Chairman, Narasingh Rao as members and Shri J.E. Meher as the Secretary. The conclusion of the report was that the creation of a separate High Court would round off the organization of the Province and lead to more speedy and convenient administration of justice.


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The Jay Cutler era in Chicago officially ended Thursday with the veteran quarterback released and free agent Mike Glennon brought in to take his place.
After eight seasons and 104 starts, Cutler leaves holding just about every major franchise passing record. He also leaves with only one playoff appearance to his name.
So what were the high points of Cutler's time with the Bears? And how low were the lows? Here's a look at his six best and six worst games as a Bear.
Six best games
Jan. 16, 2011: Bears 35, Seahawks 24
The recap: On a feel-good afternoon at Soldier Field, Cutler opened the NFC divisional playoff game with a beautiful...


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Hm - after having been lazy for months I think it is time for another short update. The WhiteRoomSupper club has been really busy with the usual suppers, corporate get togethers, birthday's and another hen night. And for the first time, last Saturday 2 guests turned up who were booked in for this Saturday - so things keep being interesting.
Anyway - as May was mainly focused around the White Asparagus, I thought might post some information about preparation and cooking of the German variety. Give it a try.
First of all it looks like you can only buy the German Asparagus at the German Deli www.germandeli.co.uk,
the good thing is that they only import the best quality on the market so you can't go wrong.
Then you will need to peel the asparagus about 2 thirds, leave the top out - if you don't have a special asparagus peeler use a potato peeler - be diligent as it might not turn out really soft if it is not peeled properly.
Keep the peel and the woody ends which have be cut off. Boil them in water (add a bit off sugar) for about 15 Minutes. Take the peel out and use the stock to boil the asparagus. You can use a spaghetti pot and put the asparagus upright (soft heads up), if you don't have one use a large pot and bundle the asparagus with some string into portions. Now put into the boiling stock for about 15 to 20 minutes - until the asparagus is nice and soft. Best way to serve it is just with a bit of Hollandaise, new potatoes and some cold meats. Black Forest Ham goes really well with it. Enjoy!
And if you don't want to try it yourself - there are still a few spots available for the asparagus dinner on May 25.


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Hello again. This is another publication on the Stick Rod Series. Today we will look at Fast Freeze Rods/Uphill/Downhill.
As we discussed last time, the fast freeze rod is a common stick rod that has been a stable rod and around the welding trade from the beginning since flux coated rods have existed.
Our focus today will be the uphill and downhill positions of the fast freeze rod.
The best place to start with any rod is of course the flat position, but I want to focus on a little harder area today.
Depending on what you will be welding and in what code (if any) you will be accountable too, the two most common applications will either be uphill welding or downhill welding. Some like to refer to the downhill as downhand. I don't but some do.
In general industry standards, there is very little acceptable downhill welding outside of the pipeline welding code 1101.
Most procedures nation and world wide will focus on the uphill root pass, hot pass, and cover pass. From experience where there is a fast freeze rod root pass and or hot pass, the cover pass will usually be with a low-hydrogen rod like 7018 or something similar.
Uphill welding is very different from the downhill welding. When welding there is a natural effect of heat that is fighting against the welder. Heat rises. You say, hey, that guy is smart. Thanks. Just kidding. Keep this basic principle in mind at all times when you are welding and it will help you redirect your weld when necessary because of what happens with radiant heat transfer.
Uphill welding has more penetration because the rod is burning the surface metal out of the way before the puddle comes behind to fill in giving more weld deposit deeper into the parent metal. It is easier to overcome a gap welding uphill; especially with fast freeze rod because while moving up and away from the area where the metal is being deposited, the weld has frozen or solidified by the time you come back down to deposit more metal. You are not fighting the tendancy of the metal to outrun you like downhill can do at high heat since gravity is pulling on the metal. Uphill welding is not as fast as downhill welding therefore you rarely see uphill welding on a pipeline weld. The pipeline weld is almost always all downhill from start to finish.
Sometimes it is necessary to stop and let the metal cool if the gap is too big. It is better to do this than to keep welding and run the risk of pushing to much metal through on the root pass. Now if you are welding plate to plate with no gap between the metal, then this is not usually a problem.
Uphill welding requires less amperage heat to weld than the downhill procedure. Not something drastic, but slightly different.
The reason for this is that downhill welding is more a dragging the rod than whipping or stepping the rod like the row of dimes we discussed from our last article and because gravity is working against you, the slag, or impurities that are cooking out of the weld while the process is going on, are following and often trying to overtake the downhill weld. Due to the nature of the gravity and slag feature on downhill the heat setting is usually higher than uphill welding. This extra heat is needed to keep the rod burning while fighting the slag trying to consume the rod arc. It could be upto as much as 10 amps higher.
One thing to be aware of when welding a gap uphill like on a pipe or but weld plate is this: it is easy to put too much metal into the weld joint because of higher deposition rate. If you hang to much metal inside the gap, it could disqualify your weld. While welding you are not necessarily pushing the rod hard into the gap but just touching the surface making sure not to leave undercut. Most of the time the metal on the inside will take care of itself. Moving to fast can leave not enough metal at times too. Practice will help you overcome these obstacles. It is just part of welding.
Rod angle and heat coupled with travel speed will either make or break your welding experience.
Once you learn the characteristics between these 3 critical components coupled with either uphill or downhill you will see a difference in your ability to weld, and the appearance of your weld.
While welding downhill it is best to keep the rod in the center of the weld piece. There is really not a need to move the rod from side to side. This is what I refer to as the dragging affect mentioned earlier. At some times there will be a need to move from side to side to allow the slag metal to pass around the good weld puddle. In this case gravity is helping remove that unwanted metal build up. While going uphill, the tendancy will be to move the rod either side to side or in a U pattern. Sweeping from side to side going up and back down into the puddle as it freezes. Now I am not talking about some super exaggerated movement here.
One more thing before I go is this: Welding is a multi-tasking process. While the hand is moving in a direction accross the weld piece it is also moving closer into the weld piece because the burning rod keeps getting shorter the entire time you are welding. To learn to sequence these movements while keeping the proper angle is the trick of making killer looking and proper welds.
Welding is a smooth fluent motion. It is best to make yourself as comfortable as you can while welding. I very rarely weld with one hand because I find myself not as steady.
Experiment with these techniques and you will have success. Until next time, keep your eyes behind the welders lens
Thanks from the author!


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Take a break from bagged lunches and have something extraordinary at the Food Truck Rodeo! The food trucks are here to serve up delicious eats and treats at the Aurora Municipal Center. Spend your lunch time break with us on our great lawn area while tasting some yummy food!
Ride the Light Rail Train!
Plan your ride - the RTD R Line is open! End your trip at the Aurora Metro Station as its just walking distance from our event site.
No dogs allowed, No glass bottles, No unlawful devices, No illegal substances, No open carry of firearms.
Other items that may interest you
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The revenue we receive from our advertisers helps make this site possible. We request you whitelist our site.


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Featured News - Current News - Archived News - News Categories
by Terry Duffy
There was a fair amount of discussion, but not really all that much substance, at two meetings of the Lewiston Town Board this past week.
On Thursday, Supervisor Steve Reiter and attending board members Ron Winkley, Mike Marra and Ernie Palmer met for what could best be called a "casual discussion" on the still-in-the-works 2014 town budget with Finance Director Michael Johnson.
No actual figures were presented as key elements involved what the town was going to do with its one major financial problem - that being the water department account, which has doubled. "We're looking at ways to reduce," said Reiter, noting that options available to the town at this point include utilizing New York Power Authority revenue credit lines to offset the increase; eliminating a water department position totaling $95,000 in salary and benefits; re-evaluating water department costs such as badger meter equipment purchases; exploring the use of sales taxes; considering monies from town refuse and fire protection accounts; and further working with various town departments in an effort to trim the hike.
Reiter said the water department fund balance account currently stands at a healthy $200,000, up significantly from the $44,000 when he first came into office, and that it could be yet another option to use. The "town needs to fine-tune water costs - otherwise we're in decent shape," said Reiter, adding that the town is working toward staying within the state's 2 percent tax cap.
Well, to an extent.
Johnson did say the town is dealing with other cost increases beyond its control, such as workmen's compensation; uncertain health insurance increases due to the still unrealized impact of the Affordable Care Act (Obamacare); teamsters and CSEA health contracts; and Lewiston Police retirement costs. Another is a 3 percent salary increase under consideration for the town's non-union employees, minus those elected.
All those still need to be addressed as the town moves toward crafting and finalizing its budget for 2014.
Other items briefly discussed Thursday concerned ongoing town business with engineering consultant CRA Associates. Reiter presented a motion, approved by the board, for CRA to continue its work toward finalizing dedication approvals for the Legacy Drive eminent domain sought by the town.
And board members approved a Reiter motion for CRA rep. Bob Lannon to appear before the Town Board's Monday, Oct. 28, session to update the town on the State Environmental Quality Review on the boat launch project under consideration at Joseph Davis State Park. Reiter indicated the state was seeking "extra items that could drive up costs" and wanted more information.
Thursday's meeting ended with attending members convening to an executive session to discuss personnel matters, including those involving the Lewiston town clerk's office and Lewiston Police. Town Clerk Carol Brandon said she expected to have updated 2014 budget numbers available by Monday.
Moving on to Monday's Town Board regular session, water woes and Lewiston Senior Center improvements occupied much of that discussion.
The meeting opened with complaints from residents, two of them drainage-related. Swan Road resident Linda Tarnowski wanted to know why a drainage pipe problem on her property was yet to be addressed, and River Walk Drive resident Claire Knowles had questions on where the town was at on its long-discussed drainage work and pump installations to address standing water issues affecting residents of the River Walk neighborhood. Reiter conveyed to both women that he was on top of it, telling Tarnowski he would be meeting with the appropriate town departments to "get it fixed," and responding to Knowles "you're next our list."
Then Saunders Settlement Road resident Debbie Gleton appeared and apprised Reiter and attending board members of an ongoing problem concerning a survey line issue with a neighbor. Saying she wanted "a response" by the town, the woman said the "neighbors are threatening and bullying" her.
"I feel something bad will happen," Gleton said, telling the board that it's been going on for five years, there's been surveys done, and there's "continued harassment." Reiter responded by directing Town Attorney Mark Davis to meet with the resident in the Town Hall foyer during the board session in an attempt to gain more information and help resolve the matter.
At the session itself, board members discussed improvements for the Lewiston Senior Center. Underway is a driveway-sealing project, and still to come is a major project involving a possible roof replacement for the Lower River Road facility. Palmer suggested a study be done to determine whether it's worth spending upward of $200,000 to replace the roof, questioning other matters, including structural design flaws with the current flat roof and building, plus the issue of replacing the center's air conditioning. Town Councilman Al Bax proposed a committee be formed, possibly with the Senior Center advisory board to examine the issue further.
Wrapping up:
•The town approved a "Dog Control and Harboring Agreement" with the Town of Porter. Covering a period of Sept. 30, 2013, to Sept. 30, 2014, the agreement calls for Porter to utilize the services of the Lewiston dog control officer "for the purpose of locating, securing and transporting stray dogs to the Village Vet (located in Lewiston) for harboring."
In turn, Porter would compensate Lewiston $100 for each stray captured during regular business hours, and $150 for any stray captured at any other time. In addition, Porter would pay all costs charged to the Town of Lewiston by the Village Vet pursuant to the town's current contract with the veterinary hospital for harboring and care services of stray dogs captured by the Lewiston DCO. No cost figure was included.
•The board approved setting a public hearing for 5:45 p.m. Oct. 28 to review town engineer and building inspector updates covering construction projects and the town code.


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As each Perry County senior receives their diploma this week and next, changes are going to happen. No longer are you high-school students confined to an 8 a.m. to 3 p.m. schedule, a structured life of clubs, sports, school work and other obligations tied to school.
Now is the time to really use what you've learned in those walls to make your decisions count even more than what they have. Experience new things. Go out, do things you never would have thought about doing.
If you currently subscribe or have subscribed in the past to the Perry County News, then simply find your account number on your mailing label and enter it below.
Click the question mark below to see where your account ID appears on your mailing label.
|ZIP Code:


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Cattaraugus County
Chautauqua County
Erie County
Genesee County
Niagara County
Wyoming County
one ever has a right to be bored in Western New York. We're about
more than sports and chicken wings.
This part of the state is rich with beautiful and unusual geographic
features. It is great for hiking, snow shoeing, and skiing.
From the majestic waterfalls of Niagara Falls to the high-rising cliffs of the Gorge in Letchworth State Park, Western New York State is surprisingly appealing to all adventurers and nature lovers.
Allegany State Park
-> Allegany -- Black Snake Trail
Bear Creek
Botanical Gardens
Burchfield Park
Canadaway Creek
Carlton Hill
Cattaraugus State Forest
Clarence Escarpment Sanctuary
Darien Lakes State Park
East Otto State Forest
Erie County Forest
Hunters Creek Park
Iroquois National Wildlife Refuge
Letchworth State Park
Little Rock City
Niagara Gorge
Panama Rocks
Penn Dixie
Royalton Ravine
Shale Creek Preserve
Sprague Brook Park
Zoar Valley
Akron Falls Park
Algonquin Provincial Park
>>Rain Lake in Algonquin
>>Sawyer Lake in Algonquin
>> Western Upland Trail
Allegany State Park
Amherst State Park
Badlands National Park
Bear Creek
Beaver Meadows
Botanical Gardens
Burchfield Park
Buttermilk Falls
Canadaway Creek
Carlton Hill
Cattaraugus State Forest
Charles E. Burchfield Nature & Art Center
Chenango Valley State Park
Chestnut Ridge Park
Clarence Escarpment Sanctuary
Como Lake Park
Darien Lakes State Park
East Otto State Forest
Emery Park
Erie County Forest
Evangola State Park
Findley Lake
Glen Falls Park
Griffis Sculpture Park
Hunters Creek Park
Iroquois National Preserve
Letchworth State Park
Lily Dale
Little Rock City
Niagara Falls
Niagara Gorge
Ocala National Forest
Panama Rocks
Penn Dixie
Pharsalia Truck Trail
Presque Isle, PA
Reinstein Woods
Royalton Ravine
Shale Creek Preserve
Sprague Brook Park
Stiglmeier Park
Taughonnock Falls
Verona Beach State Park
Virginia Foothills
Walton Woods
Zoar Valley


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Bruce Springsteen – Economic Forecaster? Aussie Treasurer Believes So
We all knew Bruce Springsteen was a master poet and songwriter, but who knew the guy was an financial oracle? Apparently Australia's Deputy Prime Minister did, naming "The Boss" as his economic hero.
With reports from the Guardian, Wayne Swan — an Aussie treasurer — believes that Bruce predicted the current economic crisis America unfortunately finds itself in, stating in a recent lecture, "You can hear Springsteen singing about the shifting foundations of the US economy which the economists took much longer to detect, and which of course everyone is talking about now."
Listening back to various songs of Springsteen's past and present, it is quite remarkable just how many quotes he sings that can easily be applied today. As an example, Wayne brings up the 1978 track 'Badlands': 'Poor man wanna be rich / Rich man wanna be king / And a king at satisfied til he rules everything.' It does sound hauntingly familiar.
While "The Boss" might indeed have been able to coincidentally predict the future of America, it's unlikely that he's giving up his music career. Earlier this week — July 31 — he rocked out in Helsinki, Finland, in what would be his longest set ever — four hours and six minutes!
In fact, his current European tour has been nothing but lengthy sets. And while fans absolutely ate it up, the crew at London's Hard Rock Calling weren't as elated, deciding to pull the plug while Bruce was onstage with Paul McCartney after they went over the show's assigned end time.
Pulling the cord on "The Boss" and a Beatle? Doesn't sound like a good idea!


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Vercammen & Associates
A Law Office with
Experienced Attorneys for Your New Jersey Legal Needs
Woodbridge Ave.
Edison NJ 08817
3B:13-22 Guardians bond.3B:13-22. Before entering upon the duties of office, a public guardian of veterans who are incapacitated shall execute a bond to the Superior Court in an amount and with sureties as shall be approved by the Superior Court, conditioned for the faithful discharge of all duties imposed by law upon the person appointed public guardian.The bond shall be renewed annually and shall, from time to time, be increased or reduced as the court may direct.The expense of procuring the bond shall be paid by the county treasurer upon presentation of a proper voucher approved by the Assignment Judge of the Superior Court in the county.amended 2013, c.103, s.31.
You Do Not Include a Complete E-Mail Address, Network
will not Forward Your Contact Form to the Law Office.
Article of the Week
Meet with an experienced
Attorney to handle your important legal needs.
Please call the office to schedule a confidential "in Office"
Attorneys are not permitted to provide legal advice by email.
Vercammen is the Managing Attorney at Kenneth Vercammen & Associates
in Edison, NJ. He is a New Jersey trial attorney has devoted a substantial
portion of his professional time to the preparation and trial of litigated
matters. He has appeared in Courts throughout New Jersey each week for
litigation and contested Probate hearings.
Vercammen has published over 125 legal articles in national and New Jersey
publications on elder law, probate and litigation topics. He is a highly
regarded lecturer on litigation issues for the American Bar Association,
NJ ICLE, New Jersey State Bar Association and Middlesex County Bar Association.
His articles have been published in noted publications included New Jersey
Law Journal, ABA Law Practice Management Magazine, and New Jersey Lawyer.
is chair of the Elder Law Committee of the American Bar Association General
Practice Division. He is also Editor of the ABA Estate Planning Probate
Committee Newsletter and also the Criminal Law Committee newsletter. Mr.
Vercammen is a recipient of the NJSBA- YLD Service to the Bar Award. And
past Winner "General Practice Attorney of the Year" from the
NJ State Bar Association. He is a 22 year active member of the American
Bar Association. He is also a member of the ABA Real Property, Probate
& Trust Section.
established the NJlaws website which includes many articles on Elder Law.
Mr. Vercammen received his B.S., cum laude, from the University of Scranton
and his J.D. from Widener/Delaware Law School, where he was the Case Note
Editor of the Delaware Law Forum, a member of the Law Review and the winner
of the Delaware Trial Competition.
Edison Adult School -Wills, Elder Law & Probate- 2007, 2006, 2005,
2004, 2003, 2002 [inc Edison TV], 2001, 2000,1999,1998,1997
Nuts & Bolts of Elder Law - NJ Institute for Continuing Legal Education/
NJ State Bar ICLE/NJSBA 2008, 2007, 2006, 2005, 2004, 2003, 2002, 2000,
1999, 1996
Elder Law and Estate Planning- American Bar Association Miami 2007
Elder Law Practice, New Ethical Ideas to Improve Your Practice by Giving
Clients What They Want and Need American Bar Association Hawaii 2006
South Plainfield Seniors- New Probate Law 2005, East Brunswick Seniors-
New Probate Law 2005
Old Bridge AARP 2002; Guardian Angeles/ Edison 2002; St. Cecilia/ Woodbridge
Seniors 2002;
East Brunswick/ Halls Corner 2002;
Linden AARP 2002
Woodbridge Adult School -Wills and Estate Administration -2001, 2000,
1999, 1998, 1997, 1996
Woodbridge Housing 2001; Metuchen Seniors & Metuchen TV 2001; Frigidare/
Local 401 Edison 2001; Chelsea/ East Brunswick 2001, Village Court/ Edison
2001; Old Bridge Rotary 2001; Sacred Heart/ South Amboy 2001; Livingston
Manor/ New Brunswick 2001; Sunrise East Brunswick 2001; Strawberry Hill/
Woodbridge 2001;
Wills and Elder Law - Metuchen Adult School 1999,1997,1996,1995,1994,1993
Clara Barton Senior Citizens- Wills & Elder Law-Edison 2002, 1995
AARP Participating Attorney in Legal Plan for NJ AARP members 1999-2005
Contact the Law Office
Kenneth Vercammen & Associates, P.C.
at 732-572-0500
for an appointment.
Law Office cannot provide legal advice or answer legal questions over
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Copyright 2019. Kenneth Vercammen & Associates, P.C.


text:
REMINDER #2! Mortgage Lenders Please Submit Sponsorship Requests on NMLS on Behalf of Licensed Mortgage Loan Originators April 1st - May 15th
(Maryland Amendment Fee Waived During April 1 - May 15, but the NMLS Processing Fee Will Apply)
Sponsorship is the authorization for a mortgage loan originator ("MLO") to conduct business under a specific license on behalf of a state licensed/registered company. Only an employer with a mortgage lender license/registration in Maryland can initiate the sponsorship of an individual's license in Maryland.
As Maryland transitioned to the Nationwide Mortgage Licensing System ("NMLS"), MLOs initially completed sponsorship externally from the NMLS (on the Maryland website) as all sponsoring entities had not yet transitioned. However, with the transition completed, Maryland now has the ability to process sponsorship requests via the NMLS. Unfortunately, NMLS will not allow sponsorship data on the Maryland system, which is external to the NMLS, to be transferred by the Commissioner. Therefore, between April 1st and May 15th ALL employers of licensed mortgage loan originators are required to submit sponsorship requests via NMLS so that the MLO record is complete AND correct.
If a sponsorship request has not been submitted via NMLS, the MLO should contact his/her employer and encourage that employer to create a relationship (with the MLO) and submit the sponsorship request.
Note: NMLS requires an employment relationship be created first, and then the sponsorship request can be submitted. The employment relationship date must match the starting date employment on the MLO's employment history and all locations where the MLO is authorized to work must be identified.
Quick guides titled "Create Relationship" and "Create Sponsorship" on the NMLS Resource Center will help guide your company through the sponsorship process.
What happened before April 1, 2011?
During Maryland's transition to NMLS, the Office of the Commissioner of Financial Regulation ("Agency") required sponsorship to be completed via the Maryland website and outside the NMLS. However, prior to April 1, 2011, some employers had submitted sponsorship requests for their MLOs both via the Maryland website and via NMLS.
So that the MLO's record is complete and correct via NMLS, the Office of the Commissioner of Financial Regulation either approved or rejected sponsorship requests submitted via NMLS. NMLS submitted sponsorship requests that matched information the Agency had outside NMLS were accepted and all others were rejected. If the NMLS sponsorship request was rejected (or never requested), mortgage lender licensees/registrants should submit sponsorship requests for their Maryland MLO licensees between April 1 and May 15, 2011.
Note: All mortgage lender licensee/registrants should confirm that sponsorship requests have been submitted for all their Maryland licensed MLOs.
What happens between April 1 and May 15?
April 1 - May 15 is a "no penalty" sponsorship maintenance/correction period. The Agency has waived its license amendment fee (note: the NMLS processing fee has not been waived) and certain other penalties. However, mortgage lender licensees/registrants must create a relationship with their MLOs AND submit sponsorship requests for their Maryland licensed MLOs via NMLS.
What happens after May 15, 2011?
After May 15, 2011, any MLO licensee who has not had a sponsorship request submitted via NMLS will be placed in an "approved-inactive" status. The MLO does not have the authority to originate while in the "approved-inactive" license status.
Additionally, sponsorship requests after May 15, 2011 may be subject to Maryland license amendment fees, NMLS processing fees and/or penalties.
More Information


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By Jonathan Blum, Deputy Administrator and Director for the Center for Medicare
I belong to a gym I really like. It has all the equipment I use – weights, cardio machines, a pool. But what really sold me on membership were the extra features and services: personal training and convenient parking, among others.
Extra benefits can be a big plus in health coverage, too.
A full 99% of people with Medicare have access to Medicare Advantage Plans in 2012, and these plans often offer extra benefits that Original Medicare doesn't cover. Medicare Advantage Plans may offer vision, hearing, or dental coverage, or extend coverage while you travel. Most Medicare Advantage Plans also include prescription drug coverage.
Even better, Medicare Advantage Plan premiums are predicted to be 4% lower in 2012, on average, than they are in 2011. It's worth it to compare.
Folks in Original Medicare will enjoy more benefits this year, too. Thanks to the Affordable Care Act, EVERYONE with Medicare has access to a variety of preventive tests and screenings, most at no cost to them. That's right – no cost.
Covered services include screening tests for colon cancer, breast cancer, osteoporosis and heart disease, just to name a few. Just during the first half of this year, 20.5 million people with Original Medicare got one or more free preventive services through the end of July.
Medicare also covers an Annual Wellness Visit each year. This is a great chance to sit down with your doctor and take the time you need to talk about your needs — and address small health concerns before they become big ones.
To help you track these services, take this checklist [PDF, 456 KB] to your next doctor's visit. This comprehensive list spells out the Medicare-covered preventive services and lets you keep track of when you got a particular test or service, and when you're due for your next one. You also can get preventive service reminders on www.mymedicare.gov.
Just as you and I might look for different things in a gym, we almost certainly also need different kinds of health coverage. Only you know what extra benefits and services are most important for you and your family.
That's why we want to make sure you have choice and control over the Medicare benefits you've earned. Look around for all the Medicare information out there. And visit our Open Enrollment center, where we've gathered everything you need, including a video on how the Medicare Plan Finder works, to walk through your options.


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Speedwinds necesitaba un nuevo diseño de impreso o envases y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 132 diseños de 27 diseñadores freelance.
Vivexin is a premium women's eye gel used for dark circles, puffy eyes and wrinkles. Vivexin comes in a clear round acrylic bottle with silver trim, white pump and clear cap.
Our target audience is women between the ages of 35 and 55 years of age who are suffering from dark circles, puffing eyes or fine lines and have the desire for a premium eye gel to reduce the appearance of.
The label design should be a clean, crisp and have a premium feel. We do not want graphics of people, eyes, clip art, etc on the label. The only thing that should appear on the label is the text that we require. As such, you should focus your efforts on font types, text positioning and colors. Feel free to use gradient coloring, texture, color contrast and any other design elements that could help convey that this is a premium product.
The label size will be 2 1/16 x 3 7/8 (2.0625 x 3.875 inches) inches. You will be required to design two panels on this label. The front panel and the back panel. The label will be applied to a round bottle horizontally (SEE ATTACHED SAMPLE) and the finished label will have the first panel on the front of the bottle and the second on the back. The attached sample label is bi-color, separating the front and back of the bottle. This is not required, but may be worth experimenting with.
- COLOR: We really like colors in the red palette. See samples.
- The labels will be manufactured using Spot Color Printing not 4 Color Process. Please design accordingly.
- Design full bleed
Attached are the following:
- Samples of color palette we like.
- Required label text
- Sample label design
- Sample bottle label will go on
We will require a PDF, AI Files, Fonts and any other items used in the design.


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EU rattles sabre at Street View
Warn people you're coming, Google told
The head of EU data protection agencies has told Google it must warn people of the impending arrival of its Orwellian Street View spymobiles.
According to AP, Alex Turk has written to Google's data privacy chief Peter Fleischer insisting that it "should always give advance notice on its website and in the local or national press before it takes pictures".
It must also avoid capturing snaps "of a sensitive nature and those containing intimate details not normally observable by a passer-by".
Furthermore, Turk is not impressed with Street View's "disproportionate" data retention policy, and wants all original unblurred Street View material deleted after six months.
Google defended that it already posts info as to where it's snooping. Citizens on the risk list today include the good burghers of Maidenhead, Vienna and Johannesburg.
Regarding the data retention issue, Google last year grudgingly agreed to an EU demand to delete original unblurred images, but was evasive about exactly when, insisting they were essential "to deal with any potential concerns from individuals who might feature incidentally on the Street View imagery".
Fleischer agreed that "long term we only keep the blurred copy of Street View panoramas, and we will work with them and our engineers to determine the shortest retention period that also allows for legitimate use under EU laws".
Google's standard approach to Street View privacy concerns is to shoot first and negotiate later with individual countries. Finland, Germany, Greece and the UK are the EU members who've locked swords with the service, while the Swiss are waging their own private war on the spymobiles.
In the case of Finland, Street View caused a bit of a rumpus when an elevated spycam snapped a man with his pants down, even though he was behind a fence in his own garden. In Japan, Google received numerous complaints about footage captured from a camera poised "just over the height of garden walls and so on".
Google agreed to lower the cameras, and reshoot the 12 Japanese cities already covered. ®


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Silky soft and naturally pure, Woven TENCEL bed linens will ensure your sleep is refreshingly comfortable. The luxuriously smooth fiber structure from eco-friendly resources pampers your skin with balanced moisture management and temperature regulation qualities to keep you cool in the summer and warm in the winter.
Ultra-soft for sensitive skin Moisture wicking Deep pocket oversized dimensions Stunningly soft fibers are perfect for sensitive skin Discover deep sleep with TENCEL performance sheets Extra deep pockets and oversized dimensions for mattress depths 6 in. to 22 in. Universal fit design with ultra-thick elastic ensures a secure fit Available in sheet sets or pillowcase sets
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- ManufacturerMalouf
- ConditionNew
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- FinishIvory
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- ConstructionStunningly soft and smooth Tencel® botanical fiber has inherent moisture management properties that make it ideal for sensitive skin and temperature-sensitive sleepers.


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Former Baylor quarterback Robert Griffin III, who won the offensive rookie of the year award for the Washington Redskins in the NFL this year, was encouraged by at least one lawmaker Tuesday to hang up his shoulder pads for a career in politics.
"As many of you know, (Griffin) graduated from Baylor with a 3.7 GPA and a degree in political science," said state Rep. Sarah Davis, R-Houston, addressing the House floor. "I've spoken to him this morning and I think we will see 'RG-3' run for office someday very soon when he's ready to retire."
Griffin, who played high school football at Copperas Cove, listened to Davis with a smile. Members in the Senate and House chambers shook hands and posed for photos with Griffin and his family. He was honored for winning the Heisman Trophy at Baylor two years ago when the Legislature was out of session.
"God blessed us all with the opportunity and a stage to make a difference," said Griffin, addressing lawmakers in the House. "I'm trying to make the most of mine. I know all you guys are trying to make the most of yours; we impact the lives of so many people in different ways."
State Sen. Kirk Watson, D-Austin, told Griffin he had accomplished something unheard of: "You have gotten Texans cheering for the Washington Redskins."
State Sen. Troy Fraser, R-Horseshoe Bay, pointed out that many great college quarterbacks, including Griffin, Johnny Manziel and Colt McCoy, are his constituents. Manziel was honored last month.
"I keep telling people there must be something in the water," Fraser said.
Watson announced a scholarship on behalf of Baylor in Griffin's name.
"I was a political science major and you guys handle the politics right now," Griffin said to lawmakers. "That's where you guys can really have your big influence, I just pray we all continue to do that."


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Over on Instapundit, I wrote:
DEFENDING AGAINST REPUTATION DEFENDER. If you followed the AutoAdmit controversy -- see this WaPo article -- you should check out this response from Jarret Cohen of AutoAdmit. Where do I stand on AutoAdmit (a website where law students and prospective law students sometimes talk raunchily about particular individuals)? Well, my original response to the WaPo article was somewhat supportive in the face of what I thought were demands for too much repression, but then I Googled "althouse autoadmit" to find my old post for that link, and check out what came up first. Now, I've got to laugh and say yes, this is life here on the internet, but I'm old and I have tenure. I really do see how something like this can disturb a young woman who's in the job market, though I still don't think law firm partners are dumb enough to take obvious junk like this seriously in hiring decisions. (And given this attitude, I couldn't get too steamed when feminist bloggers railed about my failure to exhibit proper deference to the fears and feelings of women.)
If you want to talk about all this, come over to my blog, where I'll set up a post with comments.
This is that post, so talk.
ADDED: To the fool who thinks that the post about me on AutoAdmit made me see the problem a different way: You are utterly and completely wrong! Learn to read, fool.
UPDATE: I see this post has been linked again by someone who thinks he's discovered some amazing inconsistency between this and my earlier post. But this blogger is wrong and is either vicious or a poor reader. Let me spell it out for people who don't know how or won't take the time to understand something that is written in a sharp, short style.
(So, really, to my readers who understand, don't bother with what I'm about to write. It's in a style that doesn't represent what I'm trying to do here.)
Some people seem to think that my position in this post shows me changing my position and becoming more sympathetic as result of reading a thread on AutoAdmit that was about me. These people are absolutely wrong. Let me spell out why they are wrong.
My position was originally and has remained that I simply do not believe what was in the Washington Post article: the theory that some Yale Law students failed to get the jobs they wanted because some nasty boys expressed sexual thoughts about them on a website called AutoAdmit.
I never said the boys who expressed those thoughts were wonderful. I was concerned that the women were overreacting and inclined toward the repression of free speech. I don't think you can control the internet the way you might control speech in a school or workplace (using a "hostile environment" theory).
In the Instapundit post, I drew attention to the thread about me to demonstrate my own ability to laugh, to accept the internet for what it is, and not to react with demands for repression. That is, I was modeling what I believe to be the right Free Speech position.
I then concede that my demonstration of the right attitude is not as strong as it would be if I were younger and had job insecurity. I anticipated a reader who would say, sure, it's easy for you to laugh it off, you're not in the same position as those women.
I wanted to make it clear -- though when you have bloggers standing by to denounce you, you can never be clear enough -- that I knew my demonstration of how to laugh it off was not fully convincing, because it's easier for me to laugh at what I think they should laugh at too.
I "really do see" that a "young woman" -- that is, a woman with less experience learning how to deal with life's hard knocks -- might be "disturbed." Being disturbed doesn't mean you are justified in making causal connections between the things that disturbed you and other problems you are having in life, like not getting the job you wanted. And being disturbed doesn't mean you ought to have the power to control the things that are disturbing you.
To say that I can understand how something disturbed you doesn't mean I think you're better off getting disturbed than laughing it off the way I did. It just means I'm not going to criticize you for not having the ability to laugh it off. But I still do think that you should.