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Ballroom dance, type of social dancing, originally practiced in Europe and the United States, that is performed by couples and follows prescribed steps. The tradition was historically distinguished from folk or country dance by its association with the elite social classes and with invitational dance events. In the 21st century, however, ballroom dance is present in many parts of the world and has practitioners in virtually all segments of society. It is performed in various contexts, including invitational and public dance events, professional dance exhibitions, and formal competitions.
Standard ballroom dances include the waltz and the polka from the 19th century and the fox-trot, the two-step, and the tango, among others, from the 20th century. Other popular dances—such as the Charleston, swing dancing, the mambo, the twist, and disco dancing—have also visited the ballroom repertoire at various points in the tradition's history. Owing to the social and stylistic breadth of the ballroom tradition, the term ballroom dance has often been loosely applied to all sorts of social and popular dancing.
Early ballroom dance and invitational events
The social origin of ballroom dance lies in the European court dances of the 17th and 18th centuries, although many of the dance steps were adapted from folk traditions. Initially, court dances were performed facing the throne, a practice known as "fronting the state," because it was unacceptable to turn one's back on a ruler. As court etiquette relaxed in the 19th century, however, dancers were required to face the ruler only on the most formal occasions or when they were being presented to the court. Otherwise participants danced in circles or squares throughout the ballroom.
During the first half of the 19th century, most ballroom dances, such as the polka and the waltz, were an integral component of social events known as assemblies—planned evenings for a limited group of invitees connected through family, neighbourhood, or affiliation, such as a regiment or a hunting group. Socially respected figures, such as the patriarch of a landowning family, the master of the hunt, or the colonel of the local regiment, were the usual sponsors of these events, and strict rules of etiquette were followed throughout the evening. For dancing, each woman was given a decorative souvenir card on which to list her partner for each dance; following protocol, a man would wait to be introduced to a young woman before asking for permission to enter his name on her dance card. Descriptions of behaviour and expectations at such events are settings for key plot developments in many 19th-century novels, notably those by Jane Austen, Henry James, Louisa May Alcott, Gustave Flaubert, and Leo Tolstoy.
At a typical assembly, dances were performed to live music in a specific order that was set and announced by the orchestra leader. Faster dances, such as gallops and polkas, alternated with slower ones. The music was frequently adapted from operas, ballets, or national folk (or folk-derived) dances, such as the Polish mazurka, polonaise, or cracovienne. Published music for social dance was frequently named for celebrities or special events. Although dance formations ultimately depended on the dimensions of the ballroom, most assemblies included circle (or round) dances as well as various dances generically known as germans, which were performed by lines of couples. Steps to the dances were usually learned from older family members or from friends, or occasionally from teachers, who were frequently also musicians. Dance manuals, which were published by music engravers, were also available. The steps of ballroom dances were much like those of other social dances, but the settings, social class associations, and social protocol of the two traditions differed radically. Indeed, events held in public dance halls and concert salons were commercial—rather than invitational—initiatives, and they did not adhere to the elaborate systems of etiquette that governed ballrooms.
The structure of ballroom dance events changed significantly during the later 19th century, particularly in terms of the structure of dance events and styles performed, as well as the transmission of the tradition. Invitational events were organized for a select few, such as New York City's so-called Astor 400—the popular label applied to the invitation list for social leader Caroline Schermerhorn Astor's Patriarch Ball (c. 1872–91). Such events combined a reception, at least one repast, and lengthy dance sets that alternated round dances with an elaborate type of german called the cotillion. The cotillion consisted of a series of short dances or dance segments that mimicked social behaviour, with couples presenting each other with flowers or souvenirs, for example. By the end of the 19th century the cotillion had become so commonplace that its name had come to designate the ballroom dance event itself.
Not only did the style of ballroom dance change in the 19th century, but so too did its mode of transmission. In the 1870s individuals as well as families established studios and joined professional associations to teach steps, patterns, and musicality, thus stabilizing the profession of dance master. The association that later became the Dance Masters of America was founded in 1884. Certain dance masters, such as Allen Dodworth and his family in New York and A.E. Bournique in Chicago, were favoured by the social elite.
Meanwhile, the printing and distribution of dance manuals moved from music engravers to publishers of self-help books, etiquette books, women's magazines, and clothing pattern books such as those issued by the company of Ebenezer Butterick. Books aimed at potential invitees were often miniaturized to fit in a pocket or a small handbag. A separate line of manuals and a growing number of professional periodicals were sold to dance masters and to cotillion leaders, who managed the order of dances and other activities during the evening.
Early 20th-century developments
Ballroom dances and dance events were transformed monumentally—and indeed, democratized—with the social shifts of the early 20th century. Dances such as one-steps, two-steps, hesitations, and trots (including the fox-trot)—all so named because of their generally faster and more strongly syncopated (with accents placed on normally weak beats) musical style—could be learned by the public at large from teachers, manuals, or general-interest newspaper and magazine columns. In this new atmosphere of accessibility, two subcategories developed: professional exhibition ballroom dancing, in which a couple was paid to demonstrate in front of a paying audience, and competitive ballroom dance, in which amateur couples performed within strict regulations for prizes or titles.
Exhibition ballroom dancers were marketed not only as performers but also as teachers and choreographers. Championed by Vernon and Irene Castle (with their manager Elisabeth Marbury), these professional duos were promoted through photographs, films, and their endorsement of sheet music and recordings. Rival teams established reputations for performing exotic dances, such as the Argentine or Parisian tangos or the Brazilian maxixe. Inspired by the professional teams, amateur couples entered local competitions.
Nonprofessional ballroom dance, meanwhile, extended its reach beyond exclusive ballrooms into public cabarets, roof gardens, and open-air dance halls, further democratizing the tradition. Some members of elite society embraced this expansion of the tradition. Ann Morgan (daughter of financier J.P. Morgan) and Elisabeth Marbury, for instance, sponsored events for young working women that used social dance to promote upward assimilation. However, the further association of these and other venues with the consumption of alcoholic beverages meant that ballroom dance was severely affected by prohibition in the United States in the 1920s and early '30s. During this era the more solidly established exhibition dance teams focused on vaudeville or film, or they moved to Europe.
Also during this era, the line distinguishing ballroom dance from other sorts of social dance was further (albeit temporarily) blurred, as the primary market for promoting dances moved to the theatre. Ballroom dance events were integrated into the plots of such popular musicals as No, No, Nanette (1925) and Good News (1927) and into films about contemporary life, such as Nice People (1922) and Our Dancing Daughters (1928). Moreover, during this time the enormous influence of African American social dance was acknowledged in the ballroom. Steps from the Charleston—introduced in the African American musical Runnin' Wild (1923, dance direction by Elida Webb)—moved into the ballroom repertoire, although only a short part of the dance was performed by partners holding hands.
In the 1920s, band arrangements of fox-trots and other ballroom dance music were disseminated through music publishing, recording, and newly networked radio broadcasts. Such exposure ultimately helped establish those dances that have remained standard ballroom fare into the 21st century. Similarly, dance instruction reached an ever-expanding market through franchised studios, such as those of Arthur Murray.
With the end of prohibition in 1933, ballroom and exhibition ballroom dances further solidified their links with American social life, popular entertainment, and the music industry. The same range of dances was now seen both in public settings and at invitational events, such as country club dances, as well as in popular film sequences set at college dances and country clubs. Popular African American social dances of the first half of the 20th century, such as the lindy (or lindy hop), the stomp, and swing dancing, were drawn into the ballroom repertoire, albeit in a somewhat less exuberant form. A few of the best-known public venues for these dances, such as the Savoy and Audubon ballrooms in New York City's Harlem district, survived well into the mid-20th century, often hosting sponsored competitions, such as the preliminary rounds of the Harvest Moon Ball at Madison Square Garden. Meanwhile, the popularity of Caribbean and South American songs and ensembles and the development of Afro-Cuban jazz (early Latin jazz) supported a Latin dance craze, bringing renewed popularity in the 1930s to exhibition teams performing rumba, acrobatic adagio, and slow-dance styles. These professional dance teams also helped promote the Cuban mambo and cha-cha.
Exhibition and competitive ballroom dance since the mid-20th century
In the second half of the 20th century, social dance genres followed the entertainment industries' pursuit of a youthful audience. Accordingly, popular rock-and-roll dances (such as the twist), disco dances (such as the hustle), and break dancing were all in turn publicized, dramatized, and commoditized within the ballroom dance context. Older forms of ballroom dance, particularly those derived from 19th-century models, persisted through their association with new sorts of social rituals, most notably those connected with fund-raising. These events, generally called cotillions or debutante balls, served both to raise money for worthy causes and to introduce young people into society. Early ballroom dance styles also continued to be practiced in traditional family settings, such as wedding receptions and Mexican quinceañera celebrations, which mark a girl's entry into adulthood.
Exhibition ballroom dance remained popular in Britain and continental Europe throughout the 20th century, particularly in semi-invitational settings, such as resorts and hotels. Especially after the 1960s, ballroom dance gained a strong following in Asia. Popular interest and scholarly research, moreover, brought new appreciation to both ballroom and social dance as valuable reflections and embodiments of a community's social values. Meanwhile, the regulations governing competitive ballroom dance became more exact as dance teachers switched their focus from inventing new dances to codifying existing ones. Those "official" versions of fox-trots, waltzes, and tangos—all with specified steps, postures, and head positions—have been maintained in European televised competitions and to some degree in Olympic figure skating (specifically in ice dancing).
In the early 21st century, an alternative form of competitive ballroom dance thrived in Europe, North America, and South America in television shows such as Dancing with the Stars. These elimination series focused largely on the personalities of the contestants, with individualization earning more points than strict adherence to the rules. Once an expression of elite society, ballroom dance has continued to expand its appeal and adapt its approach in response to the ever-changing aesthetics of contemporary culture.
Learn More in these related Britannica articles:
Western dance: Theatre and ballroom dance…in the number of public ballrooms and other dancing establishments in the fast-growing cities of the West. Here were first encountered American imports such as the barn dance, then called the military schottische; the Washington Post, a very rapid two-step in march formation; and the cakewalk, which contorted the body…
Western dance: New rhythms, new forms…a notable influence on the ballrooms.…
Arthur Murray…3, 1991, Honolulu, Hawaii), American ballroom-dancing instructor and entrepreneur who established a successful mail-order dance-instruction business and, by 1965, more than 350 franchised dance studios, including nearly 50 in foreign countries.…
folk dance
Folk dance, generally, a type of dance that is a vernacular, usually recreational, expression of a past or present culture. The term folk dancewas accepted until the mid-20th century. Then this and other categories of dance were questioned and their distinctions became subject to debate.…
country dance
Country dance, genre of social dance for several couples, the characteristic form of folk and courtly dances of the British Isles. In England after about 1550, the term country dancing referred to a dance of the upper classes; similar dances, usually called traditional, existed contemporaneously among country people and persisted…
More About Ballroom dance3 references found in Britannica articles
Assorted References
- contribution of Murray
- development of Western dance


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Campus Life
Campus Life engages in holistic student development, empowers learning and active citizenship, and enriches community through intentional programming.
Campus Life exists to support the overall mission, vision and values of the University. Students and their development are central to the mission of the Campus Life staff. We seek to achieve our mission by:
- Complementing the academic experience and encouraging academic achievement
- Promoting universal design and accessibility in both facilities and curriculum
- Helping students to develop self-responsibility and respect for others
- Working with students to build a campus community that is both supportive and inclusive
- Creating experiences that expose students to new ways of thinking and living
- Encouraging personal growth through the development of social skills, ethics and overall holistic wellness
- Developing opportunities for students to learn and practice leadership skills
- Assisting students with transition and adjustment issues
- Engaging students in various opportunities within the communities we serve
As the Center for Campus Life works together to accomplish our mission, we are mindful that the methods we employ to accomplish our goals are just as important as the goals themselves. With that in mind, in an effort to maximize the development of the students with whom we work, we are committed to:
- Promoting a safe and healthy campus environment
- Recognizing and celebrating diversity
- Serving as positive role models
- Involving students
- Providing a learning environment that is both challenging and supportive
- Assuring the presence of high quality, dynamic student services that are responsive to student needs
- Working collaboratively with other offices of the University and with the local community

subset: commoncrawl


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The International Union of Bakers and Bakers-Confectioners (UIB) declared the 16th of October as World Bread Day.
So Zorra from Kochtopf is hosting a "World Bread Day" blogging event.
Although, I didn't bake a loaf of bread for this event. I wanted to share the challah bread that I have been enjoying almost every Friday since I moved to Toronto. Challah is a braided egg bread which is soft, moist and flavourful. I think that the best challah in Toronto is from Harbord bakery. Harbord Bakery is one of the oldest Jewish bakeries in Toronto; it has been open since 1926. Other tasty treats on my list from Harbord bakery include their sweet cheese buns and rugelach.
Harbord Bakery
115 Harbord Street
416 922 5767
Technorati Tags: Challah, Bread, World Bread Day


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The author is the E.V. Baker Professor of Agricultural Economics in the Charles H. Dyson School of Applied Economics and Management at Cornell University.
If classified pricing and pooling were originally created by farmers in the late 1800s to improve their prices, does that duo still achieve those goals in 2013? If the government agreed in the 1930s to enforce this cooperative pricing system because farmers lacked the market power to fairly negotiate prices with buyers, does this market power imbalance still exist?
Price benefit boils down to two questions. One, do we still think that consumer demand for fluid milk products is the most inelastic of dairy demands? Two, is the demand for Class I products large enough to produce a noticeable benefit? In other words, are we pushing on the right lever, and do we get enough lift to justify the effort?
Some critics point to declining fluid or Class I sales as proof that classified pricing doesn't make sense anymore. Why flog the dying horse? Actually, from a purely economic perspective, the issue is not whether the demand for yogurt (Class II) or cheese (Class III) is growing at a faster rate than the demand for fluid milk products, or even if the demand for fluid milk products is falling. This view puts the blame for weak fluid milk product sales on consumer preferences for other beverages, not the price of milk. The only economically relevant question with respect to average price lift is: Are fluid milk customers still less sensitive to upward price movements than consumers of cheese, yogurt or any other dairy category?
There isn't a definitive study to prove the answer one way or another, but despite the flagging sales of fluid milk, it is still plausible that fluid product demand remains the most inelastic of the major dairy food categories. However, it is also quite plausible that the magnitude of the difference has shrunk compared to 100 years ago. Maybe it has shrunk so much that the difference is barely worth leveraging.
In the 1950s, less than half of the U.S. milk supply was covered under a federal order, but over half of the milk pooled in federal orders was in Class I, and the Class I price was generally about twice the lowest manufacturing value. It was a big lever, and we pushed on it hard.
Today, about 90 percent of the U.S. milk supply is priced under either a federal order or the California counterpart, but only about one-third of the pooled milk is in Class I. The Class I price now runs about 25 percent above manufacturing class prices. It is a much smaller lever, and we aren't pushing as hard on it.
My rough calculation is that, if we didn't have classified pricing and pooling, the new average milk price would be about 20 cents lower. Other analysts have looked at this and come up with different numbers, but not much different. On the one hand, 20 cents is 20 cents, and few farmers would turn it down as a gift. But on the other hand, 20 cents feels like a rounding error when the price of milk swings from the low or mid-teens to the low $20 over a three-year cycle.
What about market power?
The 20-cent calculation only holds firm if markets are competitive. There is no definitive economic research that answers this question once and for all either, but there are some reasons one can offer to argue for and against a referee.
When reflecting on the ratio of buyers to sellers, a bargaining edge may still belong to buyers. The figure below shows the number of dairy farms delivering milk in federal orders versus the number of federal order plants over the last 60 years. There has been more consolidation in processing than in farming. At the least, we can say, since the 1950s, farmers haven't gained any ground in the structural characteristics that underlie the market power equation.
Winners and losers?
Suppose unregulated milk markets are reasonably competitive. In this case, basic supply and demand should keep the average price of milk about where it is now, even without classified pricing. But that doesn't mean everyone gets the average price, especially without pooling.
Larger, high-quality, easily-serviced farms would have a bigger advantage. Farms nearer to market or closer to higher valued product plants would have an advantage, but that advantage only extends to the cost of bringing in the next farm's milk.
If buyers have a significant market advantage, then the price effect might be larger than simple market forces. Then we might say that regulated prices don't improve much on competitive prices, but the problem is that an unregulated market wouldn't give competitive prices. The kind of market stress that comes from buyer power tends to strain cooperative marketing and gives farm entrepreneurs even more incentives to be bold. Some would do well, others not so much.
In my opinion, we would have seen an even swifter move to fewer and bigger farms if we didn't have federal orders. Pooling and cooperative marketing are equalizers. One might argue that the two make it harder for any one farmer to leap ahead through a great marketing strategy, but the flip side is that it makes it harder for any one farmer to fall behind.
Cooperatives make sure all milk gets picked up and sold, and they work within the regulated pricing system to ensure that all farmers get an equitable share of the returns from the marketplace. Without regulated pricing, it would be much more tempting for farm entrepreneurs to leave the pack and hunt on their own.
In our current environment, successful dairy farm businesses largely distinguish themselves by their ability to manage their production. In the absence of pooling and price regulation, the opportunity to move ahead through marketing activities on the farm rises.
I would expect farm consolidation to move at a faster pace in a deregulated market, with more entrepreneurial farmers working in groups that were small in number but large in volume. These groups would integrate into downstream markets and coordinate their marketing and price negotiations. In this environment, we might think of it as dairy farm winners and losers, or maybe better described as dairy farm survivors and casualties.


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At the moment, there exist two separate kinds of people: Those who are aware of Guillermo del Toro's Pacific Rim and those who are going to be pleasantly surprised by its existence momentarily.
Alright, here's the situation: Guillermo del Toro, as you likely know, is one of our finest modern directors when it comes to fare most easily described as "science fiction," "fantasy" or any of the other film genres that people who read a website largely focused on technology and video games would most likely find entertaining. Pacific Rim, in turn, is a modern reimagining of the classic "kaiju" subgenre of science fiction films: We know little of its plot, but what we do know paints Pacific Rim as a giant monster movie similar to live-action films like Godzilla and Gamera, or anime titles like Voltron.
Not excited just yet? Then perhaps you should scroll down a bit and hit "play" on the clip embedded below this text. That clip, presented as is without any specific nods to del Toro or the film's production, is an example of viral advertising. While it doesn't explicitly frame itself as an ad spot for Pacific Rim, it does set up all of the film's key selling points — terrified hordes of fleeing civilians, frantic newsmen and women barely able to describe what they're witnessing, largely unseen yet undeniably horrifying giant monsters — while also offering just enough vague information to motivate prospective viewers to take to the Internet in a quest to discover more about this intriguing, mysterious movie.
Now that we've sussed out this clip for what it truly is, let's also fill in a few of its more notable informational black holes. First off, a release date: Barring any catastrophic changes of plan, Pacific Rim will make its US theatrical debut on July 12, 2013. Next, a cast: According to IMDB, Pacific Rim will feature a diverse cast including such noted thespians as Idris Elba, Ron Perlman, Charlie Day and Rinko Kikuchi. Lastly, what little we know of the plot: We already covered the existence of the giant monsters, but the real draw for Pacific Rim may lie not in its antagonists so much as in the way humanity fights back against its nascent abominable foes. These being giant monsters, standard weaponry has little effect on them, so instead humanity takes a page straight of the Japanese giant monster fighting handbook by sending giant, human-pilotted robots to battle Earth's latest menace. A quick Google Image Search reveals some minor images of these robots, and as you can see they feature aesthetics that are equal parts modern, Michael Bay-esque CGI, and classic Japanese monster movie-style fighting 'bot.
Now that you've been brought up to speed, how are you feeling? Excited? Underwhelmed? A bit worried to see viral advertising already rear its ugly head in the lead up to a film whose premise should automatically sell the project to anyone who has any concept of what the word "cool" actually means? Regardless of how you feel, the important thing is that you're now aware of Pacific Rim. With that, our job is done and we can collectively go back to awaiting what might very well be the resurrection of the painfully-dormant kaiju subgenre.
Editors' Recommendations
- To drive its giant virtual world, Ready Player One needed a custom A.I. engine
- Facebook is using A.I. to create the world's most detailed population maps
- Everything we know about the upcoming Hellboy movie
- Hellboy review: A gory, entertaining reboot that sells its soul for spectacle
- Food-delivery service Doordash is now serving customers in all 50 states


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Across the eastern Horn of Africa, more than 11 million people -- a number greater than the populations of Houston and New York City combined -- are currently in need of emergency assistance to survive. On July 20, 2011, the United Nations declared a state of famine in southern Somalia. Secretary of State Hillary Rodham Clinton said:
"The United States is deeply concerned by the humanitarian emergency in the Horn of Africa and today's announcement by the United Nations that a famine is underway in parts of Somalia. The United States is the largest bilateral donor of emergency assistance to the eastern Horn of Africa. We have already responded with over $431 million in food and non-food emergency assistance this year alone. But it is not enough -- the need is only expected to increase and more must be done by the United States and the international community. That is why today the United States government is providing an additional $28 million in aid for people in Somalia and for Somali refugees in Kenya."
Following the UN announcement, U.S. Agency for International Development (USAID) Administrator Rajiv Shah traveled to the Wajir and Dadaab refugee camps in Kenya. Administrator Shah said, "I saw child after child weary from their long journey to the camps, eager for their first meal in days if not weeks. Seeing a child in such a fragile state -- witnessing just one child face such difficult circumstances -- is heartbreaking. Knowing that millions of children face a similar fate in the coming months unleashes a sense of profound sorrow."
You can learn more about the crisis in the Horn of Africa and how you can help here.
In other news from the continent, U.S. Special Advisor for Conflict Diamonds Brad Brooks-Rubin provided an update on the impact of the Kimberly Process in the Central African Republic, and Ambassador Earl Irving described the U.S. partnership with Swaziland to combat HIV/AIDS. The Department of State's Coordinator for Cyber Issues Chris Painter will join representatives from Burundi, Kenya, Rwanda, Tanzania, and Uganda for the East Africa Cyber Workshop July 25-27 in Nairobi, Kenya.
President Barack Obama and First Lady Michelle Obama recognized Nelson Mandela Day. In a statement, President and Mrs. Obama said, "As the people of the world celebrate Nelson Mandela's 93rd birthday on July 18, Madiba continues to be a beacon for the global community, and for all who work for democracy, justice and reconciliation. On behalf of the people of the United States, we congratulate Nelson Mandela, and honor his vision for a better world."
Dr. Jill Biden, Second Lady of the United States, led the U.S. Presidential Delegation to Women's World Cup Soccer Final in Germany. While the outcome of the game was not the one we had hoped for, Dr. Biden reminded us that Team USA remains a "source of pride, unity, and inspiration for millions around the globe -- especially girls and other young athletes who know the power that sports have to change lives."
Last week, young men and women from 14 countries completed training sponsored by the Office of Weapons Removal and Abatement that will help them change lives by equipping them to lead efforts to make local communities safer. Meanwhile, Mexican high schools students traveled to the United States to participate in the Jovenes en Accion exchange program, an initiative that helps develop leadership skills and fosters civic engagement. Finalists from the global competition "Sustainable Urban Housing: Collaborating for Livable and Inclusive Cities" joined practitioners from the public and private sectors to exchange ideas in Washington, D.C. about the challenges of urbanization.
Special Representative Reta Jo Lewis underscored the important role cities and states play in international affairs, as the U.S.-China Governors Forum marked historic steps in subnational engagement -- including the launch of the Utah-Qinghai EcoPartnership. In other regional news, Pacific Partnership concluded its 2011 humanitarian mission in the Federated States of Micronesia. Special thanks to Tom Weinz, Pacific Partnership's dedicated Foreign Service Liaison Officer, who provided us updates throughout the duration of the mission.
Secretary Clinton was also in the Asia-Pacific region last week, as she continued her travel to Turkey, Greece, India, Hong Kong, and China. In New Delhi, the Secretary opened the U.S.-India Strategic Dialogue and met with Indian External Affairs Minister S.M. Krishna. In Chennai, she celebrated the accomplishments of the Working Women's Forum and delivered remarks on U.S.-India relations in the 21st century. Secretary Clinton said, "...We understand that much of the history of the 21st century will be written in Asia, and that much of the future of Asia will be shaped by decisions not only of the Indian Government in New Delhi, but of governments across India, and perhaps, most importantly, by the 1.3 billion people who live in this country."
Following her visit to India, Secretary Clinton traveled to Indonesia, where the Secretary participated in the U.S.-ASEAN Ministerial Meeting, the U.S.-Lower Mekong Ministerial Meeting, and the first ASEAN Regional Entrepreneurship Summit. The Secretary also met with Indonesian Foreign Minister Marty Natalegawa and Chinese Foreign Minister Yang Jiechi.
While in Indonesia, Secretary Clinton also addressed the horrific attacks in Norway. The Secretary said, "...I want just to express my heartfelt sympathy and solidarity with the people of Norway. The United States strongly condemns any kind of terrorism no matter where it comes from or who perpetuates it, and this tragedy strikes right at the heart of the soul of a peaceful people. Norway is well known for its efforts to resolve conflicts, bring people together, it sets a high example for social entrepreneurship. And this terrible event is especially heartbreaking because so many of the victims were young people under the age of 25, and our hearts go out to their families and to the Norwegian people and government. And this just reminds us what a precious gift we all have of our lives, and I think we are called to make the most of it for ourselves, but also for our communities, our countries and humanity."
Tonight, Secretary Clinton will deliver remarks in Hong Kong, where she will address "Principles for Prosperity in the Asia-Pacific." You can watch a live webcast of her remarks on www.state.gov and DipNote at 12:00 a.m. Eastern Time/ 9:00 p.m. Pacific Time. We hope you will be able to join us for this event!
Helal U. in Bangladesh writes:
I am Helal Uddin. i am s Bangladeshi. and i am interesting for migration in USA. because i want build up life.
it's beautiful country.please give me opportunity. Thanks
Helal U.
Dist : Pabna
Jesse C. in Kansas writes:
hey i think u should legal lise mary jane you will get us out of debt i mean 4real just it man theres is alot of people that smoke so just legal lise mary jane aka weed and you will get us out of debt quick
W.W. writes:
Yes Week End :
@ Helal Uddin
Hey I am interested in migration to Bangladesh I 'd like to rest on beach drinking Duff beer Doh! and open a company ...
I d like to rent surfing tools for surfer but above all i want to escape from the corrruption of corporate companies who are making everyone poor in the whole planet just to enrich a society which has no right to be.
can u help?


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Musician Chris Randall: Music Has No Monetary Value But The Connections It Forms Are Priceless
from the your-reputation-is-your-currency deptGuitarist Chris Randall, formerly of Sister Machine Gun (and founder of Positron Records, along with running plug-in creator Audio Damage) has an epic post detailing his thoughts about the music business (and the recording industry) and the monumental changes it has gone through over the last decade. He pointedly declares that his post (in PDF form, due to limitations of his site) is not a manifiesto. Randall calls it "more of a mission statement, really," and it does exactly that, with many stops along the way.
The underlying current of the piece is that music (along with other forms of art) cannot honestly be discussed in terms of monetary value. The sale price of an mp3 or an album has very little to do with how the fans value the music. No one talks up how much they spent on something when discussing their connection with a band or singer. Instead, they talk about more ethereal concepts, like where they were when they first heard a certain track or who turned them on to a certain band. Randall gives a personal example, as seen through the artist's eyes:
The funny thing about music is that people can tie a certain song to a specific event in their life that occurred when they heard that song; the two become inseparable... I first noticed it in 2004, on the last real tour I did as a performing artist. The first day of the tour, I was in the audience waiting for the opening band to go on, and someone came up to me and said "it's so cool you're here! The first time I heard you was..." and then went on to describe a particular life experience that was occurring when he first heard a song I wrote. There were over sixty shows on that tour, and a night didn't go by that I didn't hear that speech, or a variation of it, at least once. It quickly became a running joke, The First Time I Heard You, and soon after that it became a conversation I dreaded. It was a heart-rending thing to hear, night after night, because I thought they were saying "you used to make things I liked. Now you don't, but I'm here out of nostalgia." It took an epiphany to realize that the First Time I Heard You conversation is is meant as a sincere form of flattery. "You are an ARTIST. You created something that MADE ME FEEL. This is IMPORTANT and I need to TELL YOU so you know that we have a CONNECTION."This led Randall to the following conclusion:
That epiphany, and a realization that the act of creation can and should be entirely decoupled from the business of commerce, is what I want to talk about. In fact, let's boil it down to a pithy aphorism: the coin of this realm is reputation, and our imagination is an ATM.Many artists and (especially) artists' "representatives" have argued that the current market for all things artistic is unsustainable, a race for the bottom fueled by cheap technology and piracy. That their efforts have done little to reverse the process hasn't made them any happier and it certainly hasn't made their few, minimal attempts any smarter or any more effective. Randall went through the whole process as an artist, having the "rug yanked out from under him," and joining the chorus of disaffected artists cheering on the destruction of their former employers. This cheering, while admittedly fun, did little to actually change anything. Major labels kept acting like major labels, signing everyone they could talk into a contract. Meanwhile, the internet changed things for those wired into it, with little effect anywhere else:
There was a brief period where it was kind of fun to watch the entire music industry collapse in on itself, like a dying star. Can we get more of Metallica suing people for liking them, please? But Seans Fanning and Parker didn't make Napster because they were moved by the plight of the working musician. They did it because they could, and the act itself, the act of petulant children bent on destruction, was nothing more than a path to greater things for them, increasing their reputations. The music industry, for its part, was eminently destroyable, as it had created an economy of artificial worth, by virtue of its "throw all the spaghetti at the wall and see which noodles stick" business model.Napster effectively made music free, and yet, for several years, record labels continued to overspend and overvalue their own music:
That's fine, and business is business, but the problem is that all those bands think they are special flowers (and the labels are in no small part enablers of this thinking; they spend a lot of time and effort making those artists feel like special flowers), and if their record cost $500,000 to make, then it is worth $500,000... Simple economics: a product's worth is what someone will pay for it, for the most part, not what it cost to make. Hence the utterly false values ascribed to music today.Plenty of new services have arrived which seem to push the "value" of music down even further. Lots of criticism has been leveled at Spotify for its "low" payouts. Artists have noticed that streaming services' per-play rates aren't going to be much help if you've sunk thousands of dollars into recording an album. This isn't the listening audience's fault, though. This is still just a matter of artists valuing their art above what the market will actually bear. Randall points out that, if anything, Spotify's per-play rates are too high, if compared to the public's valuation of the music in question:
Something happened to me a little while ago that makes me think the Spotify valuation is high, if we're using currency as our means of valuation. SomeoneI know, who is in the military, was recently deployed to Iraq. While she was there, a friend of hers gave her a portable hard drive with 250,000 songs on it...So, if it can be argued that the monetary value of music is zero, how does any artist hope to make a living? Randall argues that the first step is to realize that music's power to create emotional experiences is "priceless" (in the good sense of the word) and work from there. The true potential lies in the connection, not the value ascribed to someone's songs by an outside force.
To her, this hard drive was "cool," and furthermore "a neat present." That it contained roughly 1/8th of all the commercial music ever recorded by Western civilization didn't change the fact that, on a visceral level, the worth of it to her was essentially the cost-of-replacement of the physical drive itself, because she could always get another copy. If you want to affix an actual monetary value to music, that value is now, and ever was, a function of two things: the true cost of the medium it is stored on, and how easy that medium is to duplicate. The quarter million dollar fine the U.S. government could theoretically levy as punishment for copying that hard drive reflects the false economy the labels have created, not the actual value of the music itself.
To be clear, I am in no way implying that art doesn't have intrinsic value. But that value is not quantifiable in dollars. If we extrapolate the cost of that hard drive to the individual songs, we can say that each song cost roughly 4/100th of a cent. While this is about 2/3 of the payment for a typical Spotify stream, the money went to the drive retailer and the manufacturer that made it, and none whatsoever went to any artist, publisher, or label.
As an artist, if you choose to fight this battle over monetary value, know this: you will lose. That is a foregone conclusion. In fact, you have already lost. All of that nonsense with numbers and who's getting paid and whether life is fair or not is all inside baseball, and the average person (the one ultimately footing the bills, it must be said) couldn't give two shits. To them, pieces of art are tied to memories and experiences; they are either trying to recapture the emotions they felt when they first experienced the art in a particular context, or trying to create new emotions to go with new contexts. They are willing to spend a certain amount of money, for altruism's sake, if it's convenient.This is where the artist needs to step in and connect. Not only are they fighting against a zero-dollar valuation, they're also competing for the hearts and minds of potential audience members (and customers) who are blessed with more choices than ever before. Barriers-to-entry are all but gone and the world is filled with people creating because they suddenly find that not only are the tools more powerful, but the options for dissemination are nearly endless. If you can get past the "valuation" issue, you can do great things, and quite possibly, make some money as well. But first you've got to do some letting go.
[I]n my honest assessment, the opportunities are far greater now, and the rewards as ample or perhaps even more so. It's easy. Just forget about money. Seriously. Let it go. You're not getting paid? Join the club. Robert Johnson and Scott Joplin were the founding members. Muddy Waters, HP Lovecraft, and Jackson Pollack each got an achievement award. David Crosby gets the Bad Life Decisions Honorable Mention. You're in good company. You should be proud.Randall points out that he's not trying to make the case that creating art in hopes of making a living is the wrong angle to take. As he says, there are still several creative people collecting paychecks, including session musicians, graphic designers and various positions in the game, computer and television industries. He also makes it very clear that he's not, for lack of a better term, One of Us. [broad emoticon wink at TD regulars]
Neither do I want to come off as a neck-bearded freetard. Nothing could be further from the truth. There are not many groups of people I disdain more than the Doctorow mashup crowd and their inspired thinking that art + art = better art, and everybody has the right, nay, the responsibility to make their own Mickey Mouse movies. If that's the sort of thing that floats your boat, so be it, but on your head.Randall offers this alternative plan for struggling artists: the currency of reputation. Build a solid one of those and people will throw money at you. He points out the astounding success of Amanda Palmer's Kickstarter project. Did she need all that she collected to move forward with her career? Very definitely, no. But people showed up in droves and helped her, as Randall puts it, "cash in some of that reputation for real-world money." The same thing for Penny Arcade, who "chose to cash in their reputation that they earned through years of slogging it in the trenches." Your first step as an artist is to start "banking" reputation.
These Reputation Credits, an arbitrary unit of my own devising, are a reflection of how earnest you are in tending your public-facing persona... [I]f you contribute to the human cultural experience, you do earn them, and the more you contribute (or, perhaps, the higher the quality of your contributions) the more you earn. You can then turn these in for real-world dividends that can, for instance, pay the rent or buy sushi.And how, exactly does on do that? By utilizing these four steps, many of which echo a familiar mantra around these parts:
Make art.There's a ton of great writing and insight in Randall's wordbomb. (It runs over 4,400 words.) I encourage you to take a look at the whole thing. It's not often a musician will offer up this sort of clearly-laid-out perspective on the last decade+ of the music world.
Put it in front of as many people as possible.
Engage the resulting audience.
The more you do this, the better you'll get at it, the more Rep Credits you'll have, and the further they'll go when you need to spend some of them. People want to be entertained. They'll go all honey badger on some good entertainment. Give it to them, for fuck's sake, and stop bitching about money. That'll come in its own good time.
Filed Under: chris randall, connections, future, music, sister machine gun, value


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I love going to sitcom tapings even though it can be time-consuming. It's a very fun way to see actors, writers and directors work, upclose and personal.
I try to catch at least one show per month and this month it was "The Exes," the new TV Land comedy starring Kristen Johnston, formerly of "3rd Rock From the Sun."
Going to tapings at CBS Radford is a very pleasant experience. Parking is free. The CBS Pages are professional, nice and friendly. The studio is comfortable but chilly, so I bring a jacket. The warm up guy isn't annoying and they feed you a snack after 3 hours. Not all shows do that. Some don't even let you bring water and there's nothing to drink, which does not work for me. At CBS Radford tapings, there are prize giveaways too. This time there were tickets to the Laugh Factory, t-shirts, an iPod and a few signed scripts of the specific episode, which was what I really wanted.
The cast definitely interacts with the audience between takes and sometimes in the middle of a take, if they make a funny mistake. It's important to keep the audience cracking up and laughing loudly to keep the show live, fresh and bring out the actor's comedic timing. Johnston dropped the "F" bomb a couple of times and had us all hysterically laughing. In this case maintaining energy even on the third take of the same scene was easy because the show is very funny.
The taping I saw will be the third episode of the show that airs on TV Land in the fall and was called "An Inconvenient Tooth."
I want to write a spec script for the show so I can try to get my foot in the door as a television writer. I was thinking about that as I drove to the studio with my dog walker, Julie and her beautiful actress daughter Nicole, who won at "Let's Make A Deal," which I wrote about in another blog.
I knew winning that script would mean getting over any lingering stage fright because on previous shows, the warm up guy, Allan Murray, loves to get his victims dancing, answering questions or other goofy things to win a prize. I decided that Nicole, an actress and dancer should do all the embarrassing stuff and win me the script. She agreed.
The first time Allan asked for dancers, I loudly volunteered Nicole to go up and do her thing and of course she had the crowd going, but after several times up in front of the crowd, she still hadn't won the script.
I decided I had to go for it myself and the funny thing was, I did actually win the script. I got caught up in the moment, danced my booty off, talked to Alan about the interesting coincidence that Nicole saw a teacher in the audience that taught at her school, Kehrs Mill Elementary in Chesterfield MO., and she turned out to be the actress, Kelly Stables', mother! This entertained the audience with my brash, silly side and I had absolutely no stage fright. I wish I could control that.
I finally blantently told Alan I really wanted the script and he gave it to me saying, "Okay, okay, okay, Cassandra!" The squeaky wheel get's the grease?
Cassandra M. Bellantoni is a Los Angeles freelance reporter, producer, video editor and featured front-page blogger on Huffington Post. She is also a former chef, restaurant owner and breast cancer survivor. Follow her on Twitter @StarShineSpeaks or email firstname.lastname@example.com


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Knights of Columbus tops $90 billion of life insurance in force
The Knights of Columbus insurance program passed a major milestone when total insurance in force exceeded $90 billion in June. The amount of life insurance in force has more than doubled from $40 billion since Supreme Knight Carl Anderson took office in 2000.
Established in 1882 as a Catholic fraternal benefit society, the Knights of Columbus has worked to enable members to protect their families' financial futures from the very beginning. What began as a "pass-the-hat" benefit program has grown into one of the nation's premier insurers. The K of C now offers a diverse portfolio of permanent and term life insurance, disability income insurance, annuities, and long-term care programs to members and their immediate families.
"Protecting the financial viability of Catholic families has been important to the Knights since our founding, and the milestone of $90 billion in coverage means that we are meeting the needs of more families than ever," said Supreme Knight Anderson. "Our members come to us and stay with us for their insurance needs because they know they will be treated like family and will receive excellent value and products from their agent who is a brother Knight, backed by an organization whose rating for financial strength is second to none in North America."
The Knights of Columbus has more than $19.8 billion in assets under management and ranks among the Fortune 1000 list of America's largest companies. Every year since 1975, the Knights has earned the top rating of A++ (Superior) from A.M. Best, a global leader in the rating and credit analysis of insurance companies. There is no insurer in North America with a higher rating.
As a fraternal benefit society, the Knights of Columbus uses much of the proceeds from its insurance program to directly fund charitable projects and to provide support for the charitable work of its approximately 15,000 local councils. One of the most active charitable groups in the United States, Knights of Columbus members last year set records despite the weak economy by providing nearly 70 million hours of charitable service and more than $167 million in donations to charitable causes. During the past decade, the Knights of Columbus has donated more than $1.44 billion to charity and provided nearly 673 million hours of volunteer service in support of charitable initiatives.


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The MapTools and S2000 Dboard integration with WEBFLEET.connect allows the dispatcher to send job/order information and destination information to a vehicle equipped with the TomTom PRO navigation device with just one click. This information is received as a work order on the device. The technician is notified of the new event through a simple message icon. When the job is accepted, the TomTom PRO navigation device will automatically provide turn-by-turn navigation to the destination of that particular call. Acknowledgement and Job Status changes (received, read, in-route, started work, completed work) will automatically update the S2000 DBoard once the technician updates the information using the touch-screen device in the vehicle.
S2000 Service Software LLC makes scheduling timely service calls easy and efficient Product users range from companies with 2 techs to ones with over 100 service trucks. We serve HVAC, plumbing and service and maintenance businesses that want an easy to use, yet powerful office management and dispatching application. S2000 daily dispatches and tracks over 25,000 work orders daily which can now be fully integrated electronically from the remote service truck to the office financials.


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I'm back from Vegas and while I left all my money there, it doesn't mean I need to be as stingy as a slot machine, so we're having a contest!
With the Canucks celebrating their 40th anniversary season, there are many memorable Canucks moments that fans can recollect. Some may be game related, some may not be but everyone has one.
To celebrate those moments we asked our writers to give us their favourite Canucks moment, and we're asking you to do the same. In return for your input and a couple of other criteria you'll get a chance to win a signed Dan Hamhuis jersey, courtesy of CanucksCorner.com and the Vancouver Canucks.
What do you have to do to for a chance to win?
- Comment below with your favourite Canucks memory.
- If you're not a fan of our Facebook page, please become one!
- Tweet the following: "I shared a #Canucks memory @CanucksCorner for a chance to win a signed Dan Hamhuis jersey from @VanCanucks! http://tinyurl.com/4gdzehz"
As an added bonus, Justine Galo is throwing in a $50.00 gift certificate to the Canucks team store for another lucky winner!
We'll run this contest for a couple of weeks and then choose the winners via a random draw. Good luck!
Canuckscorner.com favourite Canucks memories
Brian Wawryshyn
My favourite Canucks memory is as a kid, hanging out on the bowels of the Pacific Colosseum. My dad would take us down after a game and we would wait for the players to come out of the dressing room to sign our autograph books. Just a wide eyed kid who was in awe of players like Stan Smyl, Thomas Gradin, Harold Snepsts, Bill Derlago, Rick Lanz and many others. It was a different time, when players were more accessible, and they would walk out of the dressing room past waiting fans. It was the beginning of my life as Canucks fan, and I'll never forget it.
Justine Galo
Yes, this has got to be most memorable moment. My then three year old daughter was hooked on hockey. It was great to see her cheer for our boys and see her reaction to the crowd and take in the atmosphere of a hockey game. She got her hot dog, her drink, her Canucks shirt and she was all set and very happy. Passing on the love of hockey to my child to me is my most fond memory. It's wonderful to know that she can share something I am so passionate about.
Yeah those are some pretty big memories for me as a hockey fan, and especially a Canuck fan. I just wanted to share them with you all out there. Remember why you love this team and why you love hockey. It's beyond what goes on in the game.
Jason Kurylo
My family was not rich by any means, so Vancouver Canucks games even back in the day were stretching the household budget. Also, my dad had long since tired of the bloody knuckled fisticuffs of the Broad Street Bullies and the Big Bad Bruins. My mom knew how much I loved hockey, though, and saved pennies to take me to one game for my birthday every year. Thus, my favourite Canucks memory is actually a collection of games over the years, always in February, and usually that game was against those very same Boston Bruins.
Back in the 70s, the Canucks were perennial also rans. They were our team, you know – the Dunc Wilsons, Don Levers and Ron Sedlbauers. Later, the Harold Snepsts, Stan Smyls and Thomas Gradins. But most years there wasn't much to cheer for come springtime. So people here were Canucks fans in the regular season, but we had a playoff team. Mine was Boston. I was too young to see Bobby Orr play in person, sadly – but I did see Rick Middleton, Terry O'Reilly, Jean Ratelle, and my favourite goalie to this very day, Gerry Cheevers. Every year, I got to see NHL hockey for my birthday – my two teams – and it was a special night out for this young lad and his mom. The Bs really were big and bad – and the Canucks offered up fists and lumber to match: Snepsts, Smyl, Curt Fraser, Tiger Williams, Ron Delorme, even Colin Campbell. (Yes, that Colin Campbell.) Games usually wound up with the Bruins winning, but along the way there were as many players in the penalty boxes as on the benches. It was all a nine-year-old boy could hope for.
One year, Stan Smyl took a slapshot from centre ice that was so hard, it got stuck in the Boston goalie's skate. The referees, the players, even Stan himself had no idea where the puck was for a good 30 seconds. At that time, there was no instant soft rock streaming through overly loud speakers. The organist was too curious as to the puck's location to play anything. The whole arena buzzed over the mystery – "Huh?" "Wha–?" "Where'd it go?" Finally when the puck was located, everyone in the building had a good laugh as the organist finally gained his senses and played a Vaudeville rag.
Today I can't stand the fisticuffs in the game. Okay, if two talented players get pissed off at each other and throw down the mitts, fine. I just have no time for full-time enforcers, players with hands of stone who line up at centre ice and choreograph fights before the puck is dropped. As much cement as they had between their ears, guys like Williams and O'Reilly could genuinely play the game. Old-time hockey, it was, and it holds a special place in my heart.
James Edgington
Whilst I have witnessed through magic of television some amazing Canucks moments, I am confident my best and most memorable Canucks experience is yet to happen. This will be when I have the opportunity to indulge 1st hand the atmosphere, energy and pride in standing shoulder to shoulder with fellow Canucks fans. Solidifing my long distance passion for the team.
Living in England and enduring the minuscule coverage of the NHL and hockey, I am sorry to say that I missed the defining Canucks moments such as the '82 and '94 cup runs and have been unable to witness many of the great Canucks players. The UK launched it's fourth TV channel in 1982 and this was the only channel to show over seas sports. Sadly hockey wasn't included in this.
That said, to date my proudest memory as a Canucks fan was seeing my beautiful new born little girl sporting a Vancouver Canucks baby grow. She's now two and a half and with little to no encouragement will pick up anything hockey stick shaped and pretend to skate. I'm sure every Dad will identify with the chest swelling emotion of sharing their sport with their child. So no, I have yet to experience the Canucks 1st hand but I know that when I do, one of the fellow Canuck fans standing there, will be my little girl.


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Television star Angela Rippon waltzed into town to help a Doncaster nursing home celebrate its 30th birthday.
The Alzheimer's Society ambassador paid a visit to Bennfield House Nursing Home in Thorne to celebrate the milestone and chatted with residents and staff who had made a cake to mark the anniversary.
Angela toured the home during her visit and was joined by Doncaster resident Trevor Jarvis, who lives with dementia and is also an Alzheimer's Society ambassador.
Angela works tirelessly to support the work of Alzheimer's Society and co-chairs the Dementia Friendly Communities Champions Group, which focuses on improving inclusion and quality of life for people living with dementia.
She said: "With an ever growing number of people living longer with dementia, it's more important than ever that we all have a better understanding of the condition and ensure our care homes and their staff are equipped and trained in how to care for people living with the condition."
Residents, families and staff at the home enjoyed the celebrations with afternoon tea, the annual presentation of staff awards and X Factor finalist Alan Turner who provided the entertainment.
Matron Penny Bennett said: "We are delighted Angela was able to find time in her very busy schedule to come and visit us at Bennfield House and help us celebrate this very special anniversary.
"The residents were really pleased to see her and she is so obviously dedicated to supporting people with dementia and ensuring that support and services for them continue to improve.
"We would like to thank her for her kindness in visiting us and adding some celebrity sparkle to our celebrations."
Liz Williamson, operations manager for Alzheimer's Society in Doncaster and Rotherham, said: "It was a pleasure to be invited to join in their celebrations.
"It is so important that communities support people living with dementia throughout their journey from diagnosis right through to a residential setting, if this is appropriate for the individual, and provide high quality dementia specific care."


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Ichinomiya (Aichi)
Ichinomiya (一宮市) is a city in Aichi - after expansion in 2005 to include nearby Bisai and Kisogawa, it is the 4th largest city in the prefecture. Ichinomiya is historically a center for woolen textiles, and many aspects of textile production still flourish in the city, such as world-famous yarn manufacturer Eisaku Noro.
Get in[edit]
Ichinomiya is roughly halfway between Nagoya and Gifu. By rail, take the JR Tokaido line from Nagoya to Owari-Ichinomiya (9 mins, 290Yen), or the Meitetsu Nagoya or Bisai lines. By road, Ichinomiya is accessible from the Toumei, Meishin, and Tokai-Hokoriku expressways.
Get around[edit]
See[edit][add listing]
The tower is surrounded by parkland, which is especially pleasant during cherry-blossom season. The park is easily accessible by bus from Ichinomiya station.
Do[edit][add listing]
Buy[edit][add listing]
If you knit or sew, then Ichinomiya is a must-visit on your Japanese travels. The side-streets surrounding Masumida Shrine are a treasure-house of locally-produced yarns and fabrics.
Eat[edit][add listing]
Drink[edit][add listing]
Sleep[edit][add listing]
Accomodation is mostly in the form of business hotels, and several chains (Toyoko Inn, Route-Inn, City Hotel, Green Hotel) have branches near the station.
If you drive, there are also large belts of love-hotels off the highway, at both ends of the city limits!
Ichinomiya city council: [1]
Get out[edit]
Nagoya - The main center of Aichi Prefecture, is just a short ride to the south by train.


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6-Inch, 300 DPI Ethernet Printer Label Now Available
Tharo Systems' H-600 Series, 6-inch wide, thermal transfer bar code label printers feature a durable all metal construction with a cast aluminum center wall for added strength.
The printer features a high-speed USB 2.0 interface for super-fast data transfer, a Real-Time Clock for time and date stamping of labels, and ethernet adapter. A large media window allows for easy viewing and monitoring of supplies.
Tharo H-600 Series printers also ship with a free version of Tharo Systems' EasyLabel Start software for custom designing and printing labels.
The printers have a suggested list price of $2,245 USD for 203 DPI and $2,445 USD for 300 DPI.


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Mah Jongg & Canasta Play Sessions
Name: Mah Jongg & Canasta Play Sessions
Date: November 12, 2018
Time: 12:30 PM - 3:30 PM EST
Website: http://www.jcconline.com/pbg
Event Description:
Mah Jongg & Canasta Play Sessions
Enjoy meeting new people while playing in a casual, friendly environment designed for all levels of play. Tables grouped by game preference and, when possible, level of skill.
Coffee, cold beverages and a variety of goodies provided.
> Mondays and Wednesdays; Ongoing; 12:30-3:30 PM
Free/ Member; $5 Guest


text: Welcome to the Berglund Chrysler Jeep Dodge RAM Roanoke, VA used car inventory page. Located at 2525 Franklin Rd SW, Roanoke, VA 24014, we provide customers from places like Rocky Mount, Christiansburg, Blacksburg, Salem, and Lynchburg, VA with not just a vast new car inventory, but also an extensive inventory of used cars, trucks, SUVs, and vans in Roanoke, complete with every make and model you could want. To ensure quality, every vehicle has been carefully inspected by our technicians and comes with a CARFAX Report. To locate a particular vehicle year, make, or model, choose a search feature from the options below. Feel free to contact us directly or call us at (877) 744-5338 if you have any questions, especially ones about our sales and financing processes. You can also check out our used car specials for deals. Thank you for making us your destination for used cars in Roanoke, VA!


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Emma Roberts stars in Hotel For Dogs, which is in theaters now.
She has a long-haired Chihuahua named Twiggy, and pampers her little princess.
"My dog has a dog bed in every room in the house," she tells me. "I have little dog beds everywhere. She's really cute. My sister goes and pushes her around wherever in her baby doll stroller. My sister's 7, so she loves playing with the dog."
Julia's niece, 17, is the ideal big sis.
"We usually like to hang out together at home just because I'm always away working," Emma says. "It's nice to go see a movie together or cook together, watch TV, read together, hang out."
Does her former Nickelodeon channel mate Jamie Lynn Spears ever stop over? "I haven't talked to her in years, actually," she says.
Emma's costar, Jake T. Austin, has two dogs named Bogey and Beju.
How does he spoil them?
"My dad owns a restaurant, so we joke that my dogs eat like kings and queens," the Wizards of Waverly Place star, 14, tells me. "He'll take home spare filet mignon, and my dogs will eat that. They eat and live like kings. We have a huge property and a really nice house. I don't think they realize how lucky they are."
What is his Wizards costar Selena Gomez really like?
"She's very nice, funny and comical. Sometimes we go to dinner, movies. I taught her how to surf. She learned fast. She's a good surfer now. David Henrie is a little slow, though."
Hotel For Dogs is in theaters now.


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Study By American Museum Of Natural History Paleontologists Reveals Timing Of Physical And Sexual Maturity Among Dinosaur Ancestors To Birds main content.
Paleontologists examining the growth rings in fossilized dinosaur bones have discovered that sexual maturity among bird-like dinosaurs, unlike modern birds, likely occurred well before the animals had grown to full size. The findings appear online in the journal Royal Society Biological Letters and may help reveal the reproductive lifetime and other traits of the long-extinct animals.
The scientists from the American Museum of Natural History, Florida State University, Science Museum of Minnesota, Montana State University and Chinese Academy of Sciences studied the annual growth rings in the bones of all seven non-avian dinosaurs whose fossilized remains have been found in brooding position on or near a nest. By counting the growth rings, which are similar to the rings in trees, paleontologists can determine how old a dinosaur was when it died. Non-avian dinosaurs like the ones the group studied are the closest extinct relative to modern birds, which are considered to be living dinosaurs.
Most birds grow rapidly after they hatch, attaining their full body size within their first year and giving them the ability to evade predators from an early age, but are generally not capable of reproducing until much later in life. In other animals closely associated with dinosaurs, such as Crocodylia (alligators and crocodiles) and Squamata (lizards and snakes), individuals are capable of reproduction well before they attain their maximum size.
The dinosaur specimens the group analyzed ranged in age from six to 18 years when they died and, in addition to exhibiting nesting behavior, five out of seven had not stopped growing.
"This tells us that dinosaurs in the Cretaceous period had not yet evolved to the point that they exhibited bird-like reproductive characteristics," said Greg Erickson, a Research Associate at the American Museum of Natural History and associate professor at Florida State University, as well as lead author on the paper. "They had many other qualities in common with modern-day birds, but they obviously still had a long way to go."
The findings enabled the team to calculate several other characteristics of dinosaur life. For example, they estimate that non-avian dinosaurs from the genus Citpati had a reproductive lifespan of seven to nine years and may have laid 140 to 180 eggs during that time. They also conclude that, despite the appearance of many modern bird-like features such as hollow bones and feathers, the life history of non-avian dinosaurs still differed substantially from that of modern birds and, they write, "late avian maturation evolved no earlier than the genesis of the first bird, Archaeopteryx in the Jurassic period."
The study also included work by Mark Norell at the American Museum of Natural History and was supported by the National Science Foundation.
Media Inquiries: Department of Communications, 212-769-5800


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Plano-Convex (PCX) Axicons
Plano-Convex (PCX) Axicons
Plano-Convex (PCX) Axicons feature one conical surface and one plano surface. They are used to produce a non-diffractive ring-shaped beam that increases in diameter over distance while retaining a constant ring thickness. When used with a collimated Gaussian beam, Plano-Convex (PCX) Axicons create an approximation of a Bessel beam ideal for a range of medical, research, measurement, and alignment applications. They feature a precision fused silica substrate and are available uncoated and with a wide selection of anti-reflection (AR) coating options.
Note: For more information on Axicons, please review our application note: An In-Depth Look at Axicons.
A Bessel beam is a non-diffractive beam comprised of rings equal in power to one another. Although Bessel beams are only theoretically possible because they require an infinite amount of energy, the output of Plano-Convex (PCX) Axicons offer a good approximation by maintaining a high level of the non-diffractive Bessel beam properties.
The ring thickness (t) is easily defined by taking ½ of the beam diameter (db):
The diameter of the ring (dr) is defined using the length from lens output to image (L), the index of refraction of the lens material (n), and the angle a:
For optimum performance, we recommend using Plano-Convex (PCX) Axicons in conjunction with one of our beam expanders in order to ensure a beam diameter of at least 50% of the clear aperture.


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Mack Statham, 78, of Laurel, organist at First United Methodist Church and a composer whose "Trilogy of Dreams" was performed each of the last six years at Laurel's Sing for King commemoration of Dr. Martin Luther King Day, died Sept. 2.
Statham was born on Sept. 24, 1934, one of seven children of the late Tas and Betty Statham of Sparrows Point in Baltimore. He received a bachelor's degree in music education from Hampton Institute (now Hampton University) in Virginia in 1956. During his years as a student, he performed piano and organ concerts at historically black colleges throughout the South.
He taught music at public schools in North Carolina, Delaware and Baltimore, and also served four years as a missile officer in the U.S. Army, attaining the rank of 1st lieutenant. In 1967 he joined Aetna Life and Casualty, from which he retired in 1990 as underwriting manager and second in command at one of Aetna's top-performing branches.
As he pursued his career, Statham never stopped playing and composing music. He was minister of music at Metropolitan United Methodist Church in Baltimore for 20 years, and also served Asbury United Methodist Church in Washington, before becoming organist at First United Methodist in Laurel. Over the years he played as a concert performer with symphony orchestras and major performing artists throughout the United States, and played the organ postlude for the National Prayer Service of President Clinton's inauguration celebration in 1997. He received an honorary doctorate of music from Virginia Seminary and College (now Virginia University in Lynchburg), and was named an Alumnus of the Year by Hampton University. From 1995 to 2010 he taught at the Laurel School of Music. He was a member of the Laurel Rotary Club.
In 2007, Statham recruited the Sing for King Choir, singers from numerous area churches and synagogues, and instrumentalists from area military bands, to perform a concert in connection with Martin Luther King Day in January 2008. The featured work was Statham's moving 1988 composition, "A Trilogy of Dreams," based on three spirituals beloved by Dr. King. This Sing for King concert became a Laurel community tradition during the past six years on the eve of Martin Luther King Day. Statham also raised tens of thousands of dollars for local charities through his annual Missions and Masterworks concerts at First United Methodist, performing with his son Robert Statham, also a pianist.
In addition to Robert, he is survived by his wife of 53 years, Loretta; daughter Sharon; grandchildren R.J., Ashley and Lauren; brother, Calvin Statham; brother-in-law, James; sisters-in-law, Malvilyn and Margy; and 10 nephews and nieces. A funeral was held on Sept. 7 at Metropolitan United Methodist Church in Baltimore. A memorial service will be held at First United Methodist Church of Laurel on Sunday, Sept. 15 at 4 p.m.
Joe Murchison is a former Laurel Leader editor.


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Crisis Intervention Services are available 24 hours a day by calling, toll-free 1-800-621-8504 Behavioral Health & IDD Centralized Intake 1-800-669-4166 Outreach, Screening, Assessment, and Referral (OSAR) for Substance Abuse Treatment 1-800-588-8728 or 940-224-6200 Wichita Falls and surrounding counties
Special needs children are children who, due to significant medical, physical, cognitive, emotional, or learning issues, require different, usually more intensive accommodations from schools and learning environments than do typical children. For example, children with Dyslexia become easily lost and disoriented during regular class instruction because they don't understand the letters and words as easily as their classmates. Children with Cerebral Palsy may need to use a wheelchair, as well as other assistive devices, to help them navigate school grounds. Children with ADHD can require extra organizational support with regard to note-taking, homework and testing. Without the presence of classroom accommodations designed to address each of these children's special needs, they would likely fail to meet their academic potential.
Within the United States public education system, children's special needs are protected by law. Special needs children are entitled to be educated ac...More


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Hey Burbank folks- Anyone looking to play this week? I'm a strong 3.5. I can rally, but haven't had much pro training. I can play anywhere in/around Burbank. I like the Verdugo rec center courts because there is rarely anyone there during the day. I'm flexible with time.
hi david,
10:30 works for me tomorrow. I could do a bit earlier if that works better.
Hi, I'm a 4.0 singles player looking for more people to play with. I live in Studio City. Let me know if you want to play sometime.
I live in Studio City, am a 4.0 player and have also been away from tennis for awhile.
I have a court here at my house(off Laurel Canyon, south of Venura). If you're ever in the area and would like to hit, let
me know.
Hey David,
I'm a solid 4.0 once I have my legs under me, but like you I haven't played in several months. I just moved to North Hollywood from Dallas a little over a week ago and am looking for people to hit with. I'd love to hit some drills, play some breakers or 11-games (ping pong style), or play sets. I guess the North Hollywood rec center is closest to me, but I don't mind driving within reason. Let me know what works for you.
Hi David,
I live in Studio City off Laurel Canyon south of Venture, am a 4.0 player and have a court here at my house. If you're ever
in the area and would like to hit, let me know.
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Robin Hood: Fifty Shades of Green by Judy Staber and the Loons, music by assorted composers. Directed by Tom Detwiler.
Reviewed by J. Peter Bergman
"I knew you wouldn't Be-traeus."
"Men in tight jerkins. . ." sings the handsome troubadour Alan a Dale to open the new holiday Pantomime at the Ghent Playhouse in Ghent, New York. This thirteenth annual edition of the classic British-American troupe of players who tackle politics, humor, music and cross-dressing (men as women; women as men) every year at this time have ended the Presidential election year with a delectable confection that lets you laugh at many of the things that disturbed and possibly amused you during the past six months. Characters are broadly drawn and played and situations that are all too familiar from years and years of books, movies, plays and television shows about Robin Hood take on a new and hilarious apparel.
Dressed to literally kill in the brilliant costumes designed by Joanne Maurer this group of eleven merry-makers turn the twelfth century English forest into the camp-ing grounds of twenty-first century comics. In the title role of Robin is an actress named Anita Mandalay-Pronto (also known locally as Cathy Lee-Visscher). She brings us an all-too masculine Robin, able to ably and nobly defend his lady with one hand while cursing his foes with the other one. He can calm Maid Marian's fears and still leave her trembling with sensual responses at his tenderness. Lee-Visscher (for so we must call her) plays this role with a humorous vitality and a handsome pride.
His, or her, Maid Marian is played to perfection by Nora Lenderby (or Johnna Murray). Dressed in virginal red Murray is the pretty child whose devotion to the purest love imaginable is personified in her vision of "Tomowwow," a solo which allows her to drop into a blues riff that would turn Nina Simone white with envy. Murray, who usually takes a male role, is both alarming and surprising as a young woman but makes it all seem just that much more honest and real as the story unfolds.
As Marian's maid Maude Lynne - at least nine months pregnant in this play - Monk Schane-Lydon turns in a stellar performance bumping and grinding his way through "I'm a W.O.M.Y.N." in the performance by his alter-ego Ophelia Rass.
The evil, dastardly Sheriff Cockalorum of Nottingham, is Sally McCarthy as a slenderly mustachioed man meant more miserly, mightily mean-spirited and miserable. McCarthy makes him a mite loveable when she sings, especially in cahoots with his mother, Baroness Dona Trumpet, whose comb-over is very recognizable and, in the interpretive hands of Tamara Snotherday (or Tom Detwiler) is hilariously sinister. Snotherday gets the best costumes, but Detwiler is also the director of this rowdy affair so, supposedly, deserves the most jewels and the best satins.
Joanne Maurer, disguised as Emeril Chef Boyardee, plays Much the Miller's son and much is made of her appearance here as one of Robin's merry men. Most of her time is spent in duet with Dan Druff (or Michael Meier) whose strong tenor voice adds a great deal to the proceedings here as he plays Little John - a character always played by the biggest man in any troupe. Meier is the impregnator of Maude Lynne, but he is morally married to her even if they haven't yet wed. Meier is the picture of upright morality and Maurer is the minuscule monitor of merriment. They are great together and apart.
Creator Judy Staber (Dame Amanda Reckonwith) plays Friar Tuck. She is much commended here for letting the show takes its time - lasting nearly 90 minutes - and for her onstage work in this complex character. Harry Merkin (in the interpretation of Matthew W. Coviello) plays the Baron Getrich of Newton, a taxing role through whom the concept of the 47%, the 99% and the 1% is thoroughly exploited. This is a debut role with the Loons and it is a fine introduction for PantoLoon audiences to a talented individual who should have a long career with this company.
Lastly we have the Pauls. Their roles in this play are many-shaded and mainly amusing. Paul Leydon (a.k.a. Mel O.D. D'Amour), as Alan a Dale, makes announcements, plays the piano accompaniment, encourages the action and interaction and strums a mighty guitar in a manly manner. His romantic vis-a-vis, Warren LeBuffet, is played by Roman Oliver DeForest (better known as Paul Murphy) and there are too many secrets in the off-table buffet to safely reveal here; you have to find them for yourself in order to understand the strong undercurrent of the show (but if you remember the "advances" made in many states during the recent election you can possibly guess toward which aisle this duo is headed and what terms are redefined by 800 year old laws).
All of this undoubtedly seems silly, but what's wrong with silly, amusing entertainment in these hard days of holiday shopping. Lighting and settings are expertly handled by Bill Camp (yes, that's his name and not his style). The lyrics for the twenty familiar tunes with music by Burt Bacharach, Irving Berlin, Jerry Herman, The Gibb Brothers and a host of others, are among the best created by the Loons and their former loony partner Ron Harrington. Detwiler's stage direction is clever and suitable and as well-choreographed as any show about Mormons, millionaires and mitre-cut maniacs has been this entire year.
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Blood Raw - Gangstaz Don't Live Dat Long
BLOOD RAW - Gangstaz Don't Live That Long (from "The Real American Gangstaz" on January 22, 2010)
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A statewide investigation of pricing irregularities by Whole Foods Market, including at its Palo Alto store, has resulted in an $800,000 court settlement in penalties and investigative costs, according to the Santa Monica District Attorney's Office, which led the investigation.
The City of Santa Monica launched the year-long investigation after the Los Angeles County Department of Weights and Measures reported pricing violations. Consumers were paying for the weight of the packaging as well as the food they purchased when products were weighed, along with other violations, said Adam Radinsky, head deputy city attorney for the City of Santa Monica.
The investigation spread to 10 counties, he said.
Santa Clara County Weights and Measures inspectors investigated six stores and found violations in 41 percent of inspections. The stores included Palo Alto, Los Gatos, Campbell, Los Altos, Cupertino and San Jose, said Stan Toy, deputy sealer for the county. Two out of five inspections at the Palo Alto store failed price accuracy, he said.
The investigation uncovered widespread pricing violations throughout Whole Foods' California stores. Inspectors found that Whole Foods was charging more than the advertised price for a wide variety of food items.
The problems included failing to deduct the weight of containers when ringing up charges for self-serve foods at the salad bar and hot bar; giving less weight than the amount stated on the label for packaged items sold by the pound; and selling items by the piece instead of by the pound as required by law, such as kebabs and other prepared deli foods, Radinsky said.
The statewide investigation began in 2012. Weights and measures departments in San Diego and Los Angeles found the same problems as in the Santa Monica stores. The problem was widespread and involved inconsistency, with one store having one system and another store a different system for tracking measurements, Radinsky said.
Attorneys for the three cities filed a civil consumer-protection case against the supermarket chain on behalf of the People of the State of California. Whole Foods agreed to a five-year court injunction prohibiting all of its 74 California stores from inaccurate pricing, he said.
Whole Foods Market California, Inc., which controls the northern California stores, and Mrs. Gooch's Natural Foods Markets, Inc. in southern California are bound by the judgment.
In addition to the injunction, the stores are required to:
Appoint two "state coordinators" to oversee pricing accuracy at stores throughout California
Designate an employee at every store in the state who will be responsible to ensure pricing accuracy throughout the store
Conduct random audits at each of its stores four times per year, to ensure that all prices are accurate and that proper weight is being deducted for all containers
Charge accurate prices and provide the advertised weight on all items.
The companies will also pay $798,394 in penalties and costs, including $630,000 in civil penalties, $100,000 paid to a statewide weights and measures enforcement trust fund, and $68,394 in investigative costs.
"Consumers have a right to accurate pricing and the right to pay for only what they bought," Radinsky said.
By adding the weight of containers and packaging -- especially on higher-priced, per-pound items like seafood and meats and even prepared food -- the subtracted amount of actual product can add up fast and be hidden from consumers, he said.
"If you're paying $30 a pound for exotic fish, even a handful of ice can put you back a few dollars," Radinsky said of prepackaged products.
The city attorneys' offices hope the case will serve as a wake-up call to supermarkets and other food retailers to make sure their per-pound charges are accurate, he said. Consumers should always pay close attention to their purchases and make sure the store deducts the weight of all packaging and containers, he added.
Inaccurate measurements are a common consumer problem. Some stores don't know they are supposed to deduct the weight of the container, but large companies such as Whole Foods do know the law and can get sloppy, he said.
Whole Foods spokeswoman Beth Krauss said the company takes its obligations to its customers "very seriously, and we strive to ensure accuracy and transparency in everything we do."
"We cooperated with the city attorneys throughout the process, and based on a review of our own records and a sampling of inspection reports from various city and county inspectors throughout California, our pricing on weighed and measured items was accurate 98 percent of the time. While we realize that human error is always possible, we will continue to refine and implement additional processes to minimize such errors going forward," she said in an email.
Santa Clara County performs routine inspections for scale and pricing inaccuracies, and various products are tested to determine if adequate tare weight -- the weight of the empty container -- is taken off the product, Toy said.


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|Registration Deadline:
|October 17, 2008 over 10 years ago
|To apply for Funding you must register by:
|July 27, 2008 over 10 years ago
|Parent Program:
Show List of Speakers
- Ulrich Bunke
- Nicolas Burq (Université de Paris XI)
- Tanya Christiansen (University of Missouri)
- Colin Guillarmou (Université de Paris XI (Paris-Sud))
- Andrew Hassell
- Victor Ivrii
- Giles Lebeau
- Rafe Mazzeo (Stanford University)
- Marius Mitrea (University of Missouri)
- Igor Rodnianski (Massachusetts Institute of Technology)
- Les Saper
- Bert-Wolfgang Schulze
- Mark Stern
- Daniel Tataru (University of California, Berkeley)
- Steven Zelditch (Northwestern University)
- Maciej Zworski (University of California, Berkeley)
This workshop will focus on the study of PDEs on singular spaces and their connections with the spaces' underlying geometry. Topics will be cohomology theory, index theory, and spectral geometry on the elliptic side; and wave propagation and associated inverse problems on the hyperbolic. A unifying theme will be asymptotic expansions of solutions in various regimes, as for instance high frequency eigenfunction expansions, which draws techniques from hyperbolic equations into the elliptic theory. Accommodations: A block of rooms has been reserved at the Rose Garden Inn. Reservations may be made by calling 1-800-992-9005 OR <a data-cke-saved-href="\" href="\"http://www.rosegardeninn.com/" \"="">directly on their website. Click on "Reservations and Availability" then click on "Corporate" at the bottom of the screen and enter the word "math". Enter Group Code CGMS66 in the "Guest Comment" box, and provide requested information The cut-off date for reservations is October 10, 2008. A block of rooms has been reserved at the Hotel Durant. Please mention the workshop name and reference the following code when making reservations via phone, fax or e-mail: BP0000. The cut-off date for reservations is September 26, 2008.Show less
Show Funding
To apply for funding, you must register by the funding application deadline displayed above.
Students, recent Ph.D.'s, women, and members of underrepresented minorities are particularly encouraged to apply. Funding awards are typically made 6 weeks before the workshop begins. Requests received after the funding deadline are considered only if additional funds become available.
Show Lodging
A block of rooms has been reserved at the Hotel Durant. Reservations may be made by calling 1-800-238-7268. When making reservations, guests must request the MSRI preferred rate. If you are making your reservations on line, please go to this link and enter the promo/corporate code MSRI123. Our preferred rate is $129 per night for a Deluxe Queen/King, based on availability.
Additional lodging options (short term housing page - Short Term Housing
Show Directions to Venue
Show Visa/Immigration
Oct 27, 2008
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Preheat the oven to 325 degrees F.
Line a large baking sheet with parchment paper. Stir the flour, cornmeal, baking powder, and salt in a large bowl. Using an electric mixer, beat the eggs and sugar in another large bowl until pale yellow and fluffy, about 3 minutes. Add the orange and lemon zests to the dry ingredients. Add the flour mixture to the eggs and sugar and beat just until blended (the dough will be soft and sticky). Let stand for 5 minutes.
Using a rubber spatula, transfer the dough to the prepared baking sheet, forming two mounds spaced evenly apart. Moisten your hands with water and shape the dough into two 11 by 4-inch logs. Bake until lightly brown, about 35 minutes. Cool the logs for 5 minutes. Using a serrated knife, cut the logs crosswise into 1/2-inch-thick diagonal slices. Arrange the biscotti cut side down on the same baking sheet. Bake until the biscotti are pale and golden, about 25 minutes. Cool the biscotti on the baking sheet for 5 minutes. Using a metal spatula, transfer the biscotti to a rack and cool completely.
Melt the chocolate chips in the microwave, stirring every 20 seconds, about 1 1/2 minutes total. Dip 1 cut side of each biscotti into the melted chocolate. Gently shake off the excess chocolate. Place the biscotti, chocolate side up, on the baking sheet. Refrigerate until the chocolate is firm, about 35 minutes. Dip a pastry brush in the cocoa, then lightly brush the cocoa over the chocolate on each biscotti.
The biscotti can be made ahead. Store them in an airtight container up to 4 days, or wrap them in foil and freeze in resealable plastic bags up to 3 weeks.