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The Giving Generation
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Unlike in days of yore, when folks waited until retirement before turning into tea-and-biscuits philanthropists, many newly wealthy Americans today are rolling up their sleeves and starting small- to medium-size charitable foundations when they are in midlife transition. Of the 80,000 family foundations in America, 39% are now in the hands of people aged 40 to 49, according to Foundation Source, a major provider of services to smaller foundations. These new philanthropists, the firm says, control a charitable war chest worth some $83 billion, roughly double the firepower of the giant Gates and Ford foundations combined.
When Page Snow, chief philanthropic and marketing officer at Foundation Source, started in philanthropy, the field was heavily dominated by the elderly. "Now it has become a part of this generation's identity," she says.
It's not the size of the philanthropic assets in question that makes this age group so important; it's the little-seen intellectual capital its members are building that will be so crucial to tomorrow's society. As these 40-year-olds keep working, they continue to build their foundations' endowments, learning by mistakes and fine-tuning their philanthropic objectives as they go. In this way, a philanthropist -- as exemplified below, in the story of Seattle's Shaula Massena -- might evolve during this midlife period from a fairly passive check writer to a hyperfocused investor looking for investments that directly tackle society's ills.
They are, in short, building efficient and effective platforms that will magnify the impact of their late-in-life largesse 20 or 30 years from now, traditionally that time in the hourglass when individuals let the largest amounts of charitable dollars flow from their estates. For them, the philanthropic sector has become a kind of research-and-development laboratory for workable ideas that can bridge deep social problems with a modernizing economy.
Already, there are hints that this sea change in demographic giving patterns is rippling through society, in ways big and small. Consider, for example, the 2008 financial crisis and its immediate aftermath. Foundation Source recently conducted an in-depth study of 519 family foundations with less than $50 million in assets during the 2008-to-2011 period. The firm noticed that the philanthropists in their 40s, overseeing 80 foundations in the study, stood out as a group, not for cutting back their commitments as the value of their portfolios got hammered, but rather for digging deeper into their pockets to make up the shortfall. Remove one outlier from the 80 foundations studied, and the 40-year-olds increased their giving 15% between 2008 and 2011.
But the midlife generation is also at the vanguard of another change rocking the once-staid philanthropic sector. As middle-aged givers came on to the scene in significant numbers, "the whole giving world has shifted from an extractive model where donors are solicited to philanthropists discerning for themselves how they want to deploy their capital in the service of others," says Glen Macdonald, president of the Wealth and Giving Forum.
Paul Schervish, director of the Center on Wealth and Philanthropy at Boston College, says this group as a whole sees philanthropic success as coming with new "processes, new techniques, new services, new products -- and not only introducing them, but creating them." There will always be the check writers -- and bless them -- but this more entrepreneurial approach will eventually become the new "traditional" philanthropy, Schervish says.
So here, below, we profile five philanthropists who represent the diversity of this generation that's making its way through the in-between years. Look at our Penta five as the nonprofit counterparts to the small- and medium-size businesses that are the real backbone of the American economy. They may not grab headlines like Bill Gates, but they are quietly reshaping 21st-century philanthropy.
Age: 42
Vehicle: The Massena Foundation
Location: Seattle
"You can't grant someone empowerment and self-respect," says Shaula Massena, expressing a worldview once espoused by Margaret Thatcher. "Grants create dependency, not independence. If I want to empower someone, it has to be [through] an investment."
Massena invests in underprivileged entrepreneurs, and it took a while to get to this point. She and her husband, Darrin, retired in 1999 as young millionaires from Microsoft, where she had worked as a software-design engineer. Only 30 at the time and wanting to do something meaningful with her windfall, Massena began hanging out with Social Venture Partners -- a Seattle-based group for engaged philanthropists -- and writing checks for grassroots community organizers like the Northwest Women's Law Center and the Welfare Rights Organizing Coalition.
At the Bainbridge Graduate Institute, an independent business school offering an MBA on "sustainability" business models, Massena studied how business can be an agent for social change. When she completed her studies in 2008, the line between her charitable check-writing and her for-profit angel-investing began to blur -- and she had her epiphany.
"Both my grants and my equity investments ended up as tax write-offs," she says, "and I realized that from a tax perspective, these equity investments are effectively grants. The financial result is the same. The huge difference is the power dynamic and the quality of the conversation." In other words, entrepreneurs talk straight to their backers, while folks receiving grants -- wary of biting the hand that feeds them -- often do not.
Her first direct philanthropically motivated investment was an inflation-pegged loan to Teamwork Services Peninsula, a housekeeping cooperative, to be paid back in installments once it made a profit, which began to happen just three years later.
Encouraged, Massena converted 100% of her foundation's assets to low-return impact investments that align with her social mission. That means a focus on community banks, credit unions, and loan funds that provide capital to underserved minority and low-income folks.
Among the institutions she backs: One PacificCoast Bank, Express Credit Union, and Seattle Economic Development Fund. They finance small businesses that do everything from making bathroom tiles out of recycled glass to growing oysters. Says the willowy brunette: "The best thing I can do with my dollars is invest in a way that happens to slowly erode my foundation's capital, rather than spend it all on grant-making."
Recently, Massena co-founded HUB Seattle, a social-enterprise incubator that houses groups like Ashoka Youth Ventures and Elevar Partners, a "bottom-of-the-pyramid" investor. "There are a lot of great things going on in Seattle, but we're scattered," she says. "It's kind of like nuclear fission. We need the container that helps foster the density that lets [social investors and entrepreneurs] interact, so they can get things off the ground."
At HUB's launch party in October, Seattle's Gore-Tex glitterati -- wealthy and outdoorsy do-gooders -- showed up in droves to quaff Finnriver pear cider and nibble on skewers of grass-fed beef at the organization's offices in Pioneer Square. HUB partners Paul Shoemaker, executive director of Social Venture Partners, and Gifford Pinchot, founder of the Bainbridge Graduate Institute, both came to support their alum. Seattle Mayor Mike McGinn also joined the 1,000 philanthropists, nonprofit representatives, and social entrepreneurs celebrating Massena's latest project. "The positive energy was beyond palpable," a breathless Shoemaker blogged.
It's unlikely that Massena will let such fluff get in the way of her life's mission: investing in underprivileged folks so they can get ahead and help build a more modern American economy.
Age: 39
Vehicle: The Working World
Locations: Buenos Aires;
Leon, Nicaragua; New York City
Brendan Martin grew up in Rochester, N.Y. His mother struggled after his parents' divorce, while his father, a computer-science Ph.D., built a business fortune.
Martin became fascinated by economics in high school, but he always found it odd that basic economic models appeared to view workers as costs to be minimized and eliminated. Was there a way, he wondered, to genuinely serve people who work, alongside those that represent the firm's capital?
"Our whole system is predicated on the greater fool theory -- making money on the transfer of wealth, not the creation of wealth," he says.
Martin studied economics at Wesleyan and eventually went to work on Wall Street. He wound up as a partner in theflyonthewall.com, a start-up providing information to financial institutions. His life changed in the fall of 2004, when he saw The Take, a documentary about Argentine workers taking over abandoned factories in the wake of the country's financial collapse, creating their own jobs and businesses.
His true calling could no longer be ignored. "Suddenly, there were 200 cooperatives appearing out of nowhere," he says, "and that meant I could experiment." Martin convinced the film's Canadian director to fly with him to Argentina and introduce him to the workers. He visited 10 cooperatives, gathering ideas. "As you dig into possible plans with people," he says, "the sense that it's real and can work and you might even be trustworthy begins to take root."
In 2005, Martin moved to Buenos Aires, while still working remotely for his firm. There, he eventually put over $250,000 of his own money into The Working World (TWW), a nonprofit revolving-loan fund he created to extend credit, based on a new financial model that would "maximize community wealth."
To those who think this sounds suspiciously like socialist claptrap, Martin calmly responds: "It's a way of making owners out of everybody. If you have [all the workers] invested, cooperative ownership is actually taking the logic of capitalism to the next step." In short, Martin maintains there is empirical evidence that the community benefits and that companies are better run when all employees, not just senior management, have a significant financial stake in the enterprises' well-being.
TWW does so by partnering with workers' cooperatives, helping them with their business plans, and offering other services. Martin has, for example, developed a series of smaller "just-in-time" loans, up to $20,000. In administering these, TWW loan officers stay in close touch with the cooperatives, which don't have to pay back their debt until they make a profit.
"We act like equity investors. Sounds risky, right? Ninety-eight percent pay back," Martin says. One of his biggest success stories: $15,000 in loans to people living in a squatters camp near Laferrere, outside Buenos Aires, to buy a nearby plot of land and erect a factory to make work boots. The tenfold increase in production, the 40 working at the boot factory, and the income brought in has all helped to transform the village.
TWW has now made more than 600 loans, worth over $3 million, to some 100 cooperatives in Argentina and Nicaragua, ranging from metal-working to honey-gathering groups. And this year Martin came back home to set up TWW in the U.S. Among his new client-partners: New Era Windows in Chicago.
New Era is a cooperative established in June 2012. The firm's workers were in the news when they occupied the Republic Windows and Doors factory in the fall of 2008, after Bank of America cut the company's line of credit, suddenly leaving the workforce unpaid and high and dry. Martin's TWW has invested $500,000 in New Era Windows, which the workers now own.
Penta caught up with Martin while he was checking out the lighting in New Era's dusty, 60,000-square-foot factory. About 70% of the workers are Hispanic immigrants; the rest, African-American, and they are all working hard on getting the factory fired up. Martin communicates mostly in Spanish; the workers have been taking classes in business and cooperative business at The Working World's behest. Martin tells us most of them have a natural entrepreneurial instinct. When they received a bid to move the factory's equipment for $100,000, for example, the workers saved 80% of the cost by moving it themselves.
Should New Era Windows survive and prosper, Martin's social-investing experiments could make cash-strapped companies fighting for their survival re-evaluate whether bankruptcy or selling to private equity are the only ways to re-engineer an ailing firm looking to find its path to the future.
Age: 45
Vehicle: Nia Community Foundation
Location: Oakland, Calif.
Kristin Hull's dream is to help create a fair, thriving, and economically robust Oakland. Raised in the city during its Black Panther years, Hull began life on the other side of the tracks. When she was young, her parents collected food stamps. Later, before attending Tufts, she spent a year in Venezuela, becoming fluent in Spanish and laying the groundwork for her career as a bilingual teacher. She picked up her master's degree at Stanford; her Ph.D. from Berkeley emphasized "education for social change."
Hull came home to Oakland to teach, seeking out underprivileged classrooms because she knew that a child's fourth-grade teacher really matters. She instantly noticed the contrast between the schools in Oakland's affluent hills and those in the poorer flatlands. Children of CEOs attended schools that emphasized creative thinking and other skills that are the foundation for leadership and engaged citizenry. Schools in the poorer neighborhoods prepared kids for life in the factory -- at best. Most got A's for just showing up. "Our schooling system is a key lever in reproducing racial and class inequities," Hull says. "The way we educate our children says what we want for our society."
In the winter of 1997, when Hull was 30 and on maternity leave, a friend suggested that she start a charter school to bring a high-caliber curriculum to Oakland's children. That's all it took. Hull co-founded the North Oakland Community Charter School (NOCCS), a public school that offers top-quality curriculum through a concept developed at Harvard. "I put 10 years of my whole body and soul and everything else into NOCCS," says Hull.
By this time, her family's own fortunes had changed. In 1999, her father, who had established Hull Trading, a Chicago-based futures firm, sold it to Goldman Sachs. The Hulls created a family foundation, and Kristin became one of its trustees; she helped her mother co-found the George Mark Children's House, the first children's hospice in the country.
In her family-foundation role, Hull attended philanthropy conferences; in 2007, she was exposed to the More than Mission movement, which encouraged foundations to invest 2% of their assets in direct alignment with their charitable mission. "I was both inspired and outraged," Hull recalls, pointing out that foundations get a tax break to serve the public good. "I think foundations should invest all their assets to serve their [charitable] mission."
As a result of Hull's passion, the family foundation's entire $20 million portfolio was placed in do-good impact investments, beginning by investing in community banks and fixed-income instruments. The Hulls, in short, had already pulled out of the public stock markets when the nation's private foundations, on average, lost 25.4% of their assets in 2008.
This year, Kristin Hull established the Nia Community Foundation with $5 million. It's a community organization dedicated to supporting social justice in Oakland. Five community members eventually will serve on its grants-advisory team; Hull is still mapping out the landscape to determine which for-profits and nonprofits might be potential partners on her mission.
Already, however, her foundation has made 15 investments in companies that are based in Oakland or work there. Among them: People's Community Market, a grocery store in a low-income neighborhood in west Oakland, where residents don't have access to healthful food; Solar Mosaic, a crowdfunding platform that allows people to come together and invest as little as $25 to finance solar-energy projects for nonprofits; HUB Oakland, led largely by women of color, which will foster social enterprise in Oakland; and the Awaken Café, an espresso, beer, and wine bar. She expects to be fully invested by early 2013.
A wine bar? "At Awaken Café," Hull responds, "I think about the entire value chain -- who we're hiring, what kind of food we serve, who are our suppliers, and how do they work. I like that the food is all local, and that the cafe will be a meeting space for entrepreneurs and change-makers. I'm not just operating in one system," she says. "I'm operating in a web of systems, where there are many potential strategic levers for change."
We all are in this web of systems, of course. The difference is that Kristin Hull is conscious about them -- and leverages all of her available dollars to impact the entire interlocking network.
Age: 44
Vehicle: Community by Design
Location: Portland, Ore.
On 60 acres of forest and farmland 15 miles south of Portland, there are rows of trees loaded with figs; plums ranging from mirabelles to shiros; branches bearing galas, fujis, braeburns, and honeycrisp apples. Other trees are loaded with walnuts, chestnuts, and hazelnuts. Alongside this edible forest, hedges and hedges of mulberries, blueberries, and raspberries emerge. Between these hedges, farmers on this commercial farm have planted vegetables like rainbow chard, Tuscan and Red Russian kale, and chioggia beets. There is millet and wheat, and rotations throughout of pigs, sheep, cows, and chickens.
You get the idea. There are no acres and acres of corn or soy -- or even organic corn. This is a polyculture farm, not a monoculture agricultural machine. And that's Narendra Varma's dream for the future of farming, food, and community. "Forget about whether diversity itself is good or bad," he says. "We know it implies resilience. The future is local, and supporting a rural landscape with a greater number of smaller farms will require new working models. I'm conducting a giant experiment." Varma's ambitious goal, in short, is to help build an economically viable and completely re-engineered regional food system.
Born in Calcutta and raised in Delhi, India, Varma attended Brown and then went to work at Microsoft. Retiring in 1998 as another member of the Microsoft-millionaire diaspora, Varma began to connect the dots between how money is invested (or not) and its effect on society. He had young children -- something that focused his mind on nutrition -- and he noted with particular interest the deleterious impact that industrial agriculture can have on ecosystems, as well as on human health.
Then he read Dirt by David Montgomery, a book tracing the rise and fall of civilizations to soil erosion. "That was a real eye-opener," says Varma. "I realized that the question of how to farm has not been figured out, and that we can't just emulate older farms or rely on all-organic as the solution." As a result, Varma has become a proponent of permaculture, a concept that brings together whole-scale sustainability with respect to energy, waste, water, and fields.
Varma is plowing $3.5 million into his farm through his not-for-profit limited liability company, Community by Design, as well as a still unnamed cooperative. The land was acquired by Community by Design, benefiting from a tax break because of the agricultural land use. The LLC in turn leases land to the farmers' cooperative that he is halfway to creating; the co-op's legal structure is almost in place, and he has invested in its roads, barns, and irrigation. "We want to separate land ownership from the economics of farming," he says, because it reduces the farmers' costs and risk.
Varma's biodynamic farm is essentially an agricultural-management system that views all of its land as a single, self-contained organism where animals produce the fertilizer and no chemicals are used. However, a polyculture farm requires a complex social and financial system to sustain all the creatures and complicated interactions that it encompasses. That's why Varma believes that small-scale farmers like him need to relate to one another in a different way than do industrial-size farmers.
To get economies of scale, for example, Varma argues that small farmers should share costs and spread risk by joining together in cooperatives. The co-op that he's creating will also include a large commercial kitchen and food-processing operation; the aim is to make beautiful prepared foods out of the farms' produce. One purpose is to capture the higher profit margins normally passed on to third parties further up the food chain.
This year, Varma has leased land to three farmers who produced about 60 tons of blueberries; 200 geese will turn into roast goose for the holidays. Next year come vegetables, chickens, eggs, beef, and goats. By then, the cooperative should be fully up and running and have a name, so products can be sold under its own brand. Through his family vehicle, the Manav Foundation, Varma is also offering farmers classes in permaculture and biodynamic techniques. His intensive nine-day course in "forest gardens," held in September, was sold out.
If Varma's venture proves profitable in the long run, it could help transform the economics of local farming, and, perhaps, play a role reshaping our food system.
Age: 47
Vehicle: The Tow Foundation
Location: New Canaan, Conn.
Emily Tow Jackson and her parents and siblings did not set out to become juvenile-justice advocates -- nor was it something that came to them naturally.
Jackson grew up in Pound Ridge, N.Y., the youngest child of cable-TV entrepreneurs Claire and Leonard Tow. She attended Barnard, went to art school, and worked outdoors in New Zealand for a while. But then her parents asked her to come home to join the family foundation full-time. They were on the cusp of making major contributions to the Tow Foundation and needed her help.
The family agreed to focus on disadvantaged youth and families. "We came up with an area that no one person owned, where none of us had experience, and so we learned together as a board and staff. Everyone became engaged." She also felt strongly that they had to stay local. "There was plenty of need and opportunity in our own backyard," she says. "I felt I needed to touch it and feel it myself to know whether I was doing a good job."
Jackson made direct grants -- "inch-deep, mile-wide giving" as she calls it -- to local nonprofits, like family-service organizations. But in 1997, after two years of this, she and the board reassessed what they were doing. Yes, the money was helping 15 people here and 20 people there. But what, really, were they achieving?
Jackson suggested she emulate her parents' career successes by taking a more entrepreneurial approach -- and actually ask grantees about issues that could deeply affect their futures, such as what really excited them or what did they dream about but would never request funding for? "We wanted to identify where the potential was to have impact that was possibly under the radar," Jackson adds.
She came across FSW, a large family- service agency that ran a small program working with children returning to their communities after a term in jail.
FSW's state contracts lasted only four months, but its managers felt that if they could stick with the kids for a year or 18 months, they could reduce recidivism. Jackson backed the agency's vision. Fast-forward two years. FSW's results were so good that the state agreed to extend the length of the contracts.
"That really got us excited," Jackson recalls. "It meant we could really leverage our dollars by funding demonstration projects." More importantly, the Tow Foundation had also identified a sector of the population that society was literally throwing away -- and that really needed help.
In 1999, the foundation's board and staff conducted a yearlong research-and-development project, essentially a scan of Connecticut's entire juvenile-justice system. A $25,000 grant funded the Connecticut Juvenile Justice Alliance, which partnered with three local children-advocacy groups. The unit eventually became part watchdog, part collaborator in projects, and a public source of juvenile-crime facts and data.
"It wasn't a traditional role for a foundation," acknowledges Jackson. But it was effective. The Alliance's biggest achievement was a 2008 Connecticut law that raised, from 16 to 18, the age at which juveniles in Connecticut can be imprisoned as adults. Teenagers receive therapeutic help, rather than simply being thrown in prison. Now the family is tackling New York State's juvenile system.
In this way, the Tow Foundation has morphed from a modest writer of grants affecting a small number of people, to a policy-shaping heavyweight that is literally affecting millions of young lives.
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It's been a very quick rehearsal process, but it is becoming the norm (at least with Canadian theatre). What's more when everyone is able to open a show after only two and a half weeks with full set and costumes, and actors who know what they are doing, I guess it just proves that it can be done. Should it be done? I dunno, I know the actors feel a bit like they just got things together last minute, the crew too . . . but with the lack of financial support for the arts here in this country, it's tough really to give more. Can't blame the producers who have been fantastic, or the sponsors, who are responsible for the show existing in the first place. Maybe I'll just blame the government, it's easy to do. Done and done.
Anyway, this wasn't meant to turn into a rant about poor funding for the arts in Canada (though as both an author and actress, I can say it is rather the issue), but more info on the rehearsal process and some more pics.
The rehearsal process is, as I already said, very quick. My last post ended with us having stumbled through the entire show after just one week. The second week was devoted to fine tuning, to truly getting into the meaning of each scene, adding some awesome business and comic moments, and as an actor just trying to understand what the heck your character is up to.
About halfway through week two we moved into the theatre, which is a converted Bank in downtown Barrie. The stage is a decent size, the playing space surrounded on three sides by audience. It is great getting as much time to work the show in the space itself, and has been a great advantage.
Just before our dress, the producer brought in a fight director to watch a couple of our fights (this play has minimal fight choreography, a few punches really and that's it). This is for two reasons - one: fight directors can help make even the simplest of fights look awesome, two: fight directors help keep the fights safe.
We had two previews before we officially opened, which was great as well. Previews are kind of like dress rehearsals except they are open to the public so you get to perform in front of people and get a sense of what is working and what isn't. Not every show is afforded such a luxury. Then we opened to a very supportive audience (many family members and people involved with the theatre company).
And now we are open. And now things become a bit more relaxed. The days are free, as we perform nights mostly (though we did have two matinees this week). What do actors do during the day then? Well many enjoy the gym (though I did something to my knee so not me unfortunately). Many also enjoy the beach. Almost the entire cast went to see District 9 on Tuesday (which was rather awesome and I highly recommend) - and we popped into the Chapters on the way home so I could sign some books - ah the convergence of the Actress and Author, a magical thing to behold.
And we play poker. Well, we've only played twice, but there seem to be quite a few people here who enjoy it. Now it isn't for a lot of money, and personally once I am out I never buy in again - I can't really afford to. But it's fun, and people act silly, which I always approve of.
Before I post pics here is some info on the show for those of you who might be interested:
Twelfth Night - Theatre by the Bay
Remaining Dates for the Show
Thursday 20th - 8pm
Friday 21st - 8pm
Saturday 22nd - 8pm
Monday 24th - 8pm
Tuesday 25th - 8pm
Wednesday 26th - 2pm/8pm
Thursday 27th - 8pm
Friday 28th - 8pm
And now, some pics!
Sarah Sherman taking pictures with her iphone.
Jody Stevens - yup those actors and cameras - so natural . . .
Waterfront downtown Barrie.
Gazebo on waterfront.
At the beach - I'm on the phone . . . not sure exactly to whom.
Tim Walker is happy.
Now for some poker shots:
Andy Pogson is ready to play.
The gang - the players and the spectators.
Ditto - different angle.
Mike Spasevski and Sarah - the last two left standing. Mike wound up winning, but Sarah gave him a good run. I came in third. But there is no way you would know that.
Rehearsal shots:
Kristian Bruun (Malvolio) rehearsing infamous letter scene. In the back, Ryan LaPlante (Fabian), Michael Rawley (Sir Toby), Andy (Sir Andrew), spying on him. They are pretending to hide behind a Tiki Hut. Tiki Hut being played in this rehearsal by a large piece of cardboard.
No idea what's going on in this picture. We are under the fabric that we use to start the show. I look uncomfortable. Again, no idea why.
Sarah attempted to curl her hair using rags. It worked, but wasn't quite the look the director was going for. She now uses a curling iron. But doesn't she look cute here?
My opening scene costume - 1950's beach resort chick.


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Adjunct Moderator
All around, I like Browns. The Model M requires a lot of force to actuate, might not be great for fast paced gaming. Cherry Blues are by far my favorite switch, though. If I had a KB dedicated for work, it'd be browns. Currently I'm using a red board, because I lent the brown one to my brother.I absolutely love my original IBM Model M but I plan on getting a leopold 10keyless soon for my dorm. Probably brown switches.
I have a LOT of mech keyboards...
ABS M1 w/ swapped out ALPS Whites (didn't like blacks, and found a dumpster dive donor board for new switches). Controller sucks, but this is probably my favorite key feel.
iOne Scorpius M10 - Cherry Blue, cheap board. Stabilizers squeak. Not bad for a first/cheap Mech, but there are MANY more options nowadays than there were when I bought it. Swapped keys from a Cherry OEM board, now it's a Cherry Brown board. Lent it to my brother, hopefully i get it back someday. Better to get something along the lines of:
Coolermaster QuickFire Rapid (TKL). Costar OEM (Filco). Very solid build quality, obnoxious branding (I heard they're toning it down). Frequently runs <$70, highly recommend it if you won't miss the ten keys. (Gamers). Blues are a great switch for typing, and I personally feel that they are great for gaming, too. The actuation point is a little bit lower than the release point, so you may be at a disadvantage if you are very, very rapidly hitting keys (RTS, IMO).
Leopold w/ Cherry Reds: Good board, don't like red switches that much, even for RTS. Too sloppy, accidental keypresses all over the place. Switch action is just too light. I brought this board in to work, added O-rings to quiet it down a little bit. Vague key feel, prefer browns.
Razer BlackWidow w/ blues: Hate macro key placement. I'm a touch typist, and I hit the macro keys when going for the CTRL key. HATE it. Board is obviously lower quality than Tier 1 mfgrs, but it's a pretty OK keyboard.
Chicony ALPS (baby) Blue: Awesome key feel, but PS/2, so I don't use it. Plan to design a custom keyboard around these switches.
IBM Model M: PS/2, no windows key, too "old school" for my tastes. Key feel is excellent, tactility is excellent, but I won't really use this, it's just a "collector's item" for me.
Dell AT101W - Black Alps (complicated). Feel way better than simplified Black ALPS, but I feel the key bump less than with Cherry MX Browns. PS/2, so I don't use.
Other misc boards that aren't notable - a few


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Four-legged friends are easy to find.
But filmmaker Geoff Talbot is looking for a star with three legs.
Talbot is using Twitter to search for a dog to play Scrap, for a role in his new movie, "Lucky & Rich."
Talbot is asking Twitter users to Tweet the following: "We're searching Twitter 4 a 3 leg dog 2 star in motion picture. Tweet it on. Info@ http://geofftalbot.wordpress.com/help-find-scrap."
But not just any three-legged dog -- Scrap must specifically be missing a hind leg. The dog also must be medium sized with "big cinematic doggie eyes."
Overly aggressive dogs need not apply.
According to Talbot's website, the film will be shot in Prague, in the Czech Republic, in November 2009 or February 2010.
Casting Call: Three-Legged Dogs Wanted
Four-legged friends are easy to find.


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Honey Meconi
- Professor of Music, Department of Music, College of Arts, Sciences, and Engineering
- Professor of Musicology, Eastman School of Music
- Chair, Department of Music, College of Arts, Sciences, and Engineering
PhD, Harvard
1-320 Dewey Hall
(585) 275-9399
Office Hours: By appointment
A specialist in music before 1600, Honey Meconi joined the faculty of the University of Rochester in 2004 as Professor of Music in the College Music Department and Professor of Musicology at the Eastman School of Music. She is an expert on Renaissance music as well as the music of Hildegard of Bingen (the twelfth-century polymath, poet, and composer), and is director of The Hildegard Project, a long-term undertaking to perform all of that composer's music. Her latest book, Hildegard of Bingen, was published by the University of Illinois Press in 2018. Other books include Pierre de la Rue and Musical Life at the Habsburg-Burgundian Court (Oxford University Press, 2003; reprint 2009) and the commentary volume to the facsimile edition of Brussels, Royal Library, Ms. IV.90 (Patrimonio Ediciones, 2007), as well as Early Musical Borrowing (editor, Routledge, 2004), Fortuna desperata: 36 Settings of an Italian Song (editor, A-R Editions, 2001), and Medieval Music (editor, Ashgate, 2011). Forthcoming in 2019 is The Mechelen Choirbook (co-edited with David J. Burn). She has also published fiction under a nom de plume.
Subjects of her writings range from plainchant to Susan B. Anthony. She has authored an extensive series of articles on music of the fifteenth and sixteenth centuries, with emphasis on the Alamire manuscripts and the composers featured therein, along with various publications on Hildegard of Bingen, including the Oxford Bibliography of Hildegard as well as a study of her Lingua ignota and an essay on the editing history of her music and texts. She has been a Fulbright Fellow in Belgium, Andrew W. Mellon Fellow at the University of Pennsylvania, and Fellow at the Villa I Tatti in Florence, and has received multiple grants from the National Endowment for the Humanities and other agencies.
Recipient of a 2006 Alumna Award from the Pennsylvania State University College of Arts and Architecture, she has served on the Board of Directors of the American Musicological Society, both as Vice President and as Director-at-Large. While chair of the AMS Committee on Women and Gender she was the primary fund-raiser for the new AMS Endowed Lecture on Women and Gender, and was the mastermind behind the AMS Name Quilt. She is founder of the AMS Feminist Quilting Quartet and is currently AMS liaison to the Gateways Music Festival.
In 2009 she joined the editorial board of Grove Music, and from 2010 to 2012 served on the Governing Board of US-RILM. She is currently on the advisory board of the Josquin Research Project and the advisory board of the Alamire Facsimile Project; she previously served on the boards of the Journal of the American Musicological Society, Pegasus Early Music, and Houston Early Music, among others. In 1998 she organized the interdisciplinary conference "Constructing Hildegard: Reception and Identity 1098–1998," and in 2012–2013 created the Humanities Project "The World of Susan B. Anthony." An earlier Humanities Project, in 2006–2007, was the panel/lecture/concert/workshop series "Women and Music: Looking Back, Looking Forward."
She was Director of the Susan B. Anthony Institute for Gender and Women's Studies from 2007 to 2014, and also served as Susan B. Anthony Professor of Gender and Women's Studies. As Director of the Institute, her many innovations included the annual Two Icons Lecture exploring the intersection of race and gender, the annual Rainbow Lecture to examine LGBTQI issues from a scholarly perspective, the annual International Women's Day Field Trip, and the "Failure is Impossible" mentoring series for undergraduates, graduate students, and faculty members at different stages of their careers.
A performer as well as a scholar, she began directing early music groups while a student at Indiana University. She has since founded and directed ensembles at Harvard University (where she received her Ph.D.), Rice University (where she directed the Medieval Studies Program), and at the University of Rochester. As a singer of post-1600 music she has performed with, among others, the Tanglewood Festival Chorus, the professional Ensemble Vocal de la Radio-Télévision belge de la communauté française, and the Houston Symphony Chorus. Her public musicology blog "The Choral Singer's Companion" <http://www.thechoralsingerscompanion.com> is read worldwide. She is currently a member of Schola Cantorum, which performs weekly from October through April and records regularly, as well as the Eastman-Rochester Chorus; on special occasions she performs with Concentus Women's Chorus. With Vox Early Music Ensemble she was recipient of the 2006 Noah Greenberg Award given by the American Musicological Society "for distinguished contribution to the study and performance of early music."
Research interests include Pierre de la Rue and contemporaries; manuscripts, especially chansonniers; women and music, especially Hildegard of Bingen; Habsburg-Burgundian court music and manuscripts; borrowing; and extreme singing. Courses taught include Hildegard of Bingen, Illuminated Music Manuscripts, Chansonniers, Pierre de la Rue and His World, Women and Music, Colloquium in Women's Studies, Susan B. Anthony and Her World, Shakespeare and Music, Opera, Medieval and Renaissance Music, Baroque Music, and numerous other subjects.
Works / Publications
updated September 2019
The Mechelen Choirbook: Study. Co-edited with David J. Burn. Antwerp: Standaard/Davidsfonds, 2019 (in press).
Hildegard of Bingen. Urbana: University of Illinois Press, 2018. Supported by the Margarita M. Hanson Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
Medieval Music (editor). The Library of Essays on Music Performance Practice. Farnham and Burlington: Ashgate, 2011.
Cancionero de Juana la Loca: La música en la corte de Felipe el Hermoso y Juana I de Castilla. Commentary volume to facsimile edition. Valencia, Spain: Patrimonio Ediciones, 2007. N.B. Title supplied by publisher. For a list of errata and explanation of the compilation of the volume, contact email@example.com.
Early Musical Borrowing (editor). Criticism and Analysis of Early Music 5. New York and London: Routledge, 2004.
Pierre de la Rue and Musical Life at the Habsburg-Burgundian Court. Oxford: Oxford University Press, 2003; reprint edition 2009.
Fortuna desperata: Thirty-Six Settings of an Italian Song. Recent Researches in the Music of the Middle Ages and Early Renaissance 37. Middleton, Wisconsin: A-R Editions, 2001.
Basevi Codex: Florence, Biblioteca del Conservatorio, MS 2439. Facsimile edition with introduction. Peer, Belgium: Alamire, 1990.
Style and Authenticity in the Secular Music of Pierre de la Rue. Ph.D. dissertation, Harvard University, 1986. UM 86-20508.
"Manuscript Culture." In A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries. Edited by Andrew H. Weaver. London: Brill, estimated 2020.
"The Court Chapels of the Habsburg-Burgundian Line: From Emperor Maximilian I to Emperor Charles V." In A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries. Edited by Andrew H. Weaver. London: Brill, estimated 2020.
"Pierre de la Rue: Missa pro fidelibus defunctis." In The Book of Requiems. Edited by Pieter Bergé and David Burn. Leuven: Leuven University Press, in press.
"Antoine Févin: Missa pro fidelibus defunctis." In The Book of Requiems. Edited by Pieter Bergé and David Burn. Leuven: Leuven University Press, in press.
"The Segovia Manuscript as Chansonnier." In The Segovia Manuscript: A European Musical Repertory in Spain, c. 1500, 167–190. Edited by Wolfgang Fuhrmann and Cristina Urchueguía. Studies in Medieval and Renaissance Music 20. Woodbridge, Suffolk: The Boydell Press, 2019 (in press).
"Pierre de la Rue: Missa Alleluya." In The Mechelen Choirbook: Study, 107–115. Edited by David J. Burn and Honey Meconi. Antwerp: Standaard/Davidsfonds, 2019 (in press).
"Composers and Repertory: An Overview." In The Mechelen Choirbook: Study, 43–50. Edited by David J. Burn and Honey Meconi. Antwerp: Standaard/Davidsfonds, 2019 (in press).
"Range, Repertoire, and Recipient in the Alamire Manuscripts." In Journal of the Alamire Foundation 11 (2019): in press.Revue belge de musicologie / Belgisch Tijdschrift voor Muziekwetenschap
"Power, Prestige, and Polyphony: The Use of Parchment in Music Manuscripts c. 1450–1600." In Sources of Identity: Makers, Owners, and Users of Music Sources before 1600, 169–208. Edited by Lisa Colton and Tim Shephard. Turnhout: Brepols, 2017.
"The Munich Connection: Extreme Singing in Lassus and La Rue." Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 67 (2017): 247–257.
"Hildegard of Bingen." In Oxford Bibliographies in Music. Edited by Bruce Gustafson. New York: Oxford University Press, revised version 2017.
"Alamire, Pierre de la Rue, and Manuscript Production in the Time of Charles V." In Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart, 575–613. Edited by Anna Zayaruznaya, Bonnie J. Blackburn, and Stanley Boorman. Miscellanea 9. Middleton: American Institute of Musicology, 2015.
"Pierre de la Rue c. 1452–1518: Missa Alleluia." In Meerstemmigheid in Beeld: Zeven Meesterwerken uit het Atelier van Petrus Alamire/Polyphony in the Picture: Seven Masterpieces from the Workshop of Petrus Alamire, 78–109. Edited by David J. Burn. Leuven: Davidsfonds, 2015.
"Antoine de Févin c. 1470–c. 1512: Missa pro fidelibus defunctis." In Meerstemmigheid in Beeld: Zeven Meesterwerken uit het Atelier van Petrus Alamire/Polyphony in the Picture: Seven Masterpieces from the Workshop of Petrus Alamire, 210–243. Edited by David J. Burn. Leuven: Davidsfonds, 2015.
"Recordings of Fifteenth-Century Music." In The Cambridge History of Fifteenth-Century Music, 823–832. Edited by Anna Maria Busse Berger and Jesse Rodin. Cambridge: Cambridge University Press, 2015.
"Plus oultre, Pierre de la Rue, and VienNB 9814." Journal of the Alamire Foundation 6 (2014): 12–32.
"The Unknown Hildegard: Editing, Performance, and Reception (An Ordo Virtutum in Five Acts)." In Music in Print and Beyond: Hildegard von Bingen to The Beatles, 258–305. Edited by Craig A. Monson and Roberta Montemorra Marvin. Rochester: University of Rochester Press, 2013.
"London Royal 8 G. vii and the Motets of Pierre de la Rue." Die Tonkunst: Magazin für klassische Musik und Musikwissenschaft 5 (2011): 5–15.
"Shedding New Light (Literally) on the Rochester Fascicle: A Preliminary Report." In Essays on Renaissance Music in Honour of David Fallows: Bon jour, bon mois, et bonne estrenne, 52–59. Edited by Fabrice Fitch and Jacobijn Kiel. Studies in Medieval and Renaissance Music 11. Woodbridge: Boydell and Brewer, 2011.
"Hildegard's Lingua ignota and Music." In Musik des Mittelalters und der Renaissance: Festschrift Klaus-Jürgen Sachs zum 80. Geburtstag, 59–79. Edited by Rainer Kleinertz, Christoph Flamm, and Wolf Frobenius. Veröffentlichungen des Staatlichen Instituts für Musikforschung 18. Studien zur Geschichte der Musiktheorie 8. Hildesheim, Zürich, and New York: Georg Olms Verlag, 2010.
"Margaret of Austria, Visual Representation, and Brussels, Royal Library, Ms. 228." Journal of the Alamire Foundation 2 (2010): 11–36, 129–130.
"A Cultural Theory of the Chansonnier." In "Uno gentile et subtile ingenio": Studies in Renaissance Music in Honour of Bonnie Blackburn, 649–657. Edited by M. Jennifer Bloxam, Gioia Filocamo, and Leofranc Holford-Strevens. Turnhout: Brepols, 2009.
"The Ghost of Perfection: The Munich Partbooks and Some Thoughts on Renaissance Manuscripts." In The Sounds and Sights of Performance in Early Music: Essays in Honour of Timothy J. McGee, 85–101 and Plate 1. Edited by Maureen Epp and Brian E. Power. Aldershot: Ashgate, 2009.
"The Range of Mourning: Nine Questions and Some Answers." In Tod in Musik und Kultur: Zum 500. Todestag Philipps des Schönen, 141–156. Wiener Forum für ältere Musikgeschichte 2. Edited by Stefan Gasch and Birgit Lodes. Tutzing: Hans Schneider, 2007.
"Petrucci's Mass Prints and the Naming of Things." In Venezia 1501: Petrucci e la stampa musicale (Atti del Convegno internazionale, Venezia, Palazzo Giustinian Lolin, 10–13 ottobre 2001), 397–414. Edited by Giulio Cattin and Patrizia Dalla Vecchia. Series III, Studi musicologici B, Atti di Convegni 6. Venice: Edizioni Fondazione Levi, 2005.
"Habsburg-Burgundian Manuscripts, Borrowed Material, and the Practice of Naming." In Early Musical Borrowing, 111-124 (see above under BOOKS AND EDITED VOLUMES).
"The Function of the Habsburg-Burgundian Court Manuscripts." In The Burgundian-Habsburg Court Complex of Music Manuscripts (1500-1535) and the Workshop of Petrus Alamire, 117-124. Edited by Bruno Bouckaert and Eugeen Schreurs. Yearbook of the Alamire Foundation 5. Leuven and Neerpelt: Alamire Foundation, 2003.
"Josquin and Musical Reputation." In Essays on Music and Culture in Honor of Herbert Kellman, 280-297. Edited by Barbara Haggh. Paris and Tours: Minerve, 2001.
"Poliziano, Primavera, and Perugia 431: New Light on Fortuna desperata." In Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music, 465-503. Edited by Paula Higgins. Oxford: Clarendon Press, 1999.
"Foundation for an Empire: The Musical Inheritance of Charles V." In The Empire Resounds: Music in the Days of Charles V, 18-34. Edited by Francis Maes. Leuven: Leuven University Press, 1999.
Published simultaneously in Dutch as "Grondslag voor een wereldrijk: De muzikale erfenis van Karel V." In De Klanken van de Keizer: Karel V en de Polyfonie, 18-35. Edited by Francis Maes. Leuven: Leuven University Press, 1999.
"Ockeghem and the Motet-Chanson in Fifteenth-Century France." In Johannes Ockeghem: Actes du XLe Colloque international d'études humanistes, Tours, 3-8 février 1997, pp. 381-402. Edited by Philippe Vendrix. Paris: Klincksieck, 1998. Reprinted in Secular Renaissance Music, pp. 137–158. Edited by Sean Gallagher. Farnham and Burlington: Ashgate, 2013.
"Another Look at Absalon." Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 48 (1998): 3-29.
"French Print Chansons and Pierre de la Rue: A Case Study in Authenticity." In Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, 187-214. Edited by Jessie Ann Owens and Anthony Cummings. Warren, Michigan: Harmonie Park Press, 1997.
"Art-Song Reworkings: An Overview." Journal of the Royal Musical Association 119 (1994): 1-42.
"Does Imitatio Exist?" Journal of Musicology 12 (1994): 152-178.
"Free from the Crime of Venus: The Biography of Pierre de la Rue." Revista de Musicología 16 (1993): 2673-2683 (Actas del XV congreso de la Sociedad Internacional de Musicología: Culturas musicales del Mediterráneo y sus ramificaciones, Madrid, 3-10 abril 1992, Vol. 5, 121-131).
"Is Underlay Necessary?" In Companion to Medieval and Renaissance Music, 284-291. Edited by Tess Knighton and David Fallows. London: J.M. Dent, 1992. Paperback edition, Berkeley: University of California Press, 1997.
"Sacred Tricinia and Basevi 2439." I Tatti Studies: Essays in the Renaissance 4 (1991): 151-199.
"The Manuscript Basevi 2439 and Chanson Transmission in Italy." In Atti del XIV congresso della Società Internazionale di Musicologia (Bologna 1987), Vol. III, 163-174. Edited by Angelo Pompilio, Donatella Restani, Lorenzo Bianconi, and F. Alberto Gallo. Turin: EDT, 1990.
"Pierre de la Rue and Secular Music at the Court of Marguerite of Austria." Jaarboek van het Vlaamse Centrum voor Oude Muziek 3 (1987): 49-58.
The Choral Singer's Companion. 38 essays (to date) on choral literature for choral singers. 2002–2019. <http://www.thechoralsingerscompanion.com>
"Anthony, Susan B." In American Governance, I: 87–89. 5 vols. Edited by Stephen Schechter et al. Farmington Hills, Michigan: Macmillan, 2016.
Commentary for Extreme Singing: La Rue Requiem and Other Low Masterpieces of the Renaissance (CD). Vox Early Music Ensemble, Christopher Wolverton, Artistic Director; 2011.
Part of the research project receiving the American Musicological Society 2006 Noah Greenberg Award.
Commentary for Pierre de la Rue: Portrait musical (3-CD set). Capilla Flamenca, Dirk Snellings, Director. Musique en Wallonie, 2011.
"Pipelare, Matthaeus." Revision of original article by Ronald Cross. Grove Music Online, 2011.
"Au feu d'amour and the Tapestry of Renaissance Music." In Golden Muse: The Loeb Music Library at 50. Edited by Sarah Adams, Virginia Danielson, and Robert J. Dennis. Harvard Library Bulletin 18 (2007): 71–74.
Commentary for Missa L'homme armé: Sacred Music of Ludwig Senfl (world premiere CD recording). The Suspicious Cheese Lords, 2004.
"La Rue, Pierre de," "Rigo de Bergis, Cornelius," and "La Rue, Robert de." In The New Grove Dictionary of Music and Musicians. 2nd edition. Edited by Stanley Sadie. London: Macmillan, 2001. Revised version of "La Rue, Pierre de," 2009.
"Interdisciplinary Objects: The Case of Hildegard of Bingen." In Proceedings of the 16th International Congress of the International Musicological Society, 646. Edited by David Greer. Oxford: Oxford University Press, 2000.
"Hildegard von Bingen, 1098-1179." In Reader's Guide to Music: History, Theory, and Criticism, 304-305. Edited by Murray Steib. Chicago and London: Fitzroy Dearborn Publishers, 1999.
"Pierre de la Rue (ca. 1452-1518)." In The Treasury of Petrus Alamire: Music and Art in Flemish Court Manuscripts, 1500-1535, 35-37. Edited by Herbert Kellman. Ghent and Amsterdam: Ludion, 1999. Distributed by The University of Chicago Press.
"Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439 ('Basevi Codex')." In The Treasury of Petrus Alamire: Music and Art in Flemish Court Manuscripts, 1500-1535, 78-79. Edited by Herbert Kellman. Ghent and Amsterdam: Ludion, 1999. Distributed by The University of Chicago Press.
"Listening to Sacred Polyphony." Early Music 26 (1998): 374-379; 539.
"Se cuer d'amant par soy humilier" (Baude Cordier) and "Voulez ouyr les cris de Paris?" (Clément Janequin). Translations for Anthology of Renaissance Music, 488 and 494. Edited by Allan W. Atlas. New York and London: W.W. Norton, 1998.
Review of Canons and Canonic Techniques, 14th–16th Centuries: Theory, Practice, and Reception History, edited by Katelijne Schiltz and Bonnie J. Blackburn, Analysis in Context: Leuven Studies in Musicology 1 (Leuven: Peeters, 2007). Renaissance Quarterly 61 (2008): 984–986.
"After the Party: Hildegard since 1998." Review of Barbara Stühlmeyer, Die Gesänge der Hildegard von Bingen: Eine musikalische, theologische und kulturhistorische Untersuchung (Hildesheim, Zürich, and New York: Georg Olms, 2003). Early Music 33 (2005): 693–695.
"What Do Musicologists Want? Reflections on IMS 1997." Current Musicology 63 (1997): 166-168.
Review of Pierre de la Rue, Opera omnia, Vols. 1-3, edited by Nigel St. John Davison, J. Evan Kreider, and T. Herman Keahey, Corpus Mensurabilis Musicae 97 (Neuhausen-Stuttgart: Hänssler for American Institute of Musicology, 1989-1992). Journal of the American Musicological Society 48 (1995): 283-293.
"Report from Madrid. Fifteenth Congress of the International Musicological Society—Mediterranean Musical Cultures and Their Ramifications, 3-10 April 1992: The Fifteenth, Sixteenth, and Seventeenth Centuries." Current Musicology 54 (1993): 100-101.
Review of Josquin: L'homme armé Masses (The Tallis Scholars), Pierre de la Rue: Messe L'homme armé/Requiem (Ensemble Clément Janequin), and Ockeghem: Missa Prolationum/Marian Motets (The Hilliard Ensemble). Early Music 18 (1990): 315-316.
Review of A Practical Guide to Historical Performance: The Renaissance, ed. Jeffery T. Kite-Powell (Early Music America, 1989). Early Music 18 (1990): 137-138.
Review of In mynen zin, ed. Richard Taruskin; and Myn morken gaf, ed. Richard Wexler (Ogni Sorte Editions, Renaissance Standards, Vols. 8-9). Early Music 15 (1987): 109-110.


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Rebels fighting Syrian President Bashar al-Assad's troops won a fresh boost on Monday when the EU eased its oil embargo on the country to let them use the resources they control.
However, the EU foreign ministers meeting in Luxembourg stopped short of lifting its arms embargo.
Their decision came ahead of a meeting yesterday between Russian Minister of Foreign Affairs Sergei Lavrov and US Secretary of State John Kerry in Brussels.
On Monday, Russia, one of al-Assad's few remaining backers, had criticized the EU measure as "counterproductive."
"This deepens the impasse and does not contribute to a political solution to problems which have built up over a long time," Russian Deputy Minister of Foreign Affairs Minister Mikhail Bogdanov told the Ria Novosti news agency.
Such unilateral action violated international law, he added.
The new measures allow EU companies to import Syrian crude and export oil production technology and investment cash to rebel- held areas.
"We want regions controlled by the opposition to develop, we want to help economic reconstruction," German Minister of Foreign Affairs Guido Westerwelle said.
The decision to maintain a ban on military aid echoed the stance taken by Washington this weekend at a "Friends of Syria" in Istanbul, where Kerry refused to arm the opposition, but doubled US non-military assistance to US$250 million.
The EU recently eased its arms embargo to allow the supply of non-lethal equipment, as well as technical assistance — which includes training — to the rebels.
Britain and France say the bloc should go further and lift the ban on arming the rebels, but that would require unanimous support.
On the weekend, Syrian opposition leader Ahmad Moaz al-Khatib's stepped down in protest at world "inaction" over the fighting in Syria, which has left more than 70,000 people dead.
The White House on Monday said it was appalled by "horrific" reports of a massacre in Syria after a watchdog group said 101 people, many of them civilians, had been killed in Jdaidet al-Fadl, near Damascus.
Violence across Syria on Monday killed at least 95 people, including 29 civilians, 33 rebel fighters and 33 regime soldiers, the Syrian Observatory for Human Rights said.
Al-Assad's forces have made gains in recent days in the Damascus region and in the central province of Homs.
The regime's capture of several villages in Homs has raised fears among rebels that the town of Qusayr — an opposition stronghold — could also fall.
The UK-based Observatory said elite fighters from the Lebanese Shiite group Hezbollah, a staunch ally of the Syrian regime, were leading the fight against rebels there.
George Sabra, the interim chief of the opposition National Coalition, said on Monday that Hezbollah's role in the fighting around Homs, near the border with Lebanon, amounted to a "declaration of war."
Lebanon's official news agency quoted senior Hezbollah leader Sheikh Nabil Qauk as saying: "What Hezbollah is doing with regard to this issue is a national and moral duty in the defense of the Lebanese in border villages."
In Tel Aviv, Israeli Minister of Defense Moshe Yaalon said Israel had stopped advanced weapons from falling into militant hands, having made it clear to Damascus that it could not let such arms go to Hezbollah "or other rogue elements."
This was seen as implicit confirmation of Israeli involvement in a Jan. 30 strike on an arms convoy inside Syria, which hit what a US official has said were surface-to-air missiles near Damascus.


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BALTIMORE - UMBC junior Jessy Brown (Plantation, Fla./American Heritage) headed in a corner kick from junior classmate Melissa Hummel (Downingtown, Pa./Downingtown East) in the 85th minute as the Retrievers blanked Bucknell, 1-0, at Retriever Soccer Park.
UMBC (4-2-2) extended its unbeaten streak to four with the late victory, while Bucknell slipped to 3-5-0 on the campaign. The unbeaten run is the longest by the Retrievers since 2005.
UMBC senior goalkeeper Lauren Kadet (Oakville, Ont./St. Thomas Acquinas) recorded her second consecutive shutout and her third of the season. Kadet made five saves, including four in the second half to blank the Bison.
The Retrievers held the edge in play throughout the game and ending up outshooting the visitors, 13-8. They also had eight corners to just one for Bucknell and capitalized late in the game.
Hummel took the corner from the right side and lofted it towards the far post. Brown, who scored the game-winner goal vs. Howard two nights ago, headed the ball back towards to the near post and it curled under the crossbar with 5:06 remaining.
"I am really happy with that result," head coach Leslie Wray said. "We showed integrity against a good team. We've always worked hard, now we have the belief that we are going to score."
The Retriever defense held strong down the stretch and the Bison were unable to mount a serious threat.
Bucknell mounted its best threat with the game scoreless in the 71st minute as Kadet was forced to make a point-blank save on Sarah Bresette and then corralled a rebound effort by Corey Tipton.
UMBC sophomore forward Alexa Quaranta (Baltimore, Md./Perry Hall) recorded a game-high six shots.
The injury-plaugued squad gets a week off before completing the three-game homstand when they welcome Wagner on Sunday, Sept. 22.
Notes: UMBC's four victories are its most since 2006… Brown has now scored goals in back-to-back games, the first two of her collegiate career.


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If your store does not have an advertised sale you can ask discount for purchasing holiday leftovers. After holidays, the buyers are the boss. You are really helping the store to get rid of their old items in stock.
Stay on top of the newest trends in perfume
If you can stay on top of the newest trends from your favorite perfume manufacturer, you may also stumble upon some amazing women's perfume discounts. If you know that your favorite perfume maker is about to introduce a new line or even a newly shaped bottle, you can score huge discounts on the old styles. Most stores are happy to sell the old line at a mark down to make room for the new products they are receiving.
This is one of the simplest and greatest secret. ASK. If you feel you cannot stay on top of the newest trends in perfume, then do this. Ask the store clerk if they have old line of your favorite manufacturer's brand and if they can sell it to you at a discounted rate.
Know What to Ask For
Goto your local stores that sells perfume. Many stores sell the test bottles when they get to be about half full. Often you can buy your favorite fragrances at a fraction of the cost of a new bottle.
If you want to wear extremely expensive cologne but just can't afford it, ask the cosmetics clerk to sell you the sample bottle. You might end up paying ten dollars for an ounce of perfume that costs one hundred dollars for a two ounce bottle.
Buy Gift Baskets Instead Of Just Buying a Bottle
Another great way to find discount women's perfume is to buy gift baskets instead of just buying a bottle of your favorite scent. Often you will get other cosmetics such as soaps, lotions, powders, essential oils, or even several sizes of your favorite perfume in one basket for a fraction of what it would cost to buy the items all separately.
What to do with the gift items that you won't use?
Don't worry if the gift basket contains items you won't use. You can take those items and save money by giving them away as gifts. You can even take one gift basket and rewrap the contents to make gifts for two different friends or family members.
The Most Sought After Women Celebrity Fragrances of the Year
With hundreds of brands out there and thousands of fragrance in the market, it is hard to choose which one is the best fragrance for you. I have used perfumes for more than 10 years and I would like to share with you the world's best women's fragrances, highly rated by Top fashion magazines and reviewers, and I have chosen 5 of my all time favourites which I still use till now.
Angel Perfumes by Thierry Mugler
In Paris, Thierry Mugler, age 20, was a window designer for a trendy boutique and a freelance stylist for various fashion houses. He presented his first collection in 1973, which was well received, and subsequently started up the fashion house that bears his name. His style is always avant-garde and angels are his recurring theme, symbolizing the qualities he sees in woman - soft yet strong, innocent yet seductive. His first perfume, Angel, was designed to be quite different from others at that time - essentially it should not fade away when fashions changed. Angel is classified as a refreshing, oriental, woody fragrance. This feminine scent possesses a blend of vanilla, sandalwood, and patchouli. Accompanied by fruity notes of fresh citrus, melons, peaches, and plums The bottle was to be based on a star of blue-tinged crystal, another of Mugler's concepts, but for contrast with the coldness of the glass the perfume was to be warm and earthy, reminiscent of childhood experiences of fairgrounds, cotton candy, and chocolate mixed with an elixir of fruit and caramel. It took 18 months to devise this complicated fragrance, which is issued in up to eau de parfum concentration.
Channel no 5 by Channel
There is no more famous perfume than Channel No5, which Marilyn Monroe famously confessed was all she wore in bed, and no more legendary person in the world of fashion and perfume than Coco Channel, who in 1921 selected it from five samples given to her by its creator, Ernest Beaux. She kept the number because it was her lucky number: her collections were always shown on the fifth day of the fifth month. Channel No5 is classified as a refined, floral, soft fragrance. This feminine scent possesses a blend of modern florals, and balanced notes. It's long-Lasting, Great Value, Subtle, Alluring, Clean & Fresh and will draw you lots of compliments. Channel makes all its own fragrances with their "nose", Jacques Polge and retains special links with jasmine and May rose growers in Grasse to ensure it gets jasmine of an exceptionally high quality. For many years Channel used a number of famous faces to advertise No5, including Catherine Deneuve (in the United States), and most recently Carole Bouquet, who is seen to represent the ideal Frenchwoman of today. It is suitable for daily use, work, special occasions and signature fragrance.
Joy Perfumes by Jean Patou
Joy Perfume is launched by the design house of Jean Patou in 1930. Jean Patou was a great innovator. Born in 1887, he moved to Paris in 1910 founded his fashion and perfume house in 1919, and died in 1936 aged 49. He was essentially a man of the 1920s an 1930s and he seems to have come into the fashion world quite suddenly, for we hear little of him until he presented his first collection in 1919. In 1930, Jean Patou wanted to send a gift to his many regular international clients who he knew would be unable to visit Paris that year. He asked Almeras to create something very strong and simple, and it has to be made regardless of the cost of the ingredients. It is the quality of the rose and jasmine used which makes Joy so special; one ounce, it is said, requires over 10,000 jasmine flowers and 28 dozen roses. Joy is classified as a refined, flowery fragrance. This feminine scent possesses a blend of rare oils including jasmine and rose. But Joy does not just smell of Rose and Jasmine, it smells huge, luscious and utterly wonderful. It is suitable for daily use, work and evening wear.
Dune Perfumes by Christian Dior
Christian Dior established Parfums Dior with the launch of Miss Dior in 1947. He had always been attracted to fragrances and once confessed that as a child he had never dreamed of becoming a dress-designer; his early memories of women were not of their dresses but the perfumes they wore. Altogether Parfums Christian Dior has launched 18 fragrances and Dior perfumes are always innovative, designed to set new trends. Dune which won the 1993 FiFi award for best woman's fragrance, introduced the oceanic note which has been popular ever since and made it Dior's best selling perfume. Dune is classified as a refreshing, oriental and woody fragrance. This feminine scent possesses a blend of amber, wallflower as well as watery notes of the fresh, cool sea air. Incredibly exudes an aura of warmth & harmony. It is recommended for daily use, work and daytime wear.
L'Heure Bleue Perfumes by Guerlain
In 1828, Pierre-Francois-Pascal Guerlain opened his first little store in Paris, he began by producing different personalized fragrances for each of his clients. With his reputation growing, he gained a royal warrant from the Queen of Belgium and in 1853, his Eau Imperiale perfume delighted the Empress Euginie. He was appointed his Majesty's Official Perfumer and went on to provide perfumes for half the royal houses in Europe. Since then, Guerlain has so many top-class perfumes and the company has produced well over 300 fragrances. But I am just going to attempt to describe the best of the lot, the L'Heure Bleue. In 1912, it was Pierre-Francois-Pascal Guerlain's grandson, Jacques Guerlain that created this famous, innovative floral-oriental L'Heure Bleue, it means 'the blue hour'. L'Heure Bleue is a blend of roses, iris, and jasmine. L'Heure Bleue is most certainly a feminine, timeless stunner. For women favoring subtle, slightly sweet and even less spicy fragrances, this classic scent must be tried.


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St. Peter-Ording, Germany, July 28 –What else can bring a tinge of sun and heat into the moderately cool and sometimes rain-soaked competition area of the German Tour stop? Three scorching races participated in by some of the best kiteboard riders in the world.
Lately, the wind has been about as unpredictable as a drunken bee. In the middle of all this randomness however, PKRA Race Director Olaf Van Tol manages to run a perfect event, doing what he does best – fulfilling an extremely demanding and stressful job and still managing to carry a warm, welcoming smile.
Today was no exception. Sunny blue skies prevailed throughout the day with temperatures reaching a high of 22° Celsius but the gentle breeze that was, foiled the opportunity to conduct the Freestyle event which requires stronger winds. As a result, Van Tol decided to release the Freestyle riders early to make way for the Racing events and cap the day full of excitement.
The mandatory riders meeting was held on time at 10:00 am and the racers got started at 10:45 am. PKRA's extreme kiteboard racers flew their way across the finish line to the delight of the spectators watching from the beach. A total of three races were completed just before lunch and the competition wrapped up for the day at 12:30 pm.
Five time world champion Aaron Hadlow (Flexifoil, GBR) as well as teammate Petr Tyushkevich (Flexifoil, RUS) managed to briefly take advantage of the light breeze to practice tricks even if they were underpowered on their 12-14m kites. Mike Blomvall (Nobile, SWE) was also out on the water landing some fancy moves preparing for the Freestyle competition.
Course Racing Highlights
Once again Cabrinha-sponsored Bruno Sroka (FRA) dominated today's games by winning all three races. Short of saying deja vu, he is again on top of the leader board with a total of 2.8 points after 5 races. In a show of racing ability, North's Dirk Hanel (GER) wearing jersey #32, finished in second place overall with a total of 13 points, up three notches from number 5 overall in yesterday's results. Currently tied in third place are Sami Gali (Best, ESP) – up 3 notches from number 6 and Olivier Dansin (North, FRA) whose rank was unchanged from yesterdays overall results. Both riders have a current score of 14 points.
In the women's results, it is yet another victorious day for North power racer Steph Bridge (GBR) who finished way ahead of the rest of the ladies in today's second and third races with a total of 2.8 points. Fabienne D'Ortoli (Cabrinha, FRA) finished in second place overall after managing to cross the line first in today's opening games. Kristin Boese (Best, GER) dropped in 3rd place overall after 5 races with a total of 10 points after finishing third in all of today's races.
Course Racing Results (after 5 Races)
1. Bruno Sroka (FRA, Cabrinha) – 2.8 pts.
2. Dirk Hanel (GER, North) – 13 pts.
3. Sami Gali (ESP, Best) – 14 pts.
1. Steph Bridge (GBR, North) – 2.8 pts.
2. Fabienne D'Ortoli (FRA, Cabrinha) – 7.7 pts.
3. Kristin Boese (GER, Best) – 10 pts.


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8 injured in 6 Baltimore shootings overnight
Police still searching for suspects, motives in each case
Baltimore police are investigating six shootings after a violent night in the city.
The most recent incident happened shortly after 2 a.m. Thursday in the unit block of North Stricker Street in the western district. Detectives said a 29-year-old man was taken to a hospital after being shot while sitting in a car.
Around 12:30 a.m. in the northwest part of the city, police said a 28-year-old man and a 24-year-old woman were shot in a drive-by in the 3200 block of Vickers Road. Officials said the woman was shot in the stomach and taken by paramedics to a hospital. The man ran from the scene and eventually walked into a hospital for treatment.
At about 11 p.m. Wednesday, officers were called to the 2100 block of Patapsco Avenue in south Baltimore, where they discovered that a 19-year-old man had been shot in the shoulder a few blocks away. Medics took the man to a hospital.
Around the same time, another shooting was reported in the 1100 block of East Madison Street, where police said a 20-year-old man was shot several times. He was taken to a hospital by medics.
Around 9 p.m. Wednesday, two men were shot, one in the foot and one in the chest, in the 2500 block of Loyola Northway in northwest Baltimore. One man was taken to a hospital, while the other victim ran there, detectives said.
In east Baltimore, detectives are investigating a shooting about one block from Johns Hopkins Hospital. Police said a man was shot several times in the 800 block of Arnold Court around 7 p.m. and taken to Hopkins for treatment.
None of the victims' conditions have been released. So far, there's no word on possible suspects or motives in any of the cases.


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|Home >> Course Descriptions >> College of Arts and Sciences
|Communication Law.
|Three semester hours. (FL-Odd)
|An overview and analysis of common legal issues in public communication. May include considerations relevant to print journalism, namely libel, invasion of privacy, censorship, questionable news gathering techniques and other First Amendment topics, as well as current legal problems in the television and radio broadcast industries.
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Tourists flocking to one of Britain's favourite musical landmarks to recreate the Beatles' Abbey Road crossing could see the addition of a "lollipop lady" to their holiday snaps.
Westminster Council has raised safety fears over the "thousands and thousands" of people who visit the zebra crossing in St John's Wood, north London, made famous by the band in 1969.
In some cases, fans are putting themselves at risk of frustrated drivers who often struggle to make it over the crossing because of the constant stream of pedestrians attempting to recreate the image.
Buses carrying tourists can also cause traffic chaos by double-parking or parking on yellow lines.
Westminster Council said it is discussing options to manage the busy traffic flow, including the possibility of employing a lollipop lady or man.
A spokesman said: "Safety concerns at the crossing are being discussed and we are looking at the options.
"We're looking at what the best thing is to do. The council is, to some extent, responsible for keeping people safe."
Westminster City councillor Lindsey Hall said the crossing has always caused a problem.
"It's a residential area and it's not geared to receiving thousands and thousands of people - so it's quite hard to get some tangible solutions," she told The Daily Mirror.
"Obviously we don't want to be spoilsports, we are really proud of our musical heritage.
"I've seen huge double-decker buses parking on double yellow lines right outside the studio, causing total chaos to traffic and causing danger to people trying to get their photograph.
"It would be good to have somebody there permanently."
The discussions emerged as the stars of the West End musical Let It Be posed for their own photograph on the crossing, exactly 45 years after the album cover was shot.
A Westminster City Council spokesman added: "Local Abbey Road ward councillors raised their residents' concerns about the number of tourists spilling in to the road and traffic near the crossing at the height of the summer season, and put forward various suggestions, asking the city council to review pedestrian safety and crowd management.
"However, no proposals have been agreed by the council, nor the review completed."


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Zine Reviews: April 2012
Drawing Moustaches in Magazines Monthly Magazine (Bi-Monthly) #7
Josie Long, England – www.josielong.com
I bloody loved this zine, and that's not just because Josie Long is one of my favourite comedians! DMIMMM (B-M) (yes, the Bi-Monthly part is important) is a mish-mash of facts, flowcharts, photos, random phrases pasted in from magazines, e.g. "meet a cat with style on page 20", hand-written rambles, comics, and rants about Tories ("David Cameron goes to gigs, stands at the front and talks loudly about how drunk he is, then shouts "bollocks!" in quiet bits"). Some of the more substantial parts of the zine include a discussion of Josie's love of modern poetry – she invites us to compare 2 English translations of 'Waiting' by Yevgeny Yevtushenko – and a page full of facts about the silverfish living in her house. There are also some guest contributions – James Acaster provides a Power Walk Playlist, while Isy Sutster draws a comic about growing old and dull. You can read PDFs of the first 5 issues at www.josielong.com, or get in touch with the lady herself on Twitterto ask her to send you some! Oh, and did I mention that this zine is free?!
Lights Go Out #11 & #16
Edited by Mr T, UK – http://lightsgoout.co.uk/shop
Lights Go Out is a long-running music fanzine featuring regular band profiles, music reviews, zine reviews, pop culture columns, interviews, and gig reviews. At 48 pages long, it's a substantial read, with each page crammed full of text and accompanying photos – and all for only £1! The musicians featured in this zine are quite varied, from Reel Big Fish, to Kate Voegele, from Antillectual, to Alice Gold. The interviews feature interesting questions, such as "what are your thoughts on downloading and sharing music?", and "what would you say is the greatest film of all time?". Although Lights Go Out seems to be rooted in a punk aesthetic, I really liked the fact that they delved into other genres, with an interview with musician Kate Voegele (Mia Catalano from 'One Tree Hill'), and the editor admitting his love for Kylie Minogue! #16 is a colouring book, with black and white drawings of singers including Amy Winehouse, Kurt Cobain and She-Ra. Lots of fun (though I don't think I'd want to ruin the zine by colouring it in)! Lights Go Out represents my first proper foray into music fanzines, and I thoroughly enjoyed the experience!
Fanzine Ynfytyn #12
Emma-Jane Falconer, Kent – www.emmajanefalconer.co.uk
Another super-posi issue of Emma's long-running perzine. She opens the zine by interviewing herself, with interesting questions such as "what do you smell like?", and "This is a perzine – where's the angst? Why aren't you spilling your guts?". The rest of the zine is made up of random lists, including small pleasures, things Emma likes to trade, and the best albums to fall asleep to. We also read a haiku for Ernest Hemingway, and the lyrics of the Welsh song "Fanzine Ynfytyn" ("Fanzine Idiot") that this zine is named after. Her layouts are really neat and pretty, so it's a lovely zine to look at too.
Fuck Shit Up #3
Emma, Sheffield – zines_and_teaAThotmail.co.uk
Emma, Sheffield – zines_and_teaAThotmail.co.uk
Emma explains in the introduction that Fuck Shit Up #3 is made up of 2 merged zines– the first is a fun hand-drawn comic illustrating her adventures on a trip around Europe with friends, the second is more of a typical perzine, with typewritten articles on the best uses for garlic (popping a clove up your woowoo will cure thrush, apparently!), drinking games, a recipe for courgette cookies (which she assures us is tastier than it sounds), and how to make a DIY punchbag. Emma also discusses her favourite things about punk, including being political, living on the cheap, and doing it yourself. A very long section in the middle features a Lovecraft story called 'The Outsider', followed by a guide on how to make your own plushy Cthulhu – a bit of easy filler perhaps, but thoroughly entertaining nonetheless! The whole zine is good and cut-n-pastey, and is filled with Emma's drawings. Loved it!
Drink The Sunshine #13 & #14
Tom, Cheltenham – finish_last_zineATyahoo.co.uk
Drink the Sunshine is a fun and friendly perzine, packed full of handwriting, doodles, adventures, and musings on growing older. Issue 13 is a double-sided A3 fold-out page, divided into roughly A6 sized jigsaw pieces. Each jigsaw features a random observation, such as the frustrations of Autocorrect, how excited Americans get about British history ("He's older than Queen Victoria's grave!"), people making insensitive remarks about his height, the use of text speak such as "soz" and "lol" in real life, and drivers using the wrong lanes on the roundabout. I loved this zine – the format was original, the content was funny, and I devoured it within minutes, which is always the mark of a good zine for me! Issue 14 is subtitled "Eight Gigs I Never Went To"; the zine documents 8 gigs that Tom was due to go to and somehow never ended up attending, often with a story about why Tom liked the artist. At the end of the zine, Tom invites us to count how many of the often-spotted things at gigs we can see, e.g. a person wearing a shirt of the band that's playing. I have to be honest and say that I didn't enjoy reading this issue as much as #13, though people who are more into reading about bands and gigs might dig it.


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"The market must fear this will lead to a sharp escalation in currency wars. Gold is the only safe-haven asset that will not do QE, put in capital controls, or complain." -HSBC
Gold prices are set for their 11th annual gain as gold reached a new record of $1,921 on September 6th. Gold's winning streak is the longest since at least 1920. There are many factors influencing record gold (and silver) prices. Recently, financial giant Morgan Stanley released a comprehensive report taking a closer look at gold.
The report explains in great detail why Morgan Stanley is bullish on gold. First, the report explains that the bank maintains a positive view on gold as portfolio insurance against several macro headwinds. These include extended low interest rates, double dip recession, and financial systemic risk. The Federal Reserve has already confirmed extended interest rates for at least another two years. The double dip recession is questionable, but only because the first recession still haunts consumers. With unemployment still above 9% and zero new job growth in August, many argue the first recession never ended. Financial systemic risk is put to the test everyday with the Euro zone debt crisis. The United States debt ceiling debacle did not help the global financial landscape either.
More Insight on Europe: Is the Swiss Franc to Euro Peg Bullish for Gold?
The gold report takes note of the Fed's August FOMC meeting. The Fed explained that it " anticipates that economic conditions, including low rates of resource utilization and a subdued outlook for inflation over the medium run, are likely to warrant exceptionally low levels for the Federal Funds Rate at-least through 2013." Morgan Stanley believes this statement was important for gold investors, as it will strengthen demand for gold, even if the Fed doesn't announce more controversial quantitative easing programs.
In addition to growing individual gold demand, central banks around the world are increasing their appetite for gold as well. Morgan Stanley explains, " This absence of European central bank selling activity only serves to highlight another positive feature of the gold market, namely that the official sector activity has been shifting steadily towards net purchases over the past decade. For example, in May 2011, the Bank of Mexico announced the acquisition of 100t of gold as part of a strategic asset allocation program. In addition, Russia increased its net purchases by 48t, and the Bank of Thailand increased its holdings by 26.3t, and South Korea by 25t. Year-to-date net purchases by central banks amount to 203t, compared with 76t for the whole 2010." In addition to the countries listed in the report, the Central Bank of Romania is also considering a move to double gold reserves.
Although the gold bull cycle is over a decade old, the future looks bright for gold. Investors looking to add gold to their portfolio should keep an eye on the developments discussed above. A possible catalyst for even higher gold and silver prices could come from the Fed's next meeting later this month, which has already been extended in order to discuss monetary policy tools.
Get more analysis on our support levels and ranges for gold and silver >>


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LOS ANGELES - The story of WikiLeaks is the kind of real-life drama Hollywood loves, so expect to see multiple interpretations of it on the big screen.
Several projects chronicle the organization's enigmatic leader, Julian Assange, and recently convicted U.S. leaker Bradley Manning.
Alex Gibney's documentary, "We Steal Secrets: The Story of WikiLeaks," was released earlier this year. Bill Condon's narrative take on the tale, "The Fifth Estate," will premiere in September at the Toronto Film Festival.
Two other WikiLeaks projects are in development. "Zero Dark Thirty" screenwriter Mark Boal optioned a New York Times article about Assange earlier this year, and Gibney acquired the rights last year to Denver Nicks' 2012 book, "Private: Bradley Manning, WikiLeaks, and the Biggest Exposure of Official Secrets in American History."
"The Bradley Manning story is easily one of the most important stories of the last decade," Nicks told Democracy Now! last year. "In many ways, Bradley Manning's story is the story of the United States in the post-9/11 era."


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Shiang Hai Wafer from Thailand is one of the most popular wafers for both kids and adults. Thin chocolate coated, make it perfect blend with crispy wafer. Shiang hai wafer is great for any occasions. Come in 15 pieces per pack. Ingredients: Palm oil, sugar, milk flavor powder, wheat flour, tapioca flour, cocoa powder. Net weight: 4.80oz. Product of Thailand.
Copyright © 2004 - 2019 GroceryThai.com


text: I was deleting old drafts, and the "posts" page popped up, and I deleted a couple of posts!!! SO FRUSTRATING! It took all the strength I had to make that post yesterday or the day before. It was the one about what we can learn from suffering and trials. Oh man! FIVE of them are gone. Oh well... Everything happens for a reason.


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text: teacher Wednesday, 20 November 2019 Wellington Temporary NZ$ 30.00 - NZ$ 32.59 per hour Randstad Education are specialists in placing Early Childhood Education (ECE) and Primary teachers in Early Childhood centres throughout Wellington. If you have experience and a passion for growing young children like us, we are looking for people to join our team on a casual and part time basis. ... read more


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WASHINGTON — As many as four Rockford Fire Department fire stations will be retrofitted with an overhead sprinkler system thanks to a federal grant announced Wednesday by U.S. Senator Dick Durbin, D-Springfield, and U.S. Rep. Cheri Bustos, D-East Moline.
The Federal Emergency Management Agency (FEMA), part of the Department of Homeland Security (DHS), awarded a $247,710 grant to the Rockford Fire Department for operations and safety.
Fire Departments nationwide have long been advocates of new residential and business construction having an overhead sprinkler system, which can greatly reduce the chances of a fire spreading throughout a home as well as lower insurance premiums.
The same standard of safety should apply to fire stations as well, said Rockford Fire Division Chief Matt Knott.
"We're not immune to fires either," Knott said. "Things do happen."
Rockford has 11 fire stations. Station No. 3, presently located at 1520 S. Main St., is being relocated to accommodate the expansion and rebuild of South Main Street. The new Station No. 3, which will have an overhead sprinkler system, is being built at Marchesano Drive and Clifton.
The federal grant is a 90 percent/10 percent split. The 10 percent will be picked up by the city.
City and fire officials initially requested $275.233.
"They didn't fund us fully," Knott said, "but we are very greatful and happy for the grant."
The Rockford Police Department also will receive a $196,685 Justice Assistance Grant from the U.S. Department of Justice to use toward the purchase of equipment.
— Chris Green


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Game Leaders
Team Stats
Passing Yards
Rushing Yards
Time of Poss.
Release written and posted by Wesley College Sports Information
DOVER, Del. - Wesley College rushed for 254 yards as the Wolverines defeated Frostburg State 45-17 on Homecoming at Scott D. Miller Stadium.
Nine different Wesley players rushed the ball - none more than six times - and four different Wolverines scored rushing touchdowns in the game.
The Bobcats struck first with a 12-play, 72-yard drive late in the first quarter resulting in a 38-yard field goal by Jonathan Adams.
The Wolverines answered quickly with a 77-yard touchdown run on a reverse by Steven Koudossou (Waldorf, Md./Westlake) just 17 seconds later for a 7-3 lead at the end of the first quarter.
The Wolverines' next drive went 99 yards on seven plays, including a 34-yard scamper by Askia Jahad (Williamstown, N.J./Williamstown). Shane McSweeny (Bensalem, Pa./Bensalem) capped the drive with a 17-yard pass to Sean McAndrew (Lanoka Harbor, N.J./Lacey Township) for a 14-3 lead with 8:10 to go in the half.
After a three and out by Frostburg, Brandon Wright (Clayton, N.J./Clayton) had a 35-yard run, caught a 12-yard pass and scored on a two-yard run as the Wolverines broke the game open.
The third quarter opened with a 47-yard run by Jahad on just the fourth play of the half as Wesley stretched its margin to 28-3.
The Wolverines were faced with a third and goal from the 25 on their next possession, but McSweeny went around, through and over the Frostburg defense for a touchdown.
The Bobcats regrouped with a 13-play drive topped off by a four-yard touchdown by Paul Pinchinat to cut the lead to 35-10.
Just like the first time Frostburg scored, the Wolverines answered quickly. A short kickoff was fielded by Jared Morris (Toms River, N.J./Toms River East), who took it 73 yards for the touchdown and a 42-10 lead at the end of the third quarter.
In the fourth quarter, Josh Volpe hit Nick Nowaczyk for a 60-yard bomb and a touchdown.
Wesley answered back with a 22-yard field goal by Dan Tryon (Wilmington, Del./Salesianum) for the final score of the afternoon.
Jahad finished with 89 yards on just four carries, while Wright tallied 73 yards on just five rushes.
McSweeny completed 11-of-17 passes for 130 yards and a touchdown and also rushed for 39 yards and another score. Chris Cummings (Newark, Del./Newark) went 3-of-4 in relief for 19 yards.
Seven different Wesley players caught passes in the game, led by McAndrew with three grabs for 44 yards.
The defense was led by a starting linebacker trio that combined for 25 tackles in the game. Mike Asiedu (Yonkers, N.Y./Gorton) made 11 tackles, while both Jeff Morgan (Vineland, N.J./Vineland) and Kirk Brooks (Baltimore, Md./Mount Saint Joseph) were in on seven stops each. Brooks also had a tackle for a loss and forced a fumble.
Volpe completed 19-of-26 passes for 238 yards and one touchdown. Nowaczyk caught six passes for 124 yards, but leading receiver Anthony Young was limited to just three catches for 21 yards.
The duo of Pinchinat and JD Hook were averaging close to 200 yards rushing per game, but combined for just 81 yards in the game.
Brendon Blanchette led the defense with 10 stops for Frostburg.
The Wolverines look for their fourth straight win when they travel to Virginia University of Lynchburg on October 15.