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Move out of the way flat-earthers. Pipe down anti-vaxxers. Be quiet, moon-landing deniers. You had your moment in the spotlight. It is time we take a look at the weirdest conspiracy theories out there – those that don't get celebrity endorsement and are not all that popular.
Electric Universe
Fasten your seatbelt kids, we are going to the weirdest, most unnecessary theory in stellar astronomy: the electric universe. The idea, which would be an awesome indie rock band name, claims that the Sun and all the stars are not powered by nuclear fusion. Instead, they shine because there is a huge voltage in space. For example, they claim that since the Sun is more positively charged than the rest of the universe, it attracts negative particles. Yes, they claim that the Sun works like a huge light bulb.
Every object in space is surrounded by electric charges. If the Sun, the Earth, or other stars were suddenly charged positively, negative charges would rain on them until they achieve neutrality again. Electric forces are way stronger than gravity. For electrons, charge repulsion is 1042 times stronger than gravitational attraction.
So why does it seem like gravity is so much stronger? Because gravity is only attractive, so each bit of mass adds up to a big net force. But electrical charges can either repel or attract, and when you consider them altogether, their net contribution is usually zero. The electric universe doesn't explain how stars go supernova, how new elements form in those stars, or how extreme objects like neutron stars and black holes come to be.
But my favorite part of their theory is the huge voltage that's apparently present in space. If that were true, the current would be strong enough to wipe out Earth's atmosphere and sterilize the planet completely. This is a theory for people that couldn't be bothered to learn about nuclear fusion and said " I know electricity, that will do. I don't need to learn anything new!"
Phantom Time Hypothesis
Do you like round numbers? Well, not as much as Holy Roman Emperor Otto III, Pope Sylvester II, and possibly the Byzantine Emperor Constantine VII. They liked round number so much that they fabricated 297 years of history so they could reign in the year 1,000 CE – at least according to Heribert Illig that is. Illig claims that the years from 614 to 911 were invented and are instead phantom time. Historical evidence was forged, the figure of Charlemagne was constructed, and the calendar altered.
A lot of "evidence" is presented and it would make a compelling case if you forget that there were people living outside of Europe at the time. This so-called phantom time encompasses most of the Tang Dynasty in China and their detailed astronomical observations confirm the existence of those three centuries. The foundation of Islam and Islamic expansion across the world also happened then. The University of Al Quaraouiyine, the oldest existing and continually operating educational institute in the world, was founded by Fatima al-Fihri in 859. It has been visited by many European scholars since them. So no, the pope and the emperors didn't make up three centuries.
Project Blue Beam
According to late Canadian journalist Serge Monast, NASA was (or maybe still is) working with the anti-Christ to fake the second coming. The American space agency was said to be using advanced technologies to begin a new-age religion that would mark the start of a new world order. This is Project Blue Beam.
Monast claimed that NASA would first create earthquakes in specific locations, where they would then uncover (fabricated) evidence that all religions are false. Next, a planet-wide laser show with holograms would introduce the one true God, but that's the anti-Christ in disguise. Thanks to telepathic electronic communication, people would speak with "God" directly. Finally, you have alien invasions, a fake rupture, and demons invading fiber optics. This is the most 90s end-of-the-world scenario I have ever heard of. The Space Jam of conspiracy theories. I don't think we should even bother trying to debunk it.
CERN and Shiva
CERN is at the center of many conspiracy theories, but the most peculiar one is that the presence of a statue of Shiva (a gift from the Indian government) is actually a clear sign of the laboratory's more nefarious aim – to use it as a portal for Shiva to enter the world and destroy Earth.
First of all, CERN employs some of the smartest people on the planet and I would like to think that if they were trying to summon a deity, they wouldn't put their effigy on the front lawn. What kind of B-movie villain behavior is that? Second of all, people supporting this theory have at best skimmed through the Wikipedia entry for Shiva, who in Hinduist mythology is not the "smash smash" villain they suggest it to be.
Finland does not exist
There is an entire sub-reddit dedicated to the fact that Finland doesn't exist. An entire country has been "created" by Russia and Japan. Seriously. I'm sure the European Union must be in on it too. And the US. And NASA doctoring photos. And airplane companies. And anyone who has ever been to Finland. Myself included.
Ok, enough Internet for today.


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The Reverend William (Billy) Franklin Graham Jr. (1918 – 2018) has died at the age of 99. Too often, hagiographies are painted when people die, especially of ministers. The televangelist, however, is not deserving of such high praises.
While Graham's inarguably the most influential minister of the 20th Century, his ministry — which provided pastoral counseling to U.S. presidents from Harry Truman to Barack Obama — lived at the crossroads of fear and intolerance as the wrath of God.
Graham promoted his brand of evangelical Christianity — the Billy Graham Evangelistic Association — like a traveling salesman by conducting tent revivals in rural backwaters and gospel fests in urban cities. When Graham expanded his ministry to include multimedia — a television show and his famous weekly Hour of Decision radio program that was broadcast on more than 1,200 stations across the globe — many queried about his zealous self-promotion that morphed into a global business. "We are selling the greatest product on earth. Why shouldn't we promote it as effectively as we promote a bar of soap?" Graham told the Saturday Evening Post in 1963.
Looking at the arc of Graham's public ministry, from the 1950s to the present, the outpouring of grief has overlooked his damaging and damning messages toward and about LGBTQ Americans.
To his dying day, Graham believed LGBTQs could be cured. His website still promotes reparative therapy: "If you have a loved one who's homosexual, you may refer to Someone I Love is Gay by Anita Worthen and Bob Davies, or if you're a Christian struggling with homosexuality, consider Coming out of homosexuality by Bob Davies and Lori Rentzel."
As an opponent of marriage equality, Graham's pastoral advice concerning LGBTQ marriages was that "The Bible provides God's blueprint for marriage and for His good gift of sex in Genesis 2:24. The gift is only to be enjoyed within a marriage between a man and a woman. There are no exceptions suggested, such as homosexual partnerships." And, in 2012, Graham supported actions to amend his state constitution to define marriage "between one man and one woman."
At a time when many Americans were looking for a definitive spiritual answer for the occurrence of AIDS, Graham, in 1993, told a crowd of 44,300 in Cooper Stadium in Columbus, Ohio, that he thought the AIDS epidemic was the wrath of God: "Is AIDS a judgment of God? I could not say for sure, but I think so." Graham's response went global. He retracted with an apology, but the damage was done.
Sadly, Billy Graham's ministry of intolerance toward LGBTQ people has unquestionably been passed down to his son Franklin, whose homophobic remarks trumps his father's and is in lockstep with this present administration.
"I'm going to encourage the Church to take a stand for Christ. Homosexuality has been allowed into our schools, that's why I want to get the school boards back," Franklin Graham stated during a radio Q&A segment with Focus on the Family program, another national religious anti-LGBTQ organization.
"You cannot stay gay and continue to call yourself a Christian. You can't do it," Franklin continued.
Unfortunately, the Billy Graham Evangelistic Association will continue to be a revered global ministry around the world. I shudder to think of all this hate speech passed down from father to son will be done in the name of God.
Rev. Irene Monroe is a Huffington Post blogger and freelance journalist.
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A few years back, we got hold of a shipment of beautiful oyster shells. Our ingenious quartermaster, Mr. Joe Blackheart, turned them into necklaces that doubles as rum cups! Since that day, we always wear them as a token of participation in the crew. By now there are only a handful left, grab one before it's too late, this craftsmanship will not return.
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The LA Galaxy released a teaser clip of what appears to be a collaboration between the Galaxy and Undefeated, a local clothing brand based in downtown Los Angeles.
Coming 4.12.14. #UNDFTDGALAXY http://t.co/NVcSJz427w
— LA Galaxy (@LAGalaxy) April 7, 2014
The clip features a man carrying a camouflage duffel bag from the Stubhub Center stands to the Galaxy locker room, before stacking a few pieces of clothing we can only catch an all-too-brief glimpse of. Another voice narrates,
"Sport is war is kind of our tagline. When the first man kind of went to war, he charted his path, it was looking at the stars, so we used a lot of the star bursts (avatars), that we brought back into it along with the shield, that had elements of war in it".
According to their Facebook page, "Undefeated and the Los Angeles Galaxy present the 2014 Field Collection, a capsule highlighting the themes of victory and virtue".
The Undefeated website About page is a simple "Since 2001" in giant lettering, a not so subtle hint they are indeed hip.
(Sorry I couldn't resist, Patton Oswald ruined downtown LA for me)
All jokes aside, I was intrigued by what I saw. Though I'm a fan of last year's Adidas Originals capsule collection, if I had one complaint, it was that the designs felt generic and lacked a general purpose.
However, the "Sport is War" theme has potential and should resonate with Galaxy supporters. And the revamped Galaxy shield with a sword running through it is certainly cool.
Looking forward to the launch this Saturday.


text:
BH -- Music
Komponisten-Lexikon: 350 werkgeschichtliche Porträts [Composer Encyclopedia: 350 Portraits of Composers and their Works]. Ed. Horst Weber. 2d rev. and expanded ed. Stuttgart; Weimar: Metzler; Kassel [et al.]: Bärenreiter, 2003. 715 p. 24 cm. ISBN 3-476-01966-7 (Metzler), 3-7618-2033-X (Bärenreiter): EUR 49.90 [04-1-224]
The first edition of this work appeared in 1992, with 340 articles, as the Metzler-Komponisten-Lexikon. Now under a new title, this second edition includes 350 "of the most important composers from the Middle Ages to the present," with special emphasis on the 20th century. As the subtitle implies, the focus lies on the works of the composers, not on their biographies. Most of the signed articles have been updated. Forty new names have been added, and about 30 previously included composers have been cut, among them Samuel Barber and Sylvano Bussotti. Bibliographic information has been updated to the year 2003. The small portraits of composers in the first edition have been eliminated in the second. As in the first edition, there is no chronological index, nor are there lists of the composers' works, which would have been desirable. The work is recommended for libraries as a good one-volume reference handbook that gives a concise overview of the material, but which, especially for libraries in Englishspeaking countries, is not indispensable. [mr/akb]
Deutsche biographische Enzyklopädie der Musik [German Biographical Encyclopedia of Music]. Ed. Bruno Jahn. 2 vols. München: Saur, 2003. xiv, 1,409 p. 25 cm. ISBN 3-598-11586-5: EUR 268 [04-1-227]
A specialized offprint of the Deutsche biographische Enzyklopädie (DBE), the present work parallels similarly focused biographical encyclopedias of German philosophy, German medicine, and the German Enlightenment. The present work includes entries for more than 6,000 deceased individuals who influenced musical life in German-speaking lands, including 2,400 composers. The work includes 400 entries not appearing in the DBE or the numerous revised DBE entries and bibliographical additions. The additions and revisions, however, are limited in scale and do not constitute a significant variation from what is included in the parent work. At the same time, details have been clarified, such as specific instrument or voice range for performers. The entries are indexed by chronology, profession, name, and place. For collections that include the parent DBE, the music encyclopedia may not be of great benefit, but it may be of use in specialized music libraries that do not possess the DBE. [mr/dfb]
Quellen zur Geschichte emigrierter Musiker 1933-1950 = Sources Relating to the History of Émigré Musicians, 1933-1950. Ed. Horst Weber. München: Saur. 25 cm. ISBN 3-598-23745-6 (set) [04-1-228]
1. Kalifornien = California. Ed. Horst Weber and Manuela Schwartz. 2003. lii, 364 p. ISBN 3-598-23746-4: EUR 78
The present volume resulted from a Deutsche Forschungsgemeinschaft project on émigré musicians and, as funding allows, is planned to be complemented by volumes focusing on sources in the eastern United States, Europe, and Israel. The first section of the present volume lists collections of sources in alphabetical order by location and holding institution. The listings provide addresses of institutions; names, nature, provenance, means of access to, and content of collections; as well as references to related collections and relevant literature. Previously unknown sources are given priority over otherwise documented sources, such as music manuscripts. The second section assembles selected documents in order to demonstrate characteristics of life in exile. The volume includes name and collection indexes. [mr/dfb]
Komponisten der Gegenwart im Deutschen Komponistenverband: ein Handbuch [Contemporary Composers in the German Composers Union: A Handbook]. Ed. Deutscher Komponistenverband. 5th ed. Regensburg: ConBrio-Verlagsgesellschaft, 2000. xiv, 1,419 p. ill. ISBN 3-932581-34-2: EUR 38.35 [04-1-229]
Like previous editions (published under previous names of the same organization, e.g., Deutschen Komponisten-Interessenverband), this fifth edition contains information submitted by the individuals listed. The 1,358 entries include address, date of birth and death (as applicable, and in ca. 150 instances the rights holders for the deceased's works), a short biography, honors, a selected list of the composer's major works, and short references to other compositions. The list of major works includes title, opus number, date of composition, genre and instrumentation, and publisher and recordings (as applicable). A selective comparison with the fourth edition suggests that the scope of the new edition is not significantly different and that revisions of its content are inconsistent. The volume includes an index of composers' works by genre and a calendar of birthdates and commemorations. [sh/dfb]
Dresdner Liste: Musikstadt Dresden und nationalsozialistische Judenverfolgung 1933-1945 in Wort und Bild; ein Beitrag zur Dresdner Musikgeschichte [The Dresden List: Music City Dresden and the National Socialist Persecution of Jews, 1933-1945, in Words and Pictures. A Contribution to the History of Music in Dresden]. Agata Schindler. Dresden: Schindler, 2003. 120 p. ill. 30 cm. EUR 15 plus postage (Dr. Agata Schindler, Prohliser Str. 24, D-01237 Dresden, e-mail: firstname.lastname@example.com) [04-1-230]
Many books on the history of music in the National Socialist era have been written in recent years, dealing variously with composition, production, performance, and theory. All of these areas are synthesized in this work, as it focuses on a narrowly defined subject matter. Agata Schindler has made research on the Jewish music community in Dresden her life's work. Her considerable collection of memorabilia provided her with the essence as well as the illustrative matter for this book, which covers 151 Dresden musicians comprising the "Dresden List," of whom 71 were completely excluded from the Dresden's music scene after 1933. Twelve representative biographies demonstrate the substantial contributions the Jewish community had for centuries made to the Dresden music scene, both sacred and profane, underscoring their loss after 1933. The organization of this clearly laid-out treatise is reminiscent of an exhibition catalog. Schindler's portrait of Jews in the musical life of Dresden is of more than narrow local interest; it serves to remind us of talented creative people who were outcasts purely for reasons of race. [frh/hh]
Neue Tabellen zur Musikgeschichte [New Chronology of Music History]. Arnold Schering and Frank Reinisch. Wiesbaden: Breitkopf & Härtel, 2003. viii, 264 p. 24 cm. ISBN 3-7651-0340-3: EUR 22.50 [04-1-231]
A sixth edition of a work first published in 1914, the current volume presents a chronology of music history from antiquity to 2002. Information within each year is listed within one of six categories: biography, musical works, secondary literature, collected and monument editions, popular music, and other musical events. Included for reference are the dates of important events in politics, philosophy, literature, art, film, science, and other relevant dates. There are name and place indexes. As with its previous editions, this work is very useful in any library with a music collection. [mr/dfb]
Lexikon "Musik über Musik": Variationen, Transkriptionen, Hommagen, Stilimitationen, B-A-C-H [Lexicon of "Music about Music": Variations, Transcriptions, Homages, Stylistic Imitations, B-A-C-H]. Klaus Schneider. Kassel: Bärenreiter, 2004. 421 p. 25 cm. ISBN 3-7618-1675-8: EUR 39.95 [04-2-481]
Whoever thought the tireless bibliographer of program music Klaus Schneider had exhausted the theme with his two-volume Lexikon Programmusik [Lexicon of Program Music] (see RREA 7:177) learns otherwise with the appearance of his new lexicon. This counterpart to Schneider's earlier publication lists approximately 8,600 instrumental works by 2,900 composers, works that have some identifiable connection with preexisting musical works and their creators. The lexicon is organized into four parts: (1) music about individual composers and their works, variations "on a theme by …," homages to musicians, and special arrangements or adaptations of approximately 820 influential composers and interpreters of music; (2) music based on selected folk themes and traditional melodies; (3) stylistic imitations, and variations in the style of various masters; (4) music about playing an instrument, further organized into three sections: musicians, music performance, and concerts; the orchestra; and music about individual instruments. Entries for each work include title, associated persons, opus or thematic number, and publisher. Publishers and edition series are given with locations in an appendix. An index provides access by composer and arranger.
Although the lexicon does not list compositions in national musical styles, we can expect such a work in the foreseeable future, according to Schneider's introduction. [sh/rm]
Musiker in Brandenburg vom 16. Jahrhundert bis zur Gegenwart [Musicians in Brandenburg from the 16th Century to the Present]. Vera Grützner. Berlin: Jaron, 2004. 320 p. 22 cm. ISBN 3-89773-507-5: EUR 16 [04-2-483]
Covering over 400 musicians from the Brandenburg region of Germany, this biographical dictionary also includes people whose work was relevant to music, even if they were not musicians themselves. Non-Brandenburgers whose activities touched on the area (e.g., the composers Paul Dessau, Michael Praetorius, Johann Joachim Quantz, and Carl Friedrich Zelter) are also listed. Not included are musicians from Berlin (a part of historic Brandenburg) and those who fall under the rubric "popular music." Each entry lists compositions and bibliographic references selectively. There are indexes by name and places. This work belongs in serious music collections. [mr/sl]
Biographisch-bibliographisches Lexikon Celler Musiker, Komponisten, Sänger, Instrumentalmusiker, Musikpädagogen, Musikwissenschaftler, Instrumentenbauer, Glockengießer, Musikverleger, Musikalienhändler und Musiktherapeuten [Biobibliographic Encyclopedia of Musicians, Composers, Singers, Instrumentalists, Music Educators, Musicologists, Instrument Makers, Bell Casters, Music Publishers, Music Score Sellers, and Music Therapists in Celle]. Harald Müller. Celle: Stadt Celle, 2003. vii, 383 p. ill. 24 cm. (Celler Beiträge zur Landes- und Kulturgeschichte, 31). ISBN 3-925902-50-3: EUR 15.80 (Stadt Celle, Stadtarchiv, Westerceller Str. 10, D-29227 Celle, e-mail: email@example.com) [04-2-484]
As the author of numerous articles and publications on the musical history of Celle, Germany, as well as a contributor to the New Grove Dictionary of Music and Musicians and Die Musik in Geschichte und Gegenwart, Harald Müller is well qualified. Arrangement of the entries in this work is alphabetical, and the customary biographical data and content are provided. In addition to a bibliography, there are seven specialty appendixes devoted to distinctive groups of individuals from Celle's musical life. An opening historical section, along with photographs of the city and its various concert halls, would seem to attest to the author's desire eventually to create a music history of Celle. Such locally focused works are welcome, although their market is understandably regional or among comprehensive collections. [mr/rlk]
Die Musik in den Zeitschriften des 18. Jahrhunderts: eine Bibliographie; mit Datenbank auf CD-ROM [Music in 18th-Century Journals: A Bibliography; with a Database on CD-ROM]. Ed. Laurenz Lütteken, Gudula Schütz, and Karsten Mackensen. Kassel [et al.]: Bärenreiter, 2004. viii, 450 p. 25 cm. + CD-ROM. (Catalogus musicus, 18). ISBN 3-7618-1757-6: EUR 39.95 [04-2-485]
Intended as a supplement to the Index deutschsprachiger Zeitschriften, 1750-1815, this volume indexes the music-related content (3,333 articles, reviews, etc. and 663 pieces of music) from 201 periodicals—both general/cultural interest journals and those with a focus on music. Journals from southern Germany, Switzerland, and Austria have been excluded, presumably because the library that served as the index's primary source is insufficiently staffed and, being in the north, has a correspondingly skewed collection. (The stated justification, however, is the old and unjust prejudice that the primarily Catholic south was an intellectual backwater at the time of the Enlightenment.) It is not clear to what extent this index duplicates entries in other indexes to journals of the period. The printed volume contains the bibliography (first a bibliography of the indexed journals, then of the articles by author), which is indexed by the CD-ROM (using categories such as personal name, subject keywords, and text genres). The manual for the CD-ROM is well thought-out and organized, but the interface is not always what one would wish. (The use of diacritics is not optional, for example, and the user cannot opt out of automatic truncation in full-text searches.) This work belongs in every serious music library. [mr/sl]
Dictionnaire de la musique en France au XIXe siècle [Dictionary of Music in France in the 19th Century]. Ed. Joël-Marie Fauquet. Paris: Fayard, 2003. xv, 1,406 p. ill. music. 25 cm. ISBN 2-213-59316-7: EUR 100 [04-2-486]
Dictionnaire de la musique en France aux XVIIe et XVIIIe siècles [Dictionary of Music in France in the 17th and 18th Centuries]. Ed. Marcelle Benoit. Paris: Fayard, 1992. xvi, 811 p. ill. music. 25 cm. ISBN 2-213-02824-9: EUR 100 [04-2-487]
The formulation "in France" rather than "French" is intentional in these works, for their content encompasses foreign music (mainly Italian and German) in France, as well as the reciprocal influences between French and foreign music within France. Both works have similar organization and scope, presenting music within its respective historical and social contexts, and including articles on persons, works, places, and topics. Contributors to both titles are overwhelmingly French.
The Dictionnaire de la musique en France au XIXe siècle contains ca. 3,000 entries, which lack secondary bibliographies. In the case of articles on persons, French composers' works are listed but those of foreigners are not, unless—as, for example, in the case of Liszt—they relate to the French context. There are many useful tables and topical overviews (e.g., a list of Spanish musicians in France included in the article on Spain). There is a systematically organized end-bibliography with mainly French titles, and a thematic index.
The Dictionnaire de la musique en France aux XVIIe et XVIIIe siècles comprises ca. 2,500 entries; these contain primary and secondary bibliographies, and references to a numbered end-bibliography of 1,751 titles representing the majority of publications relating to French music of the 17th and 18th centuries. A thematic index is included. Without question, both of these dictionaries belong in every library with music holdings. [mr/rlk]
Dictionnaire Berlioz [Berlioz Dictionary]. Ed. Pierre Citron and Cécile Reynaud. Paris: Fayard, 2003. 631 p. 24 cm. ISBN 2-213-61528-4: EUR 35 [04-2-488]
The Dictionnaire Berlioz was published in 2003 in observance of the composer's 200th birthday. The editors number three Frenchmen (Professor emeritus Pierre Citron of the Sorbonne; Cécile Reynaud of the Bibliothèque nationale de France; Pierre Bartoli of the Sorbonne) and an American (Peter Bloom of Smith College). The dictionary contains some 600 articles by 84 French, English, German, Swiss, American, and Canadian authors. The articles, of various lengths, are all signed by their authors, and cover persons, works, topics, places, journals, and institutions. Bibliographical references are not included in the articles themselves but are gathered in a separate bibliography on p. 599-606. The bibliography is in six sections: (1) modern editions of the musical works; (2) modern editions of the literary works; (3) a complete list of Berlioz' works; (4) publications cited in the signed articles; (5) journals; and (6) web sites. The index is organized into five sections: (1) musical and literary works; (2) persons, with subgroups for musicians, artists, authors, scholars, statesmen, publishers, and patrons; (3) journals and institutions; (4) subjects; and (5) places. The Dictionnaire Berlioz is clearly of interest to libraries with music collections. [mr/crc]
N.B. The Berlioz anniversary in 2003 also produced the following noteworthy publications:
L'opera di Luigi Dallapiccola: catalogo ragionato [The Works of Luigi Dallapiccola: Catalogue Raisonné]. Mario Ruffini. Milano: Suvini Zerboni, 2002. 542 p. ill. 24 cm. ISBN 88-900691-0-4: EUR 62 [04-2-490]
This catalog of the oeuvre of Luigi Dallapiccola, the most significant Italian composer of twelve-tone music, was compiled by Mario Ruffini, who is a professor at the Conservatorio Statale di Musica "Francesco Venezze" di Rovigo. The catalog is laid out in chronological order, with the intent of allowing the user to understand the development over time of the composer's musical thought.
The 71 numbered entries cover each of the composer's works. Ranging in length from one to three pages, they contain the usual elements: bibliographical references, discographies, critical evaluation, quotes by Dallapiccola and other personalities, and the full text of vocal works (with the exception of the operas; the complete libretti of four of Dallapiccola's seven operas that were "available for publication" are printed in a separate appendix).
There are a number of additional features: a chronological overview of the composer's life; several essays of critical appreciation; 55 illustrations; a chronological list of the composer's written works; a chronological list of the musical compositions, with year of composition and year of first publication; an alphabetical index of the compositions; an index of works according to genre; a discography; a list of historical recordings; a list of honors awarded to Dallapiccola; a list of Dallapiccola's publishers; a list of exhibitions and memorial celebrations; a survey of Dallapiccola's connections to the Conservatorio "Luigi Cherubini" in Florence and to the Maggio musicale fiorentino; an index to Dallapiccola's correspondents, grouped into individual persons and institutions; and finally, a bibliography of works about Dallapiccola, including a list of articles about the composer that appeared in Florence's major newspaper, La nazione. [mr/crc]
Jean-Philippe Rameau: catalogue thématique des oeuvres musicales [Jean-Philippe Rameau: Thematic Catalog of Musical Works]. Paris: CNRS Éditions; Bibliothèque Nationale de France. 30 cm. (Opera omnia de Rameau. Sér. 6. Érudition, 1, Catalogue thématique des oeuvres …). [04-2-491]
Vol. 2. Livrets [Libretti]. Ed. Sylvie Bouissou and Denis Herlin. 2003. 409 p. ill. (Sciences de la musique: série références, …, 2). ISBN 2-271-06173-3 (CNRS), ISBN 2-7177-2233-5 (BNF): EUR 45
The Jean-Philippe Rameau (1683-1764) thematic catalog (RCT = Rameau Catalogue Thématique) comprises part 1 of series 6 (Érudition) of the seven-volume Rameau Opera Omnia, edited by Sylvie Bouissou et al. (Paris, 1997- ). The RCT itself comprises five volumes, of which the first to be published is volume 2, devoted to the libretti of Rameau's works for the stage. The volume is arranged in two sections; the first lists all versions of a libretto by title of the work, the second groups libretti into collections according to genre. Entries include listings of performances and cast members. An appendix reproduces the original title pages of the libretti. There are extensive indexes, including to titles of individual acts, and lists of roles and performers' names. Institutions holding the libretti are indicated using the RISM symbols.
Because it represents an important contribution to the field of libretto studies, even libraries with music collections that do not include the Rameau Opera Omnia should consider acquiring this volume of the RCT. [mr/kst]
Dizionario rossiniano: le opere, i cantanti, i personaggi, i librettisti, gli impresari, i teatri, gli amici, i parenti, le città [A Rossini Dictionary: Works, Singers, Roles, Librettists, Impresarios, Theaters, Friends, Relatives, and Cities]. Eduardo Rescigno. Milano: Rizzoli, 2002. vii, 806 p. 18 cm. (Biblioteca universale Rizzoli). ISBN 88-17-12894-5: EUR 17 [04-2-492]
Rizzoli has produced a number of lexicons of composers, each with a similar structure. In the present work, that structure includes the following sections: (1) a chronology of Rossini's life and works; followed by (2) dictionary entries covering a wide range of topics having some connection to his life and works; and (3) a detailed catalog of all the composer's 39 works for the stage, including plot summaries and information on first performances and revisions. Section 4 is a bibliography in which Italian titles predominate. Section 5 contains a discography, and section 6 is a videography. Realistically, the fact that the work is in Italian will present difficulties to many users in the USA; still, the work is recommended for libraries with music collections.
For further reading, consult Emanuele Senici's The Cambridge Companion to Rossini, (Cambridge, 2004). [mr/crc]
Xaver Scharwenka (1850-1924): Werkverzeichnis (ScharWV) [Xaver Scharwenka (1850-1924): Catalog of Works (Schar WV)]. Matthias Schneider-Dominco. Göttingen: Hainholz, 2003. 217 p. ill. 23 cm. (Hainholz Musikwissenschaft, 6). ISBN 3-932622-68-5: EUR 76.50 [04-2-493]
A revision of the author's master's thesis, this catalog begins with a detailed biography of Scharwenka, a pianist, teacher, and composer who was one of the shining musical personalities typical of the German Wilhelminian era. It ends with an evaluation of his work. Contents are organized under the categories of reworkings of compositions of other composers, literary works, occasional compositions, fragments, lost works, and works published by Scharwenka. Descriptions of works include their origin, dedication, movements or content, manuscripts, literary references, earliest performances, editions, revisions, recordings, and notes. Also included is a selection of 38 previously unpublished letters and postcards sent to Scharwenka by other musicians, such as Brahms, Bruch, Busoni, Liszt, Richard Strauss, and others. [mr/mjc]
Special Report: New Works on Verdi
Le parafrasi pianistiche verdiane nell'editoria italiana dell'Ottocento [Piano Arrangements of Verdi's Works in Italian Editions of the 19th Century]. Pier Paolo de Martino. Firenze: Olschki, 2003. 231 p. music. 24 cm. (Historiae musicae cultores, 99). ISBN 88-222-5249-7: EUR 24 [04-1-239]
This index documents 3,457 piano arrangements (including those for four hands) of Giuseppe Verdi's works from the second half of the 19th century (since ca. 1840) published in Italian first editions of that time. It restricts itself to the nine most important publishers in the three largest centers of musical life in Italy: Ricordi, Canti, Lucca, and Vismara, in Milan; Clausetti and Girard/Cottrau, in Naples; and Blanchi, Racca e Balegno, and Giudici e Strada, in Turin. The information is arranged in tabular form and alphabetized by composer name. The immense number of piano arrangements of popular works by Verdi produced during this period is underscored by the index, which lists 29 of his works and parts thereof. The reasons for this great success are analyzed by the author in his comprehensive introduction. This bibliography devoted to a specialized, albeit important subject belongs in all libraries with large or specialized music collections. [mr/akb]
Giuseppe Verdi: l'uomo, l'opera, il mito [Giuseppe Verdi: The Man, The Work, The Myth]. Ed. Francesco Degrada. Ginevra; Milano: Skira, 2000. 315 p. ill. 25 cm. ISBN 88-8118-816-3: EUR 38.73 [04-2-494]
Published in conjunction with an exhibit in Milan's Palazzo Reale (17 November 2000 through 25 February 2001) celebrating the centenary year of Verdi's death, this volume comprises two sections. The first (p. 9-153) includes short essays on a wide range of interdisciplinary topics dealing with Verdi—a figure of great symbolic importance in the Italian Risorgimento and himself socially and politically active—in the context of 19th-century history. The essays address subjects such as the influence of Milanese romanticism on the composer, Verdi's development from a subject of Parma to an Italian citizen, his first encounter with the work of Shakespeare, and his relationship to Paris and to Richard Wagner. The second part (p. 156-315) documents the exhibit. A bibliography concludes the volume. [mr/sl]
Verdi-Handbuch [Verdi Handbook]. Ed. Anselm Gerhard and Uwe Schweikert, with Christine Fischer. Kassel: Bärenreiter; Stuttgart; Weimar: Metzler, 2001. x, 476 p. ill. 25 cm. ISBN 3-7618-2017-8 (Bärenreiter), ISBN 3-476-01768-0 (Metzler): EUR 64.90 [04-2-495]
The first two sections of this guide to Verdi's life and work contain 18 short overviews for the "non-expert" reader, addressing the political, social, economic, religious, and literary contexts in which Verdi lived and composed. The largest section is on Verdi's music and covers all his operas as well as his non-operatic works. The first 26 articles cover his operas chronologically, under rubrics dealing with everything from editions to plot, commentary, and discographies (without critical evaluation). The remaining eight articles cover Verdi's non-operatic compositions and his correspondence. Also contained in the volume are various appendices, among them a chronology, a glossary, indexes, and a bibliography. [mr/sh/sl]
Giuseppe Verdi zum hundertsten Todestag: "Viva Verdi"; Begleitheft zur Austellung des Deutschen Musikarchivs Berlin vom 11. April 2001 bis 27. Juni 2001 [On the Centenary Anniversary of Giuseppe Verdi's Death: "Viva Verdi"; A Publication Issued in Conjunction with an Exhibit at the German Music Archive in Berlin from 11 April 2001 to 27 June 2001]. Ed. Bettina v. Seyfried. Leipzig; Frankfurt am Main; Berlin: Die Deutsche Bibliothek, 2001. 103 p. 21 cm. ISBN 3-933641-27-6: EUR 6 [04-2-496]
This short volume was published on the occasion of a Verdi exhibit in Berlin. [Ed. note: according to the Brockhaus Riemann Musik-Lexikon (2d ed.1995, vol. 4, p. 294), the slogan, "Viva Verdi," from the Risorgimento movement, stood for "Viva V(ittorio) E(manuele), R(e) d'I(talia)."] It begins with 16 short chapters (two to four pages each) on Verdi's life and work, followed by a chronology, a bibliography of works consulted, and notes. The second part consists of a selected discography (ca. 1983-2000), based on the collection of the Deutsches Musikarchiv Berlin, a division of the Deutsche Bibliothek. It is organized alphabetically by opera title, although the subentries seem to be arranged randomly. Given the various limitations of this booklet—among them the lack of any index and of a bibliography as such—one has to wonder who would be interested in reading or consulting it. [mr/sl]
Dizionario verdiano: le opere, i cantanti, i personaggi, i direttori d'orchestra e di scena, gli scenografi, gli impresari, i librettisti, i parenti, gli amici. [Verdi Dictionary: Works, Singers, Roles, Conductors, Directors, Scenographers, Librettists, Impresarios, Relatives, Friends]. Eduaro Rescigno. Milano: Rizzoli, 2001. ill. 787 p. 18 cm. (Biblioteca universale Rizzoli). ISBN 88-17-86628-8: EUR 16.53 [04-2-497]
As this dictionary follows the same model as the Dizionario rossiniano (see RREA 10:164), a brief listing of the contents will suffice here: (1) chronology of Verdi's life and career (p. 7-17); (2) dictionary (p. 20-559), comprising, in addition to the articles, a list of opera choruses, listed chronologically by opera; (3) listing of the operas (p. 561-773); (4)bibliography (p. 775-778); (5) discography
Who's Who in Verdi. Jonathan Lewsey. Aldershot: Ashgate, 2001. viii, 560 p. 24 cm. ISBN 1-85928-440-X (hbk): £57.50; ISBN 1-85928-441-8 (pbk): £51.50 [04-2-498]
Because this work focuses on the plots and characters of Verdi's operas rather than on the music, the author characterizes it as "a tribute to Verdi's librettists" rather than to Verdi himself. The main section (p. 1-457) provides extensive descriptions of the roles, the operas (including plot summaries), and the choruses. The glossary (p. 458-529) lists the beginning words (in Italian and English) of the individual scenes within each opera, as well as very brief summaries in English. Appendices include changes or additions made by Verdi to his operas, descriptions of the ballets that he worked into six of his operas for their Parisian performances, and a discography. This work is recommended for libraries. [mr/sl]
Musik und Bibeltext [Music and Biblical Texts]. Ed. W. Bretschneider for the Allgemeiner Cäcilien-Verband, and H.-C. Drömann for the Verband Evangelischer Kirchenchöre Deutschlands. Stuttgart: Carus-Verlag, 2002. CD-ROM + supplement. Publ. No. CV 24.000/01. ISBN 3-923053-95-9: EUR 40 [04-1-243]
This CD-ROM indexes 12,000 printed vocal works with biblical texts in German, English, and Latin; it excludes sacred works not based on biblical texts. The product requires Microsoft Access 2000 and an activation code, which is printed on the accompanying material. Searching can be done in two broad categories: searching by Bible passage allows access to the index by book, chapter, verse incipit, verse, composer, textual elements/title, language, setting, or publisher, and results can be refined and sorted in numerous ways. One can also search by elements of the Protestant and Catholic pericope, such as the liturgical calendar, function, cycle (i.e., year), as well as book, chapter, and verse. These results can be sorted by verse, liturgical date, cycle, and function. Content updates and online publication of this resource are planned. This index is very practical for both music and theology libraries. [mr/dfb]
Reclams Musicalführer [Reclam's Guide to Musicals]. Charles B. Axton and Otto Zehnder. 9th ed. Stuttgart: Reclam, 2004. 675 p. ill. 16 cm. ISBN 3-15-010560-9: EUR 19.90 [04-2-501]
This guide to musicals is updated regularly; the current ninth edition includes six new musicals. In addition to the brief introduction that discusses the genre "musical" and gives definitions of some musical terms, there is a second section, arranged chronologically by date of first performance, providing detailed information about each musical: the composer, librettist, roles, a plot summary, the instruments required for a performance, film versions, and a discography of first performances. [mr/ldl]
Operette: Porträt und Handbuch einer unerhörten Kunst [The Operetta: Portrait and Handbook of a Remarkable Art Form]. Volker Klotz. Expanded and updated edition. Kassel [et al.]: Bärenreiter, 2004. 869, 16 p. ill. music. ISBN 3-7618-1596-4: EUR 64 [04-2-502]
First published in 1991, then reissued in 1997 as a paperback (both with the Piper publishing company), this guide to operettas is now offered by a new publisher in a significantly expanded edition. Klotz's stated aim is to "rehabilitate" a neglected musical genre. His guide is divided into two sections: the first deals with aspects of the genre as a whole, the second is devoted to particular composers (52 of them) and their works (123). Each entry includes biographical information, crucial data on the individual works (librettist, date of premiere, roles, instruments, editions, etc.), as well as a summary of the plot and a commentary (with musical examples). The book's two sections are closely linked by cross-references. Unfortunately, all bibliographical references to secondary literature and the selective bibliography of the previous editions have been removed from this one. A discography would have been useful, as well. Along with other related reference works (such as the invaluable Pipers Enzyklopädie des Musiktheaters, 1986), this new edition of Klotz's guide remains an important book in the field. [sh/sl]
Reclams Operettenführer [Reclam's Operetta Guide]. Ed. Anton Würz. 23d ed. Stuttgart: Reclam, 2002. 350 p. ill. 16 cm. ISBN 3-15-010512-9: EUR 13.90 [04-2-503]
Although now in its 23d edition, the content of this operetta guide differs very little from that of previous versions. It deals with 105 operettas written by 47 different composers, from Franz von Suppé (1819-1895) to Paul Burkhard (1911-1977). Each entry is divided into three sections: (1) date and place of first performance, along with later versions; roles; and setting in place and time; (2) detailed description; (3) a brief critique, including mention of any particularly folkloric numbers. The entries are arranged chronologically, but there are helpful indexes for composers and the titles of the operettas. Although the work covers seemingly fewer titles than does Volker Klotz's Operette: Porträt und Handbuch einer unerhörten Kunst (see RREA 10:174), it actually discusses a number of operettas that are not found in the Klotz book, which includes zarzuelas. [sh/ldl]
176 Blasmusikforschung seit 1966: eine Bibliographie; eine Publikation der Internationalen Gesellschaft zur Erforschung und Förderung der Blasmusik (IGEB) anlässlich des 70. Geburtstags von Wolfgang Suppan = Wind Music Research Since 1966 [: A Bibliography; Publication of the International Society for Research and Support of Wind Music (IGEB) on the Occasion of the 70th Birthday of Wolfgang Suppan]. Wolfgang Suppan]; ed. Bernhard Habla for the Pannonische Forschungsstelle des Instituts Oberschützen und dem Institut für Musikethnologie der Universität für Musik und Darstellende Kunst Graz. Tutzing: Schneider, 2003. 156 p. 24 cm. ISBN 3-7952-1138-7: EUR 25 [04-1-248]
Divided into 13 chapters (e.g., "composers and their works/analyses"), this bibliography lists 818 German- and English-language publications about wind music. Because it complements other published bibliographies of wind music research, it is not comprehensive. However, this publication is relevant for research libraries with music collections. [mr/dfb]
Klaviermusik von Komponistinnen: vom 17. bis zum 21. Jahrhundert; Verzeichnis mit Hinweisen für den Unterricht [Piano Music by Women Composers from the 17th to the 21st Century; Index with Guidelines for Instruction]. Isolde Weiermüller-Backes and Barbara Heller. Düsseldorf: Staccato-Verlag, 2003. 555 p. 21 cm. ISBN 3-932976-20-7: EUR 39 [04-1-250]
The title of this annotated guide to piano music by women composers is somewhat misleading, as the primary emphasis lies heavily on contemporary music. Nearly 900 women composers are included, but over 80 percent of these are composers of the 20th and 21st centuries, with women of the 17th through the 19th centuries making up the rest. Piano schools are covered in a chapter of their own. The book is organized by century, with subdivisions, e.g., for two-handed and four-handed works, then alphabetically by composer, with a chronological listing of individual compositions. The degree of difficulty of each piece is also noted. The annotations often include quotations from the composers or from critics. Works indexed are either in print or accessible in the archive Frau und Musik [Woman and Music] in Frankfurt am Main. Auxiliary apparatus includes a selected bibliography, list of CDs, and addresses of music publishers. Intended primarily for practical use by piano teachers, this volume can also serve as a reference tool concerning women composers and their works, useful for libraries with music collections. [mr/akb]
Reclams Orgelmusikführer [Reclam's Guide to Organ Music]. Viktor Lukas. 7th ed. Stuttgart: Reclam, 2002. 463 p. music. 16 cm. ISBN 3-15-010504-8: EUR 27.90 [04-1-251]
Created for both the amateur and professional, this is a thorough guide to music for the organ and is recommended for individuals and libraries alike. Unlike similar works, such as Repertorium Orgelmusik (see RREA 8:191) and the Handbuch Orgelmusik (see RREA 8:193), this volume presents musical examples and includes information on works for organ and orchestra, as well as information on less popular composers. While one wishes for additional improvements in the 8th edition, the work has matured significantly since the first edition published in 1963. The volume's format and presentation are good, and as a guide to organ music, it is indispensable. [ar/dfb]
Lexikon der Violine: Baugeschichte, Spielpraxis, Komponisten und ihre Werke, Interpreten [Encyclopedia of the Violin: History of Violinmaking, Performance Practice, Composers and Their Works, Interpreters]. Ed. Stefan Drees. 2d ed. Laaber: Laaber-Verlag, 2004. 805 p. ill. music. 26 cm. ISBN 3-89007-544-4: EUR 118 [04-1-252]
The first volume in a musical instrument series, the first edition of this work appeared in January 2004, followed by the second edition in April 2004. Though not clearly outlined in the table of contents, the volume consists of articles on the following topics (beyond what is specified in the subtitle): instruments of the violin family, bows, and aspects of the instruments; technique, performance practice, pedagogy, and terminology; composers; instrument makers, including individuals, families, and prominent centers; and interpreters and pedagogues. The volume contains 701 articles written by 33 contributors with references to additional literature. Appendices include a bibliography of the most important publications about the violin and a list of violin resources online. This volume will be of interest to individuals and libraries alike, and future volumes in the series, if they continue in the manner of this volume, will become the standard instrument encyclopedias. [sh/dfb]
Handbuch der Musikinstrumentenkunde [Handbook of Musical Instruments]. Ed. Erich Valentin. Rev. ed. Kassel: Bosse, 2004. 417 p. ill. 25 cm. ISBN 3-7649-2003-3: EUR 36.95 [04-2-505]
The most recent edition of this standard work, with contributions by 11 scholars, is noteworthy for the inclusion of a new chapter dealing with musical instruments from non-European countries. The instruments are grouped according to the Hornbostel-Sachs classification system. It is regrettable that the synoptic overview of the evolution of the instruments in each category, as well as the tables showing the names for a given instrument in different European languages, both features of previous editions, were eliminated in this edition. This work is well illustrated, and it contains name and subject indexes, but regrettably no index for the wide variety of spellings used for non-European instruments. Because this edition incorporates recent research, it is recommended also for libraries that own earlier editions. [mr/ldl]
Bibliography and Discography on Music for Solo Wind Instruments and Orchestra. Hermann Haug. 3 vols. Wiesbaden: Breitkopf & Härtel, 2004. (Musica rara, 2285-2287). ISBN 3-7651-0378-0: EUR 34 (vol. 1); 3-7651-0379-9: EUR 48 (vol. 2); 3-7651-0380-2: EUR 34 (vol. 3); 3-7651-0377-2 (set): EUR 98 [04-2-506]
This bibliography and discography lists over 17,000 compositions by approximately 6,200 composers, for solo wind instruments with symphony, chamber and string—but not brass or jazz—orchestras. Pieces for two or more solo wind instruments are also covered. There is detailed bibliographical information about each composition, as well as a discography. All the pieces have been recorded on CDs, and the discographies are based on editions of the Bielefelder Katalog. Klassik [Bielefelder Catalog of Classical Music] (1990-2001), the RED Music Master. Catalogue (2001), and Schwann Opus publications (1997 and 2000). Volume 1 deals with music for recorder and flute; volume 2 with oboe, clarinet, bassoon, and saxophone; volume 3 with horn, trumpet, trombone, and tuba music. This three-volume reference work is recommended for all libraries with music collections. [mr/ldl]
Dictionnaire du répertoire de la harpe [Dictionary of the Harp Repertoire]. Annie Glattauer. Paris: CNRS Editions, 2003. 727 p. 22 cm. (CNRS dictionnaires). ISBN 2-271-06162-8: EUR 43 [04-2-507]
In spite of its title, the largest part of this work (p. 19 to 678) is in fact a biographical dictionary of composers who wrote for the harp (extending from the Middle Ages to today and including jazz and popular music). The references to the harp literature per se are woefully sketchy. Only the indexes—divided into compositions for the modern double-pedal harp and the Celtic harp—make this a useful work for players of the instrument, listing editions of scores and instrumentation. It concludes with bibliographical listings and a discography.
The recent publication of eight other harp guides and lexicons demonstrates the odd discrepancy between the attention given to the instrument in literature on music as opposed to the relative obscurity of the harp in music itself:
Glattauer's dictionary, then, can only be recommended in conjunction with these other works. [mr/sl]
Geschichte der Orgel- und Klaviermusik bis 1700 [History of Organ and Keyboard Music Up to 1700]. Willi Apel. Reprint of the 1967 ed., with a new afterword by Siegbert Rampe and a bibliography. Kassel [et al.]: Bärenreiter, 2004. xv, 817 p. 24 cm. ISBN 3-7618-1668-5: EUR 39.95 [04-2-508]
Willi Apel's Geschichte der Orgel- und Klaviermusik bis 1700 belongs to the classic works of modern musicology. The beautifully crafted and therefore very expensive printing of 1967 never achieved wide distribution and has been out of print since 1981, so this moderately priced reprint edition is a most welcome event. Apel was certainly not the first to write a history of keyboard music, but when one compares his monumental work to that of his predecessors, such as Gotthold Frotscher or Walter Georgii, one immediately notes how much more authoritative is Apel's command of his source material, and how much more scholarly is his analysis. Certainly there are aspects of his work that are now out-of-date, as research has uncovered much new information in the intervening years. Still, the volume retains its place as one of the standard works on the subject, and continues to be an essential reference tool for any historian of the genre.
The editor of this new edition, Siegbert Rampe, has written a new afterword, in which he provides a historical and scholarly context for Apel's work, along with a biographical note on Apel. Rampe's critical evaluation of the Geschichte indicates some of its limitations, such as the short shrift Apel gave to cultural-historical and sociological factors, while giving all due appreciation to Apel's magnificent achievement, one which could hardly be emulated today in our age of over-specialization. Rampe also provides a bibliography, which includes references to all the essays by Hans Tischler (editor of the English-language edition) that Apel cited in his work.
This work is indispensable for all music libraries, large and small, and for private scholars of keyboard music as well. [ar/crc]
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Logan Elm earned its first win of the season on Saturday with a 25-12, and 25-18 and 25-20 non-league verdict over McClain.
Maraya Neff accounted for nine kills; Aubrie Kimbrough tallied seven kills; Rachel Hanley had four kills; Arowynn Savage served eight aces and also had eight digs; Kaiya Elsea led the defense with 13 digs and also had three aces; Alex Heeter dished out 14 assists and added eight digs and Carlee Reed distributed nine assists.
The Braves (1-2) continue non-league play on Monday at Fisher Catholic.
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Replacing Your Car's Cabin Air Filter
Not a lot of thought is given to having fresh, clean air inside our cars. Usually we think only about the way it smells. If it smells bad there are a lot of options to mask the odors with everything from a hanging tree shaped piece of cardboard that (is supposed to) smell like pine to odor bombs.
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Cabin air filters (sometimes called pollen air filters) come as standard equipment in many cars now. If you're not sure whether your car has one or not, check with your dealer. Many car owners have them and are completely unaware. This can be a bad thing because the filter can get really dirty in just a matter of months. Cabin filters trap dust, pollen, leaves and even insects that are drawn in through the fresh air vent of your car so that the air that coming out of your vents is clean and healthy. However, if left unchanged, they can become so dirty, that they restrict the air flow moving through the system which can then put stress on the blower fan and shorten its life. Dirty filters are also a source of foul odors. So even if you treated your system with Klima-Cleaner, there may still be an odor thanks to a dirty filter.
So be sure to replace your cabin air filters while treating your A/C system with Klima-Cleaner. Cabin air filters are usually located above the blower fan which is located behind your glove box. Check with your dealer for the exact location.
So when applying Klima-Cleaner, be sure to replace your cabin air filter for the freshest, cleanest air. Every six months or everytime you change your oil is a good rule of thumb to follow.


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Bursts of color brought on the PBIS (Positive Behavioral Interventions and Supports) celebration for Main Elementary students on Friday March 25, as the 2nd annual Color Run was underway.
There was no lack of upbeat energy as music boomed through speakers and cheering parents lined up along the sides with encouraging signs held high.
Kindergarten teacher Brittany Owens explained, "This is for kids that have PAWS-itive behavior. We actually have about 250 participants and we have a really good parent turnout today."
Owens explained that PAWS stands for prompt, accept responsibility, work hard and show respect and that the celebration was for the third nine weeks of school.
"The kids are wearing white today," Owens smiled. "Hopefully by the end of the run they're going to be very colorful."
At the siren's sound, the Run began. Teachers were stationed with color in hand, ready to launch a rainbow as the kids ran past.
Principal Dr. LaRoyce Sublett was on the scene looking just as colorful as the event. He brought out his tie-dye wearing, curly haired alter ego, DJ Sublett, for the occasion.
"This is so important for the kids," he said behind his festive shades, "to be able to get out, get some relief and have some fun, and show that doing good in school and having good behavior, respecting others and respecting your peers is vital to the success of our PBIS school."


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Mahoney prepares for new job at SUNY ESF and SUNY Upstate Medical University
Joanie Mahoney begins her new job at SUNY ESF and Upstate Medical University in Syracuse this month, and she expects a smooth transition into a job that was created for her.
Mahoney will join the SUNY as the first chief operating officer at SUNY ESF. She will also be a special advisor at Upstate. Her goal, she said, will be to keep both operations running smoothly.
"As I've said to the faculty that I've had the opportunity to meet, I see my role as providing the supports around, in terms of all of the ancillary functions, but especially the finances, to make sure you have what you need to teach the students. That's what I see my role as."
Specifically, she'll be trying to find ways to fix the financial issues facing each institution.
"Since we have two big SUNY institutions just a couple of blocks from each other, it's unusual in the SUNY system," Mahoney said. "Where are the places that we should be working together better to make things easier for both teams that are having to put budgets together."
Mahoney says it's something that fits in her wheelhouse. As county executive, she oversaw government consolidation and modernization on several fronts.
"It's a different subject matter, but the exact same language I've been speaking. Which is, where are we going to do things more modern, more efficiently, recognizing there is pressure on the revenue," she said. "Is there a way to grow out of the fiscal problems."
Mahoney said she won't have any involvement in the academic missions of either institution. She said the job came about through her connection with SUNY's chief operating officer, and her concerns about troubles at Upstate and SUNY ESF, two of the largest employers in Onondaga County.
Ryan McMahon, who had been serving as chairman of the Onondaga County legislature, takes over as the new county executive Friday.


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Apples, cider, water, maple syrup
Applesauce comforts us. Our version is lightly sweetened with pure NYS maple syrup, making it a perfect after school treat, condiment for pork dishes, or side kick for potato pancakes or fries. We also like to layer our applesauce with granola and yogurt for breakfast, have it chilled on a hot day or warmed on a cold for a snack, or simply enjoy it as dessert.
Apples, cider, water, maple syrup
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Explore our digital exhibitions and immerse yourself in stories of discovery, challenge, and change.
Find the information you need to plan a visit to our museum, which is free and open to the public.
For many of us alchemy conjures up images of mysticism or a fool's quest for gold. But alchemy's golden age was much more. In this era of experimental discovery and practical skill, physicians and chymists worked to heal the human body. They studied the secrets of the natural world. These men and women ushered in change, creativity, and scientific inquiry. This era was stranger than fiction and more curious than myth. We invite you to step into the real Age of Alchemy.
View on Google Arts & Culture >>
Age of Alchemy was on view in our Hach Gallery from May 2018 to July 2021.


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Ever feel like you are quite enough or doing enough? You're not alone! We all feel that way from time to time. Tracy Litt wants to share why you're enough and why you already have everything you need to live the life you want on your terms!
She's the author of Worthy Human. I read it this past December and just when I thought I had everything figured out, her book provided me with some key missing puzzle pieces!
After reading Tracy's book, I knew she is someone you had to meet because her mission is so aligned with our mission to help you feel like you are working enough to make enough to feel enough.
Special shout out to Meredith Marder, an attorney who frequently speaks to our Accelerator members about legal issues, who introduced me to Tracy and her book!
Lot of great lessons in our conversation including:
- Why it's so important to get real honest with yourself, but with self-compassion.
- Find your power by admitting everything in life is a choice.
- Clear out the people in your life who aren't your people.
- Dig into your resistance.
Life Skills That Matter In This Episode
- Self-awareness.
- Tell your story.
- Embrace discomfort.
- Recognize that you're enough.
How Tracy Works and Thinks
- Wake up time: It depends on how she feels.
- Core work activities + habits: 1) Center herself. 2) Show up powerfully. 3) Create a lot of content.
- Ideal work environment: Sometimes at home alone with the doors open and sometimes sitting in the corner of a busy coffee shop, with earbuds in, drinking bottomless coffee.
- Regains focus by: Dancing with herself, walking outside, and breathing.
- 90-day goal: To serve her new Elevate community powerfully, to have an epic new semester of her Mind Magic program, and getting a lot of women excited and buying tickets for Worthy Human Live 2021.
Inspirational Quotes
"I like to take enigmatic concepts and just make them make sense."
"Information doesn't create transformation."
"We're either loving ourselves or betraying ourselves in the choices we make."
"Ultimately, the more me I am, the faster my business grows."
Coaching Advice
Want to use the COVID-19 situation as an opportunity for reflection? Tracy shared these thoughts to help:
1) Try to see the situation as happening for you rather than to you.
2) Be very vigilant about the things in your life that don't make you feel good and don't give you energy.
3) Pay attention to what's coming up in your life and don't try to tamp it down, just be there.
Resources + Bonus Materials
Tracy's TEDx Talk – Dear Fear, It's Not You, It's Me
Related Episodes
Get Work Done That Makes Sense To You With Meredith Marder (310)


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"Operating in this economy is sort of like a game of dodgeball."
So said Brookfield Properties (BPYPP) CEO Ric Clark during his firm's second-quarter investor call on Wednesday morning. Brookfield Properties owns and manages 75 million square feet of office towers in Canada and New York, including the Grace Building at 1114 Avenue of the Americas and the mammoth World Financial Center in Lower Manhattan.
The affable Mr. Clark did not sugarcoat his firm's predictions for the years ahead.
"Our crystal ball is not calling for a recovery this year nor the first half of next year, if at all next year," he said.
Brookfield's U.S. commercial operations president and CEO Dennis Friedrich elaborated. "Leasing fundamentals continued to soften during the quarter in our core U.S. markets," he said, adding that each Brookfield market, with the exception of Denver's central business district, experienced an increased vacancy rate.
In New York, "leasing activity during the quarter remained well below historical levels in both midtown and downtown."
Indeed, Brookfield had no midtown leases to report in the second quarter. Downtown was a different story. "Tata International renewed [for 15,000 square feet] at One World Financial," Mr. Friedrich said. And Jane Street Capital signed an eight-year, 14,000-square-foot expansion and renewal at One New York Plaza.
Speaking of downtown, what of Bank of America, and its apparently eternal deliberations about what to do with Merrill Lynch's 4.2 million square feet in World Financial Center? They're still deliberating.


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These shimmering bubble earrings are handmade from sterling silver and hollow hand-blown iridescent glass beads. They feature two guilloché straight-line pattern half moons suspended above the glowing bubbles. These jewels aren't too heavy on the ear, but definitely make a statement. It's hard to capture the true rainbow of colors that bounce off the bubbles, lighting up the guilloché.
The bubbles and half moons are 25mm. The overall earring length is 65mm.
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Murali, P and Ramamurty, U (2005) Embrittlement of a bulk metallic glass due to $sub- T_g$ annealing. In: Acta Materialia, 53 (5). pp. 1467-1478.
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The susceptibility of $Zr_{41.2}Ti_{13.75}Cu_{12.5}Ni_{10}Be_{22.5}$ (Vitreloy-1) bulk metallic glass (BMG) to embrittlement upon annealing at temperatures below its glass transition temperature, $T_g$, was investigated. Both isothermal annealing at 500 K $(0.8 T_g)$ for up to 24 h and isochronal annealing for 24 h in the temperature range of 400 K $(0.65 T_g)$ to 530 K $(0.85 T_g)$ were conducted and the impact toughness, $\Gamma$, values were measured. Results show severe embrittlement, with losses of up to 90% in $\Gamma$, with annealing. A one-to-one correspondence between $\Gamma$ and the enthalpy change at the glass transition, $\Delta H$, with annealing time, $t_a$, and temperature, $T_a$, was found, indicating that the reduction of free volume, $v_f$, due to annealing is the primary mechanism responsible for the loss in $\Gamma$. Since $v_f$ also affects the viscoelastic response of the material, a dynamic mechanical analyzer has been used to study the changes in the internal friction, $tan \hspace {3mm} \delta$, and viscosity, $\eta$, due to annealing. The results show an increase of 30% in the $\eta$ due to $sub- T_g$ annealing. An instrumented indentation technique was utilized to examine the micromechanical reasons for the embrittlement. While the Vickers indentation response of the as-cast and annealed glasses do not show any significant difference, spherical indentation studies show a reduced shear band activity in the annealed BMG. Further, relatively high indentation strain was observed to be necessary for shear band initiation in the annealed glass, implying increased resistance for the nucleation of shear bands when the BMG is annealed.
|Item Type:
|Journal Article
|Acta Materialia
|Additional Information:
|The Copyright belongs to Acta Materialia.
|Bulk amorphous materials;Annealing;Differential scanning calorimetry;Embrittlement;Shear bands;Indentation
|Division of Mechanical Sciences > Materials Engineering (formerly Metallurgy)
|Date Deposited:
|17 Mar 2006
|Last Modified:
|19 Sep 2010 04:24
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Mid-June 2021, the International Society for the Study of Early Medieval England (ISSEME) organised its twentieth biennial conference. The conference was a unique, online and truly global event, with the hosting spread across four different universities in four different countries and three different continents. With over 150 participants, 55 papers, 5 keynotes, 4 project reports and 16 contributions to an open-mic 'scholarship slam', ISSEME 2021 was one of the biggest events in the field of early medieval English studies.
The theme of the conference was "Contributions". Under this broadly conceived and inherently positive rubric, the conference committee accepted papers that focused on individuals, groups, sources, events, artifacts, and phenomena that have contributed and/or continue to contribute to the study of early medieval England. These contributions—academic and popular, medieval and modern, English and non-English,—, taken together, dispel myths of an early medieval England that was exclusionary, isolated, and culturally homogenous. The 55 papers (listed below) were selected after double-blind peer review. Speakers and participants were a mix of experienced and new voices, hailing from across the World, anglophone and non-anglophone, all united in pursuit of knowledge about early medieval England.
These papers were buttressed by five inspiring keynote speakers: Michael Wood taught us how to communicate our field to a wider audience; Maria Dahvana Headley showed us the importance of different perspectives and how that can enrich our understanding of texts we thought we knew well; Stephanie Trigg demonstrated how we can think across (often artificial) period boundaries and look at our field from a wider perspective to discover continuities and discontinuities; Sam Leggett demonstrated the importance of collaborative, transdisciplinary research and how this approach can enhance our field; and Sara Pons-Sanz reminded us of the multi-faceted and multilingual nature of early medieval England and showed how this can be reflected in one and the same text.
In addition to regular papers and keynotes, ISSEME2021 also welcomed members to present project reports and organized an open-mic event where participants could share news about ongoing and new projects as well as recent and forthcoming publications. Lastly, the event also celebrated outstanding publications in the field through its award scheme. As per tradition, prizes were attributed to the best book, best first monograph, best article and best edition and/or translation published in the last two years. Additionally, following suggestions from the membership, two additional categories were introduced this year, to better highlight the work of ECRs and the importance of teaching respectively: best article by an early-career researcher and best teaching aid (find out about the winners here: https://isseme.org/2021/06/23/isseme-publication-awards-2021/ ). As a whole, ISSEME 2021 highlighted and celebrated the spirit of collaboration, interdisciplinarity, and dialogue between diverse parties that has typified our field at its best.
The circumstances under which ISSEME 2021 were held and organized were not ideal, to say the least. The global pandemic meant that the event had to be moved online and the conference committee has tried to accommodate participants in various ways. Since the conference took place in four different time zones, recordings of most papers were made available to participants before or after the event – this allowed participants to watch the papers at their own leisure and avoid Zoom fatigue – the discussions following papers were live. In terms of accessibility, we were able to keep the attendance fee relatively low and we also instigated a scheme which allowed the Executive Director of ISSEME to waive the fee for participants under financial duress. In order to facilitate social interaction, the conference made use of the Wonder.Me platform that was used during breaks. ISSEME's climate committee had also put a mentoring scheme in place, which meant that ECR researchers were able to get guidance and support from more seasoned scholars.
Of course, ISSEME 2021 also came at a difficult point in the history of this society. The last two years have also been a time of change for the society. We have changed our name from International Society of Anglo-Saxonists (ISAS) to International Society for the Study of Early Medieval England (ISSEME), but we have also made more fundamental and meaningful changes. We have tried to keep what was good about the society, but we also introduced a number of changes requested by our members – a climate committee has been formed to work on improving the professional lives of ISSEME's members and our colleagues in the field (its first initiatives include surveys of the membership and the introduction of a mentoring scheme) and we are opening up the society to a wider community of scholars. ISSEME remains rooted in tradition, but it is open to new and bright futures; the biennial conference has been but one of many steps towards building a more inclusive and constructively pluralistic field.
ISSEME 2021 would not have been possible without a great number of people being willing to spend time and energy into organizing this event under difficult circumstances. With no fewer than fifteen organisers, this conference was a truly collaborative effort. In addition, the organisation owes a lot of gratitude to the people who are behind ISSEME's Climate Committee and Mentoring Scheme (Judith Kaup, Elise Louviot, Chelsea Shields-Más and Emily Thornbury) for their advice and effort. Next, Sarah Gilbert's technical support was fundamental for the conference: she has taken care of the conference website, made sure the registration was up and running, uploaded videos and made Zoom links. Lastly, it is important to acknowledge that everything listed above has been conducted under the guidance and leadership of our Executive Director Kristen Carella – she is the beating heart of this society.
Of course, the final debt of gratitude is owed to all speakers and participants of ISSEME 2021 for their contributions to this event and the field in general. We are very happy that many of our members took the time to share with us their opinions on ISSEME's latest conference and on those yet to come by filling in a questionnaire – you can find a summary of their views HERE – two early-career researchers published their individual experiences of ISSEME2021 here and here. Of course, we welcome more feedback from members and participants – please send an e-mail to our Executive Director Kristen Carella.
Conference organizing committee
Conference coordinating committee: Lilla Kopár, Thijs Porck and Chelsea Shields-Más
Winchester committee: Carolin Esser-Miles, Eric Lacey, Ryan Lavelle and Katherine Weikert
Montréal committee: Bruce Gilchrist and Christopher Vaccaro
Adelaide committee: Matthew Firth, Cassandra Schilling and Erin Sebo
Leiden committee: Marcelle Cole, Judith Kaup, Elise Louviot and Thijs Porck
Keynote lectures
- Ms. Maria Dahvana Headley, 'Centuries of Contributors: On the Collective Parentage and Ownership of Stories with Staying Power'
- Sam Leggett (University of Cambridge, UK), 'The Future of Studying the Early Middle Ages? Inter and Multi-Disciplinary Contributions and Collaboration'
- Sara Pons-Sanz (Cardiff University, UK): 'Aldred's Old Northumbrian Glosses: Devotional, Scholarly and Pedagogical Interests in a Multilingual Context'
- Stephanie Trigg (University of Melbourne, Australia), 'Face, Mouth and Lips: Facial Gesture and Rhetoric in Early English Writing'
- Michael Wood (Professor of Public History, University of Manchester, UK), 'Why the Early Middle Ages Matter'
Papers (selected after double-blind peer review)
- Abby Ang (Indiana University, Bloomington, USA), 'Scholarship and Activism: Mutual Aid in Indiana'
- Daniel Anlezark (University of Sydney, Australia), 'King Alfred the Great and Asia'
- Max Ashton (Stanford University, USA), 'Domestic Ruin in the Exeter Book Weapon Riddles'
- George Beckett (Leeds University, UK), 'Manuscript Memory: Reading Beowulf as "Intratext"'
- Tom Birkett (University College Cork, Ireland ) 'On Engliscre spræce? Old English and the Politics of "Intralingual" Translation'
- Dieter Bitterli (University of Zurich, Switzerland), 'Human/Non-Human Interaction in Exeter Book Riddle 62'
- Birgitte Breemerkamp (independent scholar), 'Runes, Riddles, and Rhymes: The Five Rune Poems as Pedagogical Tools'
- Samuel Cardwell (University of Toronto, Canada), 'Where Did "Mission" Come From? Bede and the Idea of Evangelisation in Early Medieval England and Beyond'
- Megan Cavell (University of Birmingham, UK) & Jennifer Neville (Royal Holloway, UK), 'Virtue in the Face of Vice: Group Identity and Boniface's Riddles'
- Marilina Cesario and Elisa Ramazzina (Queen's University Belfast, Ireland), 'Fiery Skies and Bloody Waters in Old English Literature'
- Giovanni Collamati (Sapienza University of Rome, Italy), 'Basileus Anglorum or just rex Anglorum?: Looking for the True Meaning of a Greek Title in the Anglo-Saxon Chancery'
- Brian Cook (Auburn University, USA), 'Animal Lessons from Early Medieval England'
- Robert DiNapoli (independent scholar), '"Well, that's cast rather a pall over the whole evening, hasn't it?" The Curious Matter of Death in The Fortunes of Men'
- Claudia di Sciacca (University of Udine, Italy), 'Connecting Sanctity: St Oswald from Seventh-Century Northumbria to Modern Age Italy'
- Daniel Donoghue and Ravi Mynampati (Harvard University, USA), 'Unearthing Style in OE Poetry using Machine Learning'
- Conan Doyle (independent scholar), 'Classical Medicine in Early Medieval England: The Reception and Vernacular Fortunes of Galen of Pergamon'
- Matthew Firth (Flinders University, Australia), 'Intertextual Archetypes: The Royal Woman as 'Wicked Queen''
- Roy Flechner (University College Dublin, Ireland), 'The Re-Written Bible of Insular Canon Law'
- Rachel Fletcher (University of Glasgow, UK), 'Unusual applications of Old English in dictionary annotations'
- Karel Fraaije (University College London, UK), 'How to Turn a Skin Lump into a Bird: Multilingual Puns in Against a Wen'
- Nickolas Gable (University of California, Berkeley, USA), 'Non-Human Consent: Visual Communication and the Will of Objects in Beowulf'
- Anca Garcia (University of South Florida, USA), 'The Dreamer's Trajectory: Between Trauma and Sublime Experience in The Dream of the Rood'
- Trisha Gupta (New York University, USA), 'Penetrating, Piercing, and Androgenizing: The Linguistic Defining, Redefining, and Blurring of Gender in The Beowulf Manuscript and the Skylitzes Chronicle'
- Brittany Hanlon (University of Cambridge, UK), 'The Violent Act Of Reaflac: Old English Accusations of Illegitimate Land Seizure In Tenth-Century Property Disputes'
- Millie Horton-Insch (University College London, UK), 'Early Medieval English Embroideries and Reassessing 'The Winchester School'
- Daria Izdebska (Liverpool Hope University, UK), 'Emotion Vocabularies in the Old English Prose Saints' Lives: A Corpus-based Investigation of Affect'
- Emily Kesling (University of Oslo, Norway), 'Writing Alfred's Texts in the Tenth Century'
- Emma Knowles (University of Sydney, Australia) 'Crossing the readan mare: The Old English Exodus and Latin Biblical Poetry'
- Kevin R. Kritsch (McNeese State University, USA), 'The Wood of the Cross: An Apocryphal Motif and its Reception in Early Medieval England and Ireland'
- Gesner Las Casas Brito Filho (LABORA-USP, Brazil), 'The Temple of the King: Notes on Architectural Images in Oxford, Bodleian Library, MS. Junius 11'
- Tristan Major (Qatar University, Qatar), 'Textual Transmission of Frithegod's Breviloquium vitae beati Wilfridi'
- Austin Mason (Carleton College, USA 'Transformation by Fire: An Experimental Archaeology Approach to Pottery and Cremation in Early Medieval England'
- Francisco J Minaya Gómez and Javier E Díaz Vera (University of Castilla-La Mancha, Spain), 'Weaving Wondrous Worlds: Aesthetic Emotion Research in Old English Texts'
- Neville Mogford (University of Birmingham, UK), 'A Brutal World: Non-Human Violence in the Bern Riddles'
- Martine Mussies (Utrecht University, The Netherlands), 'Saints, Sisters and Sluts: Male-Female Friendships in the Context of Alfred the Great'
- Kauê Junior Neckel (Federal University of Rio Grande do Sul (UFRGS), Brazil), 'Beyond gens Anglorum: Bede's construction of otherness in the Ecclesiastica Historia Gentis Anglorum (731)'
- John D. Niles (University of Wisconsin-Madison and University of California, Berkeley, USA), 'Plants as Combatants in a Cosmic War against Infectious Disease: An Integrative Look at the 'Nine Herbs Charm'
- Elisabeth Okasha (University College Cork, Ireland), 'Early Medieval Sundials'
- Eleni Ponirakis (University of Nottingham, UK), 'An Englishman, an Irishman, a Frenchman and a Greek –How Greek Neoplatonic thought created intellectual links between England, Ireland and the continent'
- Andrew Rabin (University of Louisville, USA), 'Uncertain Judgment: The Ordeal in Hagiography and Law'
- Rachel Scoggins (Lander University, USA), 'Female Isolation in Beowulf and Judith'
- Cassandra Schilling (Flinders University, Australia), '"At Your Service": Women as contributors to the culture of exchange in Old English Literature'
- Joseph Shack (Harvard University, USA), 'Time, Eternity, and the Thematic Sequencing of Texts in Cotton Tiberius B. I'
- Grant Simpson (University of Göttingen, Germany), 'Building an Orthographically Indifferent Search Engine for Old English: Lessons from the ECHOE Project'
- Tatyana Solomonik-Pankrashova (European Humanities University, Vilnius, Lithuania & Kaunas University of Technology, Lithuania), 'Christian Hymnody in the Old English 'Boethius' Metre 20'
- Harriet Soper (Lincoln College, University of Oxford, UK), 'Forms of Death in the Exeter Book Riddles'
- Jake A. Stattel (Trinity College, University of Cambridge, UK), 'Thegns and Kings: Legal Authority in the Danelaw'
- Emily Sun (Harvard University, USA), '"And They Wended Home": Saintly Reorientations and Translations in Ælfric's Lives of Saints'
- Alex Traves (University of Sheffield, UK), 'Kingship and the Family in Early Medieval England: Competition or Co-operation?'
- Carolyn Twomey (St Lawrence University, USA), 'The Old Minster, Winchester, and its Baptistery'
- Paul Vinhage (Cornell University, USA), 'Alcuin's Contribution to Aelfric's Latin/Old English Grammar'
- Stefany Wragg (St George's College, Weybridge, UK), 'Between Kin and Queen: The Mediatory Position of Early English Queens, 650-850'
- Jonathan Wilcox (University of Iowa, USA), 'Objects that Object, Subjects that Subvert: The Contribution of Heroic Riddles to Questions of Agency'
- Abigail Williams (University Nottingham, UK), 'Quantity and Quality: Examining Representations of Women and 'Instruction' in Old English Texts'
- Carol Williams (Monash University, Australia), 'Osbern of Canterbury (d. 1094), Musician and Theorist'
Project reports
- Megan Cavell (University of Birmingham, UK), 'Group Identity and the Early Medieval Riddle Tradition'
- Daniel Donoghue (Harvard University, USA), 'Dumbarton Oaks Medieval Library Report'
- Martin Foys (, USA), 'Old English Poetry in Facsimile Report'
- Winfried Rudolf (University of Göttingen, Germany), 'ECHOE – Electronic Corpus of Anonymous Homilies in Old English'
Contributions to open-mic 'Scholarship slam'
- Project RuneS (Gaby Waxenberger & Kerstin Kazzazi)
- Forthcoming publication "Early Medieval English Life Courses" (Thijs Porck & Harriet Soper)
- Project 'Alfred the Great and the Emergence of English Prose' (Francis Leneghan and Amy Faulkner)
- New publication series 'Studies in Old English Literature' (Francis Leneghan)
- Insulae research group (Kauê Junior Neckel)
- Research project "How to trace Latin sources of OE medicine?"(Conan Doyle)
- Forthcoming publications by Elisabeth Okasha
- Project 'A Thesaurus of Old English and the Digital Platform Evoke' (Thijs Porck & Sander Stolk)
- Forthcoming publications by John D. Niles
- Project CLASP: A Consolidated Library of Anglo-Saxon Poetry (Rachel Burns)
- Forthcoming publications and current research by Christina Lee
- Project 'The Vocabularium' (Karel Fraaije)
- Forthcoming publications by Birgitte Breemerkamp
- Update from the Oxford English Dictionary (Inge Milfull)
- CFP 'Spirtis and Spirituality' (Eleni Ponirakis)
- Project 'Deciphering the Leiden Riddle' (Marcelle Cole & Thijs Porck et al.)


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Forget Roses, Give Your Valentine 'Chickie Nuggies' This Year
I don't know about you, but I have yet to find a woman who doesn't like chicken nuggets – or "chickie nuggies," as Baby Yoda might say.
This year for Valentine's Day, forget the roses or chocolates or whatever you would normally give somebody who means the world to you. Give them something from the stomach, rather than the heart.
Chick-Fil-A is boxing up some of their takeout items into heart-shaped containers that would make anybody smile when opening one. The company is putting out a 30-count Chick-fil-A Nuggets, 10-count Chick-n-Minis or six-count Chocolate Chunk Cookies in a heart-shaped container.
This special will last from January 20 until February 28, but only while supplies last.
These heart-shaped containers are also limited to certain stores, but we called our local Chick-Fil-As around the SouthCoast to see if they were participating, and boy do I have some good news for you.
The Seekonk, Hyannis, and Plymouth Chick-Fil-As will be participating in this holiday special and have already begun taking orders.
Now, let's be honest: regardless of the fact if you have a loved one for the holiday or not, this could be a great way to treat yourself, too. I mean, who doesn't love a big container of chicken nuggets?
Switch up the game for the one you love or care about and stop wasting your money on flowers that will die within days or chocolates that are sometimes stale and get them the one thing that matters.


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Cooking Issues
Low Temperature & Hot Pockets
This week on Cooking Issues, Dave Arnold and Nastassia Lopez take on listener questions of all sorts - from low-temperature cooking, to building a homemade circulator, to knife sharpening. What types of pumps are suitable for a good circulator? What is the best way to soak a liver? And what do Hot Pockets have to do with this week's Cooking Issues? Tune in to find out! This episode was sponsored by Modernist Pantry
"Here's the deal: most of the cooking techniques for offal are made to get rid of residual blood, or to get rid of the off-flavors because they tend to have a lot of bacteria and a lot of fat...If you soak in milk, it's water and fat, so it would draw out off-flavors." -- Dave Arnold on Cooking Issues