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University of West London
Course Introduction
The course is aimed at all health and social care staff who are looking to develop their knowledge and skills as leaders within their workplace. Over the past decade, the emergence of tools such as the Leadership Qualities Framework, and the work on developing leadership skills in the workplace undertaken by the Institute for Innovation have firmly placed the requirement to demonstrate excellent and sound leadership skills as a key element of person specifications and essential attributes for senior roles within the sector. This course is likely to appeal to a wide range of professionals, for example, senior or consultant nurses (or those hoping to move into that role), community matrons/ caseload managers, social work team leaders, managers from prison and probation service, and team leaders working in the public and independent health care sectors.
Course Modules
Modules include: role development; becoming an advanced practitioner; health and social care; managing quality; managing relationships.
Course Additional Entry
Applicants will need a 1st degree or equivalent professional qualification. If applicants do not have a 1st degree, but possess substantial work experience, they are still invited to apply. In these cases, students will be asked to present a portfolio and qualifying essay, to demonstrate their potential for studying at Master's level. Students will also need to submit an extended curriculum vitae which must demonstrate evidence of personal and professional development. International students need to meet our English language requirement at either IELTS at 7.0 or above, and a minimum of 7.0 for each of the 4 individual components.
|Duration & Attendance
|Tuition fees
|Fee type
2 - 4 years
Distance Learning
|MSc (Postgraduate)
2 - 4 years
Mixed Mode
|MSc (Postgraduate)


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Philipse History, Family Crest & Coats of Arms
Britons that inhabited in the hills and Moors of Wales. This surname was derived from the personal name Philip. This name, which was usually Latinized as Philippus, was originally derived from the Greek name Philippos. This Greek name was composed of the words "philein," which means "to love," and "hippos," which means "horse." The personal name Philip owed its popularity to the medieval romances about Alexander the Great, whose father was Philip of Macedon.
Early Origins of the Philipse family
Kent, where legend has it that the family (but not the surname) is descended from Maximus, the Briton, Roman Emperor from 383 until his death in 388, and the King of Britain, when he married the daughter of Octavius, King of the Britons. Later the family was forced back into Wales by the invading Saxons, where they traditionally claim descent from Tudwal (c.AD 528-564) "of the wounded knee," a descendant of Rhodri Mawr, first King of Wales.
Early History of the Philipse family
Another 319 words (23 lines of text) covering the years 1275, 1279, 1586, 1638, 1604, 1629, 1613, 1680, 1640, 1640, 1644, 1674, 1749, 1676, 1709, 1701, 1594, 1674, 1653, 1662, 1630, 1696, 1631, 1706, 1638, 1699, 1640, 1720, 1724, 1721 and are included under the topic Early Philipse History in all our PDF Extended History products and printed products wherever possible.
Philipse Spelling Variations
Wales, but they have an inordinately large number of spelling variations. Early variations of Welsh surnames can be explained by the fact that very few people in the early Middle Ages were literate. Priests and the few other literate people were responsible for recording names in official documents. And because most people could not specific how to properly record their names it was up to the individual recorder of that time to determine how a spoken name should be recorded. Variations due to the imprecise or improper recording of a name continued later in history when names originally composed in the Brythonic Celtic, language of Wales, known by natives as Cymraeg, were transliterated into English. Welsh names that were documented in English often changed dramatically since the native language of Wales, which was highly inflected, did not copy well. Occasionally, however, spelling variations were carried out according to an individual's specific design: a branch loyalty within the family, a religious adherence, or even patriotic affiliations could be indicated by minor variations. The spelling variations of the name Philipse have included Phillips, Philips, Phillip, Philip, Pilip, Pillips, Fillip, Filip, Filips, Phillipes, Philipes, Phillup, Philups, Fillups, Filups, Pilups, Pillups, Fulop and many more.
Early Notables of the Philipse family (pre 1700)
(c. 1586-1638), an English politician who sat in the House of Commons between 1604 and 1629; Edward Phelips (c. 1613-1680), an English landowner and politician, Member of Parliament for Ilchester (1640) and (1640-1644), who fought for the Royalist...
Another 124 words (9 lines of text) are included under the topic Early Philipse Notables in all our PDF Extended History products and printed products wherever possible.
Migration of the Philipse family to Ireland
Some of the Philipse family moved to Ireland, but this topic is not covered in this excerpt.
Another 131 words (9 lines of text) about their life in Ireland is included in all our PDF Extended History products and printed products wherever possible.
Migration of the Philipse family to the New World and Oceana
North America in the 1800s and 1900s saw the arrival of many Welsh people hoping to share in the wealth of land, work, and freedom that they felt North America held. Those who made the journey often attained those expectations, but only through an enormous amount of hard work, perseverance, and often a bout of good luck. These immigrants helped contribute to the growth of industry, commerce, and culture of both Canada and the United States. Discovered in the immigration and passenger lists were a number of people bearing the name Philipse:
Philipse Settlers in United States in the 17th Century
The Philipse Motto
The motto was originally a war cry or slogan. Mottoes first began to be shown with arms in the 14th and 15th centuries, but were not in general use until the 17th century. Thus the oldest coats of arms generally do not include a motto. Mottoes seldom form part of the grant of arms: Under most heraldic authorities, a motto is an optional component of the coat of arms, and can be added to or changed at will; many families have chosen not to display a motto.
Motto: Ducit amor patriae
Motto Translation: Patriotism leads me.
Philipse Family Crest Products
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subset: commoncrawl


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|Matthew Dillon <dillon@xxxxxxxxxxxxxxxxxxxx>
|Wed, 22 Jun 2005 11:06:45 -0700 (PDT)
:On Wed, Jun 22, 2005 at 09:26:54AM -0700, submit-errors@xxxxxxxxxxxxxxxxxxxxxxx : :Indicated my diff was a bunch of Unrecognized Commands, funny it said :the same thing about the regular message I sent moments before. :) : :http://www.dragonflybsd.org/main/forums.cgi says :Patch Submissions - submit-request@xxxxxxxxxxxxxxxxxxxxxx : :So what is the syntax/format? : :// George : :-- :George Georgalis, systems architect, administrator Linux BSD IXOYE Send list commands to submit-request@xxxxxxxxxxxxxxxxxxxxxxx Send 'HELP' as the body of the message if you want help and it will tell you the commands. Normal postings simply go to submit@xxxxxxxxxxxxxxxxxxxxxxx -Matt Matthew Dillon <dillon@xxxxxxxxxxxxx>


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Hi guys, I have this basic table
id_image int unsigned PK
image_file varchar(50)
image_ext varchar(5)
image_upload_date datetime
gallery_type tinyint unsigned
What I'm having problems with is selecting 3 images before and 3 images after a given ID. Considering the ids aren't necessarily all inclusive and I may have to narrow the results (IE images from a given month, or of a given type). Any ideas would be greatly appreciated.


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William (Bill) Reid
Feb. 25, 1904
Oct. 23, 1982
Son of Arthur R. Reid & Mary A. Beavers
Huband of: Ruth Mansfield Brents married Jan. 26 1926.
Lila Brents O'Neal married Mar. 10, 1962
Contributed on 9/25/08 by Debig
Email This Contributor
Record #: 65536
On this site you can upload gravestone photos, locate ancestors and perform genealogy research. If you have a relative buried in Arkansas, we encourage you to upload a digital image using our Submit a Photo page. Contributing to this genealogy archive helps family historians and genealogy researchers locate their relatives and complete their family tree.
Submitted: 9/25/08 • Approved: 9/25/08 • Last Updated: 8/27/12 • R65536-G0-S3


text: Meta Rate My Team PokéBase - Pokémon Q&A Login Register All Activity Questions Unanswered Tags Users Ask a Question Rules Chat Where was Ash's Charmander caught? 1 vote 4,049 views ash anime charmander asked Sep 28, 2012 by Steelix edited Sep 28, 2012 by 5th of November Upvote! commented Sep 28, 2012 by DarkStar why did u remove the BA steelix.He copied the same answer from me yet he gets BA? commented Sep 29, 2012 by Exca le roi Please log in or register to add a comment. Please log in or register to answer this question. 2 Answers 3 votes Best answer All I can say is to read This I watched the Anime when I was younger he finds it on route 24 when it is sat on a rock waiting for what it thought was its loyal trainer (he has abonded it). Ash saves its life but it runs off again. Then Team Rocket attack Ash and co. They catch pikachu in a rubber ballon bazooka but then Charmander turns up and monsters Team Rocket. Charmanders trainer turns up after seeing the battle and tries to get Charmander back put Charmander joins Ash. The series that this episode (Charmander the stray) features in is called Poke Friends! PS. I still have all the volumes on tape ;D answered Sep 28, 2012 by Sciz selected Sep 29, 2012 by Steelix I dont think thats gaonna help,. commented Sep 28, 2012 by Exca le roi u answered after me and how did u get 744 points? commented Sep 28, 2012 by Exca le roi why does he get BA?he copied mine and gets BA?...just wow.. commented Sep 29, 2012 by Exca le roi Please log in or register to add a comment. 4 votes I have got the correct answer.Ash had caught his in Route 24.Source Check the details on the right side of the page.There is a charizard picture,below it is its details.You should be able to see where it was caught. answered Sep 28, 2012 by Exca le roi edited Sep 28, 2012 by Exca le roi Just to add, this DOES NOT mean charmander can be caught on route 24 in the games. Just putting that in der commented Sep 28, 2012 by the_netts i know. commented Sep 28, 2012 by Steelix I know you know but I'd be willing to bet that someone else complains here a week later that they couldn't find any charmanders on route 24 commented Sep 28, 2012 by the_netts I would take up your bet but it is too late :( commented Sep 28, 2012 by Sciz Please log in or register to add a comment. Related questions I am so confused here....? Why didn't Ash's Charmander die when it got licked by Haunter? Was Ash's Krookadile that one Sandile in Dancing with the Ducklett Trio? Was Larvitar one of the six Pokemon in Ash's party? In which episode does charmander evolve? Is Ash's pikachu a wild Pokemon if its out of the ball? Changes in moveset for Ash's Pikachu in different anime series? When Ash's mom gives him new clothes for a new region, does she always say this? Useful Meta Posts How to change your username How to add a user avatar Why was my post hidden? The points system Question etiquette Flags vs Downvotes Anime FAQ


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HP Unveils webOS Tablet, Smartphone Months Before Actually Shipping Them
HP's hype machine has been running at full steam for months, but when HP finally unveiled its webOS-powered TouchPad tablet and Pre3 and Veer smartphones this week, many questions were left unanswered. HP still isn't talking about pricing or carrier partners. And the TouchPad and Pre3 aren't shipping until this summer, which is odd given that HP CEO Leo Apotheker's vow that "HP will stop making announcements for stuff it doesn't have."
Excuse us, HP, but your Apple envy is showing. And here's a newflash: webOS devices may challenge the iPhone and iPad one day, but that's not going to happen with product teases and ham-fisted, borderline guerilla marketing campaigns.
Getting developers on board with webOS will be crucial, and luring away Apple executive Richard Kerris and naming him VP of worldwide developer relations was a good start, however.


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Spotlight on Harrison Barnes: Friday against Portland, the rookie from North Carolina started fast before becoming a bit of a footnote; he finished with 13 points, seven rebounds and two steals. The seventh pick in the 2012 draft, Barnes has started every game this season. He is averaging 9.2 points and 4.3 rebounds. He scored seven points against Denver on Nov. 10, but in the four games after that he averaged 17.3 points and 8.8 rebounds.
• Warriors: In their 103-97 win Friday against Portland, the Warriors had a 67-47 lead with 5:36 remaining in the third quarter. But the lead dropped to four points after Nicolas Batum's tip-in for the Blazers with 44.5 seconds left. … At 23-12 (second in the Pacific Division), Golden State is off to its best start since going 26-10 to open the 1991-92 season. … The Warriors play at home Wednesday against Miami, which is on a six-game western swing.
• Nuggets: Kosta Koufos scored a career-high 21 points Friday at the Pepsi Center against Cleveland. Koufos made 10-of-17 shots and finished with a team-best plus-12 rating. … The Nuggets committed 22 turnovers, tying their season high. Remarkably, they are 9-0 when committing 20 or more turnovers. … The Nuggets finished with a plus-21 rebound advantage over the Cavaliers (56-35), including 19 offensive rebounds.
The Denver Post


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My 2011 Favorite Beauty PicksPosted: Updated:
Happy New Year! It's time for my annual best of segment where I show my favorite beauty products from the previous year. Since I test all kinds of cosmetics, spa products, hair stuff and more for the show, I like to look back and report back to you what items were my winners. This list includes products that I not only put to the test, but added to my own regular arsenal of beauty stuff that I continue to purchase and use because the items worked so well. Here are my top picks from 2011:
*Best Multi-Purpose Product -- Goody Doublewear Head Wrap/Necklace -- Talk about a great multi-tasking product, this new item from Goody doubles as a pretty headband and a stylish necklace, so you get more bang for your beauty buck. Sold at Walgreens for $5.49.
*Best Face Cream -- First Aid Beauty 5-in-1 face cream SPF 30-- Not only is this a terrific multi-purpose product, but it is also fragrance-free with no parabens, harsh chemicals or colorants and is allergy tested and safe for sensitive skin. This anti-aging cream offers UVA/UVB protection, uneven skin tone correction and more. I tried it for this column and I found it to be very gentle on my sensitive skin. And with help from my foundation, it also corrected my uneven skin tone. Plus the pump applicator prevents leakage during those travel bumps that can result in spilled stuff. Sold at Sephora for $38.
*Best Quick Fix Product -- Dermablend Quick-Fix Concealer -- Our show makeup artist, Karen Hall and Broadway actors that have appeared on our "Your Life A to Z" show have also told me that this line truly covers every type of blemish you can imagine. I like that this comes in a cover stick because it is a cinch to quickly cover up a blemish in an instant. Dermablend sells at Ulta Beauty locations for $22.00.
*Best Hair Quick Fix Product -- Salon Grafix Invisible Dry Spray Shampoo -- When I want to get out the door quickly and I don't have time to shampoo and blow out my hair, I have found that using this dry shampoo saves me a full hour of washing, blow drying and styling. With a couple of quick sprays, the product soaks up excess oil, removes product build-up, smells good and preserves hair color. I especially like the SG Salon brand because it doesn't leave any white powder residue behind like some other dry shampoos do. Sells at Ulta for $6.99 for a 4 oz. can.
*Best Base -- CoverGirl NaturalLuxe Liquid Silk Foundation -- This is my most recent find that I love! Sold at Walgreens for $12.99, this base is lightweight, goes on smoothly with good coverage and is infused with jojoba extract and cucumber water, which also gives it a nice light cucumber scent. My only complaint is that it doesn't last long, but I'll keep buying it because I really like it.
*Best Flawless Finish Tool -- Studio 35 Beauty Cosmetic Wedges -- I have tried to live without using foundation sponges and I've tried other brands and I always come back to the type made by Studio 35. In my opinion, no other brand comes close. Studio 35's wedges are bigger, making applying, smudging and fixing makeup easier and this brand is latex-free and contains Vitamin E. I buy mine at Walgreens for $2.99 for a pack of 32 wedges. When I run out and try to apply my base without this sponge, I see a difference that I don't like. Using the Studio 35 brand gives me a flawless finish every time.
*Best Powder -- Sally Hansen Natural Beauty Inspired By Carmindy Truly Translucent Loose Powder --For a shine-less and smooth complexion with a quick application, this is my favorite powder. This ultra-fine loose powder with micronized color provides skin-perfecting coverage with a seamless, naturally translucent finish. Plus it comes with a unique sponge-in-tip applicator that delivers powder-to-skin adherence with no mess. Emollient papaya extract helps restore suppleness while bamboo powder helps absorb oil. $12.95 in drug stores.
*Best hair spray -- Big Sexy Hair Spray & Stay -- Although this line has been out for a while, I never tried it until I did a segment on pink products that give back to breast cancer research. True to its fun name, when I styled my hair big and sexy, the brand kept the promise of keeping the style in place. This is my new favorite hair spray and I have tried a lot of different brands, especially since hair spray is one of the very first beauty products that I tried as a teen and continue to use daily more than any other beauty item. I found my tall can at Walgreens for $16.99.
*Best Product Enhancement -- Q-tips Precision Tips – – I had to laugh when a friend of mine saw these and stated that Q-tips finally got it together and created tapered ends! This does make sense because these new Q-tips can be used to touch up lip liner and eyebrows, erase nail polish that runs on to cuticles and more. Plus the back of the box shows multiple household uses that include cleaning jewelry, painting and a variety of other helpful ideas. Thank you Q-tips! I buy mine for $2.79 at Walgreens.
*Best Mascara -- Cover Girl Lash Perfection Volumizing Mascara -- My Walgreen's beauty expert, Bianca, told me about this stuff and it works wonders. I'm usually a fan of a big fat wand, but this thin wand really builds lashes and the small size works nicely for the bottom lashes, too. Plus it is hypoallergenic and is easier to remove than a lot of other mascaras that I have tried. $7.49 at Walgreens.
Did you like my picks? Did I miss something fabulous from 2011? Share your favorites here in the comments section and remember to check out my website at managedmoms.com for more beauty news, recipes, pet pics and more. Happy New Year!


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Who says an off-year election is boring?
This fall, El Paso County voters will consider raising taxes in Colorado Springs and Fountain, while electing school board members in many districts.
They'll mark their ballots at their kitchen tables or parked in front of the TV, because voting will be entirely by mail. Ballots will go out Oct. 13, according to Liz Olson, El Paso County elections manager.
The marquee measures, both for Colorado Springs voters, are 2C (property tax hike), and 300 (Douglas Bruce's phase-out of enterprise payments to the city).
The city's proposal would nearly triple the property tax rate by 2014, and translate to roughly $23 million more next year. But the tax eventually would bring in much more, because the measure seeks permission to exempt the new revenue from constitution- and charter-imposed revenue limits.
The Taxpayer's Bill of Rights restricts how much money government agencies can collect year-to-year based on growth and inflation, but the mill-rate increase would sidestep that requirement. In the words of City Clerk Kathryn Young, "It won't go against the city's TABOR cap."
Measure 300, similar to what Bruce put on the ballot in 2008, would phase out payments to city enterprises. Aimed largely at Stormwater Enterprise fees, which bring in about $15 million annually, the proposal also would eliminate Colorado Springs Utilities' payment in lieu of taxes to the city's general fund, roughly $26 million a year.
In Fountain, voters will consider 2A, an increase in city sales tax from 3 percent to 3.75 percent, which would raise about $1.35 million in the first year and continue 10 years before scaling back. Mayor Jeri Howells, unopposed for another term, says the idea is to fund construction projects specifically listed on the ballot and then to reduce the tax, which still would pay for ongoing maintenance and transit service.
"We're calling it a mini version of the RTA," she says, referring to the Pikes Peak Rural Transportation Authority, which doesn't include Fountain.
Voter registration closes Oct. 5. For information, go to car.elpasoco.com/election/voter_registration.htm.
Now, as for what's on the ballot, including contested races:
• Colorado Springs:
2C: Property tax increase to fund general city services.
300: Phase-out of enterprise payments to the city.
• Fountain:
2A: Sales tax increase to fund transportation.
2B: Lengthening the mayor's term to four years from two years.
Council at-large: Ratu Solanki, Robert Plyley, Sam Heckman.
• Manitou Springs:
2D: To change how capital improvements are handled.
Mayor: Nancy Sage Barnes, Marc Snyder, Rick Barry.
Council Ward 3: Karen Cullen, Matt Carpenter.
• School districts
Colorado Springs 11 (three seats): Albert Loma, Chyrese Exline, Delia Armstrong-Busby, LuAnn Long, Sandra Mann.
Academy 20 (three seats): Doug Lundberg, Tracey Johnson, Terry Kunkel, Catherine Bullock, Linda Van Matre, Fran Reichert, Mark Smith, Dan Reifschneider, James Jenista.
Harrison 2 (three seats): Richard Price, Deborah Hendrix, Linda Pugh, Steve Hester, Ed Ralston.
Lewis-Palmer 38 (District 3 seat): David Cloud, Gail Wilson.
Falcon 49 (three seats): Donahue Quashie, Tammy Harold, John Koster, Christopher Wright, Jackie Vialpando, Danielle Lindorf, Jon Rowley.
Fountain-Fort Carson 8 (two seats): Dawn Bentley, Suzanne Clark Foster, Dale Rough III.
Manitou Springs 14 (two seats): Marsha Ann Weimer, Molly Stevens, Clemente "Gino" Mendoza.


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Printable View
All right everyone, knock off the squabbling. No one is going to convince anyone of anything in this thread, so turn the conversation back to singing.
Scotty and Lauren..two good kids. They never had to bleep them like they bleeped potty mouth Haley..TWICE. Shame on her as any role model for young people...speaks volumes. :down And her duet sucked. else was better last night, even Lauren with her blown out vocal chords.
Congrats to Scotty and Lauren for staying true to your roots and family values. Looks like Lauren and Scotty have major crushes on each other. So cute.
Viewers may have underestimated the power of country fans and their support and respect for these kids and thus the most votes ever cast for a finale.
Count me in with loving her duet with Tony! I thought they were so sweet together, especially they little dance they did :)
As for Scotty, he was so adorable to watch when being announced the winner! I hope this fine young man gets the career he longs for.
Scotty was a solid performer for most of the season, but he just sounded exhausted and kind of weak-voiced during the finale on Tuesday. And last night, his amateur skills were woefully apparent when he was singing with his country idol. Last night, all of the other contestants surpassed both Scotty and Lauren vocally. It was sad for the show.
I thought Scotty kept right up with Tim.
As of today (Thursday) Scotty is trending #1 on itunes and Lauren is at #3.
ETA: After listening to it in record form, it actually is a good dance tune for a slow dance with a few twirls thrown in. My opinion, anyway.
I thought Scotty held his own when he sang with Tim McGraw. Actually, I thought that Scotty really sounded a lot like Tim when he sang his first
solo part. I love my Scotty even more after last night. I would love to meet him and his parents.


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Busaba Eatai seemed like an excellent choice for my meet up with my university friends for an overdue catch up recently. I remember going to the branch near Selfridges some years ago, and enjoying the red curry dish with whatever meat it came with. I recalled that the food comes out relatively quickly, and the place tends to have a buzzing atmosphere… Surely one can't go wrong. Wrong.
Despite it being a Friday evening, there was no queue to get inside the Store Street Branch. That perhaps should have been clue. At The branch near Selfridges, I remembered having to wait about half an hour for a table. A number of factors could bear responsibility for that to be fair. But the experience that followed makes me think blaming the restaurant, is being entirely fair.
Once seated, the four of us (who had miraculously arrived all within half an hour of each other) were approached by the manager.
"Can we order please?"
"No!" He barked. Awkward pause. Then he burst out laughing. Oh it was supposed to be a JOKE. Funny.
Then turning to my friend who was the first to arrive he said "You can order as you were here first, but not the rest if you".
Another awkward silence. Then more crazy laughter from him, and wearied expressions from us. Once the jokes were over we got to ordering some drinks. Within a minute a confused looking waiter brought a tray of glasses of water. That was quick, I thought. Before realising that we hadn't actually ordered any tap water. Well still not bad, perhaps he was anticipating our needs; it was very hot inside and we were already parched. We then waited a while for the drinks we did actually order, during which time every other minute, the same confused waiter approached our table with a different drink that we had not ordered.
"You order this?"
The poor guy clearly could not speak very good English at all. He looked so terrified it was hard to not to feel for him. But then it did start to become a little comical when he would appear with another tray, the same question mark written all over of his face, and we would stop mid conversation to tell him the drinks do not belong to us.
When it came to ordering the food, one of my friends and I opted to share a plate of chicken stir fry. When a small plate of what looked like fried chicken wings with a tablespoon sized heap of plain vermicilli noodles was set in front of us, we were a little confused. This wasn't the chicken stir fry we had ordered. Wrong again, yes it was, we were told by the manager. I was just hungry by this point and generously offered to eat the whole thing. Perhaps I should I tasted it first. It tasted like it had been drenched in vinegar, it was so sour. Nevertheless, hunger will make you do strange things (such as eat it all anyway).
From what I could see from the other orders, the portions were fairly small, and did not look very appetising. It is highly unusual for me to not be enticed by what is on someone else's plate when eating out, but I must say, this was a first.
Halfway through our evening we were asked to move. Okay fair enough, a bigger group needed the table, and we were being moved to a quieter more private section. No complaints made there. We were then served by a different waitress who also had very poor English. We asked for a jug of tap water. She brought a glass. We repeated our request for a jug, but were met with a confusing message along the lines of her needing to ask the manager. We never saw her again. How I wished we had cherished more the water we didn't actually order, brought to us earlier by the confused waiter.
Despite the challenges of the evening, we had an enjoyable catch up, but when it came time to pay the bill, it did not feel right, after all that has described above, to pay service charge. We explained this to yet another waitress who did not speak English well, and after the 5th attempt of trying to explain, the manager was summoned by the waitress.
Although we had not wished to pay service charge, by each paying a little more than was on the bill, it turned out we had effectively paid most of the service charge already. That meant that there was actually only £2 outstanding. It seemed trivial now, but we had to stick to our guns out of principle. Still I had my wallet ready in a very English, wanting to avoid further confrontation manner. Then the manager arrived.
"You don't want to pay service charge?" he asked indignant.
"No" (a bit sheepishly)
"Fine! It's only £2 anyway!" he snapped, snatching up the bill and trouncing off.
*That moment when you're glad that you stuck to your guns*
And that was that. Busaba Eatai Store Street congratulations for making me utter the words that I rarely utter: "I am never coming here again".


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We make these scrambled eggs with goat cheese for lazy Sunday brunch but also have had them for a quick dinner.
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You're Almost Done! Do This Now …
You're almost there.
I just sent you an email. Open it and confirm your email address.
Until you do that, I can't send you the actionable wisdom in my weekly digest. I don't want you missing out.
And, one more thing. Like my Facebook page so you don't miss out on the occasional random article.
Your friend,


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WWE News: Brodus Clay Gimmick Possibly Coming to an EndOctober 4, 2012
With the unsuccessful World Heavyweight Championship debate, in addition to the unfortunate Ryback botch, Vince McMahon was not in good spirits during Raw. The pressure is on by the network for the three-hour Raw format to improve, primarily due to the consistent drop in ratings (h/t Wrestlinginc.com).
In the midst of all this, McMahon has apparently decided to halt the investment of the resident "Funkasaurus," Brodus Clay.
Late last year—during the authoritative reign of John Laurinaitis—the return of Brodus Clay was a buzzworthy topic, second to the "End of the World" promos which later resulted to be Chris Jericho. Each week, we would hear Laurinaitis on his cell phone speaking to someone about a return. We eventually found out that he was communicating with Clay, and the monster heel was on his way back.
But in the words of college football analyst Lee Corso, "Not So Fast, My Friend."
On Monday, January 9, Justin Roberts introduces Brodus Clay "after weeks of anticipation." But we hear a recycled version of Ernest "The Cat" Miller's WWE theme song?
Indeed we do. Not only that, but Clay appears in a total 180 compared to what was expected for his return; even to the point where he tells fans, "Oh you didn't see that coming." After the shock was over, though, as well as the swarm of critiques, his gimmick actually started to catch on.
However, he eventually was a victim of the "squash complex"—week after week beating random people, with no character direction.
He had an opportunity to redeem himself with a mini-feud with the Big Show. Unfortunately, this was too little, too late.
On Monday Night Raw, we officially saw the push derailed after Clay got squashed by US Champion Antonio Cesaro. This was indeed one of the biggest surprises of the night.
This occurrence is reported to be as a result of McMahon having no more interest in pushing the "Funkasaurus" character. Moreover, he may return to his old monster gimmick (h/t WrestlingInc.com).
If the old Brodus Clay returns, we most likely will see the end of Cameron and Naomi, one less person on the Saturday Morning Slam show, and a monster heel who will be built up for a short period of time, only to fall victim to the Tensai Effect (yes, I've coined that phrase).
So the question posed is—do you think returning to the old Brodus Clay is worth the risk?
Civilly comment below.


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Thursday, February 21, 1828
Vol. I, No. 1
Page 3, col. 5 b
The failure of the 2 last mails, by the late freshets [sic], has rendered our present number destitute of intelligence. We would also state to our readers in this Nation, that our receipts of Washington papers have been so irregular, that we are not able to present to them what is doing in Congress in regard to affairs of Indians.


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54, Triq id-Dejqa, Il-Belt Valletta
The Preca sisters (Ramona and Roberta) both worked at their family restaurant Tal-Familja in Marsascala. They were both in their mid-twenties and at such a young age one would easily be tempted to think that it was there that they cut their gastronomic teeth.
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from The American Heritage® Dictionary of the English Language, 4th Edition
- adj. Of or having a specified complexion. Often used in combination: fair-complexioned.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- adj. Having a specified type of complexion
from the GNU version of the Collaborative International Dictionary of English
- adj. Having (such) a complexion; -- used in composition.
from The Century Dictionary and Cyclopedia
- Having a certain disposition.
- Having a certain hue, especially of the skin; used in composition: as, dark-complexioned, fair-complexioned.
Sorry, no etymologies found.
About 5: 30 a.m. Saturday, a dark-complexioned man with a white towel wrapped around his face and a gun in his right hand leapt over the counter at Athey's Getty Mart.
He was interrupted by a warm-complexioned man, clad in faded mackinaws.
Little or no choices were given unless the person and both parents were very fair complexioned.
Notoriously vain, the slender six feet, four inches tall, butterscotch complexioned man took great pains to maintain his impeccable appearance.
The bark is white with a sallow-complexioned blush of orange.
He was a sandy-complexioned man in whose face geniality and humor seemed the salient characteristics.
The pertinent statement rather is that a dark complexioned present inhabitant of what formerly was ancient phoenicia is not entitled to the inference that he must be of the race commonly known as the white race in 1790, merely because 2000 years ago Judea … was the scene of the labor of one who proclaimed that He had come to save from spiritual destruction all mankind.
For years in Mexico, a popular afternoon telenovela had a comedian in blackface chasing madly after light complexioned actresses in skimpy outfits.
Earl Ofari Hutchinson: Univision TV Owes an Apology for Racist Skit
In it, a dark-complexioned woman was smiling, not the artificial smile of an anorexic model, but a real smile that ended in fine, beautiful wrinkles.
And they made it possible for a light complexioned, blue-eyed, blond-haired man like Clarence King, to claim African ancestry when he actually had none at all.


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The Movie Geeks speak with director Erik Sharkey about his new documentary Drew: The Man Behind the Poster, an exploration of the life and work of acclaimed movie poster artist Drew Struzan (Indiana Jones and the Temple of Doom, Back to the Future). The film is now available for purchase on DVD and digital download.
Plus, a roundtable chat on the fading art of illustrated movie posters, and our list of favorites from our own personal collections, as well as discussions on awards season film release schedules, reactions to Spike Lee's Oldboy remake, the careers of Alexander Payne and Cameron Crowe, and the issue of violence in the movies.
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4th Annual Midrealm Cooks Symposium--February 7
Join the Shire of Talonval and the cooks of the Middle Kingdom for a day of classes and practical discussion all about food. Learn to create a feast; learn to set a period table; learn to brew and drink the finest meads and ales--everything you wanted to know about food! See the class schedule by clicking on the header above. The web site will be updated regularly.
Site Fee: $5
Site Opens: 9 a.m.
Site Closes: 6:30 p.m.
Site is handicapped friendly; easy parking and elevators to classrooms. There are two gourmet restaurants on Michigan Ave. only a short distance from the site.
Teachers: Please contact Lady Rosalyn MacGregor at email@example.com
At the time of this writing, a block of hotel rooms and other details were being arranged. Please visit the web site for more information.
Rosalyn MacGregor
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Pentamere, Middle Kingdom


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OK, I'm on a quest to find season 4 spoilers. And damnit, I'm gonna be successful! Anyway, all I can find right now is:
- Doc rebounds from his romance with Dr. Morales. Says Ed Bernero: "As most of us do, he goes down the wrong path first with a much younger woman".
Also there is a new episode description at NBCMV.com, it's called "To Protect..."
Taylor is a firefighter again? Eh!MISSING CHILD PROMPTS MOB VENGEANCE AGAINST KNOWN MOLESTER -- The frightened parents of a missing boy seek vengeance against a known child molester in their building while the police desperately search until they think they've found the victim -- but only firefighter Taylor (Amy Carlson) can ultimately save him. Meanwhile, an uneasy Officer Sullivan (Skipp Sudduth) reluctantly agrees to help a hated fellow cop (as Madjanksi, guest star James Remar) in an undercover operation that will exploit his Ukrainian wife's (Tatiana Haske) secret connection to a Russian mob boss. A cavalier Carlos (Anthony Ruivivar) offers to hook up a disinterested Doc (Michael Beach) with an "older" woman. Coby Bell, Eddie Cibrian, Molly Price and Jason Wiles also star.


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Re: Real beauty
February 21 2006 at 7:04 AM
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I've noticed that behavior also. It appears that rudeness is more the norm these days. I sometimes find it challenging to put my best foot forward to prevent myself from joining others in the same conduct.
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ABB Measurement & Analytics new PGC5009 process gas chromatograph offers fast, accurate and reproducible boiling point data. The speed and accuracy of the device allows refineries to optimize their product yield.
ABB states, "[t]he PGC5009 represents the best in process analytics for simulated distillation analysis using fast temperature programmed process chromatography. With a patented resistively heated column design and rapid cooling system, the PGC5009 provides superior chromatography. The results are proven: accurate and reproducible retention times and weight percentage measurements required for boiling point curve, calculation enabling optimized refinery process control."
ABB's Measurement & Analytics is among the world's leading manufacturers and suppliers of instrumentation and analyzers; the newest addition to their gas chromatograph product portfolio has the speed and accuracy needed for advanced process control.


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Compassion in Action
Cause Areas
WhenIt's flexible! We'll work with your schedule.
Where1015 Sikes BlvdLakeland, FL 33815
Put compassion into action by volunteering in this ministry to bring life-changing support to children and families!
Compassion Ministries
Each year, Florida Baptist Children's Homes provides more than 50,000 services to children and families through Compassion Ministries - providing food, clothing, diapers and other items to those in crisis. In addition to meeting tangible needs through this ministry, we are also able to provide for the intangible needs of children, bringing life-changing support to families.
Volunteering Opportunities Overview
The primary responsibility of this volunteer position is to work in the Harold Clark Simmons Compassion Center. Volunteers are connected to a role that is rewarding to them and essential to Compassion Ministries. Opportunities include clerical helpers, warehouse helpers, donation pickups, backpack helper, sorting clothes and more. Let's find a role that fits your interests and skills!
Minimum of one half a day a week, Monday-Friday, and a minimum of a six month period of commitment is desired. However, there are opportunities for biweekly and monthly volunteers as well. Compassion Ministries volunteers are scheduled on weekdays between 8:30AM-4:30PM. Please review our other posts to learn more about our current opportunities to volunteer.
We value each and every person who gives their time to help us serve others!
To Apply
Visit our website and fill out the volunteer application.
- Office Management
- People Skills
- Verbal / Written Communication
- Multi-Tasking
- Warehousing
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Good Match For
Teens People 55+ Group
Requirements & Commitment
- Background Check
- Must be at least 16
- Orientation or Training
- One half day a week desired. Flexible.
- Good mobility. Ability to follow directions. Positive attittude. Willing to work on a team. Patient.


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Re: Betts-Betz
In reply to:
Yes, Peter and John Betts. They were there from the mid 1800 to 1900. Peter's wife name was Sarah and they had 7 children. John's wife's name was Loretta and they had 10 children. They were brothers to my G Grandmother Anna Mary Betz Fleming Duke. This Betz family were all born in Germany and came to US in abt 1844. The children were not bornin Germany all Indian or Michigan


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The name Chester, like many first names, began as a surname, and means 'camp of soldiers'. It originally denoted a person from the town of Chester.
The town takes its name from the Roman occupiers, who were based in Chester from the first to the fifth century A.D.
They called the settlement Deva Victrix, but it came to be referred to as 'castrum', meaning a fortified place, due to its position as a military outpost during the army's expansion northwards. As a first name, Chester remains uncommon but is growing in popularity in the UK, rising from 654th most popular boys' name in 1996 to 581st today.
Holly Willoughby's decision to name her third child Chester might lead to a further boost.
Famous people called Chester:
Chester A. Arthur, U.S president from 1881-1885
Chester Himes, American crime novelist
Chet Atkins, American guitarist
Chet Baker, jazz musician
Can be shortened to:
Chez, Chet
Surnames to avoid Chester with:
Surnames beginning with an 'R' sound, ie. Richards or Riley, might cause problems as when said aloud this combination of sounds may result in elision – when two words slurred together end up sounding like one.
Chester is also not advisable if your last name is 'Drawers'.
Similar names:
Foreign names meaning 'castle' or 'fort' include Castello (Spanish), Carden (Irish) and Mostyn (Welsh). Surnames are becoming increasingly popular as English first names - Carter, Carson and Cooper are recent examples.
Female variations:
Similar sounding girls' names include Chelsea, Charity and Chandler.
Celebrities who named their baby Chester:
Holly Willoughby, Davina McCall and Tom Hanks.
MORE:Baby Names


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Harry Browne, author of a dozen books and hundreds of articles on politics, economics and investing, and the Libertarian Party's presidential candidate in 1996 and 2000, has passed away. We have lost a great libertarian.
In Harry's last published article, "Why You're A Libertarian," he gave the answer simply: You are a libertarian because "you're willing to tolerate anything that's peaceful, and you practice the principle of live and let live — opposing the initiation of force (violence) against anyone for any purpose.u201D This is the radical conception of libertarianism that he espoused, reduced to its glorious basics, ethically compelling, and unencumbered by a single concession to the statist impulse.
It is for these principles that I am a libertarian, and his campaigns were crucial in my development as one. In 1996, four years before I would be allowed by the state to vote in its presidential elections, I followed the campaign unusually closely for a freshman in high-school. Young and naïve, I believed that Bob Dole was the lesser of two evils, but Harry helped to open the doors to a much deeper understanding of political reality.
He ran a radical campaign, though, as always, he was able to make radical liberty sound appealing. Whereas many libertarian activists have managed to water down the message of liberty and yet still come off as extremist kooks, Harry demonstrated a rare ability to take principled ideas, backed up by complicated concepts in history and economics, and explain them to the average thinking person without losing focus of the goal of unbridled liberty and the forever incompetent and immoral state that would always make things worse.
By 1996, I had known that government was too big, that the drug war was a disaster, that, ideally, people should be allowed to live their lives as they saw fit. But Harry, even in the context of the often-corrupting, always frustrating task of politicking, helped to show me how to apply the ethical and practical cases for liberty to all issues, from the relatively dry and cool topic of healthcare to the boiling, inflammatory realm of foreign policy. As a teenager, having read his campaign book Why Government Doesn't Work, I had an unusual appreciation for revisionist history, for radical interpretations of the Bill of Rights, for methodological individualism in economics — all of which I had seen first in Harry's writings and incorporated in my discussions with the many people to whom I've since introduced libertarianism, often with success.
He was so convincing. One of the most convincing voices in the movement, in fact. He was notoriously civil, too, angering warmongering callers on his radio show and making talking heads such as Sean Hannity turn the color of blood simply by stating the truth politely, without raising his voice, allowing his detractors to lose their own arguments in enraged disbelief as Harry just sat there, smiling, good-natured, unwavering and sincere.
And how many other political candidates could respond to obscure questions about everything from environmental policy to secession with accessible answers, common sense, and an arsenal of solid facts? From him I first learned the inconvenient truth about Love Canal, the HMO Act, and the First World War. The knowledge was out there, in journals and academic studies. But we were all lucky, and still are, that the most well-known libertarian, the man whose words were widely seen as summing up our beliefs, the first impression of libertarian thought for millions of Americans, happened to have a clue what he was talking about.
I had wondered about the Civil War, which was an apparently huge government program with devastating losses in life and liberty for millions of Americans and yet had always been taught as an indispensable part of American history, freeing the slaves and preserving the United States as an entity. I had wondered about the New Deal, which I had disliked automatically but which many told me was crucial in saving the American economy. I had wondered about taxation, all of which seemed fundamentally contrary to libertarian principle but which appeared necessary to fund even a limited government. How unusual it was to get my first satisfactory answers to these difficult questions from a third-party presidential candidate.
It's important for Americans to hear and read the kind of pithy arguments that Harry had mastered by his 2000 campaign. See his article on the seven vital principles of government for a wonderful sampling of his clear and concise treatment of the nature of the state. It's essential that libertarians who speak to their friends and acquaintances in person and on e-lists have the deep understanding and ethical compass seen in his writing over the years.
I had the honor of meeting him several times. During the 2000 campaign, I told the candidate that I was very glad that he had chosen, despite the protests of rightwing elements within the movement, to stress that if he were elected, the first thing he would do is pardon all federal drug offenders. I respected that, and told him that I thought it would actually win him more votes than it would lose him. He replied to me that even if it lost him votes, he would still say it. He saw it as a moral imperative to oppose oppression, to say plainly and openly that libertarians cared about its victims and wanted to see the state violence stop immediately.
He knew he would never win the presidency. He thought the best political strategy within the framework of electoral politics was to use the media opportunities otherwise unavailable to the libertarian movement to explain in lucid English the libertarian philosophy and what it means for various issues. He didn't hold back. He knew that there would be no libertarian future unless there were more libertarians, and that there wouldn't be more libertarians until more people knew what libertarianism meant. He did not hide from the implications of freedom, but basked in them, and inspired so many of us to set our sights higher than we had thought possible.
His long-term strategy is correct, of course. Contrary to popular complaints, the problem we face has never been that people immediately think we're the ones who want to legalize drugs, but rather that they don't know what it is we believe, and why such positions as favoring drug legalization flow naturally from the philosophy.
His speeches could topple Berlin Walls in the minds of the yet unconvinced. One friend of mine gave up on leftist politics altogether after she heard him speak in person. In the flesh, he was even more persuasive than on C-Span or streaming video — and that is not faint praise; he had once said something beautifully disdainful of the very idea that the president should "lead" America, which had caught the ear of my apolitical friend, a true skeptic of libertarianism, as Harry's cogent wisdom came through my cable modem line and out my computer speakers. "I want him to be president," my friend said. The great thing about it was that I did too, but I had no doubts that Harry himself didn't want the loathsome job. What real libertarian would?
His speeches sometimes made me tear a little bit, especially when he quoted, as he often did, the conclusion of the poem, "The New Colossus," by Emma Lazarus, engraved on the Statue of Liberty:
"Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door!"
That's the America he wanted to live in, and he made me want to even more than I had.
For many libertarians, Harry's greatest shining moments came after his stint in electoral politics. Starting on the day after 9/11 with his courageous article "When Will We Learn?" he was one of the brightest lights among the antiwar voices in the movement, explaining clearly that the terrorist attacks were a response to years of aggressive U.S. foreign policy, and that more acts of U.S. terrorism, such as the impending war in Afghanistan, were not the answer. He got a lot of heat for his remarks. But he made me proud that I had voted for him, the only candidate from the 2000 election to come out explicitly and unconditionally against the entire slate of disastrous and immoral domestic and foreign policies known collectively as the war on terror. As on so many other issues, following his guidance encouraged many libertarians to see matters clearly and not let understandably heated emotion cloud over reason and morality. He knew that war was the greatest enemy of our liberty, and that it, much more often than not, relied on a mountain of lies. See his brief analysis of Colin Powell's presentation before the UN in February, 2003, for an example of how elegantly he cut through the fog.
On a personal note, I'll miss his e-mails. He was one of those heroes of mine who would very occasionally e-mail me after I wrote something, reassuring me, whether he knew it or not, that I had indeed not said something too radical, after all.
The loss of Harry Browne, on March 1, 2006, is a tragedy for the libertarian movement. It is the newest reason to sympathize with a joke he cracked as emcee of a banquet at the 2004 Libertarian Party Convention in Atlanta, the last time I saw him, when he said, in reference to a libertarian activist he much admired who had passed away several years before: "I hate death." Dryly, he continued, "If I were president, I would outlaw death. And just like every other law, Congress would be exempt."
Harry appeared fond of joking. From what I could tell, he appreciated the pursuit of happiness nearly as much as he appreciated life, his "obsession" with which led to his "obsession" with war, its great adversary; and liberty, for which he fought without flinching throughout his admirable life.
He will be warmly regarded and highly respected as long as there are libertarians, and, I do believe, his influence has helped ensure that there always will be.


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Music Spaces
The Sounds and Music of Open Space
Monday, May 10, 2010
Blog written by Jairo Geronymo, pianist, Berlin, Germany
During my (too) many years as a starving doctorate student at the University of Washington, I splurged on subscriptions to the Seattle Opera (http://www.seattleopera.org/index.aspx).
Seattle Opera mounts gargantuan productions like the whole Ring of the Nibelungen by Wagner as well as non-standard repertoire as the Dialogue of the Carmelites by Poulenc and Florencia en Amazonas by Daniel Catan.
John and Ruth Briehl, two friends of mine, attended the same performances as I did. We would meet at intermission to discuss the tenor's acting capabilities, the soprano's vocal clarity, how wonderful the contralto aria was, the scenery effectiveness, and, when lucky, the inevitable operatic 'accident'.
We actually witnessed a real 'wardrobe malfunction' as the Governess in The Turn of the Screw continued her high B flat, arms up in the air and one breast exposed. Three thousand people gasped. She chose not to compromise the music. She waited until the end of the aria to get herself back into the dress. Covering the whole stage with the train of her red velvet dress was a powerful but impractical symbol of blood. What an unforgettable moment: dramatic music, red blood velvet, an exposed breast.
Since those glorious years with the Seattle Opera, Ruth Briehl and I have seen Zeffirelli's production of Tosca with Aprile Millo at the Met (http://www.metoperafamily.org/metopera/) to celebrate her 80th birthday; Cosi fan Tutte at the historical Nurenberg Opera (http://www.staatstheater-nuernberg.de/inhalte/index.php?menu=100) and in a month, we will see our first opera together in Berlin.
Berlin has four government subsidized Opera Houses. As a result, the repertoire and production style can be unconventional: they do not dependent on monetary support from ticket sales. The Staatsoper Oper is the most traditional. It is closed until the end of the summer for renovation. The Deutsche Oper is the grander, the Komische Oper is often the most innovative and the Neukollner Oper is 'l'enfant terrible'.
On the specific weekend that we would like to see an opera, the Komische Oper presents Abduction from the Seraglio (Mozart) and Fidelio (Beethoven), the Neukollner Oper presents Leben ohne Chris (Bohmer) and the Deutsche Oper presents Nabucco (Verdi) and Turandot (Puccini). If I am going to pay seventy euros for a ticket,I want Puccini to make me cry so I am tempted to lobby for Turandot.
I have seen Zefirelli's gigantic production of Turandot for the Met with Eva Marton and Placido Domingo as well as Seattle Opera's production with Jane Eaglen (http://www.janeeaglen.com/), whom I had accompanied a couple of weeks earlier....long story. These two grand, but traditional productions, are imprinted in my mind.
The Deutsche Oper's production of Turandot is contemporary. In the famous "Riddle Scene" the Chinese princess Turandot wears a glitzy evening dress and the disguised prince Calaf wears a dark gray suit seated by an Ikea table while being watched by China's emperor from a high Tribune that looks like a watch tower along the Berlin Wall (http://www.deutscheoperberlin.de/?page=spielplandetail&id_event_date=4612228).
The opera world now is filled with stars like Anna Netrebko, recently featured in Playboy magazine's list of the "Sexiest Babes of Classical Music" (http://en.wikipedia.org/wiki/Anna_Netrebko). The poster for Haydn's Orpheus and Eurydice at the Bode Museum (as if Berlin did not have enough Opera houses - http://www.orpheusimbode.de/konzept.html) could be mistakenly taken as soft porn. Operatic pornography.
The advertisement poster for Lady Gaga's Monster Ball Tour shows her wearing a metal globe (http://en.wikipedia.org/wiki/The_Monster_Ball_Tour) while the Deutsche Oper poster for Othello (Verdi) features the 'blackened' Barbara Schoneberger wearing a blonde wig and caressing an equally 'blackened' horse (http://www.deutscheoperberlin.de/index.php?page=spielplandetail&id_event_date=4606129). Both posters are strangely sexy.
So my initial question "Should the fat ladies wear Galiano or only Chanel?" does not apply to the singers but to opera itself. Should opera productions remain traditional like a Chanel suit or can these productions be like a wild John Galliano dress (http://www.johngalliano.com/)? Interestingly, the Tosca production by Zefirelli on the MET, that I saw in 2006, was on the news last year when a new production was booed at opening night (http://www.newyorker.com/arts/critics/musical/2009/10/05/091005crmu_music_ross).
Again we face the same question, should opera lock itself in time?
The beauty of these operatic masterpieces will always speak to the public so why not break the barriers of tradition and present opera as edgy and sexy as pop music? I often do not get amused by fancy video clips where the music repeatedly goes over the same three chord sequence so I think that Ruth and I should see a wild production of Turandot by Puccini. I am sure that I will cry with Liu's aria, even though in the picture she looks like a college student gone backpacking! (https://www.youtube.com/watch?v=tB_GSbufVI4&feature=related)
Should opera lock itself in time? NEVER! The whole genre has a long tradition of being more than a little scandalous...Mozart wrote his "singspielen" for music houses, after all...being in the avant garde comes naturally.
The main danger I see is allowing the production values,the time, setting, costumes, etc., to overshadow the music and intent of the composer. What's left is a sort of "B" action thriller... all special effects and no substance.
Dear Dale,
Thank you for your very pertinent comment.
I agree with you that opera has been and should remain a bit scandalous.
I just bought for five Euros at a subway ticket booth a copy of the Magic Flute done in one of the new subway stations in Berlin. Avant garde not only on costumes and scenery but also on venue!
I think that we need to trust and allow the artists that conceptualize these new readings of main stream works to create something new. Will there be flops and unsuccessful versions? Certainly yes, but so it is with almost every artistic genre.
I disagree with you that it can feel like a "B" opera. I think it can look strange such glorious music with (maybe) such questionable staging, but the music will always hold the standards high. It might end up like a strange marriage, but never a bad one!
And as I always say: a night at the opera is always better than a night in front of TV!
Thank you,
Really interesting post. I can't comment on whether or not opera should be experimental, but I consider similar questions concerning cinema very often. Tradition is less rooted with cinema, but nevertheless filmmakers are constantly wondering if they can score big with a production that deviates away from Hollywood standards.
I watched Martin Scorcese's "The Departed" again last weekend, and I was amazed by the editing. I imagine when most audiences watch this film they see it as nothing more than a well made cop movie. It is a well made cop movie which has an interesting and captivating story, but the editing is risky and radical at times. Young filmmakers like myself might not even think, let alone dare, to take similar risks.
All that said, I appreciate artists who root themselves in tradition and history and use this knowledge to stretch away from expectations. I believe the comparison this creates between expected style and experimental style allows for a new kind of art practice.
Hi Josh (Deal),
Thank you for your comments.
The question of how much to deviate from the main stream is pertinent to opera, film making, and almost everything else in life.
I think that it is necessary first to know the history of our craft and understand what has been done before breaking with tradition. Just breaking with tradition without a reason to do so can be meaningless. At the same time we need to trust our instincts and sometimes act even when we are not sure why. Great works of art have been created that way.
So I wish you well in your studies, so that you may understand what makes for a superb editing so that you can make your own superb editing!
Take care and good luck!
Jairo Geronymo
I personally feel that there is nothing wrong with bringing innovation, even if it is only wardrobe, into a classical on stage genre such as opera. Sure there are people who believe that opera is a tradition set in stone and it should not be changed but to those people I ask, "Where is your creative passion?" When people are unique and different something magical and new occurs. Without a specific set of rules to follow an experimental version of something, an opera in this case, can flourish and who knows, maybe it will become a new smash hit because it stands out.
I personally feel that there is nothing wrong with bringing innovation, even if it is only wardrobe, into a classical on stage genre such as opera. Sure there are people who believe that opera is a tradition set in stone and it should not be changed but to those people I ask, "Where is your creative passion?" When people are unique and different something magical and new occurs. Without a specific set of rules to follow an experimental version of something, an opera in this case, can flourish and who knows, maybe it will become a new smash hit because it stands out.
Opera, just like any other art form, will grow stagnant and boring if the same thing is done every single time. If the creative powers behind a performance aren't allowed or encouraged to let their creativity influence the piece, what is the point of having them there at all? I think that opera should always push the boundaries a little bit. After all, if nothing challenges our beliefs and sensibilities, where will we generate new ideas?
There is nothing wrong with putting a new spin on tradition- countless times in the past, old traditions have been brought back in a redefined package. The biggest example would be with music. As the days pass, music becomes more sophisticated due to inspiration from the past. Rock music formed from the blues. Metal music emerged from rock music... inspiration is usually triggered from an outside source. A great example would be symphonic metal. This genre emerged when distorted electric guitars were backed by an orchestra.
The same is true with films- one person (or a group of people) innovate, and others build upon the new discoveries made day by day. You must never forget your roots, however. Placing opera to a fancy video would give it a new twist. In fact, this is why many genres of cinema exist today. People tend to deviate from the norm and form their own genres.
The question of whether Opera should remain "locked in time" or not is much like asking if Broadway should focus strictly on Shakespearean production: that is, it shouldn't. Just as new plays are written and produced yearly, Operas should make sure to renovate their own content. This is a fundamental component of art, especially art as entertainment: in order to remain relevant to its native era, a work must be reflective of that era in some way. That doesn't mean that it has to be set in that time, but, rather, that it does pertain to it in some fashion indeed, fantasy works like Harry Potter often are imbued with metaphoric and allegorical elements mirror our own, less magical society. To remain "locked in time" is for an art form to commit suicide, for without relevance, there is not interest.
That is not to say a "traditional" performance need be considered a bad thing; a showing of Hamlet can still be a fulfilling experience, just as Chanel costumes can be in classical Opera. The important thing is to realize that such productions are also not the only style out there, that new ideas need to be proliferated for the expansion and survival of the medium and that, at one point in time, the Chanel dresses worn by Opera singers were considered a cutting-edge idea.
This question is one I've spent some time debating with myself. Although I love the new innovation and modern styles of the arts today, whether it be opera, film, theater, etc, there's also something to be said about staying classical. As much as I love and appreciated the boundaries that were broken down by Rent and Spring Awakening on Broadway, the simple fact remains that audiences will still pine for The Sound of Music and The Phantom of the Opera. You see the same thing in the world of film, in 1989 the movie theaters were filled with high action, modern, new technology films like Batman, Indiana Jones, Back to the Future, License to Kill, Lethal Weapon, and yet what took home the Oscar? Driving Miss Daisy, a simple, classic, modest film that won the hearts of audiences nation wide. So I believe that keeping the arts modern is great, but some things are timeless, and we shouldn't forget about that. We don't have to put sequins on every piece of art, because sometimes the artwork with less is more beautiful.
I always looked at opera as traditional, but our culture grows and advances. We have advanced in films, plays and even fashion. We apply new advances to everyday life, and then new ideas begin. When i first read the word opera in this blog, I thought of traditional. As i read on all i could think of was change. Although we want to keep tradition we have to move forward. We can always keep in mind what once was and not forget.
Of course Opera, like any other art form, should continue to be dynamic and not lock itself in time. The whole idea is progression and we must continue to push the envelope and see how far it can go. Art changes over time and I am sure that every generation had it's skeptics that feared change, but without the progress of controversial pieces like Duchamp's fountain, art would not be where it is today. I think the initial question transcends all forms of art with the same issue and it should be treated in the same way by supporting Galiano over Chanel
I had never really thought about whether or not opera should change with time before I read this post. I agree that it shouldn't change completely but it should certainly adapt to the changing times. If opera stays as it has been it will lose followers rapidly as younger generations will be unable to understand and connect with it and therefore be unable to appreciate it.
However, I also agree that any type of art is beautiful in its original form and that opera should not be completely transformed by modern day thought, but should stay rooted in its traditional core.
I am involved in my local Opera Theater in Oswego, NY and I would often encourage my friends to attend our performances. My friends (being adolescent males) were often exceptionally skeptical about the value of attending. How I eventually got them to attend was by showing them photos from our recent production of Mozart's Le Nozze di Figaro which was done in modern dress. Initially my friends were surprised by the mise-en-scene of the opera, lacking the Wagnerian helmets and extravagant dresses. The modern costumes made the opera seem much more accessible. My friends, still hesitant, attended and I am pleased to say now understand why I enjoy Opera so much. Presenting an opera in costuming more original or daring can not only make the production more interesting and unique but also makes the opera seem accessible to "outsiders" who may be intimidated about beginning an interest in opera.
There's an interesting contrast between film and opera in that Opera can be updated and revived while a film remains the same (generally) as time goes on. So while an opera company can stage a production of Haydns Orpheus and Eurydice with a new idea for the mise-en-scene to try and attract an audience, a film will always be the same, making it difficult to convince newer audiences to see. Add to that differences in the editing style people are used to today from music videos and commercials (rapid jump cuts and very quick editing) to that used in films in the past (Hollywood continuity editing and relatively slower pacing) and it's apparent why it is often difficult to get younger audiences to view such classics as Hitchcock's Vertigo.
I relate this subject to an interesting performance I just saw--at Ithaca College-- of the ancient Greek tragedy Elektra. The director attempted, in my opinion unsuccessfully, to modernize the play, dressing Elektra in jeans and giving the Gods cell phones and briefcases. The play should have been left as it was originally and not been twisted to conform to popular culture. Similarly, some operas and opera styles cannot be changed to be more modern.
I am, however, only talking about this specific play, Elektra. For other works, this can be acceptable thing to do. It is just important to be careful, as this is a touchy subject.
In some ways I believe that these kinds of changes can't be controlled. It is inevitable that the arts evolve and transform as time goes on. I love opera. I went to see Carmen when I was ten in New York City, and it leaves a bitter taste in my mouth to think about that production being modernized in any way. I guess I'll have to accept it since that's the way things go.
Personally, I think it is practical that opera productions are modernizing alongside the rest of society. As technology is continuously advancing, the film industry and other attributes of the arts advance as well, though at a seemingly slower pace. But just because opera is developing creatively by no means argues that the musical classics will forever be forgotten. Casablanca (1942) and Gone with the Wind (1939) are still appreciated today, especially by people who werent even born when they were released. I dont see why the same sort of thing would not be possible for the opera. For those who truly love this art form, I feel that seeing both a classic and a newer presentation would be an enlightening experience. I think that opera is headed in the right direction in terms of productivity and new ideas. Where would this world be today if it werent for creative minds?
The opera, like many other art forms, has obtained certain conventions by society. Like film genres, society expects a certain stylization when they go see a production. It may be viewed with discomfort when these certain boundaries are broken. Opera wishes to convey a story/message, like any other art medium, while providing emotional ties with the audience. This message can be conveyed through differentiation of mise-en-scene if the production wishes. This differentiated aspect can actually heighten a story, bringing it to life with a new perspective and forcing people to take notice. Why must there be one or the other in opera? What must opera either be viewed as just plainly conventional or unconventional if the roots are the same?
I agree with several of the other posts that opera should be dynamic and contemporary, but also should not lose sight of its classic roots. As someone who has never gone to an opera, the word produces images of middle-aged men and women in ancient suits and dresses singing indistinct words with incredibly dynamic voices (an interpretation probably due to modern projections of operas in films and on television). Therefore, a more modern and contemporary spin on the opera would draw my attention, and hopefully help solidify my loose grasp of what an opera truly is. I think that contemporary adaptations of operas would attract younger audiences and instill within them an appreciation for a wider range of entertainment arts - one that extends past television and video games.
However, the classic opera still maintains a solid fan base and should not be manipulated simply for profits and bigger audiences. I think there can be a balanced mix between classic and contemporary operas. The ladies could wear Chanel on weekdays, and maybe bust out in Galiano on the weekends. And maybe even throw on some Prada once in a while. To sum up, we love seeing Lady Gaga once in a while, but we also love Meryl Streep.
This post reminded me of the cinema term "intertextuality," or a reference to another work, time period, and so on. In many films, there are different references to different films, costumes, time periods (such as Breathless (Godard, 1959) and its reference to Film Noir). Intertextuality is not strictly used only in cinema. At The Mount, author Edith Wharton's estate, the present designers of her house put laptops on her desk and a refrigerator in her kitchen, as to reference a different time period rather than what one would expect. The same holds true for the opera. It could be nice to feature costumes, songs, narration, mise-en-scene of a different time period or style, in the shell of an old tradition.
Opera like any art form should not and can not become stagnant. It must modernize to stay relevant, and accessible for new audiences. If it fails to do this it runs the risk of being left in "the dust bin of history." This also applies to the classics to many times I have seen people sleep through performances, because the director simply fail to keep the audience engaged.
Opera has traditionally only been able to appeal to those of upper class backgrounds, or the supporters of the arts (usually one in the same). Art in general is about reformulating what it is already known into something new. Like in films, classic stories are reinvented over and over to appeal to the modern audience. If operas were able to do this, it would not only open up such a unique art form to more followings and prevent it from becoming an inevitably dying.
There is nothing wrong with a little innovation. Times are changing and with changing time you have to change or be forced to leave. No one person wants to believe that outside forces have any control over us but with this changing world and new technology in order to keep opera going strong I believe that change can be good. That is what any good business would tell you. Dont lose your roots, opera should always stat opera but a little innovation never hurt.
The main discussion in this post is wether change is acceptable or something that people are ready for. Change is uncomfortable; something that makes people feel unsafe and exposed. Many say they don't like change because of this.
Truly, I believe that people, even the people who cringe at the idea of change, actually love change. Something that disrupts their patterns are habits. Events that shock them and leave them stunned. This could be seen as a form of masochism that exists in all of us. We love incidents that throw us off.
Of course this doesn't mean that people don't enjoy things that their used to. But people do love to mix things up. Many are able to find a happy balance between change and consistency - a balance that is hard to achieve as some people are unable to find it.
When Lady Gaga stepped into the mainstream, she was like nothing we had seen. She disrupted our traditionalism of safe outfits, and guitars with vocals. Audiences ate it up! But yet sales of the traditional Taylor Swift country sound continue to rise.
Both change and consistency are necessary, and truly will always exist in our world.
"Should Opera lock itself in time?" Well that's a very difficult question to answer. Opera is a beautiful and impressive art form that should be appreciated for what it is, unfortunately traditionally Opera has been losing audience members for years. I had the wonderful fortune to attend an Opera last summer, true it was put on by a small community theater group, at a high school (not exactly the most stunning of performances) but it was a joy to see. I was very upset when I arrived at the show and saw that the Auditorium wasn't even half full, or close to it. Also most of the audience members were settled into old age. It was proof that modern audiences do not appreciate and are not interested in traditional opera. Since Opera is such a wonderful art form, it must survive this decline in interest. It seems apparent that the only way for it to survive is to adapt itself to modern audiences. Slight changes may increase it's appeal, and then people will begin to enjoy and appreciate it again. It should keep it's original traditions, but change is good and will help to awaken audience's interests.
Change can be uneasy, and it is not accepted by everyone. However it is inevitable. Opera is a classic form of entertainment, and people still love to and see the shows. A little innovation will not turn people away from the art. Some changes may actually attract more attention among different age groups and races. Opera should not lock itself in time because I do believe down the line people will begin to lose interest. In order to keep people interested, change can help. Opera will not die if it changes, but most likely flourish within this constantly changing world.
I believe that opera's appeal is retained in its tradition. Like a Chanel suit, it is a piece of art that will never go out of style. The beauty lies in its tradition and the timelessness of the story, the music, the costumes; the aesthetic and classic elements of opera. You wouldn't change the great works of literature in order to make them "edgier" so why would classical music differ? I can understand the motives behind modernizing such classic arts but I believe that we need to preserve the few pieces of classicism we have left.
Opera. I had the chance to take a school trip to the MET and saw La Boehme, the first opera I had ever seen. I loved it. The sets, the sounds, the general grandeur. In the crowd waiting for the doors to open my group ( a bunch of college freshmen, defiantly stood out amidst the fur clad, tuxedo wearing regulars). Yet, no one gave us mean looks. Or said anything inappropriate about are dress. We fit just fine together. The youngsters and the old ones.
I think that any change in opera will be part of the trajectory that it always has been on. New stage theatrical get invited and used. Most Operas are already about sex ( they might not say so explicitly, but the subtlety is there) . I think Opera will do just fine.
I agree that opera is rooted in tradition. If it where to make an attempt to change with the times that should be done in a way that does not take away from its timelessness. A change would be a positive way to attract new audiences and reach those who do not know much about the art. I know I would be interested in seeing an opera if I knew that it contained modern concepts.
There will always be a place for traditional opera because so many of the great performances were written in opera's hay-day, prior to film and television. If someone takes opera and reinvents it then only the highest quality performances will break into the public arena. This is because opera itself does not draw as large a market audience as it once did. Like many fads in the world of art and performance opera will have its comeback, at least in the American spotlight when someone creates a marketable yet respectable "new age" piece that attracts us with modern day themes yet still respects the true character of opera.
Something that struck me about this post is the comment on the significant advantage to theaters associated with and funded by the government. The very earliest subsidized theater in Germany, the Hamburg National Theater, failed miserably and it's incredible to see how this model has grown and persisted through history. The thought that being governmentally subsidized means not relying on money which would lead to innovation and risk-taking within the business is shocking because of the ominous past of the melding of theater and government. Decades of theatrical growth was completely destroyed because of the censorship in early London, with rebel playwrights imprisoned and sometimes killed (legally!).
Similar to many of the sentiments previous to this blog, I think that while innovation is important to make a show relevant and substantial so it has the ability to greater affect situational audiences, there is value in keeping the classic vibe. A lot of work goes into researching the historically accurate costumes/sets/jargon and people even look into the audience at the time of creation. Keeping the traditional aspects of the show allows the audience a very graphic window into the way of life at some point in history, as well as what was entertaining at that time. It is important for a balance to be stuck.
@ Emily Flemming
Emily makes the point that "opera, just like any other art form, will grow stagnant and boring if the same thing is done every single time." Contrary to this statement, one of the beautiful things about opera and theater in general is that not only is each production different, each and every show is unique in that the audience is different. It's one of the best things about live performance, that the show is able to accommodate it's varying audience every night.
@ Jackson Eagan
Jackson makes a comment about Ithaca College's rendition of Elektra and how he thought that modernizing the costumes were unsuccessful (in what, I might ask). Though many thought that this inconsistency served more to distract from the plot and seemed to be a failed attempt at engaging the audience, the fact is is that it kept us awake and questioning. If one was paying attention, the audience member would have noticed the 50's costumes applied to the Greek Chorus and the traditional garb of the Farmer and Orestes/Pylades. The point of the costumes was to indirectly imply to the audience that Elektra is a timeless show, that can be applied through all the eras. The production was not being "twisted to conform to pop culture," it was making a statement about the substantiality of Eurypides and the themes and concepts he employed in his epic work.
Thanks for this amazing post, right to the point.
Diyanet'in yokluğunda gurbetçiler kimliğini koruma zorlandı!
Diyanet İşleri Başkanlığı tarafından koordine edilen ve yurtdışında yaşayan vatandaşlarımızın çocuklarına yönelik Türkiye'de ilahiyat öğrenimi imkânı sağlayan Uluslararası İlahiyat Programının (UİP) 10. Yılı münasebetiyle bir değerlendirme toplantısı düzenlendi.
Afyonkarahisar'da düzenlenen ve iki gün süren Uluslararası İlahiyat Programı 10. Yıl Değerlendirme Toplantısı, '10. yılında UIP, Akademik boyut, Destek eğitimifinansmanbarınma, Mezuniyet sonrası ve istihdam başlıklı oturumlar halinde gerçekleştirildi.
Diyanet İşleri Başkanı Prof. Dr. Mehmet Görmez, katıldığı Uluslararası İlahiyat Programı 10. Yıl Değerlendirme Toplantısının açılış programında yaptığı konuşmada projenin ortaya çıkmasındaki nedenleri, geldiği noktayı ve bundan sonra yapılması gerekenler hususunda değerlendirmelerde bulundu.
Avrupada İslamofobia ile mücadele ve Türkiyedeki ilmi birikimin Avrupa dillerine aktarılması bakımından projenin önemine dikkat çeken Diyanet İşleri Başkanı Görmez, Avrupada üç dönemin yaşandığını bunların, Herhangi bir hak talebinde bulunmadan yaşama dönemi, Kimliğinin farkında ancak taleplerin sınırlı olduğu dönem, Hak bilinci ve taleplerin arttığı dönem olduğunu belirterek, son dönemde Müslümanların kimliklerini ortaya koyma iddialarını yüksek sesle dillendirmesiyle problemler yaşadığını ve 11 Eylülün de etkisiyle Müslümanların varlığı bir hukuk konusu değil, güvenlik konusu haline geldiğini kaydetti.
Diyanet İşleri Başkanı Görmez,
Din-kimlik ilişkisinin bir parçası olarak din eğitimi ve din hizmetlerinin önemine işaret eden Başkan Görmez, Dinkimlik ilişkisi ve bunun bir parçası olarak din eğitimi ve din hizmetleri Avrupada yaşayan ilk dönem Müslümanlar için ön plandadır. Avrupada bu işin altyapısı olmadığı için, orada yaşayan Müslümanlar bu işi kendileri yapmak durumunda kaldılar diye konuştu.
Avrupada son 40 yılda önemli olayların yaşandığını ifade eden Başkan Görmez, şöyle konuştu:
Son yıllarda Avrupa ülkeleri, vatandaşlığa geçen Müslümanları sadakat testine tabi tutmaya kalktı. Geldikleri ülke ile yaşadıkları ülke arasında seçim yapmak zorunda kalmak, çok kültürlülük söylemlerini berheva ettiği gibi, entegrasyon sorununu kültürel bir mesele olmaktan çıkarıp güvenlik meselesine dönüştürmüştür. Diyanetin 40 yıllık Avrupa tecrübesinin, hukuk, sosyoloji, değerler gibi alanlarda tecrübelerinin, 40 yıllık Diyanetin Avrupa serüveninin en önemli meyvesi UİP olmuştur. Ancak UİPi yalnızca istihdam üzerinden değerlendirirsek hata ederiz.
Diyanet İşleri Başkanı Görmez,
Asıl üzerinde durmamız gereken konu, bu projeyi Batı ile Doğu arasındaki uçurum ve İslamofobiayı ortadan kaldıracak bir proje haline nasıl dönüştüreceğimizi konuşmalıyız. Avrupada İslâm ilahiyatının, güvenlik meselesi olarak mı, din ve kültür meselesi olarak mı gündeme geldiği tartışılmalıdır. İslamofobia ve İslâm karşıtı ırkçılığa karşı doğru bir din algısı oluşturma, Türkiyedeki ilmi birikimi Avrupa dillerine tercüme etme, ev sahibi kültür ile Müslümanların kültürü arasında barış içerisinde, geçişken bir din hizmeti sunma bakımından bu proje son derece önemlidir.
Değerlendirme toplantısına, Yükseköğretim Kurulu Başkanlığı (YÖK), İlahiyat Fakülteleri, Milli Eğitim Bakanlığı (MEB), Yurtdışı Türkler ve Akraba Topluluklar Başkanlığı (YTB), Maarif Vakfı, Türkiye Diyanet Vakfı (TDV) gibi çeşitli kurum ve kuruluşlardan yetkililer ve öğrenci temsilcileri katıldı.
UİP kapsamında halen 15 ülkeden gelen 671 öğrenciye destek verilmektedir. Program kapsamında öğrenim gören öğrenciler, Türkiye Diyanet Vakfının Türkiyedeki eğitim hizmetleri ve illerdeki imkânlarından yararlanmaktadır.


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Still A Place For Foz!
During his weekly press conference, boss Dario Gradi has admitted he would love to keep hold of central defender Stephen Foster, yet doesn't actually expect him to be playing in Crewe next season.
Foster has however, rejected offers of a new contract and is set to join the likes of Lunt and Walker out of the Gresty Road door.
Dario G Says:
'He will be a free transfer and I fully expect him to go his own way this summer and move on but nothing ever surprises me and I'm not totally ruling him out. He is still training with us and I've already said that he would be keen to keep him, if he wanted to stay.'
The most interesting point about it all however is that DG admitted he hasn't spoken about it as he fully expects Foster to leave. Which doesn`t really make sense? If he wants Foz to stay, surely it would be better to mention that to him? No?
Quote from Crewealex.net


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