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by Jesse Rosen
Bridging the Gap: Young conductors struggle to gain the full set of skills they need. Are orchestra residencies the answer?In a scenario played out a few times each season at any major American orchestra, open positions within the ensemble are filled with significant effort and care, but little fanfare. Imagine a vacancy for, say, the principal trombone chair: Some 150 trombonists submit tapes; the audition committee narrows the pool to 30, and then chooses six finalists. Each finalist knows he or she must play a near-perfect audition--and does.
As the committee and music director deliberate over the final choice, they agonize over the candidates, any one of whom would bring distinctive musicianship to the job. One played a heavenly "Rhenish" excerpt; another offered a positively erotic rendition of the Boléro solo; while yet a third unleashed a sound so big and dark the committee was pinned to the backs of their seats. One played with some vibrato, one played a Conn instrument, another a King. Whose sound would blend best with the orchestra's distinguished brass section? Who would make the best leader of the trombones? Whose style is most consistent with that of the whole orchestra? Tough questions for the committee, but no one doubts that the full requirements of the position will be exceeded by any finalist they choose. Eventually they agree on the recent graduate from a top conservatory.
Now let's imagine that later in the season, the same orchestra prepares for another looming vacancy. Its associate conductor will leave in a few months, and a replacement is needed to take charge of education and family concerts, while covering rehearsals and concerts for the music director and guest conductors. As with the trombone opening, 150 applicants contact the orchestra. The artistic administrator reviews their applications with increasing frustration; in most cases, the conductors' credentials simply don't fit the job. Consulting with colleagues, she confirms that only five on her list merit further consideration, but she learns of another five beyond the applicant pool that she should consider. These ten conductors are invited to submit videos, which helps to narrow the field to four who will audition and be interviewed in person.
Two weeks later, after all four finalists have visited, no one at the orchestra is happy with the results. One conductor showed talent significant enough to suggest he might grow into the job, but seemed hopelessly ill-equipped to work productively with the education department. Another showed great ingenuity with regard to education, but failed to catch the incorrect transposition the music director deliberately inserted in the horn parts. A third made no mistakes, but failed to bring any of the audition repertoire to life. And the last was so overwhelmed by the quality of the orchestra, she could barely find anything to rehearse. No one is hired.
Assuming these two imaginary scenarios are typical--and my experience as an orchestral player, an orchestra manager, and an observer of young conductors leads me to believe that they are--what do they tell us? There is, if anything, an oversupply of gifted, skilled instrumentalists who are fully equipped to step into positions at major orchestras. Why can't the same be said of aspiring conductors?
Perhaps the needed combination of conducting talent and skill really is as plentiful among conductors of the postgraduate level as it is among instrumentalists. If so, one would have to conclude that orchestras have not developed a conductor audition procedure that allows this potential to reveal itself. Or maybe they're simply not inviting the right people to audition. It's also possible that the selection committee's expectations are unrealistic, or unfocused. Certainly orchestras have room for improvement in all of these areas.
But the prevailing observation about conductorsÑthat there are simply not enough good ones to meet the contemporary demand-is all too well supported by other ominous developments. Despite hundreds of applicants, training programs struggle to identify sufficient numbers of conductors with superior talent and potential; last summer, Tanglewood's prestigious program admitted only one conductor. The American Symphony Orchestra League's National Conductor Preview, designed to showcase eight conductors every two years, has accepted only six conductors in each of its last two rounds. And a recent flurry of discussion on the League's e-mail forum for artistic administrators indicated that in seeking associate conductors, too many orchestras have had exactly the audition experience we imagined earlier. Why? I suspect the explanation lies on the supply side-specifically, in the nature of the training that is available to today's developing conductors.
In the course of overseeing the American Symphony Orchestra League's services to conductors, I have observed hundreds of aspirants who are completing their academic careers and attempting to enter the profession. In their communication with the orchestra, these entry-level conductors often seem uncertain whether to command, inquire, cajole, partner, or plead. Knowing how to pace the rehearsal and which problems will fix themselves (versus which must be specifically addressed) are major challenges for them. Few have mastered the podium's inherent multi-tasking responsibility: preparing the musicians for what's ahead while engaging with what's happening in the moment. (Weak aural skills are often at the root of this problem.)
Off the podium, these young conductors show little understanding of the orchestra organization and the music director's role within it, or the need for such administrative and artistic skills as season planning, youth concert programming, and orchestral personnel relations. Most important, far too few possess the ability to inspire an orchestra with expressive, personal, and informed music making.
To contrast these observations with the job description of a music director is a discouraging exercise. In 1996, the American Symphony Orchestra League published a skills inventory to assist orchestras in their conductor searches. The Traits and Skills of a Music Director was developed with input from leading conductors, teachers, musicians, and administrators. It details the profession's extraordinary musical requirements: knowledge of a large repertoire, musical style, history and performance practice, and highly developed analytical and aural faculties. The conductor must also acquire the ability to communicate ideas through baton and rehearsal techniques that unite and inspire musicians in a shared musical conception.
As if this were not enough, when a conductor functions as a music director, he or she must set the orchestra's artistic agenda, promoting imaginative and balanced programming, developing the taste and knowledge of the audience, and stretching the abilities of the ensemble. The conductor must be able to express the orchestra's aspirations to diverse constituencies, spearhead educational initiatives, and, through oversight of the orchestra personnel, ensure the continued artistic growth of the orchestra.
Given the density of a music director's job description, it's hardly surprising that upon completion of their graduate degrees, conductors are rarely prepared to assume such a leadership position-or even a staff assignment-with a professional orchestra. Their situation is similar to that of entry-level solo artists who, frequently, are also not ready for a full-fledged concert career when they leave the conservatory. Two very effective organizations, Concert Artists Guild and Young Concert Artists, have recognized this need, providing "transitional" management services and a guided and graduated entry into concert life. Interestingly, neither agency includes conductors on its distinguished roster of promising young artists.
Max Rudolf, America's pre-eminent conducting pedagogue, addressed the issue of conductor training in 1972 with an apt analogy: "Just as a surgeon, after having completed basic medical training, needs internship (practical experience in general medicine) and residency (developing surgical skill), a young conductor must join a professional organization (hospital) in order to practice his craft under competent supervision before he is let off the leash (although conducting is less dangerous than surgery)."
Rudolf proposed residencies and internships for conductors for the same reasons budding surgeons need them: because the skills required are remarkably varied and complex, because higher education provides limited opportunities to conduct a professional orchestra, and because the method of preparing concerts in an academic environment bears little resemblance to the professional world.
Rudolf's idea became the basis for what would become the Exxon/Arts Endowment Conductors program. Launched by the now-defunct Affiliate Artists in 1973, the so-called "Exxon program"--funded by the Exxon Corporation and the National Endowment for the Arts--offered grounding in all aspects of the profession through residencies at orchestras across the country. Over the program's seventeen years (for seven of which I directed it), 35 conductors were selected through national auditions and active scouting to fill three-year appointments with major orchestras. They led education, pops, family, and run-out concerts, as well as occasional subscription programs. Host music directors-including David Zinman, Leonard Slatkin, Christoph von Dohnányi, Carlo Maria Giulini, Edo de Waart, and Mstislav Rostropovich-served as mentors. "Exxon conductors" were also introduced to the organizational life of their host orchestras and often received coaching in presentation and communication skills.
It has been nearly ten years since the Exxon program ceased operations, a casualty of Affiliate Artists' demise. What was its impact? One can point to some of its alumni: Hugh Wolff, Myung-Whun Chung, Andrew Litton, Alasdair Neale, and Raymond Harvey. Arguably the program helped identify these and other talented conductors, prepared them for their first professional positions, and distinguished them from an otherwise large and undifferentiated talent pool. The need for such a program in today's environment seems self-evident. It is less clear, however, that the Exxon model is the right model for today.
One effort of the Exxon program that made good sense, but which was not implemented as fully as would have been ideal, was initiating its conductors into operatic as well as orchestral work. The near-total separation in the United States between orchestral and operatic conductor training is both artificial and detrimental to the development of new talent. Historically-though primarily in Europe-the opera house has been the logical place to nurture conductors of both opera and orchestral music. (Practically every important symphonic conductor in the first half of the 20th century was reared, artistically speaking, in a European opera house.) The opportunity to coach singers, to learn interpretive traditions from répétiteurs, to coordinate the sounds coming from the stage and the pit, and to work directly and consistently under major conductors who become mentors-all these contribute to a rich, demanding, and all-encompassing experience for developing artistic leaders.
The Exxon program was able to organize two opera-related residencies: The Houston Symphony and Houston Grand Opera jointly hosted the promising young conductor C. William Harwood before his untimely death in 1984; and the San Francisco Opera hosted conductor David Agler, who has since made his career primarily in opera rather than with orchestras. But for the most part, training in an opera house remains unavailable for American conductors pursuing orchestral careers, since opera houses are fewer here and most aren't organized to operate continually on the European repertory model. That there is no intrinsic structure for nurturing conductors in American opera houses makes it imperative to compensate for its absence.
One of the most extraordinary resources for coaching conductors, never really tapped by the Exxon program, is the orchestra itself. The National Symphony Orchestra's National Conducting Institute has made the musicians of the orchestra integral to its curriculum, with extraordinary results. For each year's Institute, five players are designated mentors to a class of ten conductors for three weeks. In the program's final week, four conductors rehearse and perform with the NSO. During those rehearsals, the mentor musicians freely interrupt to offer suggestions and observations to the conductors. During breaks, the mentors, joined by other musicians, surround the conductors, offering further advice. Later, the mentors join Leonard Slatkin and the participants for a review of the rehearsal video.
The rate at which the conductors improve over these few days is remarkable. Credit clearly belongs to the NCI's positively charged learning environment, in which the rehearsals are almost like master classes given by the orchestra. Every suggestion is delivered in a collegial, encouraging way: "You're doing great; now here's something that will make it even better." The support flowing from the orchestra is palpable. The NCI has provided a wake-up call to the enormous, mostly untapped potential that orchestral musicians might bring to conductor training.
The Exxon program also attempted to equip conductors with the functional skills required to work effectively with an orchestra: programming, education, communications, musician relations, public relations. The program's characteristic on-the-job training mode was effective in these areas, as far as it went; certainly Exxon alumni knew more about a large orchestra organization from the inside than did other aspiring conductors, and this gave them a head start in their first jobs. But like much on-the-job training, it was not sufficient to address certain skills that are increasingly important today.
In recent years, the American Symphony Orchestra League's Orchestra Leadership Academy has introduced the industry to a body of knowledge, practice, and training in leadership development. Orchestra managers, trustees, and musicians have worked side-by-side in seminars on collaboration, core values, and conflict resolution. As orchestras focus increasingly on setting direction and involving all stakeholders, conductors have been notably absent from the process. This reflects the orchestra's historical structure in which, ironically, the key artistic stakeholder operates completely outside the boundaries of organizational activity.
The League has been testing a curriculum that brings conductors into the fold, introducing them to the leadership skills and responsibilities associated with music directorship. The goal is not to make managers out of conductors, nor to make them easier to get along with, but to invest them fully in the music director's institutional role. With this commitment in place, they can bring greater ingenuity to setting and realizing artistic direction for an orchestra.
Our curriculum has been incorporated in two larger programs: the National Symphony's NCI, mentioned above, and the Aspen Music Festival's American Academy of Conducting. In both these settings, the League produces a five-day seminar. Through highly interactive exercises, participating conductors learn about teamwork, collaboration, decision-making, feedback, and communication. To develop proficiency in programming and season planning, we also use simulations in which an imaginary orchestra faces a real-world set of dilemmas which the participants must address from the standpoint of its music director.
The perceived relevance of this material generally increases in direct proportion to the participant's level of experience. Students and recent graduates, as well as European-trained conductors, seem baffled when they are asked to consider such practical issues as the structure of an orchestra's educational program or strategies for presenting their projected season repertoire to the board of directors. By contrast, those who have experience as music directors or staff conductors express relief and some surprise that guidance is available for these critical aspects of their work.
For young staff conductors, these discussions reveal an artistic paradox that was also an unresolved problem of the Exxon program's resident conductors: While they indeed receive ample conducting opportunities, their jobs offer little chance to work on core repertoire. Like today's assistant and associate conductors, Exxon conductors were generally assigned single-rehearsal events: parks concerts, children's programs, pops concerts, run-outs. Their engagement with core repertoire was generally limited to observing others-not a bad way to learn, but also not sufficient. (Imagine if a surgery resident never got the chance to perform an operation!) Any contemporary residency program would have to offer more chances to rehearse and perform standard works.
Similarly, many of today's aspiring conductors begin their careers working with student or amateur orchestras. They develop invaluable skills, but the teaching-and-telling aspect of their day-to-day work may dominate to such an extent that it denies them the chance to develop technically, and thus limits their professional growth.
What would a conductor residency program for today look like?
For starters, it might borrow a recent lesson from the League's longstanding residency program for administrators, the Orchestra Management Fellowship Program, which has begun augmenting on-the-job experience with a dedicated curriculum of coursework and learning opportunities. For example, participating conductors might gather, away from their host orchestras, for a series of master classes taught by leading conductors, each with a specific core-repertoire affinity or a depth of operatic experience, or even a specialty (such as large choral-orchestral works) that a young conductor wouldn't otherwise have the chance to explore. They might take seminars in leadership training and programming to support and deepen their on-the-job experience.
It's also time we expanded the definition of a mentor. Music directors of host orchestras aren't the only mentors that resident conductors need. As the NCI has shown, musician mentors can be extremely valuable guides to a developing conductor. While, on occasion, such relationships naturally evolved in the context of the Exxon program, a formalization of this role could introduce a powerful new learning resource.
Reviving a conductor residency program with these and other innovative elements could go a considerable ways toward addressing the undersupply of conductors who are ready to assume full professional responsibility. However, at least one nagging dilemma remains: If the pool of talent emerging from academic institutions is lacking in superior talent, then one can anticipate only incremental improvement through post-academic efforts like residency programs.
I have come to wonder about the "raw" conducting talent that may lie unrecognized in our colleges, conservatories, and universities. The level of orchestral playing in the U.S. has been in steady ascent, and orchestras may pick from among dozens of qualified candidates for their openings. Prodigiously gifted instrumental soloists seem to emerge in a steady stream from top schools to enter the concert circuit. The disparity between talent pools of instrumentalists and conductors prompts me to wonder if the requisite conducting talent may in fact be electing to pursue instrumental rather than conducting careers.
Admittedly, conducting requires an unusually broad and complex set of skills that is relatively rare. But what if gifted college and conservatory instrumentalists were more actively introduced to conducting as a career option? While it most certainly does not follow that a gifted instrumentalist will necessarily be a gifted conductor, our field probably needs to identify and recruit those with exceptional gifts and aptitude at an earlier stage.
A well-designed program of conductor residencies might even serve this goal, if it were broad and effective enough to fill in the training gap that lies between an aspiring conductor and a fully qualified one. Ideally, it would have a strong enough identity and presence to make success as a conductor seem more plausible to the finest young musicians in our colleges and conservatories.
Both developments-improved talent identification and more effective honing of partially formed talent-can only brighten the future landscape. I picture the orchestra we visited earlier, ten years from now: Of 150 qualified candidates for the associate conductor position, the pool is narrowed to 30 superb young artists. After careful deliberation, ten are invited to audition. One leads a scintillating Till Eulenspiegel that has the orchestra singing their hearts out; another has a répétiteur's sensitivity in supporting soloists; yet a third brings such poetry to the "Eroica" slow movement that the hard-bitten principal cellist is close to tears...
It could happen.
A former trombonist who headed the Exxon/Arts Endowment conductors' program for seven years, Jesse Rosen is vice president and chief program officer of the American Symphony Orchestra League.

subset: commoncrawl


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Advanced Search
Projectors | Feature
At Indiana Wesleyan University, interactive projectors have kickstarted collaboration in the classroom.
The traditional role of a projector in the classroom seems to be beaming a PowerPoint slide onto the whiteboard up front, giving students something else to stare at besides the instructor's face. While that may be the norm, students have changed, and so should the job of the projector, according to Brian Hertzog, director of institutional media technologies (IMT) for Indiana Wesleyan University. When students come to class, he believes, "They want to engage with one another. They're yearning for that collaboration."
While constructing a new seminary building on campus, Hertzog and his IMT team wanted to try something different in one of the classrooms to facilitate collaboration. He turned to his vendors for advice, who recommended furnishing the space with a bunch of flat panel displays. After all, the university was already using those in other areas.
"That did not work for us," he recalled. "When you mount a flat panel on the wall, it destroys that space. You are set with a flat panel and nothing else is going to happen on that wall."
The crew also considered installing multiple interactive whiteboards, but the cost would be a lot more than the university could afford. So IMT came up with an alternative: cramming the walls with inexpensive, ordinary whiteboards. "Our seminary faculty are unique. They love to write. They will use any whiteboard that you give them," Hertzog explained. In conjunction with the whiteboards, five Epson BrightLink interactive short-throw projectors mounted above each wall serve the classroom's collaboration needs at a "fraction of the cost of interactive whiteboards," he said.
The use of projectors helped make the setup more flexible by preserving the traditional whiteboard space for offline work. Noted Hertzog, "Students don't have to use the projector, but if they do, it's still interactive, and they can do annotation, write all over it and it can all be captured, saved and e-mailed as a JPG."
Plus, unlike flat panels, these specialized projectors don't need remote controls that could "walk away" from the classroom; all controls are projected right on the wall.
After checking out projector models from a couple of vendors, IMT decided on the BrightLink in part because there's no software required for the interactivity, Hertzog said. "It has a built-in whiteboard, so you can turn it on, grab the pen and start writing. [With] other brands you have to install their software; you have to go through a few other things to get them to work."
Now, in a room outfitted with these projectors, students can break up into groups and congregate by a given projector to do collaborative work. Dual pens allow two students at a time to mark up the projected image. "It's as if they are working on a virtual whiteboard -- which they are -- and able to recall that work at any time. They don't lose their information. It's a pretty powerful tool," Hertzog said.
How It Works
An interactive projector adds interactivity to any flat surface. When the user drags a finger across the wall, for example, a line appears. Controls are displayed in a panel to the side and can be chosen with a finger poke. For more precision or setting color or other aspects of what's being written or drawn, "light," "smart," or "interactive" pens provide stylus and mouse functionality.
Expanded Use
The technology has been "a huge success" on campus, said Hertzog. Since the installation of interactive short-throw projectors in one classroom, the university has added 16 others throughout the campus. A new nursing and science building will add an additional 37 projectors, including some in classrooms that will remain open for student use when courses aren't occupying those spaces. "Students can come in and use that and collaborate with one another. It's different from giving them another space with a flat panel. It adds that extra collaboration piece," he explained.
IMT found use for interactive projectors in old buildings too. The music department occupies rooms with high ceilings and a lot of storage cupboards. Previously, projectors were held in place at the bottom of 20-foot poles. The interactive short-throw projectors could be mounted on the walls over whiteboards, a much simpler setup that gives music faculty instant collaboration features, noted Hertzog.
Software Tools for Group Sharing
In classes where you want multiple users to share the content from their laptops, tablets or smartphones on a single display, two solutions deserve a look.
Install Mersive's Solstice on a Windows 7 computer connected to the network, load client software onto user devices, have those users connect to the same network, and everybody can connect and share their individual content on the same screen (including content posted from the cloud). A "roundtable" mode gives everybody equal access for posting; a "podium" mode leaves display control in the hands of the presenter, who can approve or deny requests to add to the shared screen. Although edits can only be done by the person sharing the specific piece of content, updates are shown as they're made. The software works on projector displays, flat panels and video walls; there is no limit on the number of simultaneous users.
Tidebreak ClassSpot works similarly. The main software is loaded onto a server and the user devices run a client edition, allowing participants to share their device screens. The difference is that ClassSpot specializes in helping classes to shift between small group sharing and whole-room sharing. Multiple users can control the same screen simultaneously from their devices, allowing for interactive projector-like collaboration, including annotation. The materials shared during class are saved, allowing for students to download the archive or letting the teacher post the archived file to a content system. Users include the School of Law at the University of Missouri-Kansas City, Winona State University (MN) and the University of Southern California, among others.
Though Hertzog is a strong proponent of interactive projectors, he did not recommend dumping traditional models altogether. They still have a home in larger lecture rooms, for instance. He advised using the interactive short-throw models for spaces with 35 students or fewer, where the class can be broken into smaller groups for collaboration.
He also recommended testing the accuracy and responsiveness of the interactive projector as part of the evaluation process. Users want to be able to go to the surface and control their computers as they normally do -- without having to slow down their hand motions, he said.
"Buy one, just one. Put it on one room and encourage faculty to come in and take a look at it. I can guarantee you that you'll be buying and installing 20 within the next two years," Hertzog enthused. "We can't install them fast enough. Everyone wants an interactive short-throw projector for multiple reasons, because of the flexibility it gives them and the usability and the efficiency. It has been a wonderful tool in our classrooms."
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Among arenas seating between 10,000 and 15,000 people, 1st Mariner was the year's highest grossing with nearly $16 million, Billboard magazine said in its year-end issue.
It's the second year in a row the 1960s venue has received the honor. In 2009, it came in third behind Boardwalk Hall Arena in Atlantic City, N.J., and the MGM Grand's Garden Arena in Las Vegas.
1st Mariner opened in 1962 as the Baltimore Civic Center, and has drawn the Rolling Stones and Bruce Springsteen over the years despite its age.
After nearly 50 years in business, city officials are seeking funding to replace it with a bigger, slicker facility.
This year, 1st Mariner benefited from concerts by Bob Seger, Kanye West and Jay-Z, Sade and Chris Brown. Billboard picks the rankings according to ticket sales and attendance.


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|Version 5 (modified by 10 years ago) (diff),
Canned Responses Plugin
Notice: This plugin is unmaintained and available for adoption.
The CannedResponsesPlugin allows a trac administrator to specify a list of "Canned Responses" for those with the appropriate permissions to use in responding to tickets.
Each canned response can change the status of a ticket, as well as modify the resolution and add a comment. Each response can also be restricted to users with specific permissions. For example, you may wish to have a response that only users with
TICKET_ADMIN permissions can use and another which anyone with
TICKET_MODIFY or greater permissions can use.
Canned responses will appear as an option in the Action box at the bottom of a ticket for those with the permissions to use any of the available canned responses.
Bugs/Feature Requests
Existing bugs and feature requests for CannedResponsesPlugin are here.
If you have any issues, create a new ticket.
Grab the latest egg from here and place it in your trac environment's
plugins directory. These eggs are currently cooked for Python 2.5; if you're using a different Python version, you'll need to grab the source as described below.
You can check out the source of the CannedResponsesPlugin from here using Mercurial, as well as browse it at the same place.
If you wish not to install Mercurial but still want the source, click the link above to view the source. Then look at the tags listed near the bottom of the page. The tags will always show the plugin's name and version number. Click the "changeset" link next to that tag name. There will be a "zip" and a "gz" link at the top of the page. Either of those links will give you an archive of the source. (If you want the development source, you can click the "tip" icon and use the "zip" or "gz" links at the top of that page instead).
To enable the plugin, install it to your trac's plugins directory and add the following to your trac.ini:
[components] cannedresponses.* = enabled
To add canned responses, choose a short name, then add attributes like so:
[canned-responses] pluginreq = new,pending -> new pluginreq.comment = This request is best implemented as a plugin. This ticket remains open as an invitation for someone to write a plugin fulfilling the request. pluginreq.milestone = Plugin Suggested pluginreq.type = plugin request pluginreq.name = Better As Plugin pluginreq.permissions = TICKET_MODIFY
The above example creates a canned response that sets a ticket to the closed status, sets the resolution to invalid, and adds the comment "This issue is caused by a third party plugin. We have no control over these plugins. Please report this problem to the authors of this third party plugin." The canned response is available to any user with at least TICKET_MODIFY permissions, including TICKET_ADMIN and TRAC_ADMIN.
- The line
pluginreq = new,pending -> newspecifies, as a comma-delimited list, the statuses a ticket may have for using this canned response and the status the ticket will be set to. This can be any status a ticket can have.
- The 'name' attribute provides a "pretty name" for users to see in the list of canned responses.
- The 'comment' attribute specifies, in WikiFormatting, the text of the comment to be added. Anything inserted into the comment field at the same time as applying a canned response will be retained and placed after the canned response, with a
[[BR]]between the canned response text and the user's comment text.
- The 'resolution' attribute specifies the resolution to use on the ticket when closing.
- The 'permissions' attribute specifies the minimum level of permissions required to see and use the response.
- The 'milestone' attribute (new in plugin version 0.11.1) allows you to specify the milestone to change the ticket to.
- The 'type' attribute (new in plugin version 0.11.1) allows you to specify a ticket type to change the ticket to.
- Be careful with spelling, as there is no validation. If you make a spelling mistake you could cause a Python exception or cause tickets to be set to statuses, resolutions, types, or milestones that don't exist.
Author: Daniel Atallah
Maintainer: rekkanoryo


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Things to do and to avoid in Kitchen Pantries
Kitchen pantries sets are rooms that can be large or small, closets that can be large or small, or cabinets that can be large or small that are usually being put in or near the kitchen, that are used to store foods, and/or kitchenware and because the temperature in the pantry is not typically controlled (different from a refrigerator or root cellar), pantries are usually used to store the foods that are shelf-stable staples such as grains, flours, and preserved foods. Do not put a pantry far away from a kitchen because that will make you to have problems at the time you want to take cooking equipment to help you cook your food. Try at your best to put a pantry next to your kitchen.
You cannot put food that needs low temperature in kitchen pantries because that food must be put in a refrigerator. Putting such foods in a pantry can make you unable to keep the food for a long time. If you try to put such food in a pantry, you probably will not be able to eat any longer. That will be a great loss if you put a great amount of food that need to be put in a refrigerator in a pantry because at the time you need to eat the food, you probably will be unable to eat the food.
It is advised that you put things in kitchen pantries neatly and do not make the pantries to be dirty because if the pantry is dirty, it will affect your cooking utensil. Without cleaning the utensils before you use them to cook, the utensils can make the food that you are cooking to be dirty either. Do you want to eat dirt together with your food? If you do not want to eat the dirt, you will need to clean those utensils before you are using them and that is a waste of time if you are not keeping the pantry clean.


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Lifetime hopes for another jackpot with Casey Anthony story
On a Saturday night one year ago, Lifetime drew an astounding 5.8 million viewers for "Drew Peterson: Untouchable." The fact-based film starred Rob Lowe as the notorious Illinois black widower who is currently awaiting sentencing for the murder of his third wife.
Now Lifetime repeats the formula, hoping to make ratings lightning strike twice.
"Prosecuting Casey Anthony" is a re-creation of the 2011 tabloid trial of the young Florida single mother accused of killing her 2-year-old daughter.
This time Lowe is on the right side of the law, portraying Jeff Ashton, the assistant state attorney who conducted the case against Anthony. (The film is based on Ashton's book, "Imperfect Justice," written with Lisa Pulitzer.)
The bland role of the veteran prosecutor doesn't give Lowe much to work with. In the end, the film is stolen by "The Office's" Oscar Nuñez as Anthony's relatively inexperienced but cagey attorney Jose Baez. (During the trial, Geraldo Rivera dubbed Baez "Juanie Cochran.")
There isn't much suspense in the script, nor are there surprising revelations about what happened. The cause of the child's death is never dramatized or even fully established.
The true appeal of "Prosecuting Casey Anthony" lies in our strong residual interest in finding out just how our criminal system could manage to be blinder than Mr. Magoo.
From the time Anthony's daughter, Caylee, was reported missing in 2008, the case sparked rabid national attention. In the court of public opinion, the young mother became a deeply reviled figure, perceived as a party girl who seemed utterly uninterested in her daughter's welfare and who lied repeatedly to the police.
That's why the verdict came as such a profound shock. After less than 11 hours of deliberation, the jury acquitted her of all the serious charges and found her guilty of only four misdemeanors. Facing the death penalty, Anthony instead was set free days after the trial concluded.
The film begins with Ashton (Lowe) promoting his book in a TV interview. The reporter asks him what went wrong with the case. "You mean other than the verdict?" he responds. "Not a thing."
Elizabeth Mitchell ("Revolution") plays Ashton's second chair. Virginia Welch has the thankless (and nearly wordless) task of playing Casey. And Caylee is represented by a young actress named, somewhat eerily, Kaylee Lussier.
Ashton is convinced his case is "rock solid," and indeed, the script does a thorough job of inventorying all the behaviors and omissions that made Anthony seem so abundantly guilty, beginning with the fact that she never reported her daughter missing, even after 31 days.
Mixing news footage and dramatizations, the film does a capable job of re-creating the media frenzy that surrounded the investigation and subsequent trial. There's as much face time for strident cable avengers Jane Velez-Mitchell and Nancy Grace as for any of the principal cast members.
The narrative becomes lopsided as the script continues to loyally adhere to Ashton's point of view - that this was an open-and-shut case. You're surprised when about 90 minutes into the movie, one of the TV commentators asks if the state can possibly recover from all the prosecution blunders.
Because up to that point you're unaware that any have occurred. Ashton appears to be winning in a rout. Even Baez's attempt to cast Anthony's father (Kevin Dunn - Mr. Witwicky in the "Transformer" films) as the real villain seems like a flimsy attempt to shift blame.
The focus of "Prosecuting Casey Anthony" should have been on the vast disparity between how this case played on TV and how it played in the jury box.
So why didn't Anthony's trial result in a conviction? One theory is that it fell victim to the "CSI" effect. Jurors are so used to prime time's high-tech procedurals, they expect to be presented with irrefutable forensic evidence.
Some analysts argue that the jury didn't sufficiently grasp the principle of reasonable doubt.
You may develop your own ideas watching this film. For instance, laziness. Ashton spends far more time ordering lunch and watching TV here than he does working on his arguments.
Or maybe he was pursuing the wrong strategy from the start. When he takes the case, Ashton vows, "When I get done with her, she's going to be the most hated woman in America."
He may have succeeded on that front. But unfortunately for Ashton's case, that's not a punishable offense. And the prosecutor was never able to tie the mother to Caylee's death. All he could offer were theories.
In the end, this is a satisfying true-crime drama because it rekindles all the powerful emotions of the original trial. The indications of guilt are so overwhelming and so obvious that for many the verdict will still seem unthinkable. Outrage can be surprisingly cathartic, even the second time around.
"Prosecuting Casey Anthony" airs at 8 p.m. Saturday on Lifetime.
Substitute teacher arrested after his gun goes off in first-grade class
Mueller delivers Russia probe report to AG; Blumenthal, Courtney, Murphy weigh in
Norwich, Connecticut Tigers close to reaching new lease agreement
High school referee Tony Gigliotti and NBA referee Josh Tiven
Mueller delivers Russia probe report to AG; Blumenthal, Courtney, Murphy weigh in
The demolition of historical buildings in Stonington continues
Committee endorses bill to expand health coverage to undocumented youth


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Daily market news and advice containing specific risk management recommendations for agricultural producers using futures, options, cash prices, basis and LDPs. Clients may also call veteran commodity analyst Alan Brugler weekly and discuss strategies related to individual situations.
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Ag Market Professional (AMP) is a twice daily market advisory and strategy newsletter with summaries of fundamental news and weather developments, analysis of price chart and technical influences, and recommended price risk management strategies. The AMP is available by e-mail, via password on Brugler's web site, or by fax. The AMP covers the major ag commodities, and analyzes strategies for cash, futures, options, and basis sales.
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Hot Rod Jeep ExhaustPosted in How To on July 19, 2013
One thing is for sure about exhaust: We all need it. That does not mean that all exhaust exhaust systems are equal. Some are works of art, and some are nightmares of booger welds, epoxy, coffee cans, rust, and holes. We generally prefer the former type, but not everyone can build a custom exhaust that is up to par. If we do say ourselves, our '49 CJ-3A is almost nice enough to deserve the few times that it has graced the pages of Jp. It generally follows a pattern that has worked for years on several other flatties, and any inadequate bits are no one's fault but our own.
One of the more hokey parts of the Flattie was our home-cobbled exhaust and fenderwell headers. OK, the fenderwell headers were nice…for fenderwell headers. But honestly, who likes fenderwell headers? The rest of the exhaust was really a stop-gap until we could figure out something that worked better. Fast forward 11 years after we first built the flattie with the Buick V-6, and we finally found a viable option that would work on many, if not any and all, Buick V-6-powered Jeeps. With a little help from Novak Conversions, a custom true dual exhaust from Chappelle's Exhaust and Kustoms in El Cajon, California, and some Thrush Mini Turbo mufflers, our twenty-footer CJ-3A is now a lot nicer.
The Other Manifold Options for Buick V-6 Exhaust
If you own a Jeep with a Buick V-6, you probably already know that the exhaust manifold options are few and far between. For years you had two, maybe three, options for exhaust. Either you could run fenderwell headers, cut your fenders, and have obnoxious exhaust outside the frame rails just asking to get bashed on rocks, or you could run a set of stock cast exhaust manifolds from a 225 Buick V-6…which are basically two passenger-side manifolds with the driver side mounted backwards and dumping forward. These manifolds are getting hard to find as a used item, and many are worn out and cracked. Lastly, you could use exhaust manifolds from a late-model Buick car (shown). This involves one normal passenger-side manifold and one odd driver-side manifold with two outlets. With this setup you can either plug the second outlet or run the passenger-side exhaust under the oil pan and up into the driver side and send gases from both sides out the more rearward exit. This is running the exhaust as the Buick car would have had from the factory. It's complex and certainly not ideal. Luckily for us and for you, there is now a fourth option that is much better than any of the first three. Shorty block-hugging headers from Novak Conversions.


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Obstetrics & Gynecology Resources & Links
Below are resources developed or chosen by the OB/Gyn doctors at the Palo Alto Medical Foundation (PAMF). These resources are for educational purposes. Please check with your doctor if you have any questions about your own care or pregnancy.
PAMF Resources
Calcium and Vitamin D, .pdf
Preventing and Treating Iron Deficiency
Toxoplasmosis and Your Unborn Child
Sutter Health Resources
The Sutter Health Network, which PAMF is an affiliate, has a comprehensive online guide to pregnancy, birth, breastfeeding and caring for your newborn. Below are some chosen resources that may be helpful to you.
- Physicals at Every Age
- Facts About Pelvic Organ Prolapse | Ask the Doctor
- What is a Fibroid?
- Migraines and Women
- What Are the New Health Exam Guidelines for Women? | Ask the Doctor
- Is Your Purse Too Heavy?
- Neck Pain and Heavy Handbags
- Birth Control | Ask the Doctor
- Robotic Surgery for Fibroids | Fibroid Treatment
- Robotic Surgery for Gynecologic Operations
- How Does Robotic Fibroid Surgery Work?
- Fibroid Treatment and Diagnosis
- Understanding Your PMDD
- Preparing for a Healthy Pregnancy
- Due Date (Pregnancy) Calculator
- Home Pregnancy Tests
- First Trimester Screening for Birth Defects
- Alpha-Fetoprotein (AFP) in the blood
- Amniocentesis
- Gestational Diabetes
- Labor, Delivery and Postpartum Period
- Umbilical Cord Blood Banking, Deciding about
Nutrition and Weight Gain During Pregnancy
More Resources & Websites
- California Employment Development Department—File a Claim
- California Newborn Screening Program
- MedlinePlus.gov—Women's Reproductive System
- MedlinePlus.gov—General Women's Health
- American Congress of Obstetricians and Gynecologists (ACOG)—Patient Information site


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Staging and Risk Levels
Notes about Staging Systems
Papillary/Follicular Thyroid Cancer Staging (and their Variants)
Risk Levels in Papillary and Follicular Thyroid Cancer
Staging Versus Risk Level
Treatment Overview
How the Stage Affects Treatment of Papillary, Follicular, or Variants
For more about Staging and Treatments
Your doctor needs to know the stage of the disease to plan your treatment.
The stages are I, II, III, and IV (or use the common numbers 1, 2, 3, and 4). The stage refers to the cancer's size, type, and whether and where it has spread at the time of diagnosis. Your surgery (if you have surgery) and further testing will determine the stage of your cancer.
The reference book Thyroid Cancer: A Guide for Patients notes that:
"Tumors classified as Stage I or II are typically considered to be 'low risk' tumors with excellent to good prognosis, whereas Stage III or IV tumors are often described as 'high risk,' implying a higher risk of residual disease after initial treatment, or recurrence. Fortunately, the overwhelming majority of patients will fall into Stages I and II and have an excellent prognosis with little risk for recurrence or death from their disease."
Each type of thyroid cancer has its own staging system. Here is a brief overview. Staging is a helpful topic to discuss with your physician. Physician Guidelines from the American Thyroid Association and other professional organizations give further details. See the Physician Guidelines page, linked at the left.
Notes about Staging Systems:
- The staging systems discussed here apply only to adults with thyroid cancer. The staging system cannot be used to predict the likely course of disease in pediatric patients.
- There are many staging systems. None is perfect or captures all the essential issues that prognosticate for thyroid cancer. Also, the staging systems are static, focusing on only one point in time. They do not reassess the patient 2 years or 12 years after treatment. Because of these limitations, physicians do not rely on staging systems very much.
Papillary/Follicular Thyroid Cancer Staging (and their Variants)
Patients under age 45 years are considered lower risk than patients age 45 years or older.
Stage I
- In patients younger than 45 years of age: Cancer (any size) is located in the thyroid gland. It may also be present in nearby neck (cervical) lymph nodes and/or nearby neck tissue. However, it has not spread to distant sites.
- In patients 45 years of age or older: Cancer is located in the thyroid gland only and is less than 2 centimeters (about 1 inch) in size. It is not in nearby neck tissue or lymph nodes. It has not spread to any distant sites.
Stage II
- In patients younger than 45 years of age: Cancer has spread beyond the thyroid and neck area (i.e., there are distant metastases).
- In patients 45 years of age or older: Cancer is in the thyroid only and is 2 to 4 centimeters (about 1 to 2 inches) in size. It has not spread to lymph nodes, nearby neck tissue, or distant sites.
Stage III
- Patients 45 years of age or younger are Stages I or II only.
- In patients 45 years of age or older: Either the tumor is any size and cancer has spread to nearby cervical lymph nodes but not to distant sites, or else the tumor is larger than 4 centimeters but has not spread outside the thyroid gland other than minimally to nearby neck tissue.
Stage IV
- In patients 45 years of age or older: Cancer has spread to other parts of the body outside the neck area, such as lungs and bones, or has extensively invaded nearby tissues in the neck (other than nearby neck lymph nodes), including large blood vessels.
Risk Levels in Papillary and Follicular Thyroid Cancer
The American Thyroid Association Guidelines explain risk of recurrence in people with differentiated thyroid cancer.
- Low Risk of recurrence means no local or distant metastases, no cancer in nearby tissue or outside the thyroid bed, and cancer that is not one of the variants.
- Intermediate Risk (Medium Risk) means some tumor in nearby neck tissue at the time of surgery, either cervical neck lymph node metastases, or shown outside the thyroid bed on a radioiodine scan after radioiodine treatment, or a tumor that's a variant or has vascular invasion.
- High Risk means extensive tumor outside the thyroid, distant metastases, or other high-risk factors.
The staging determined after the initial diagnosis stays the same. However, the risk level can change over time depending on your cancer's response to the treatment received and the results found during the course of follow-up testing and monitoring.
Your treatment will be tailored to your own circumstances, including your type of thyroid cancer, whether it has spread to local lymph nodes or distant sites (lung or bone most likely), your age at diagnosis, as well as other factors.
Treatments include:
- Surgery—usually the first step for treating any thyroid cancer
- Radioactive iodine ablation for many people with differentiated thyroid cancer
- Thyroid hormone replacement therapy for anyone who has had their thyroid gland removed (or supplemental therapy for anyone who has had partial removal of the thyroid)
- External beam radiation – for some patients
- Chemotherapy, including new targeted therapies, sometimes in a clinical trial – for some patients
- There are additional treatment modalities, such as radiofrequency ablation, and percutaneous ethanol (alcohol) injections, for selected circumstances.
Points to keep in mind:
- Treatment aims to remove all or most of the cancer and help prevent the disease from recurring or spreading.
- Treating thyroid cancer often uses two or more of these treatment approaches.
- Discuss your situation and your treatment with your physician so that you understand what is recommended and why.
How the Stage Affects Treatment of Papillary, Follicular, or Variants
The treatment your doctor will recommend depends on the stage of differentiated thyroid cancer.
The treatment recommended for you may differ from the general statements below, for reasons related to your individual circumstances.
It is very important to discuss your individual treatment plan with your doctor.
Stage I or II
- Surgical removal via a lobectomy or near-total/total thyroidectomy. A near-total/total thyroidectomy is more common than a lobectomy.
- A central compartment neck dissection may also be done. This means surgical removal of lymph nodes next to the thyroid.
- In the lowest-risk patients, surgery may be the only treatment. The cure rate for lowest-risk patients with only surgery is excellent.
- Some patients receive radioactive iodine (RAI) treatment after the thyroidectomy. The patient's age and other factors affect the decision about radioactive iodine.
- Your doctor will prescribe thyroid hormone replacement therapy after thyroidectomy, with a dosage appropriate for a lower-risk patient.
Stage III and IV
- Surgical removal is usually a near-total/total thyroidectomy, plus a central compartment neck dissection (surgical removal of lymph nodes next to the thyroid). If the cancer has spread to other lymph nodes in the neck, a modified radical neck dissection is often done. This is a more extensive surgical removal of lymph nodes from the neck.
- Radioactive iodine treatment is generally given to eliminate any remaining thyroid tissue after surgery and to treat any undetectable cancer remaining in the neck or elsewhere in the body that takes up iodine.
- Some patients may receive external beam radiation. Some may receive chemotherapy in a clinical trial for metastatic differentiated thyroid cancer that does not take up iodine.
- According to the 2009 ATA Guidelines for Differentiated Thyroid Cancer, you should receive thyroid hormone therapy, with the dosage high enough to suppress the blood level of TSH (thyroid stimulating hormone) well below the level that is the normal range for someone without thyroid cancer.
The staging determined after the initial diagnosis stays the same. However, the risk level can change over time depending on your cancer's response to the treatment received and the results found during the course of follow-up testing and monitoring.
For more about Staging and Treatments, see:
For more about staging and treatments, see
Last updated: May 21, 2013


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BioWare's Casey Hudson offers reassurances to gamers by way of Computer and Video Games that the use of Origin does not mean Mass Effect 3 will be burdened by intrusive DRM. They say the game will use a one time online activation, and will allow an unlimited number of installs. Here's more from Hudson:
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Women's work, men's work. At various times and places in history, the line between the two has been strong and clear. At other times and in other places, the line is less strong or even non-existent. Many of the women pictured in this section were doing work that—at the time—might have been seen to be crossing over the line between gender roles. But were they really? And did they see themselves as defying societal expectations regarding their behavior? No doubt they were just doing what had to be done at the time, whether to support themselves or their families or simply because they enjoyed it.
Page 1
All photographs taken from the holdings of the
UAA/APU Consortium Library's Archives and Special Collections Department.
© 2005
Consortium Library
University of Alaska Anchorage
3211 Providence Drive, Anchorage, AK 99508.


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Recap: Bruin's big night leaves Dynamo level with Crew
COLUMBUS – Will Bruin scored the first Houston goal and assisted on the late equalizer by Brian Ching in the 81st minute to counter a pair of goals by Eddie Gaven as the Dynamo tied the Crew 2-2 at Crew Stadium on Saturday.
The Dynamo survived a late onslaught to move to 2-1-2 with two games remaining on their season-opening road swing before christening BBVA Compass Stadium on May 12 vs. D.C. United.
Columbus (2-3-1) ended a two-game losing streak but could not secure the three points, despite a thundering blast from Gaven in the 74th minute that looked like it would stand up as an emphatic game-winner.
Instead the last laugh went to Bruin and Ching, who hooked up in the waning minutes to give the Dynamo their second consecutive draw.
The Crew, however, nearly salvaged the win in the 89th minute, but Houston goalkeeper Tally Hall made two point-blank saves on striker Olman Vargas before defender Andre Hainault cleared an attempt off the goal line by Aaron Schonfeld.
After a sleepy first half, Bruin started the scoring in the 58th minute. After Crew goalkeeper Andy Gruenebaum tipped a shot from Ching over the bar to set up a corner kick, Bruin nodded home Adam Moffat's in-swinging ball with the back of his head for his second goal in as many games.
The Crew tied the score four minutes later on a strange sequence that began with a goal kick from Gruenebaum to Milovan Mirosevic for a flick that Hainault knocked back to teammate Geoff Cameron. He pushed the ball back to Hall, who tried to clear it with his head but instead put the ball to Gaven.
Gaven hit a soft shot toward goal that Hainault got a foot to as he tried to steer it away from the Crew's Emilio Rentería, but the scrappy goal was good enough to pull the Crew even.
Gaven's second goal was easily the finish of the night, and helped break the Crew star break out of an early-season scoring drought. Second-half substitute Schonfeld chested a ball down just outside the box to an onrushing Gaven, who one-timed a left-footed shot past a helpless Hall and into the back of the net.
But then came another moment to shine for Bruin, who found space on the right side of the box and placed a perfect pass between Crew defenders Chad Marshall and Sebastian Miranda that enabled Ching to run onto the ball for the redirect. The goal was the first of the season for Ching.
OPTA Chalkboard: Follow Bruin and Gaven
Houston welcomed back Moffat [the former Crew midfielder] from a one-game suspension for a reckless challenge March 23 against Seattle, but Brad Davis missed his second straight game because of a left calf strain. Colin Clark missed the game while he served the second of a three-game suspension.
Nemanja Vukovic and Josh Williams got their first starts for the Crew as Shaun Francis and Eric Gehrig went to the bench. Midfielder Danny O'Rourke replaced rookie Kirk Urso at defensive midfield, while Tony Tchani got the nod over midfielder Ethan Finlay and Renteria returned from a benching against Philadelphia to start at forward over Schonfeld.
Houston return to action at D.C. United on April 28, while the Crew host Vancouver the same day.
|What We Saw
|Will Bruin
|Two goals in two games for the Dancing Bear, despite taking an early knock to the head. Plus, a nifty assist when it counted.
|Eddie Gaven
|The Crew have been waiting all season for his gorgeous one-timer, and he was in the right spot on Houston's clumsy giveaway.
|Tally Hall
|The Dynamo banked a huge road point because Hall stood on his head late. Olman Vargas will see Hall in his dreams.
WATCH: Full Match Highlights


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2012-07-19 / Police Blotter
Thefts Under Investigation A 29-year-old Warren Township woman reported to police that somebody removed a 1970 black Yamaha 60cc three-wheeler from her yard on July 12 or 13. Between 8 a.m. and 7 p.m. on July 5, someone removed a registration plate from a motorcycle that was parked in the M.R. Dirt parking lot in Asylum Township.
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Significant renovations, small down payments and no home inspection are among the top mistakes homebuyers make: RBC Poll
RBC Royal Bank provides tips to combat common home buying pitfalls
The majority (60 per cent) of Canadian homeowners admit they made at least one mistake when they bought a home, according to the 20th Annual RBC Home Ownership Poll. Asked to list up to three scenarios as their top mistakes, Canadians pointed to significant renovations needed to the property (15 per cent), not having a bigger down payment (14 per cent), and lack of a home inspection (13 per cent).
"Unfortunately we don't get a 'do-over' when buying our first home, so it's important to arm yourself with the right advice to avoid unexpected financial costs down the road," said Rachel Wihby, strategy manager for First-Time Homebuyers at RBC. "Skipping a home inspection or rushing a home purchase are cautionary tales for prospective homebuyers, especially younger and first-time purchasers."
Homeowners also cited purchasing too quickly (11 per cent) and failing to account for extra costs or total cost of home ownership (10 per cent) among some of the wrong moves made during a home purchase.
Younger Canadian homeowners (ages 18 to 34) were more likely than the average Canadian to list not having a bigger down payment as a mistake (21 per cent vs. 14 per cent national), according to the poll. A larger percentage of younger Canadian homeowners also did not think about future family and space needs (13 per cent vs. eight per cent national)
Affordability and saving for a down payment top concerns for first-time buyers
The "mistakes" are consistent with some of the common concerns that current prospective first-time buyers face, who say they haven't purchased yet because they weren't able to afford it (46 per cent) or they were saving for a large down payment (32 per cent).
Among these prospective buyers, almost two-thirds (62 per cent) anticipate their down payment will represent up to 10 per cent of the home's value. Half (53 per cent) said it would take up to three years to save enough for a down payment. This time line fits with an earlier RBC news release that showed four-in-10 Canadians (40 per cent) planning to enter the housing market over the next two years will be first-time homebuyers.
Many first-time buyers will use their savings accounts and RRSP/TFSA for a down payment
Aside from taking out a mortgage, prospective buyers expect to fund their home purchase by putting money aside in a special saving account (48 per cent), using their RRSPs (25 per cent), using a tax-free savings account (23 per cent) or delaying other big purchases such as a car or vacation (17 per cent).
"Buying a home is typically the biggest financial decision that most people will ever make, so it's important to plan ahead and keep emotions in check. Seek expert advice every step of the way and leave some wiggle room in your budget for unexpected costs," added Wihby.
The survey found that prospective first-time buyers were most interested in a combination/hybrid mortgage (42 per cent vs. 29 per cent national) and were more likely to be looking for a mortgage that was longer than a 5-year term (39 per cent vs. 22 per cent national).
About the RBC 20th Annual Home Ownership Poll
RBC is the largest residential mortgage lender in Canada. With over 1,400 mortgage specialists across Canada, RBC has helped thousands of Canadians find a home. As the country's number one source of financial advice on home ownership, RBC conducts consumer surveys as one way to provide insight to Canadians about the marketplace in which they live.
These are some of the findings of the RBC's 20th Annual Home Ownership poll conducted by Ipsos Reid between January 31 and February 8, 2013. The annual online survey tracks Canadians attitudes and behaviours regarding homebuying and home ownership. The results are based on a sample where quota sampling and weighting are employed to balance demographics and ensure that the sample's composition reflects that of the actual Canadian population according to Census data. Quota samples with weighting from the Ipsos online panel provide results that are intended to approximate a probability sample. An unweighted probability sample of 3,005 adult Canadians, with 100 per cent response rate would have an estimated margin of error of ±3 percentage points, 19 times out of 20. The margin of error will be larger within regions and for other sub-groupings of the survey population.
Source: http://www.rbc.com/newsroom/2013/04-29-hop-wave2.html


text: Brian Knight, MCSE, MCDBA, is on the Board of Directors for the Professional Association for SQL Server (PASS) and runs the local SQL Server users group in Jacksonville. Brian is a contributing columnist for SQL Magazine and also maintains a weekly column for the database website SQLServerCentral.com. He is the author of Admin911: SQL Server (Osborne/McGraw-Hill Publishing) and co-author of Professional SQL Server DTS (Wrox Press). Brian is a Senior SQL Server Database Consultant at Alltel in Jacksonville and spends most of his time deep in DTS and SQL Server.


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The Regional Medical Center at Memphis has filed a $1.3 million permit application with the city-county Office of Construction Code Enforcement for facility improvements.
The permit, which specifically calls for phase two of an "intervention cath lab and outpatient clinic" at The MED's 877 Jefferson Ave. campus, was filed this week.
It listed Montgomery Martin Contractors LLC as the general contractor, but no architect was included on the permit.
These upgrades are part of a $32.4 million capital improvement plan The MED board approved in July. The hospital is expanding the Elvis Presley Memorial Trauma Center and the Turner Tower Complex.
Facility improvements to the Elvis Presley Memorial Trauma Center include the renovation of its outdated Critical Care Assessment area. Square footage will be added, modernizing and increasing the amount of assessment space.
Renovation work is scheduled to be completed in December.
The Turner Tower project will include the expansion of the Firefighters Regional Burn Center and the build-out of three vacant floors to relocate the inpatient Rehabilitation Hospital, Outpatient Ambulatory Surgery unit and acute care patient rooms.
The Turner Tower project includes more than 88,000 square feet and will be completed in stages over the next 18 months. The estimated completion date for the entire Turner Tower project is December 2013.
Source: The Daily News Online & Chandler Reports
– Daily News staff
The U.S. unemployment rate fell to 7.8 percent last month, dropping below 8 percent for the first time in nearly four years and giving President Barack Obama a potential boost with the election a month away.
The rate dropped from 8.1 percent because the number of people who said they were employed jumped by 873,000 — an encouraging sign for an economy that's been struggling to create enough jobs.
The number of unemployed Americans is now 12.1 million, the fewest since January 2009.
The Labor Department said employers added 114,000 jobs in September. It also said 86,000 more jobs were added in July and August than the department had initially estimated.
Still, many of the jobs the economy added last month were part time. The number of people with part-time jobs who wanted full-time work rose 7.5 percent to 8.6 million, the most since February 2009.
But overall, Friday's report dispelled some fears about the job market. Average wages rose. And more people started looking for work.
The revisions show employers added 146,000 jobs a month from July through September, up from 67,000 in the previous three months.
The 7.8 percent unemployment rate for September matches the rate in January 2009, when Obama took office. In the months after Obama's inauguration, the rate rose sharply and had topped 8 percent for 43 straight months.
– The Associated Press
The parent company of First Tennessee Bank sent out letters to nearly one-tenth of the Memphis-based company's 4,500 employees Thursday offering them terms of a voluntary buyout.
First Horizon National Corp. is offering the buyouts to some 400 employees, said chief human resources officer John Daniel, who stressed that they're looking in "non customer-facing areas."
It's part of an effort to cut costs, but to do it in what he said is "a creative way" and to target higher-paid employees.
"So, it's back office, operational areas like finance and HR and operations staff areas," he said. "These would be people who maybe want to go back to school or maybe, for family reasons, they want to take some time off or they've been thinking about changing their career path."
Affected employees have until the end of the month to accept.
– Andy Meek
The Downtown Memphis Commission's Design Review Board approved Wednesday, Oct. 3, the construction and renovation application of EYKONIC Group LLC's Downtown Athletic Club at 387 S. Main St.
The board approved the project – which includes building renovation, some exterior signage and improvements to two parking areas – under two minor conditions. The first is that the applicant will provide a final site plan showing the exact sidewalk panels to be repaired; that site plan will have administrative review and approval from the DRB. The second condition is the applicant will provide final documentation showing details of the public art component, which will likely entail some sort of creative bike rack.
EYKONIC Group is led by Kate Dailey and Erik Yarbro, who plan to convert the 26,500-square-foot building in the South Main Historic Arts district (to the south of Spindini) into an upscale fitness facility with training, yoga, and day-spa components, as well as a European-style, health-food-centric restaurant that offers wine and beer.
The total development cost, excluding furniture, fixtures and equipment for the athletic club and café, is approximately $1.7 million. The Center City Development Corp. board in August approved a development loan of $200,000 for the project.
The design firm is Self-Tucker Architects. EYKONIC Group hopes to start construction by the end of the year and anticipates an opening 90 days after that.
– Sarah Baker
Anthony D.McDuffie has resigned as principal accounting officer and vice president of finance and controller of Memphis-based Pinnacle Airlines Corp.
McDuffie's resignation is effective Sept. 28. He joined Pinnacle on March 29, just days before Pinnacle filed for bankruptcy reorganization.
Thomas M. Schmidt, the vice president of operations finance has been appointed by the Pinnacle board of directors as the new principal accounting officer for the regional air carrier. The appointment of Schmidt is at will with no employment agreement with the company.
– Bill Dries
A source close to Robert Pera, the California businessman in the process of buying the Memphis Grizzlies, has confirmed the addition of a few new names to what will be the new ownership of the Grizzlies.
Denver Broncos quarterback Peyton Manning and his wife, Ashley, a Memphis native, as well as former NBA and University of Memphis basketball star Anfernee "Penny" Hardaway will be among the new Grizz ownership.
Hardaway released a statement Thursday afternoon.
"This is not just an investment in a sports team, it's a way for me to give back to the people of Memphis in thanks for their supporting me," he said. "When I was a child my grandmother told me, 'Do for your community, do for your people, do what God puts in your heart.' God puts in my heart to just give. The other local investors share this same commitment to Memphis, so I know the new Grizzlies owners will take more of a leadership role in making the team better."
The potential new ownership team has been expanding quickly in recent weeks, including the likes of pop star Justin Timberlake and former Memphis congressman Harold Ford Jr. A source involved in the deal, which is still evolving and is not yet official, told The Daily News recently the local ownership participants will likely top out at between 10 and 12 people.
Pera is the founder of Ubiquiti Networks Inc., a Silicon Valley technology company he started after leaving Apple Inc. After word of his bid to buy the Grizzlies from current owner Michael Heisley became public earlier this year, Pera's camp took pains to point out that his addition of local ownership elements was by choice, partly to give local fans assurance that the team isn't going anywhere.
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by The Daily News Publishing Co. Inc. - All Rights Reserved


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September 18, 2006
Wabash English majors established a new tradition on campus September 14 in Center Hall's Tuttle Chapel, founding the College's chapter of the international English honor society, Sigma Tau Delta, and inducting its first members.
The 10-member group hopes "to foster greater participation and interest in literary concerns on campus," said president Joe Cooper '07.
"Last year I was talking with Nick Pompeo '07 and Ryan Clark '07 about how we could become more involved on campus," Cooper said of the genesis of the campus's newest honor society. "As English majors, we were lacking a forum in which students and English department faculty could regularly share thoughts and ideas with one another outside of the classroom. Other departments were equipped with such an entity, and we were surprised that the English department had no such society. The logical thing to do was to fill the void."
Cooper and his fellow English majors are looking beyond campus, as well. They have made arrangements to begin tutoring students at Crawfordsville schools this fall, and the group will travel to Butler University in October to listen to Pulitzer-Prize-winning poet Mary Oliver.
"We'll also attempt to promote interest on campus of the study of literature by attending and encouraging others to attend the new lecture series offered by members of the English faculty," Cooper added. The group is also considering a campus book club, in which faculty and students would read and study a particular book together.
"We were pleasantly surprised by this initiative, which was entirely student-driven," said Associate Professor and chair of the department Joy Castro said. "We applaud our seniors' desire to recognize accomplishment in our discipline and to encourage the reading and discussing of works of literature. They've begun a great new tradition here at Wabash."
The Wabash chapter of Sigma Tau Delta includes: Cooper; Andrew Dits, vice-president; Tom Elliott '08, treasurer; Aaron Splolarich '08, secretary; and Nick Pompeo '07, Nick Gregory '07, John Moore '08, Ryan Clark '07, Kiel Hansen '07, and Sterling Carter '07.
In photos: Andrew Dits '07 is welcomed into Sigma Tau Delta by chapter president Joe Cooper '07 and Nick Splolarich '07.
A secret handshake? Professor of English Tobey Herzog and Ryan Clark '07 try one out under the watchful eyes of Professor Tom Campbell.


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Mogami Multi-Channel Snake Cables are world renowned, and are found in high-end professional studios, weaving out of rackmount and console equipment. It is based on Mogami's own #2932 Neglex multipair snake cable, which is well respected for its neutral tone, remarkable transmission of audio detail, noise-free background and super-flexible jacket.
Each length of audio channel wire is individually shielded with numbered jackets for simplified organization of cable clusters. The jacket is 0.047" (1.2mm) and the overall diameter is 0.453" (11.5mm).
|Cable Type
|Analog multitrack cable
|25' (7.2 m)
Conductor core: 30x 40 Gauge
Drain wire: 7x 33 Gauge
|Individual 58/0.10A served (spiral) shield
|Connector 1
|Connector 2
|8x XLR Male
|Packaging Infofabtwcdawebffcsf
|Package Weight
|4.15 lb
|Box Dimensions (LxWxH)
|12.1 x 9.4 x 3.6"


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Bilstein BMW E9x Coilovers
The '05-on BMW 3er is the best-selling vehicle in each of its model categories (coupe, sedan, touring and convertible). So Bilstein has announced new nine-step adjustable PSS9 coilovers for the E90, E91, E92 and E93 line-up. Lowering ranges between 30-50mm, with a series of comfort settings from limo smooth to track poised. $2174.99
Tarox TT RS Brake Upgrade
Italian brake specialists Tarox has developed an upgrade kit for the Audi TT RS. It comes with 370mm two-piece discs and upgraded pads, designed to fit the OEM calipers. $1490
RaceRoom Simulators
You've thought about rigging an old race seat up a video-game console and steering wheel but probably got lazy and it never happened. So RaceRoom takes away the headache and puts the game in your face with its new line of RaceRoom Home Simulators, with everything for the entry-level gamer to the serious player. $349-2399
ShowFinder App
Looking for a local gathering to occupy your drab Wednesday night? Perhaps hunting for road trip to a larger show across the country? The ShowFinder App can tell you about any show going on within 25-1000 miles of your location. Available for both iOS and Google Play platforms, you can find a show almost anywhere in the United States. $free
Ferrari by Logic 3
We've seen some of the Ferrari-licenced products from Logic3 before, and here are new headphones and earphones from the same partnership. The exotic headgear hits the market with great acclaim from 2012 CES, and was the winner of the iLounge "Best of Show" for product design. $125-320
DashCommand App & Pioneer AppRadio2
You can track your vehicle's real-time performance and monitor fuel economy from the comfort of a 7" in-dash monitor thanks to the new collaboration between Palmer Performance Engineering's DashCommand App and Pioneer Electronics. Thanks to Pioneer's AppRadio2, the new app can provide a vehicle interface with racetrack mapping. It plugs into the OBD2 port, so can also interpret those pesky fault codes. Available for Android and iOS. $49.99 (app) $499.99 (AppRadio2)
JL Audio for Porsche 911
JL has a solution for bass-deprived owners of the (996) Porsche 911. Its low-profile stealthbox is equipped with 13.5" drivers capable of handling up to 1200 watts of power. These will certainly rock your world.
PODI VAG Gauge Mounts
Podi manufactures a complete line of OEM replacement gauge mounts and a selection of electronic stepper-motor gauges to monitor boost, oil temp, oil pressure and AFR. Every gauge comes with an anti-glare finish and an infrared remote control to adjust brightness or change backlighting color. Starting at $69.95
Optrix XD Sport
GoPro isn't the only contender for extreme performance cameras. Optrix offers its XD Sport package that shields your iPhone from damage while giving you a wide-angle lens to capture every moment in full 1080p HD. Available either at your local Apple store or online. $99
Stasis Audi Brake System
The 390mm Stasis brake kit offers race-ready performance combined with a sensible pad compound suitable for everyday driving. They are said to have a cold biting point, so will work from the very first application, no matter what weather. Kits are available for the Audi A4, S4, A5, S5 and Q5, starting at $4678.99
Eibach Porsche 911 Suspension
Give your new 991 Porsche 911 the performance look and feel with Eibach Suspension upgrades, including the Eibach Pro-Kit springs ($497.57) and its wheel spacers ($151.31) to give the stock wheels a more aggressive offset.
M Bike Carbon Racer
German tuning house AC Schnizter wants to ensure your cycling is as thrilling as your car with its new BMW M Bike Carbon Racer. Weighing in at just 15 lb, the bike is the result of a partnership with carbon wheel specialists Xentis, with nearly every crevice of the machine constructed of the space age material. $TBD
996 Porsche 911 TT Intercooler
Forge Motorsport has been rigorously testing more aluminum products and announced the debut of its 996 Porsche 911 (Turbo and GT2 fitments) intercooler kit. With a significantly thicker core, it's been dyno-proven to ensure your Porsche stays cool even on its hottest lap. $2700
HRE C90S Wheels
Introducing the latest line of three-piece wheel iconography, HRE announced its new C90S Series in a new platinum finish. Available in various designs from mesh to multi-spoke, the C90S series is here for one reason: track performance. Pitting its reputation against Pikes Peak and Formula Drift events, these wheels offer no compromises. $TBD
3Zero3 Audi Spacers
Wheel spacers can often be the last detail tuners overlook. But those extra few millimeters on your stock or aftermarket wheels can be the icing on the cake. 3Zero3 has introduced 5, 12.5 and 15mm wheel spacers with a 5x112 bolt pattern and a B8 bore diameter for the latest Audi A4. Starting at $29.95 per pair, wheel bolts are sold separately.
ECS Interior Light Kits
Ziza LED interior lighting kits are now available for VW/Audi, BMW and Porsche applications from ECS Tuning. Kits include LED replacements for all interior incandescent bulbs, instantly bringing a bright, fresh look. $79.95
Schwaben Protecta Sockets
Damaging new wheels when fitting or changing a tire could ruin your day, so ECS Tuning is offering these Schwaben Protecta Sockets in an anodized, color-coded 17, 19 and 21mm set. Each socket is covered in a protective plastic sleeve that won't gouge or scratch your wheel like conventional sockets. $39.95
Eibach Mini Sway Bar
As Mini is striving to expand its line of vehicle options, the introduction of the new Roadster brings more than just another convertible to the market. With more performance and style, it was well suited to Eibach's mission to improve the handling with its new Anti-Roll Bar Kit for the Mini Roadster. The front uses a fixed-rate 26mm bar, while the rear is a two-way adjustable 20mm bar. It's designed to work with either the stock suspension or Eibach's Pro-Kit springs. $450.95


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Discover the unique animals, lush rainforest and natural beauty of the Queensland outback with Blue Adventures.
Blue Adventures are a specialist rainforest and wildlife tour operator based in Port Douglas offering private tours for couples, families and small groups.
Join a Blue Adventures tour and see kangaroos, emus, platypus, wallabies, native birds, reptiles and plenty more native Australian wildlife in its natural setting.
On their tours they explore the ancients rainforests of Wet Tropics World Heritage Area, Outback Queensland wetlands and grasslands popular with wildlife.
Your private Blue Dive guide will share with you the fascinating story of these and the native wildlife that lives here.
Their private tours are catered to your needs and interests and all trips are led by their expert Blue Adventures guides.
Australia is home to an abundance of unique and unusual animals that are found nowhere else in the world. Join a Blue Adventures tour and spot wild animals in their natural habitat including emus, platypus, kangaroos, wallabies, native birds, freshwater turtles and more!
The World Heritage rainforests, wetlands and tropical savanna of north Queensland offer a diverse range of native wildlife habitat. Blue Adventures has access to a range of unique and little-known destinations where they can take their private guests to view and photograph Australian animals in the wild.
Their typical itinerary has them begin the day with an outback wetlands where they often find emus and wallabies, as well as an abundance of birdlife.
They then visit grasslands where they find hundreds of wild kangaroos lazing in the shade during the heat of the day.
In the afternoon take a rainforest nature walk to look for rare tree kangaroos, forest dragons and other rainforest wildlife.
Late in the day visit a site where they have a very high chance of seeing platypus and freshwater turtles in the wild.
The tour includes a delicious lakeside lunch, snacks, all entry fees and photographs from your day.
A Blue Adventures wildlife and rainforest tour is the best way to see some of Australia's most iconic animals and discover the World Heritage rainforests of far north Queensland.
With a maximum of just six guests, our tour will allow you to get up close and personal with wild animals, get hands-on in the rainforest and really learn about the environments your exploring.
Join a Blue Adventures Tour and see - in their natural habitat - emus, an abundance of kangaroos and wallabies, incredible bird life, frill-necked lizards and much more. They never know what else they will see on these tours, that's part of the fun…but the areas they visit also contain populations of very rare Lumholtz tree kangaroo, the elusive duck-billed platypus and the endangered Southern cassowary.
Note: Information on listed products and services are provided by the operator and were correct at the time of publishing. Rates are indicative based on the minimum and maximum available prices of products and services. Please visit the operator's website for further information. All prices quoted are in Australian dollars (AUD).


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Although basketball was Jerry Buss' true love, the late Lakers owner was also a passionate poker player.
On Aug. 25 at 4 p.m., the World Poker Tour Foundation will hold the Frank Mariani & Jerry Buss No Limit Hold 'em Poker Tournament at the Bicycle Casino in Bell Gardens.
The guaranteed prize for the tournament is $20,000.
The entry fee is a $365 buy-in, with 25% of the tournament's prize pool donated to the Los Angeles Lakers Youth Foundation, which focuses "on the use of sports to promote education, teamwork and self-esteem among Los Angeles area youth."
All players who reach the final table will receive a "limited framed Jerry Buss/Frank Mariani chip set."
Mariani was a long-time business partner and close friend of Buss.
Robert Horry recalls confrontation with Kobe Bryant
Kobe Bryant sees a return to Pau Gasol as a return to winning
Bill Bertka's proudest Lakers moment led to 33-game winning streak
Email Eric Pincus at firstname.lastname@example.com and follow him on Twitter @EricPincus.


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Jennifer Nettles Reveals Savory and Spicy Pregnancy Cravings
Sugarland singer Jennifer Nettles is expecting her first child. Despite having a bun in the oven, the singer is still pulling double duty by playing shows and serving as a superstar mentor on the reality singing show 'Duets.' Nettles has had to perform twice every week, since she has always had two horses in the race in the form of J Rome and John Glosson, effectively doubling her chances of "winning" the show. She is a busy bee, and to keep her energy up, she is happily eating for two.
Nettles surprised us all when she revealed that she prefers savory and spicy bites over sweets, which is ironic, given her band's name and all.
During an on-air chat with 'Good Day L.A.,' Nettles opened up about her hankering for acidic and tart food items. "I crave Mexican food, which this has been the perfect place for that," the singer admitted, referencing Los Angeles. "Anything salsa, spicy, I love that. Anything vinegar-y or tart, I love that. I'm pretty much a free-for-all at this point."
The 'Baby Girl' hitmaker copped to having a sweet tooth, but she hasn't craved sugary items since being with-child. "It's not my main craving, which is interesting, because I normally have a big sweet tooth," she said.
The mom-to-be (dad is her husband Justin Miller, with whom she will celebrate her first anniversary in November) revealed she was emotional and hormonal the first three months, which meant she looked like the weepy mentor on her show. "I cried all the time," she recalled. "I cried on the show. I begged the producers, I was like, 'Please don't make me that girl.' And they didn't know why, obviously. I mean, I am sensitive….I would cry at Olympics commercials and ridiculous things."
While life will most certainly change for Nettles, and for Sugarland, once her baby arrives, she insists she will not leave the touring life behind. "I don't know exactly when, but I will be touring, because I love it so much," Nettles spilled.
So rest easy, Sugarland fans. You will still be able to enjoy the band in the live realm. Nettles will just have to get her own bus for her family!
Watch Jennifer Nettles on 'Good Day L.A.'