text:
Erik Satie
|Erik Satie
|Éric Alfred Leslie Satie
17 May 1866
Honfleur, France
|1 July 1925
(aged 59)
Paris, France
|Pianist, composer
|Suzanne Valadon
Éric Alfred Leslie Satie (French: [eʁik sati]; 17 May 1866 – 1 July 1925) – he signed his name Erik Satie after 1884 – was a French composer and pianist. Satie was a colourful figure in the early 20th century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, Surrealism, repetitive music, and the Theatre of the Absurd.[1]
An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrician" (meaning "someone who measures sounds"), preferring this designation to that of "musician", after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911.[2]
In addition to his body of music, Satie was 'a thinker with a gift of eloquence'[3] who left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American culture chronicle Vanity Fair. Although in later life he prided himself on publishing his work under his own name, in the late 19th century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.
- 1 Early life and training
- 2 Career
- 3 Personal life
- 4 Death
- 5 Media
- 6 Compositions
- 7 Recordings and arrangements
- 8 See also
- 9 References
- 10 Sources
- 11 External links
Early life and training
Satie was the son of Alfred Satie and his wife Jane Leslie (née Anton), who was born in London to Scottish parents. Erik was born at Honfleur in Normandy; his home there is open to the public. When Satie was four years old, his family moved to Paris, his father having been offered a translator's job in the capital. After his mother's death in 1872, he was sent (at age 6), together with his younger brother, Conrad, back to Honfleur to live with his paternal grandparents. There he received his first music lessons from a local organist. In 1878, when he was 12 years old, his grandmother died, and the two brothers were reunited in Paris with their father, who remarried (a piano teacher) shortly afterwards. From the early 1880s onwards, Satie started publishing salon compositions by his step-mother and himself, among others.
In 1879, Satie entered the Paris Conservatoire, where he was soon labelled untalented by his teachers. Georges Mathias, his professor of piano at the Conservatoire, described his pupil's piano technique in flatly negative terms, "insignificant and laborious" and "worthless".[4] Émile Decombes called him "the laziest student in the Conservatoire".[5] Years later, Satie related that Mathias, with great insistence, told him that his real talent lay in composing. After being sent home for two and a half years, he was readmitted to the Conservatoire at the end of 1885 (age 19), but was unable to make a much more favourable impression on his teachers than he had before, and, as a result, resolved to take up military service a year later. However, Satie's military career did not last very long; within a few months he was discharged after deliberately infecting himself with bronchitis.[6]
Satie moved from his father's residence to lodgings in Montmartre in 1887. By this time he had started what was to be an enduring friendship with the romantic poet Patrice Contamine, and had his first compositions published by his father. He soon integrated with the artistic clientele of the Le Chat Noir Café-cabaret, and started publishing his Gymnopédies. Publication of compositions in the same vein (Ogives, Gnossiennes, etc.) followed. In the same period he befriended Claude Debussy. He moved to a smaller room, still in Montmartre (rue Cortot Nº 6, now a museum), in 1890. By 1891 he was the official composer and chapel-master of the Rosicrucian Order "Ordre de la Rose-Croix Catholique, du Temple et du Graal", led by Sâr Joséphin Péladan, which led to compositions such as Salut drapeau!, Le fils des étoiles, and the Sonneries de la Rose+Croix. Satie gave performances at the Salon de la Rose + Croix, organized by Péladan.
By mid-1892, Satie had composed the first pieces in a compositional system of his own making (Fête donnée par des Chevaliers Normands en l'honneur d'une jeune demoiselle), had provided incidental music to a chivalric esoteric play (two Prélude du Nazaréen), had had his first hoax published (announcing the premiere of Le bâtard de Tristan, an anti-Wagnerian opera he probably never composed), and had broken with Péladan, starting that autumn with the Uspud project, a "Christian Ballet", in collaboration with Contamine de Latour. While the comrades from both the Chat Noir and Miguel Utrillo's Auberge du Clou sympathised, a promotional brochure was produced for the project, which reads as a pamphlet for a new esoteric sect.
In 1893, Satie met the young Maurice Ravel for the first time, Satie's style emerging in the first compositions of the youngster. One of Satie's own compositions of that period, Vexations, was to remain undisclosed until after his death. By the end of the year he had founded the Église Métropolitaine d'Art de Jésus Conducteur (Metropolitan Art Church of Jesus the Conductor). As its only member, in the role of "Parcier et Maître de Chapelle", he started to compose a Grande messe (later to become known as the Messe des pauvres), and wrote a flood of letters, articles and pamphlets showing off his self-assuredness in religious and artistic matters. To give an example: he applied for membership in the Académie Française twice, leaving no doubt in the application letter that the board of that organisation (presided over by Camille Saint-Saëns) as much as owed him such membership. Such proceedings without doubt rather helped to wreck his popularity in the cultural establishment. In 1895 he inherited some money, allowing him to have more of his writings printed, and to change from wearing a priest-like habit to being the "Velvet Gentleman".
Move to Arcueil
By mid-1896, all of Satie's financial means had vanished, and he had to move to cheaper and much smaller lodgings, first at the Rue Cortot,[7] and two years later, after he had composed the two first sets of Pièces froides in 1897, to Arcueil, a suburb some five kilometres from the centre of Paris. During this period he re-established contact with his brother Conrad for numerous practical and financial matters, disclosing some of his inner feelings in the process. The letters to Conrad made it clear that he had set aside his religious ideas.
From 1899 on, Satie started making money as a cabaret pianist, adapting over a hundred compositions of popular music for piano or piano and voice, adding some of his own. The most popular of these were Je te veux, text by Henry Pacory; Tendrement, text by Vincent Hyspa; Poudre d'or, a waltz; La Diva de l'Empire, text by Dominique Bonnaud/Numa Blès; Le Picadilly, a march; Légende californienne, text by Contamine de Latour lost, but the music later reappears in La belle excentrique; and quite a few more, many of which have been lost. In his later years, Satie would reject all his cabaret music as vile and against his nature,[8] but for the time being, it was an income.
Only a few compositions that Satie took seriously remain from this period: Jack in the Box, music to a pantomime by Jules Depaquit (called a "clownerie" by Satie); Geneviève de Brabant, a short comic opera on a serious theme, text by Lord Cheminot; The Dreamy Fish, piano music to accompany a lost tale by Lord Cheminot; and a few others that were mostly incomplete, hardly any of them staged, and none of them published at the time.
Both Geneviève de Brabant and The Dreamy Fish have been analysed by Ornella Volta as containing elements of competition with Claude Debussy, of which Debussy was probably not aware, Satie not making this music public. Meanwhile, Debussy was having one of his first major successes with Pelléas et Mélisande in 1902, leading a few years later to 'who-was-precursor-to-whom' debates between the two composers, in which Maurice Ravel would also get involved.
In October 1905, Satie enrolled in Vincent d'Indy's Schola Cantorum de Paris to study classical counterpoint while still continuing his cabaret work. Most of his friends were as dumbfounded as the professors at the Schola when they heard about his new plan to return to the classrooms, especially as d'Indy was an admiring pupil of Saint-Saëns, not particularly favoured by Satie. Satie would follow these courses at the Schola, as a respected pupil, for more than five years, receiving a first (intermediate) diploma in 1908. Some of his classroom counterpoint-exercises, such as the Désespoir agréable, were published after his death. Another summary, of the period prior to the Schola, also appeared in 1911: the Trois morceaux en forme de poire, which was a kind of compilation of the best of what he had written up to 1903.[citation needed]
Something that becomes clear through these published compilations is that Satie did not so much reject Romanticism and its exponents like Wagner, but that he rejected certain aspects of it. From his first composition to his last, he rejected the idea of musical development,[citation needed] in the strict definition of this term: the intertwining of different themes in a development section of a sonata form. As a result, his contrapuntal and other works were very short; the "new, modern" Fugues do not extend further than the exposition of the theme(s). Generally, he would say that he did not think it permitted that a composer take more time from his public than strictly necessary.[citation needed] Also Melodrama, in its historical meaning of the then popular romantic genre of "spoken words to a background of music", was something Satie avoided. His 1913 Le piège de Méduse could be seen as an absurdist spoof of that genre.
In the meantime, other changes had also taken place: Satie was a member of a radical socialist party (he later switched his membership to the Communist party in that area after December 1920),[9] and had socialised with the Arcueil community: amongst other things, he had been involved in the "Patronage laïque" work for children. He also changed his appearance to that of the 'bourgeois functionary' with bowler hat, umbrella, etc. He channelled his medieval interests into a peculiar secret hobby: in a filing cabinet he maintained a collection of imaginary buildings, most of them described as being made out of some kind of metal, which he drew on little cards. Occasionally, extending the game, he would publish anonymous small announcements in local journals, offering some of these buildings, e.g., a "castle in lead", for sale or rent.
Height of success and influence
Starting in 1912, Satie's new humorous miniatures for piano became very successful, and he wrote and published many of these over the next few years (most of them premiered by the pianist Ricardo Viñes). His habit of accompanying the scores of his compositions with all kinds of written remarks was now well established, so that a few years later he had to insist that these not be read out during performances. He wrote in the first edition of Heures séculaires et instantanées, "To whom it may concern: 'I forbid anyone to read the text aloud during the musical performance. Ignorance of my instructions will incur my righteous indignation against the presumptuous culprit. No exception will be allowed.'"[10] He had mostly stopped using barlines by this time. In some ways, these compositions were very reminiscent[according to whom?] of Rossini's compositions from the final years of his life, grouped under the name Péchés de vieillesse.
However, the acceleration in Satie's life did not come so much from the success of his new piano pieces; it was Ravel who inadvertently triggered the characteristics of Satie's remaining years and thus influenced the successive progressive artistic and cultural movements that rapidly manifested themselves in Paris over the following years. Paris was seen as the artistic capital of the world, and the beginning of the new century appeared to have set many minds on fire.[citation needed] In 1910 the "Jeunes Ravêlites", a group of young musicians around Ravel, proclaimed their preference for Satie's earlier work from before the Schola period, reinforcing the idea that Satie had been a precursor of Debussy.
At first, Satie was pleased that at least some of his works were receiving public attention, but when he realised that this meant that his more recent work was overlooked or dismissed, he looked for other young artists who related better to his more recent ideas, so as to have better mutual support in creative activity. Thus, young artists such as Roland-Manuel, and later Georges Auric, and Jean Cocteau, started to receive more of his attention than the "Jeunes".
As a result of his contact with Roland-Manuel, Satie again began publicising his thoughts, with far more irony than he had done before (amongst other things, the Mémoires d'un amnésique and Cahiers d'un mammifère).[11]
With Jean Cocteau, whom he had first met in 1915, Satie started work on incidental music for a production of Shakespeare's A Midsummer Night's Dream, resulting in the Cinq grimaces pour Le songe d'une nuit d'été. From 1916, he and Cocteau worked on the ballet Parade, which was premiered in 1917 by Sergei Diaghilev's Ballets Russes, with sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Through Picasso, Satie also became acquainted with other cubists, such as Georges Braque, with whom he would work on other, aborted, projects.
With Georges Auric, Louis Durey, Arthur Honegger, and Germaine Tailleferre Satie formed the Nouveaux jeunes, shortly after writing Parade. Later, the group was joined by Francis Poulenc and Darius Milhaud. In September 1918, Satie – giving little or no explanation – withdrew from the Nouveaux jeunes. Jean Cocteau gathered the six remaining members, forming the Groupe des six (to which Satie would later have access, but later again would fall out with most of its members).
From 1919, Satie was in contact with Tristan Tzara, the initiator of the Dada movement. He became acquainted with other artists involved in the movement, such as Francis Picabia (later to become a Surrealist), André Derain, Marcel Duchamp, Jean Hugo and Man Ray, among others. On the day of his first meeting with Man Ray, the two fabricated the artist's first readymade: The Gift (1921). Satie contributed writing to the Dadaist publication 391. In the first months of 1922, he was surprised to find himself entangled in the argument between Tzara and André Breton about the true nature of avant-garde art, epitomised by the failure of the Congrès de Paris. Satie originally sided with Tzara, but managed to maintain friendly relations with most players in both camps. Meanwhile, an "Ecole d'Arcueil" had formed around Satie, taking the name from the relatively remote district of Paris where Satie lived;[12] it included young musicians such as Henri Sauguet, Maxime Jacob, Roger Désormière and Henri Cliquet-Pleyel.
Satie's last compositions were two 1924 ballets. Mercure reunited him with Picasso and Massine for a mythological spoof produced by Count Étienne de Beaumont's Soirées de Paris; and he wrote the "instantaneist" ballet (Relâche) in collaboration with Picabia, for the Ballets suédois of Rolf de Maré. In a simultaneous project, Satie added music to the surrealist film Entr'acte by René Clair, which was given as an intermezzo for Relâche.
Personal life
Satie and Suzanne Valadon, an artists' model, artist and a long-time friend of Miguel Utrillo (and mother of Maurice Utrillo), began an affair early in 1893. After their first night together, he proposed marriage. The two did not marry, but Valadon moved to a room next to Satie's at the Rue Cortot. Satie became obsessed with her, calling her his Biqui, and writing impassioned notes about "her whole being, lovely eyes, gentle hands, and tiny feet". During their relationship, Satie composed the Danses gothiques as a kind of prayer to restore peace of mind, and Valadon painted a portrait of Satie, which she gave to him. After six months she moved away, leaving Satie broken-hearted. Afterwards, he said that he was left with "nothing but an icy loneliness that fills the head with emptiness and the heart with sadness".[13] It is believed this was the only intimate relationship Satie ever had.[14]
Intriguingly, a rare autochrome photograph of Satie exists that dates from 1911. It was reproduced on the cover of Robert Orledge's book on the composer (1995). But where this autochrome was found has not been made known.
After years of heavy drinking (including consumption of absinthe),[15] Satie died on 1 July 1925 from cirrhosis of the liver.[16] He is buried in the cemetery in Arcueil. There is a tiny stone monument designating a grassy area in front of an apartment building – 'Parc Erik Satie'. Over the course of his 27 years in residence at Arcueil, where Satie lived in stark simplicity,[17] no one had ever visited his room. After his death, Satie's friends discovered an apartment replete with squalor and chaos. Among many other unsorted papers and miscellaneous items, it contained a large number of umbrellas, and two grand pianos placed one on top of the other, the upper instrument used as storage for letters and parcels.[18] They discovered compositions that were either thought to have been lost or totally unknown. The score to Jack in the Box was thought, by Satie, to have been left on a bus years before. These were found behind the piano, in the pockets of his velvet suits, and in other odd places, and included Vexations; Geneviève de Brabant and other unpublished or unfinished stage works; The Dreamy Fish; many Schola Cantorum exercises; a previously unseen set of "canine" piano pieces; and several other works for piano, many untitled. Some of these would be published later as additional Gnossiennes, Pièces froides, Enfantines, and furniture music.
Recordings and arrangements
Piano works
Recordings of Satie's piano works have been released by Cristina Ariagno, Jean-Pierre Armengaud, Jean-Joël Barbier, Aldo Ciccolini, Claude Coppens (live recording), Lara Custódio, Eve Egoyan, Philippe Entremont, Frank Glazer, Olof Höjer, Reinbert de Leeuw, Michel Legrand, John Lenehan, Jacques Loussier, Branka Parlić, Anne Queffélec, Bill Quist, Pascal Rogé, João Paulo Santos, Steffen Schleiermacher, Yūji Takahashi, Alexandre Tharaud, Jean-Yves Thibaudet, Daniel Varsano, among others.
Orchestral and vocal
- A recording of historical importance is Erik Satie, Les inspirations insolites, re-issued by EMI as a 2-CD set, containing among other pieces: Geneviève de Brabant (in a version before Contamine's text had been recovered), Le piège de Méduse, Messe des pauvres, etc.
- Many other recordings exist: Parade/Relâche (Michel Plasson / Orchestre du Capitole de Toulouse), Satie: Socrate [etc.] (Jean-Paul Fouchécourt / Ensemble), and recordings of songs, e.g., by Anne-Sophie Schmidt.
Arrangements in popular music
- In 1963, The Fire Within (French:Le Feu Follet), one of Louis Malle's early films, used Gymnopédie No. 1 and Gnossienne Nos. 1, 2 and 3 to score the film.
- In 1968, Blood, Sweat & Tears released their eponymous second album, which included an adaptation of Gymnopédie No. 1 (arranged by Dick Halligan) which they titled as Variations on a Theme by Erik Satie (First and Second Movements). The first movement is a straightforward elaboration of the basic theme using flutes, an acoustic guitar and a triangle. The second is a far more abstract variation using only brass instruments. In 1969, Halligan received a Grammy Award for Best Instrumental Performance for the piece.
- In 1974, the jazz flutist Hubert Laws recorded an arrangement by Bob James of the Gymnopédie No. 1 in his "In the Beginning" double album. The band featured keyboardist Bob James, guitarist Gene Bertoncini, bassist Ron Carter, drummer Steve Gadd, three strings, and Hubert's brother Ronnie Laws on tenor sax.
- In 1979 the band Sky included a version of Gymnopédie No. 1, which was arranged by John Williams, on the band's first album Sky.
- In 1980, Gary Numan's single "We Are Glass" featured Gymnopédie No. 1 on the B-side.
- Gymnopédie No. 1 is featured in the 1981 film My Dinner with Andre, directed by Louis Malle (the episode 'Critical Film Studies' of the NBC show Community – the episode itself an homage to My Dinner with Andre – also features Gymnopédie No. 1).
- In 1990, Movement 98's (Paul Oakenfold and Steve Osborne) single "Joy and Heartbreak" used the opening phrase of Trois Gymnopédies as the intro and instrumental.
- The 1993 John Tesh album Winter Song contains an arrangement of Gymnopédie No. 1 entitled Seabury Road.
- Janet Jackson released the single "Someone to Call My Lover" in 2001 from her seventh studio album, All for You. The chorus of the song includes a loop of Gymnopédie No. 1 played in 4/4 time instead of the original 3/4. Jackson had loved the Gymnopédie since childhood and wanted to incorporate its theme into one of her own songs.
- The English electronic duo Isan recorded versions of the Trois Gymnopédies for a 2006 7-inch single, "Trois Gymnopédies" on the Morr Music record label.
- The 2001 movie The Royal Tenenbaums features an arrangement of the Gymnopédie No. 1.
- The 2006 video game Mother 3 features an arrangement of the Gymnopédie No. 1 as background music, titled "Leder's Gymnopédie".
- The 2008 documentary film Man on Wire features both Gymnopédie No. 1 and Gnossienne No. 1.
- The 2009 independent film Mr. Nobody features both Gymnopédie No. 3 and Gnossienne No. 3.[19]
- Gymnopédie No. 2 has been used in the original soundtrack of 2010 Japanese animated film The Disappearance of Haruhi Suzumiya by Kyoto Animation studio. The full Gymnopédies as well as Gnossiennes are included in the 2nd CD of this OST.
- In 2012, Gymnopédie No. 1 was used in the video for Lana Del Rey's song "Carmen"
- An arrangement of Gymnopédie No. 1 was featured on Anamanaguchi's 2013 album, Endless Fantasy.
- In 2013, Flying Lotus sampled Gymnopédie No. 1 in "Puppet Talk".
- In 1963, The Fire Within (French: Le feu follet), one of Louis Malle's early films, used Gymnopédie No. 1 and Gnossienne Nos. 1, 2 and 3 to score the film.
- In 1994, Malcolm McLaren arranged Gnossienne Nos. 3 and 4 in his concept album Paris.
- In 1995, Folk Implosion used a sample of Gnossienne No. 1 in the song 'Wet Stuff', which was part of the soundtrack of "Kids", a movie by Larry Clark
- The 2000 film Chocolat features Gnossiennes 1, 2, and 3'.[19]
- Gnossienne No. 1 is used in the 2003 episode "Five Little Pigs" of Agatha Christie's Poirot .
- The 2006 movie The Painted Veil features Gnossienne No. 1 throughout the film.
- The 2008 documentary film Man on Wire features both Gymnopédie No. 1 and Gnossienne No. 1.
- In 2011, singer-songwriter Tori Amos released an album entitled Night of Hunters, where her song "Battle of Trees" is a variation on Gnossienne No. 1.
- Gnossienne No. 1 was used in the 2011 film Hugo.
- In 2011, James Blake used Gnossienne No. 5 as the opening track of his BBC Radio 1 Essential Mix.[20]
- In the 2014 movie The November Man, actress Olga Kurylenko plays Gnossienne No. 3.
- In the 2014 film Blackwood, at 0:36 min. into the movie, character 'Rachel Marshall', portrayed by actress Sophia Myles, plays Gnossienne No. 1.
- In 1972, Satie was fashioned for the Moog synthesizer as "The Electronic Spirit of Erik Satie," performed with the Camarata Contemporary Chamber Orchestra. The same orchestra had created another Satie interpretation called "The Velvet Gentleman" in 1970.
- In 1983, Dave Greenfield and Jean-Jacques Burnel of UK band The Stranglers, recorded "Trois Pédophiles pour Eric Sabyr" in homage to Satie. An instrumental piece, it was the first track on the B-side of their album Fire & Water (Ecoutez Vos Murs).
- In 1987, the Serbian and former Yugoslav electronic music composer Mitar Subotić on his debut album Disillusioned! , released under the pseudonym Rex Ilusivii, recorded a twenty-five-minute-long instrumental track "Thanx Mr. Rorschach – Ambijenti na muziku Erika Satija" ("Thanx Mr. Rorschach – Ambient to the music by Erik Satie"), as a kind of a musical Rorschach test to the music by Satie. The Disillusioned! album back cover featured a review by the head of the Erik Satie Foundation saying: "It is a great pleasure to see that in Yugoslavia works a musician Mitar Subotić – Rex Ilusivii who composed some significant material, especially a piece, a homage to Satie, composed in a way that Satie would like best – that everyone finds one's own path and one's personality. The music of Rex Ilusivii presents exactly this formula, this procedure."[21]
- In 1989, the Vienna Art Orchestra (directed by Mathias Rüegg) released The Minimalism of Eric Satie, a 2-LP set on the Swiss HatART label that included "reflections" on a number of Satie's works, notably three performances of Vexations in various instrumental/vocal combinations.
- In 1997, the Canadian soprano Patricia O'Callaghan included songs by Satie on her debut solo album Youkali and still performs them as part of her cabaret act.
- In 1999, electronic music act Plaid's CD Restproof Clockwork included a track called "Tearisci" which is an uncredited version of Satie's "Pièces Froides, No. 2: Danses De Travers: III. Encore".
- In 2000, ex-Genesis guitarist Steve Hackett released the album Sketches of Satie, performing Satie's works on acoustic guitar, with contributions by his brother John on flute.
- In 2001, the Josh G. Abrahams Radio Remix of "Come What May" from the film Moulin Rouge! sampled Satie's "Petit prélude à la journée" from Enfantillages pittoresques prominently throughout the single.[22]
- Ogive Number 2 (incorrectly labelled Ogive Number 1) was re-recorded electronically by William Orbit on his album Pieces in a Modern Style
See also
- ↑ "Lectures and events". gresham.ac.uk.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "Je suis phonomètre avant d'être musicien" Aperçus phonométriques & autres sous-entendus Archived September 18, 2013 at the Wayback Machine
- ↑ Monroe, Harriet, A Poet 's Life ' (visit to Paris 1923), Macmillan ,New York, 1938
- ↑ Orledge, Robert. "Satie, Erik". Grove Music Online. Oxford Music Online. Retrieved 24 April 2012.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ The Ensemble Sospeso New York
- ↑ p.25 in: Mary E. Davis: Erik Satie. Reaktion Books – Critical Lives. ISBN 978-1-86189-321-5. Published June 2007.
- ↑ Plaque #3265 on Open Plaques.
- ↑ Erik Satie in a 17 January 1911 letter to his brother Conrad, quoted in Volta 1989 and in Gillmor 1992 (Chronology p. xxix)
- ↑ Robert Orledge (1990). Satie the Composer. Cambridge University Press. p. 233. ISBN 9780521350372.
As Satie's career progressed, he moved further and further towards the left. As early as 1908 he was an active member of the Radical-Socialist Committee in Arcueil, and he joined the official Socialist Party on the day after the assassination of Jean Jaurès (31 July 1914), switching to the Communist Party after the Congress of Tours in December 1920.
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- ↑ Williamson, John (2005). Words and music. Liverpool: Liverpool University Press. p. 176. ISBN 9780853236191.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ English translations of these pieces were published in A Mammal's Notebook, see Sources section below.
- ↑ Anderson, Keith, Sleeve Notes The Best of Erik Satie, Naxos 8.556688
- ↑ "Suzanne Valadon". Akademiska Föreningen, Lund University. Archived from the original on 3 October 2010. Retrieved 12 June 2010.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Orledge, Robert. "Erik Satie". Grove Music Online. Oxford Music Online. Retrieved 17 April 2010.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Forgotten English (17 May page), Jeffrey Kacirk, (c) 2009
- ↑ Eric Satie – Biography at Humanitiesweb.org
- ↑ Anderson, Keith, Sleeve notes The Best of Erik Satie Naxos 8.556688
- ↑ Melissa Lesnie, "Five things you didn't know about Erik Satie". Limelight, 13 June 2012. Retrieved 22 October 2014
- ↑ 19.0 19.1 http://www.imdb.com/name/nm0006273/
- ↑ "James Blake (Essential mix 17-09-2011)". SoundCloud.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "Images for Rex Ilusivii – Disillusioned!". Discogs.com. Retrieved 3 March 2012.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Bassanese, Paola. "Classical Music Made into Pop Music: Sampling and Homages". Itcher Magazine. Retrieved 9 March 2014.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
In English, unless indicated:
Writings by Satie
- A Mammal's Notebook: Collected Writings of Erik Satie (Serpent's Tail; Atlas Arkhive, No 5, 1997) ISBN 0-947757-92-9 (with introduction and notes by Ornella Volta, translations by Anthony Melville, contains several drawings by Satie)
- Correspondence presque complète: Réunie, établie et présentée par Ornella Volta (Paris: Fayard/Imes, 2000; 1265pp) ISBN 2-213-60674-9 (an almost complete edition of Satie's letters, in French)
Books and articles on Satie
- Allan, Kenneth R. "Metamorphosis in 391: A Cryptographic Collaboration by Francis Picabia, Man Ray, and Erik Satie." Art History 34, No. 1 (February 2011): 102–125.
- Davis, Mary E., Erik Satie. Reaktion Books – Critical Lives. June 2007. ISBN 978-1-86189-321-5
- Gillmor, Alan M., Erik Satie (Twayne Pub., 1988, reissued 1992; 387pp) ISBN 0-393-30810-3
- Myers, Rollo H., Erik Satie. (Dover Publications, New York 1968.) ISBN 0-486-21903-8
- Orledge, Robert, Satie Remembered (London: Faber and Faber, London, 1995)
- Orledge, Robert, Satie the Composer Cambridge University Press: 1990; 437pp – in the series Music in the Twentieth Century ([ed.] Arnold Whittall) ISBN 0-521-35037-9
- Templier, Pierre-Daniel (translated by Elena L. French and David S. French), Erik Satie (The MIT Press, 1969, reissued 1971) ISBN 0-262-70005-0 and (New York: Da Capo Press, 1980 reissue) ISBN 0-306-76039-8. Note: Templier extensively consulted Conrad, Erik Satie's brother, when writing this first biography that appeared in 1932. The English translation was, however, criticised by John Cage; in a letter to Ornella Volta (25 May 1983) he referred to the translation as disappointing compared to the formidable value of the original biography.
- Vella, Alfonso, "Satie, la subversión de la fantasía", Ediciones Península 2013 ISBN 978-84-9942-248-0
- Volta, Ornella and Simon Pleasance, Erik Satie (Hazan: The Pocket Archives Series, 1997; 200pp) ISBN 2-85025-565-3
- Volta, Ornella, transl. Michael Bullock, Satie Seen Through His Letters (Marion Boyars, 1989) ISBN 0-7145-2980-X
- Whiting, Steven, Satie the Bohemian: from Cabaret to Concert Hall (Oxford: Clarendon Press, 1999; 596pp) ISBN 978-0-19816-458-6
- Whittington, Stephen, "On the Centenary of Erik Satie's Vexations" (1994).
External links
|Wikimedia Commons has media related to Erik Satie.
|Wikiquote has quotations related to: Erik Satie
|Wikisource has original works written by or about:
Erik Satie
Information and listening
- Satie Home page – Niclas Fogwall's website dedicated to Satie
- Erik Satie on Find A Grave
- UbuWeb's Erik Satie pages – including an Erik Satie Primer and downloadable recordings
- About Erik Satie – The eccentric Impressionist French composer and musician
- Erik Satie at Pytheas Center for Contemporary Music
- Three Gymnopedies by Eric Satie
- Gnossienne No. 3 played on a modulated synthesizer on YouTube
- (French) erik-satie.com Website dedicated to the musician, with blog, timeline, gallery, biography
- Works by or about Erik Satie in libraries (WorldCat catalog)
- Public domain scores Satie's Scores + Audio
- Free scores by Erik Satie at the International Music Score Library Project
- Free scores by Erik Satie in the Choral Public Domain Library (ChoralWiki)
- www.kreusch-sheet-music.net Free Scores by Satie
- Satie's Scores – by the Mutopia Project
- Articles containing French-language text
- Pages using citations with accessdate and no URL
- Use British English from May 2011
- Use dmy dates from July 2012
- Articles with hCards
- Articles with unsourced statements from March 2010
- Articles with unsourced statements from June 2010
- All articles with specifically marked weasel-worded phrases
- Articles with specifically marked weasel-worded phrases from June 2010
- Articles with French-language external links
- 1866 births
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- 19th-century classical composers
- 20th-century classical composers
- 20th-century French musicians
- Ballet composers
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- Pupils of Georges Mathias
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- Schola Cantorum de Paris alumni
- Gymnopédies
- 19th-century pianists
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SUCCESSFUL Initiatives in Ontario and elsewhere to ban or restrict a variety of toxic chemicals shouldn't invite complacency. Numerous compounds linked to a wide range of negative health effects remain in use, appearing in thousands of everyday products. Here are five active campaigns targeting toxics in Canada and around the world.
1. Triclosan out of toothpaste
This antibacterial chemical found in hand sanitizers, toothpaste, garbage bags and clothing is linked to liver and inhalation toxicity, can disrupt thyroid function and is toxic to aquatic life.
A coalition of health and environmental groups, led by Beyond Pesticides and Food & Water Watch, is currently working to remove triclosan from the market.
2. Toxic chemicals out of cosmetics
Almost 80 per cent of personal care products used by Canadians contain at least one toxic substance linked to health and environmental concerns. BHA and BHT, preservatives in makeup and moisturizers, are suspected endocrine disruptors. Coal tar dye – blue pigmentation – has the potential to cause cancer and may be contaminated with heavy metals that are toxic to the brain. Moreover, ingredients such as dibutyl phthalate, parfum and siloxanes are harmful to aquatic organisms and other wildlife.
The David Suzuki Foundation is calling for Canada to strengthen its cosmetic laws and the Campaign for Safe Cosmetics is making headway with major manufacturers in the US.
3. Lead out of paint
While lead is highly restricted in Canada, many corporations still produce lead-based pigments for colouring paints, plastics and ceramics sold in other countries. Exposure to lead-contaminated water, soil, paint chips or dust can cause lead poisoning. Lead poisoning affects every organ and system in the body including nerves and muscles. Symptoms vary and often don't appear until dangerous amounts have accumulated, but can include developmental delay and behaviour problems in children. There is no safe threshold for lead exposure.
The Global Alliance to Eliminate Lead Paint, led by the World Health Organization (WHO) and the United Nations and supported by over 120 countries, works with manufacturers to stop producing lead-based pigments.
4. Mercury out of mouths
Dental amalgam is currently 50 per cent mercury, which pollutes the environment, endangers our health and damages teeth by removing healthy tooth matter. Mercury poisoning from dental fillings can cause nausea, vomiting, dizziness, anemia, chest pain, muscle weakness and insomnia.
The Campaign for Mercury-Free Dentistry promotes mercury-free alternatives to protect the environment, consumers and dental workers from mercury exposure.
5. EDCs out of everything
Endocrine-disrupting chemicals (EDCs) are synthetic chemicals that, when ingested, can mimic or block hormones and disrupt normal bodily functions. Known human endocrine disruptors include diethylstilbestrol (the drug DES), dioxin, PCBs, DDT and BPA. There are many other suspected EDCs, mostly pesticides and plasticizers (such as phthalate esters used in PVCs to increase flexibility), but also additives or contaminants in food and personal care products. Effects include altered reproductive functions, increased incidence of breast cancer and changes in immune function.
The World Health Organization and the United Nations Environment Programme are jointly raising public awareness on EDCs through research and advocacy.
Explore our health content for tips on reducing toxics in your life and ewg.org/skindeep to research chemicals in products you use.
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text: Adi Breuer is an experienced conscious leadership development coach with expertise in leadership systems, team and systems coaching and workshop design and facilitation. Combining a mix of business fierceness with compassion for humanity, Adi works with people and organizations that are ready to re-invent themselves, own their life, choices and future. Adi is dedicated to helping you expand your leadership consciousness, leading a fulfilling life and to getting you to that next level of ownership, no matter where you are in the process right now.


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White Ribbon Trio consisting of Ruth Miaoru on vocals, Ashton Koh on vocals & Fatt Kew the one-man band! Complimentary 15 min live music before start of celebration. Email us at email@example.com to find out more!
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December 28, 2017 at 1:41 am
Would love to find out more about your packages for live band and emcee for weddings 🙂
Thank you!


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Fit Counter
Fit Counter
Focus on the exercise, not on the count!This application uses the iPhone and Apple Watch sensors to count automatically yours repetitions during the workout.To do it, just keep the iPhone with you while exercising or use your Apple Watch.This application can be used to detect and count the movements of your exercises like:* Sit Ups* Push Ups* Pull Ups* Lunges* Jumping Jacks* Jump Rope* Squats* Step Platform* Plank* Side Bends* Abdominal Crunch* Others...You can choose an exact number of repetitions or leave the count undetermined.Counting is alerted by voice or by beep, with vibration optional.If you are wearing an Apple Watch, the counter is reported directly on your wrist.In each workout, is showed:* Numbers of repetition;* Total time of the serie;* Average time of the serie;* Standard deviation of the serie;* Analysis of regularity of repetition intervals.With this information you can improve your activities, improving the consistency and aiming for a reduction in the execution time.HEALTH FUNCTIONALITY:This app uses the Health functionality of your device to read your moviments. However, its does not add new exercises to your Health History.IMPORTANT NOTE:This is trial version and restricted to count between 1 to 15.If you like, you can purchase inside of this application the unlimited version.Currently, this application supports the following languages:* English (US)* Portuguese (Brazil)Enjoy the promotional launch price!FUTURE IMPROVEMENTS:* Enhancement of the repeat detection algorithm;* Include of complications for Apple Watch;* Translation for more languages;* Others ...


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5th Africa Financial Services Investment Conference (AFSIC 2017)
AFSIC is the leading investment event focused on Africa's financial services sector. The annual AFSIC, now in its 5th year, attracts financial services companies, predominantly leading Banks, Insurance Companies, Microfinance, Leasing and other regulated financial services companies from almost all parts of the African continent.
The wide spread of companies from across Africa attracts a highly significant proportion of major institutional investors focused on investment into Africa, and those considering the increasing merits of doing so. These investors include Sovereign Wealth Funds, Supranational investors, listed equity and private equity investors, African regulated asset managers, alongside impact investors such as DFIs and microfinance focused investors.
The core of AFSIC 2017 consists of a Meet African Dealmakers event held the night before the official start of AFSIC 2017, followed by two days of presentations from market participants running in parallel streams. Sessions will include, amongst others:
- 4 Panels on the 4 sub regions of Africa (North Africa, East Africa, Southern Africa, West Africa) on: Investment Opportunities in the Financial Services Sector;
- Panel on: Do Unicorns exist in Africa? Where's the next big investment win in Fintech?;
- Spotlight on Investment Opportunities in the Financial Sector in the Democratic Republish of Congo, Sierra Leone and Zimbabwe; and
- Diaspora Finance, Remittances, and Long-term Displaced People: An Investment Opportunity.
|Region / Country
|Global /
|Related Resources
Conference website
|Microfinance, Financial Services, Investment, Remittances


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If you have just started following along then perhaps you may have missed that over the past month I have been
ranting talking about simplicity, confessions, surprises, greener grass, making differences, and being content. I've decided that I would like to delegate Thursdays as a day where I talk about my life, love, things I am passionate about, and what makes me tick. Since it's already Thursday in Korea I'd like to present you with my very first official "Tell All Thursday."
Almost every woman that I have ever met has thought negatively about their body in some way. I mean, it's extremely hard not to, right? We are bombarded by a society of consumers telling us to buy the latest lotion, lip gloss, skin care, purse, shoes, or clothing item. The list goes on and on. Media tells us the more we purchase the better we will feel about ourselves. It's not just women either. Men out there. This is for you too.
The pictures we see in magazines, movies, and commercials. They tell us we "need" it. We "must" have it. They try to create a sense of urgency and desperation so we purchase (and continue) to purchase their products. The pressure women face can often be self-inflicted, but society surely isn't making it any easier.
While being in Korea I have come to the realization that just because they are #1 in medical tourism doesn't mean that America is any different when it comes to beauty image. It's kills me that middle school girls think that eye lid surgery is making them more beautiful. It's happening all over and not just Korea. I am a petite woman. If you've met me you know I stand 5'2 on a good day. I have genetics that have allowed me to eat what I want, when I want, and how much I want of it. I have been 105 pounds for as long as I can remember ( I actually don't own a scale so that could be different now!) Before you start raging and shaking your fist at the screen first, listen. In America I have literally been asked questions like "Are you anorexic?" – Well, um no. I am not, but you're freaking rude. Does that count for something? I've been told my entire life "You're so tiny. You're so small. You're so skinny" YES, I am. Do you think I don't know that? I am a small person. I get that. Does it make you feel better to say it out loud? I wouldn't tell a bigger person "Wow, you're really big." I just wouldn't. It's rude.
My point is this: No matter where you are, if you're a human I would guess at some point you've compared, felt bad, or tried to perfect your body. Sometimes we do it unintentionally. We see a picture and we compare ourselves to what we looked at. " I like her hair. I want her hair. I wish I was taller." – I've been there. We all have. It's time we stop giving compliments based on appearance and start giving compliments based on a person's morals, values, and what makes them who they are. Before I go off on a rant again I would want you to know this:
You are beautifully and wonderfully made. You are perfect. People can make it so hard. Don't give up on yourself and most importantly don't give up on your confidence. You are worth it. Life is worth it. You are a gem. A gem that is unique. One that can not be replaced.


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PITTSBURGH (KDKA) – Former Pennsylvania Governor Tom Ridge is endorsing a candidate for the 2016 presidential election.
Ridge says he will campaign in support of former Florida governor and fellow Republican, Jeb Bush.
Ridge says Bush's time as governor in a "complex" state makes him the most qualified candidate.
"I think sorting out the candidates over the next several months will be a very important part of the political process to that extent," he said. "I'm going to be supporting Gov. Bush, but I do think we have some very attractive candidates as alternatives to Jeb. I just hope they come in second."
Former Gov. Ridge says no matter the candidate, the GOP has a good chance of beating the democratic party in 2016.
And Senator Bob Casey is endorsing Hillary Clinton for president.
He sent an email to supporters Friday touting Clinton's "dedication to fighting for the middle class."
Casey endorsed President Obama over Clinton in the 2008 democratic party.
Join The Conversation On The KDKA Facebook Page
Stay Up To Date, Follow KDKA On Twitter


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Prof. Raffaele De Caterina ,
Prof. Kurt Huber ,
Prof. Felicita Andreotti ,
The introduction of coronary stents has changed the indication for percutaneous coronary intervention (PCI). Recently, the problem with the development of in-stent restenosis has partially been overcome by the introduction of drug-eluting stents.
A major concern when performing PCI with stent implantation is the risk of causing acute, subacute or late stent thrombosis. The operator may change a silent, benign lesion into a nidus for thrombus formation and cause acute myocardial infarction - or in the worst cases, cause sudden cardiac death. Initially, the implanted stent is a target for platelet adhesion and thrombus formation. From days to weeks after the intervention, the stent is covered with endothelial cells and the lesion is sealed. This process takes longer if the stent is coated with cytotoxic drugs or if a multitude of long stents are used. Therefore, effective inhibition of thrombus formation is mandatory for some time after stent implantation.
When stents were introduced more than 20 years ago, a heavy anti-thrombotic cocktail of aspirin, dextran and intense anticoagulation therapy (infusion of unfractionated heparin followed by oral anticoagulation with a vitamin K antagonist) was used. Despite this effort, stent thrombosis occurred in 2-10% of patients. The introduction of overdilatation of the stent with high-pressure balloons by Antonio Colombo in 1995 (1) and the use of dual anti-platelet therapy with aspirin and ticlopidine (2,3) reduced the frequency of stent thrombosis to approximately 1%. In randomised studies low dose aspirin plus ticlopidine (4 weeks) was shown to be superior to warfarin and this treatment strategy was used for some years.
In the CLASSICS study the combination of aspirin and clopidogrel was found to be as effective as aspirin plus ticlopidine (4). Like ticlopidine, clopidogrel inhibits the platelet ADP-receptor, but clopidogrel has few side effects compared to ticlopidine.
The combination of low dose aspirin and clopidogrel is now standard therapy after coronary stenting.
Patients should be pre-treated with aspirin. If this is not the case, aspirin 250-500 mg should be given orally or intravenously on the table. After stenting aspirin 75-150 mg should be given life-long.
Strongly consider a glucoprotein IIb/IIIa inhibitor during and 12-18 hours after the procedure. Clopidogrel should be used life-long in these patients. In selected cases, where a high risk of stent thrombosis is suspected, a low molecular weight heparin or even oral anti-coagulation could be considered.
If the patient develops a skin rash or experiences other intolerable side effects to clopidogrel, we would recommend to treat the patient with ticlopidine 250 mg bid in combination with aspirin. Ticlopidine therapy should be monitored (leucocyte and plaletet count every second week) and the duration of this therapy should be shorter than when clopidogrel is used (4 weeks with bare metal stents and 3-6 months with drug-eluting stents).
The PCI- CURE (5) and the CREDO study (6) strongly suggest that pre-treatment with clopidogrel at least 6 hours prior to intervention is of benefit. Also in the CLARITY-PCI study pre-treatment with clopidogtrel was associated with a better outcome (7). The loading dose of clopidogrel in these studies was 300 mg. However, the use of a higher loading dose of 600 mg is an interesting option. This dose was used in the ISAR-REACT study showing pre-treatment with clopidogrel may make the use of abciximab unnecessary in low-risk PCI patients (8). The major advantage of using a higher loading dose is that inhibition of the platelet ADP-receptor occurs faster. The ISAR-CHOICE and the ALBION study presented at the TCT meeting October 2005 confirmed, that a quicker platelet inhibition occurs after a bolus of 600 mg clopidogrel compared to a bolus of 300 mg.
The PCI-CURE (5) and the CREDO study (6) both suggest that patients undergoing stenting benefit from prolonged combination therapy with aspirin and clopidogrel. In PCI-CURE, the patients all suffered from an acute coronary syndrome and combination therapy for 3-12 months (average 9 months) was associated with a better outcome than one month of combination therapy. In CREDO approximately half of the patients were unstable/NSTEMI. Also in this study an extended treatment period of 12 months of the combination of aspirin plus clopidogrel was better than 1 month of combination therapy.
Although there are reasons to believe that the risk of stent-thrombosis is higher with drug-eluting stents than with conventional stents, this dogma has not been investigated in properly designed clinical trials. In the randomised trials where drug-eluting stents have been compared to conventional stents, pre-treatment with the combination therapy aspirin plus clopidogrel has been used and the duration of therapy has been 2-9 months.
The importance of resistance to aspirin or clopidogrel is undergoing intensive investigation and may in the future lead to a more individualised therapy based on measurement of the intensity of platelet inhibition. However, at the present time there is no consensus on how platelet function/inhibition should be assessed.
Prasugrel is an interesting new platelet ADP-receptor blocker that is currently being evaluated against clopidogrel in the TIMI 38 trial. Cangrelor is an ADP-receptor blockers for intravenous use that is currently being tested in phase 2 and 3 trials.
The content of this article reflects the personal opinion of the author/s and is not necessarily the official position of the European Society of Cardiology.
The combination of low-dose aspirin and clopigrel is recommended after coronary stenting. Aspirin should be used life-long. Clopidogrel should not be used life-long and the duration of therapy is debatable – we use 12 months of therapy after implantation of both conventional and drug-eluting stents. Pretreatment with aspirin and clopidogrel prior to stenting is recommended. In acute cases a loading dose of 600 mg of clopidogrel seems logical.
1. Colombo A, Hall P, Nakamura S et al. Intracoronary stenting without anticoagulation accomplished with intravascular ultrasound guidance. Circulation 1995; 91: 1676-88. http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=pubmed&dopt=Abstract&list_uids=7642864&query_hl=21 2. Schomig A, Neumann FJ, Kastrati A et al. A randomized comparison of antiplatelet and anticoagulation therapy after coronary stent implantation. N Engl J Med 1996; 334: 1084-89. http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=pubmed&dopt=Abstract&list_uids=8598866&query_hl=18 3. Leon MB, Baim DS, Popma J et al. A clinical trial comparing three anti-thrombotic drug regimens following coronary stenting. N Engl J Med 1998; 339: 1665-71. http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=pubmed&dopt=Abstract&list_uids=9834303&query_hl=15 4. Bertrand ME, Rupprecht H-J, Urban P et al. Double-blind study of the safety of clopidogrel with and without loading dose in combination with aspirin compared with ticlopidine in combination with aspirin after coronary stenting. Circulation 2000; 102: 624-29. http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=pubmed&dopt=Abstract&list_uids=10931801&query_hl=13 5. Mehta SM, Yusuf S, Peters RJ et al. Effects of pre-treatment with clopidogrel and aspirin followed by long-term therapy in patients undergoing percutaneous coronary intervention: the PCI-CURE study. Lancet 2001; 358: 527-33. http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=pubmed&dopt=Abstract&list_uids=11520521&query_hl=9 6. Steinhubl SR, Berger PE, Mann JT III et al. Early and sustained dual oral anti-platelet therapy following perctaneous coronary stenting – a randomized, controlled trial. JAMA 2002; 288: 2411-20. http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=pubmed&dopt=Abstract&list_uids=12435254&query_hl=5 7. Sabatine MS, Cannon CP, Gibson CM et al. Effect of clopidogrel pretreatment before percutaneous coronary intervention in patients with ST-elevation myocardial infarction treated with thrombolysis. The PCI-CLARITY study. JAMA 2005; 294: 1224-32 http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=pubmed&dopt=Abstract&list_uids=16143698&query_hl=3 8. Kastrati A, Mehilli J, Schuhlen H et al. A clinical trial of abciximab in elective percutaneous coronary intervention after pre-treatment with clopidogrel. N Engl J Med 2004; 350: 232-8. http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=pubmed&dopt=Abstract&list_uids=14724302&query_hl=1
8. Angiolillo DJ, Fernandez-Ortiz A, Bernardo E et al. High clopidogrel loading dose during coronary stenting: effects on drug response and interindividual variability. Eur Heart J 2005; 25: 1903-10. 9. Patti G, Colonna G, Pasceri V, Pepe LL, Montinaro A, Di Sciascio G. Randomized trial of high loading dose of clopidogrel for reduction of periprocedural myocardial infarction in patients undergoing coronary intervention: results from the ARMYDA-2 (Antiplatelet therapy for Reduction of MYocardial Damage during Angioplasty) study. Circulation 2005; 111: 2099-106. http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=pubmed&dopt=Abstract&list_uids=15750189&query_hl=4&itool=pubmed_docsum 10. Kastrati A, Mehilli J, Schuhlen H et al. A clinical trial of abciximab in elective percutaneous coronary intervention after pre-treatment with clopidogrel. N Engl J Med 2004; 350: 232-8. http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=pubmed&dopt=Abstract&list_uids=14724302&query_hl=6&itool=pubmed_DocSum 11. von Beckerath N, Taubert D, Pogatsa-Murray G, Schomig E, Kastrati A, Schomig A. Absorption, metabolization, and antiplatelet effects of 300-, 600-, and 900-mg loading doses of clopidogrel: results of the ISAR-CHOICE (Intracoronary Stenting and Antithrombotic Regimen: Choose between 3 High Oral Doses for Immidiate Clopidogrel Effect) Trial. Circulation 2005; 112: 2946-50. http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=pubmed&dopt=Abstract&list_uids=16260639&query_hl=10&itool=pubmed_docsum 12. Zimarino M, Renda G, De Caterina R: Optimal duration of antiplatelet therapy in recipients of coronary drug-eluting stents. Drugs 2005; 65(6): 725-732. http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=pubmed&dopt=Abstract&list_uids=15819586&query_hl=8&itool=pubmed_docsum
Vol4 N°14
Dr. S.D. Kristensen*, Dr F. Andreotti, Prof. K. Huber, Prof. R. De Caterina. *Aarhus, Denmark Chairperson of the Working Group on Thrombosis
Our mission: To reduce the burden of cardiovascular disease.
Contact us
© 2020 European Society of Cardiology. All rights reserved.


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Team | Leadership
Steve Schoenefeldt
Steve is an 18-year HITT veteran and has completed some of our more technical and complex projects over the course of his career. As Vice President for HITT's Technology sector, Steve has worked on numerous ground-up data centers, data center expansions, new data centers within existing buildings and data center renovations.
Notable Projects & Clients
Affiliations & Certifications
- Associated Builders and Contractors (ABC)
- Washington Building Congress (WBC)
- LEED Accredited Professional
B.S., Occupational Safety and Environmental Management, Slippery Rock University


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Archive for April, 2008
Same ingredients, different meals
I live alone, which means I mostly cook for one. Sometimes that means making big batches of something-or-other, parceling it out into meal-sized containers and freezing it for later. Other times – say, when I succumb to an eyes-bigger-than-stomach moment at the farmers' market – that means coming up with several ways to use the Big Bags of Stuff ™ I bring home before they go bad.
Last weekend it was spinach: A big bag of dark green, big-but-tender leaves that whispered "choose me, choose me!" when I passed by the Salad Farm stand. Never mind that I was still finishing off the mixed lettuces I'd bought the week before; this was spinach
, and I love fresh spinach with a passion equal to the loathing I had as a child for the slimy green variety that came out of a can.
I also brought home more nice brown eggs from Turpen Farm, and a package of thick-sliced, smoked bacon from Wood Family Farm. So right there I had the makings of two very different, but equally delicious meals: A traditional, Southern-style wilted-bacon and spinach salad, and a fantastic spinach-and-bacon quiche.
This might be the place to explain to new readers that, I am not a "health food" cook, nor am I even slightly interested in losing weight. If you're looking for fat-free recipes, I fear you've come to the wrong place. I come by my middle-aged figure honestly, from a hearty appetite and the Kight family gene poole; old photos of my great-aunts show them built just as I am, in the shape that used to be called "matronly," and they all lived well into their 90s. Those genes have also served me well in other ways: My blood pressure and cholesterol levels are low-normal, to my doctor's occasional chagrin. So, yes, I eat bacon and eggs, butter and cream and full-fat yogurt – not daily, but when I feel like it – without the slightest food-guilt.
And while I do believe that fresh, local food is better for me than most of what I find in the supermarket, that's not my main reason for eating it. Plain and simple: It tastes better.
But I digress. On to the recipes, with a minor caveat: These are things I make from memory. I eyeballed the measurements in the kitchen this evening. Fortunately, they aren't critical – you can add a bit here, subtract a bit there, substitute as you like, and (except as noted) it won't affect the outcome in any unpleasant ways.
Wilted Spinach Salad with Warm Bacon Dressing
Ingredients (per serving):
- Fresh spinach, rinsed and torn in bite-sized pieces
- Crisp-fried bacon (2 slices per person) broken in pieces
- 1 tablespoon balsamic vinegar OR
- 1 tablespoon red-wine vinegar plus 1 teaspoon sugar
- 1 tablespoon hot bacon grease (pour the rest off and keep it in the skillet in which you cooked the bacon)
- One egg, hardboiled and coarsely chopped
- A few shavings of aged parmesan or peccorino romano cheese
- Freshly ground pepper to taste (no need for salt; the bacon provides that)
Arrange the greens on a large plate. Scatter bacon pieces on top.Whisk the vinegar and sugar (if used) into the hot bacon grease in the skillet; while still hot, pour over the salad. Sprinkle hard-cooked egg and cheese on top, and season with a little pepper. Eat. Enjoy.
Spinach and Bacon Quiche
- Crust for one pie*
- 1/4 pound thick-sliced bacon, fried till just shy of crisp
- One leek, sliced into thin rounds and sauteed until just soft. Or mild onion, if you don't have leeks.
- 1/2 cup aged Swiss cheese, cut in 1/2 inch cubes
- About two cups of raw spinach, rinsed, dried and coarsely chopped
- 3 whole eggs
- 2 cups of milk or cream.
- 1/4 teaspoon nutmeg, preferably freshly grated.
- Ground pepper to taste
I use cream, because it produces a silky, luxurious quiche. Feel free to use milk if cream is too rich for your tastes, but at least make it whole milk; low-fat milk results in a watery, unappetizing custard. You can also use half milk and half yogurt or sour cream, but use the real, nothing-but-cultured-milk variety that doesn't contain gelatin or agar.
Preheat oven toi 375F. Line a pie plate with prepared crust (you'll want something deeper than a standard aluminum pie pan for this; I use a deep pyrex plate handed down from my mother).
Arrange bacon, cheese and sauteed leeks in the bottom of the crust, reserving some bacon for the top. Top with spinach. Whisk together eggs, cream nutmeg and pepper until completely blended, then carefully pour over the fillings. Scatter some bacon and parmesan on top, and crimp the edges of the crust as you please.
Bake for 25-30 minutes, until the filling is set and the top is browned (to test the filling, give the edge of the pie plate a slight nudge; the custard should jiggle just slightly, but not in a liquid fashion.)
Remove the quiche from oven and let it cool for 5-10 minutes for ease of cutting, or chill and serve cold (I actually prefer cold quiche, and it makes fantastic second-day leftovers.) If I'm serving quiche to guests, I like to accompany it with good, fresh fruit; when no fruit is in season, home-made applesauce or barely sweetened stewed fruit makes a nice foil to the richness of the bacon-and-egg custard.
* While I'm perfectly capable of making a good pie crust, I tend to save them for guests and special occasions. The rest of the time I keep a package of frozen, pre-made pie crusts – the kind that come ready to unroll into your pie plate – in the freezer. They're easy, less messy, time-saving and even store-brand versions produce perfectly acceptable results.
Improbable combinations
I managed to gobble up nearly half the big bag of lettuce I brought home from the market yesterday, dressed with nothing more than a splash of vinegar and a little salt – a clear sign that I haven't been getting enough springtime in my diet.
Then my friend Kathy Walton, having noticed my other market purchases, pointed me to this wonderful and easy recipe for Salade Lyonnaise, a traditional French salad involving nothing more complicated than greens – and bacon, and a single poached egg.
At first glance that may sound a little odd to the American palate – but why not? Greens and bacon go beautifully together (think BLTs, or wilted-spinach and bacon salad, one of the canonical Salads Of My People), and hard-cooked egg is a standard topping for lots of composed salads.
Besides, it was an excuse for me to dig out the teeny lidded pan I somehow acquired ages ago and use it for its intended purpose: Poaching a single egg.
It wasn't a perfect poached egg, appearance-wise; that takes practice, and I haven't poached an egg in a dog's age. But the white didn't unravel as they sometimes do, and it was perfectly done, to my taste: the white firm all the way through, but the rich, orange-yellow farm egg yolk still oozy enough to melt down into the salad and become one with the dressing.
My adjustments: I didn't have any shallots on hand, but I did have garlic from the market; I minced a clove and added it to the butter I used to toast the croutons. And I had chives from the supermarket, so I used some of those to top the egg.
Pretty,no? Pretty good eating, too!
Neither snow, nor sleet …
… nor thunder (all of which we've had today) could deter the Albany Farmers' Market from opening for the season. It was cold, it was wet, it was windy – and despite all that, a fair number of shoppers turned out to greet the typically small number of first-weekend vendors like long-lost friends.
Not a lot of produce yet, which was to be expected; our growing season is just beginning, and we won't see much but early greens and the occasional hothouse/hydroponic crop till the middle of next month. But what was there was choice: Beautiful brown eggs from free-range chickens, big bags of tender mixed greens picked this morning, tempting cookies and breads from Kris's Kitchen. Dan Wood and his youngsters were there from Wood Family Farm, with eggs and pork and some beautiful wool roving and hand-made soap. And Matt and Cyndi, of Matt-Cyn Farms, won't have produce to sell for several weeks – but they came by to circulate a petition aimed at rescuing Extension 4-H from the budget cutters' axe.
There were lots of plants, from vegetable starts to bedding plants and even small flowering trees, and buckets full of cut tulips in every imaginable hue brightening the grey day (and catching the eyes of motorists driving by on Ellsworth, several of whom I saw pull over to check out the market. Good advertising, flower growers!)
I wandered around, took a lot of pictures, talked up the Eat Local Challenge and stocked up on salad greens, eggs, and a handful of garlic. I resisted the cookies, but only because I have baking of my own to do this weekend (and therein may lie another blog entry tomorrow, with recipes). And then took my chilled nose and fingers off to run other errands, and came home and made myself a nice, big salad of nothing but greens, a splash of balsamic vinegar and a few shavings of parmesan. It was like a tonic.
Oregon's oldest farmers' market* is open for business. Now it feels like spring, no matter what the weatherman says.
* Or at least we like to think so – according to the Corvallis-Albany Farmers' Markets, the Albany Market, now starting its 31st year, is believed to be "the oldest continuously operating outdoor farmers' market in Oregon."
Take the challenge
Countdown: Eight days till the local market opens!
Talk about good timing: While browsing the Flickr photo group I started last year for the Albany-Corvallis Farmers' Markets, I noticed that group member Katherine Rivera had posted a note about her new local foodblog: the Mid-Willamette Valley Eat Local Challenge.
Based on the national Eat Local movement, Katherine poses a simple challenge to mid-Valley cooks: Every week, from Memorial Day to Labor Day (May 26 to Sept 1), try to work local ingredients into your meals. How you do it is up to you. A meal a week using nothing but food grown in the valley? A little something local in every meal? It's up to you. And she makes the challenge in a spirit of fun: Enjoy yourself, and if you miss a week, don't sweat it, just try again the next week.
Heck, this is an easy challenge. I've been managing to eat locally grown food just about that often even through the winter, thanks to all the stuff I bought last season and dried or froze, plus an occasional trip to the indoor Winter Market. In fact, I'm down to about one good meal's worth of last summer's bounty (some dried chanterelles and herbs, a container of frozen oven-roasted tomatoes, a small stash of dried beans and one last package of lambchops from Wood Family Farms). If I get a chance in the coming busy week, I hope to make a meal out of that and clear thelarder for this year's market.
Of course, the first few markets are more promise than anything. The growing season starts slowly here, and it's been a cold spring so far. In April, we can expect spring lettuce, leeks and garlic, plus maybe a few hothouse vegetables. There will likely be baked goods, eggs from happy chickens and perhaps some of last summer's honey from local bees. And a lot of plant starts, for those of us hoping to grow some of our own food this summer. It'll be a few weeks, weather willing, before the early radishes and spring-tonic greens begin to show up. Bit by bit, the season will advance, the variety of wonderful things will increase, and by Memorial Day, it should be a snap to join the challenge.
If you're reading from somewhere outside Oregon, check the "Eat Local Challenge" link in my sidebar – there might be a challenge group near you. Or start one. Or just take a personal challenge. Do it for your health, do it for the environment (food transport is a major consumer of fuel, do it for (my favorite reason) your taste-buds. There's no more pleasing adventure than discovering wonderful things to eat in your own back yard, figuratively or (for you gardeners) literally.


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The Overweening Generalist is largely about people who like to read fat, weighty "difficult" books - or thin, profound ones - and how I/They/We stand in relation to the hyper-acceleration of digital social-media-tized culture. It is not a neo-Luddite attack on digital media; it is an attempt to negotiate with it, and to subtly make claims for the role of generalist intellectual types in the scheme of things.
Saturday, July 9, 2011
Potshots At Economics: Take Two
Most of you probably know of these famous passages from early Marx:
"We rarely hear [...] of combinations of masters, though frequently of those workmen. But whoever imagines, upon this account, that masters rarely combine, is as ignorant of the world as their subject. Masters are always and everywhere in a sort of tacit, but constant and uniform combination, not to raise the wages of labor above their actual rate [...] Masters too sometimes enter into particular combinations to sink the wages of labor even below this rate." Marx soon after notes there is an inequality of access to legislative protection: "Whenever the legislature attempts to regulate the differences between masters and their workmen, its counsellors are always the masters."
And isn't it great things have changed so much for the better?
And I hope some of you were not taken in by my pulling a fast one: that wasn't Karl Marx, but the capitalist's own man, Adam Smith. See Book One, chapter 8, "Of the Wages of Labour," from The Wealth of Nations. Marx admired Adam Smith; Smith's writings are pre-capitalist. Smith posits a rationalistic account, based on much empirical observation, of how to improve economics.
But in my lifetime, it's been more than ten times when some college-educated right-winger has told me, with variations, that Marx is my guy, and Adam Smith his. After reading both, I have major doubts these half-smart and well-fed and well-dressed college boys ever read a word of Smith. He seems to be some sort of Holy Writ among Business Majors: you need only know He was on Our Side.
Adam Smith (1723-1790, one of several brilliant Enlightenment thinkers who were Scottish. Here's the old wig now:
If you haven't read Smith, I highly recommend dipping into him now and again. See if you don't agree with me that he would have nothing to do with the way economics is done in Unistat, especially since 1945. If you want to argue that Smith is your "free market" guy, then go ahead and do so. I'll show you why you're completely full of shit. Anybody wanna debate me on this? Bring it on! Do yourself a favor and cling to your Milton Friedman...(Oh! But why would anyone dippy enough to claim Adam Smith for the current day Republican party be reading this blog? No one reads it as it is...except you. Bless you!)
"Conservatives say if you don't give the rich more money, they will lose their incentive to invest. As for the poor, they tell us they've lost all incentive because we've given them too much money." - Professor George Carlin, Braindroppings, p.193
Unthinking: money is wealth. No, money is about, as Buckminster Fuller said, "sustainable forward days of survival." Money merely represents possible wealth. It is a ticket for the transfer of wealth. As Robert Anton Wilson said, "If all the money disappeared overnight, the national standard of living would not change (whatever happened to individuals in the interim)." But wealth is anything that is a good: roads, your furniture, air conditioning, food in the cupboard, a bridge to get you over the river safely to where you want to go. Note well that all of these things came from somewhere; someone had to make them from natural resources, or grow them: humans with their accumulated know-how (knowledge which can be represented on paper but can most often qualify as "metaphysical") are the true source of wealth. If you were in a plane crash with Bill Gates, and you found yourself sharing a rapidly leaking life-raft with him in the middle of the ocean, and you had somehow managed to grab a life-vest but Gates had not, and he offered you a billion dollars for your life-vest...how much is his money "worth" then? (Consider this a koan.)
Think of the Arabs before western know-how about geology and means to determine where oil was. The Arabs were "poor." Then, when they learned how to extract the oil from under their land, they (some but not all) became "rich." It was the metaphysical knowledge (which translated into physics) which made all the difference.
A tremendous 19th century generalist, John Ruskin, coined a third term: illth. Would it serve us to start thinking of "illth" in addition to money and wealth? I think so: illth can be defined as all the changes in our environment that are undesirable or detrimental to humans and the ecosystem: climate change, smog, toxins in the drinking supply, nuclear weapons, a floating barge of man-made trash the size of Texas, etc.
Note that illth is man-made; it's the downside of converting metaphysical knowledge into wealth. I currently consider active ignorance, stupidity, racism and like prejudices, and the deliberate misuse of language for ideological purposes to be the metaphysical aspects of illth. See Robert Anton Wilson, The Illuminati Papers, p.149
"'Wealthy' is meaningless and has no robust absolute measure; use instead the subtractive measure 'unwealth,' that is, the difference, at any point in time, between what you have and what you would like to have." - Nassim Nicholas Taleb, The Bed of Procrustes, p.23
3 comments:
- ARW23 said...
According to Karl Marx (and he thought and wrote that in 1844!) money, wage-labour, credit and banking are all forms of human alienation. They transform man from a real individual into an abstract caricature of his/her true self. The system of exchange is social intercourse not between men, but between men as things of value, that is, an alienated form of social intercourse. And that is just one form/level of alienation according to Marx. Unfortunately there is more.....
- July 9, 2011 at 1:55 AM
- ARW23 said...
Thanks for the warning Michael! From "economics" to "freakonomics' !!!
In my view, in addition to Adam Smith, I think there are a few more Scottish minds worth diving into such as James Mill (apparently founder of classical economics together with David Ricardo) and his son John Stuart Mill - all very influential philosophers on Marx.
- July 9, 2011 at 12:57 PM
- Eric Wagner said...
Ruskin had a huge impact on Proust.
Nice blog.
- October 26, 2019 at 10:51 AM


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Based on ChinesePod: Hold the Elevator.
Suit: 等一下!
deng3 yi1xia4
Wait up!
Suit: 谢谢。
Courier: 不客气,到几楼?
bu4ke4qi, dao4 ji3 lou2?
No problem, which floor?
Suit: 十楼。 谢谢你!
shi2 lou2. xie4xie ni3!
Tenth floor. Thank you!
不客气 I like, as I learned it from speaking with Chinese people and because it literally means "not polite" or "don't be so polite" which reminds me of de nada or de rien.
This time I dropped (forgot) the pinyin and just left it out. Though I think it is better to include the pinyin: one thing I do is print out the cartoons and tack them to my cubicle wall at work. I was also happy to recycle the delivery man from "你的东西".


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"Sexy Tape" was one of our first famous yellow t-shirts ever made and sold-out in a few weeks! Cassette Store Day is a good reason for a rebirth! "Sexy Tape", is now available in Heather Grey, extremely limited to 50 numbered t-shirts.
Get it with the "View Master Collection", a cassette release in a wooden package, by Logarithm Cassette Label.
The artists/bands that participate are: The Blue Square, IG88 + Melorman, Cha cha, Esoteric Sob, Fragile Balloon, Pan Pan, Sugar Factory, melophobia, Dozen Draft, Frankie, lazy aftershow and The Mugris.
The artwork has been edited by John Trifonopoulos.
Comes with a special tag in our legendary tape replica package!
Add Sexy Tape Limited Edition to your t-shirt collection and get:
– A collectors' only t-shirt with anniversary tag
– The "View Master Collection", in a wooden package
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-Get them in our legendary tape replica package.


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(Originally titled "Performance Anxiety" but I changed it because snickering.)
I am not a performer. I don't enjoy the spotlight. I'm not even a particularly eloquent speaker: I talk too fast at the best of times and I stammer when I meet someone new or when I'm nervous. I possess just enough coordination so I walk into a door jamb only a few times a week. Writing is my domain, the closest I get to putting myself on display. I communicate better through the written word and manage to come across as a reasonably intelligent person, which doesn't tend to be the case when I'm stumbling over my words even when I'm operating on a full night's sleep and only two cups of coffee. So it might come as a surprise to learn that I spent my school years heavily involved in drama and music performance.
I loved plays growing up; I just didn't care for the actual performance part. Learning lines and stage direction, working with other people to put something together and all of that—awesome. An audience? Not so good. And it wasn't a good kind of nervous, either. It wasn't that mix of anticipation, excitement, and a little bit of fear. No, this was the "Oh, God, don't let me wet myself instead of saying my lines" and "Why do I do this to myself?" kind of terror, especially as I got older (I actually threw up after my last-ever play in OAC drama. I took it as a sign and I haven't been on a stage since).
Those old feelings dredged themselves back up when Supernova was released last year. I hadn't been that anxious about my work in years, and that includes studying art in college. The feelings ebbed away as time went on and it sold fairly well, only to come back when Celestial Chaos was published a couple of weeks ago: "Oh, God, people aren't going to like it. They liked the first book and they'll be disappointed with the sequel OH GOD I SHOULD JUST THROW IN THE TOWEL ALREADY and go back to what I SHOULD have been doing all this time!* I'm not a writer, I'm a HACK! A HACK I say!" and other depressing, self-deprecating BS that I don't believe when I'm actually writing something. Or at pretty much any other time except when a book launches.
I don't view books as a piece of my soul being pushed into the world on a tiny life raft. I put everything into them, I write them to be the best they can be and have quite a bit of help on the way, but at the end of the day they're consumer products. They're a few hours of entertainment available for money, and that's what scares me. It feels like responsibility. People use their money and take time out of their day to read something I wrote, and it freaks me out a few shades. This isn't like filling out TPS reports at Le Day Job. This is something that people read in their precious spare time.
(Did I mention I get a little anxious? I get a little anxious, and possibly a smidgeon over-dramatic.)
*My first crack at college was a law clerk program. I lasted three semesters. I have all kinds of respect for law clerks and paralegals, but I realized early on that it was not the career for me.
**As for music, I was a mediocre performer and a solid second chair, that position only obtained because there weren't enough euphonium and baritone players to outrank me. I was fine with that. Music wasn't really my forte ("Knee-slapper!" says you) anyway.


text:
Phd Canditate :
E-mail :
Supervisor :
Dr. Andriana Dimakopoulou
Assoc. Professor K. Pramatari
PhD Thesis Abstract
This PhD thesis lies in the area of Information Technology Investment Evaluation. Aim of the PhD is to determine the parameters which influence managers' decision to assess and implement an Information Technology project. For this aim, a methodology from the Financial field which is called "Real Options Analysis" is exploited. RFID technology projects are examined as case studies for the purpose of the thesis


text:
D'Anne Rudden, a Doctor of Audiology and owner of Longmont Hearing & Tinnitus Center in Colorado recently had the unique experience of fitting Alanna Kaivalya, a yoga instructor and published author, with Starkey Halo Made for iPhone hearing aids. (Read Alanna's Halo story here!)
Below is Dr. Rudden's perspective on Alanna's #HaloJourney and the effects that new technologies like Halo and TruLink have had on her audiology practice.
Describe your experience fitting Alanna with Halo.
It was probably the most fun I have had fitting hearing aids in 20 years! Alanna was excited to see what all the "buzz" was about and she came in ready with her iPhone 5S, TruLink app downloaded and was ready to go. We first tested her hearing and saw that she had some improvement since her last test in New York City from 2012. Alanna's sometimes fluctuating, bilateral-mixed loss makes prescribing appropriate hearing aid settings challenging. Her previous hearing aids had a very minimal volume control range and only one "automatic" program, leaving her little flexibility when she is traveling the world teaching yoga or sitting in her Ph.D. classes.
When I placed the devices in her ears, complete with custom Absolute Power embedded receivers (she previously had a power receiver with double domes that popped out constantly), Alanna was instantly thrilled and teary with excitement. I completed real ear electroacoustic analysis measurements and the aids were reaching NAl-NL2 targets very closely for her "Normal" program. The next step was to personalize the settings and features just for her needs. I set up a total of four programs in the software for her: Normal, Auditorium (for her Ph.D. classes), Restaurant and Music. We reviewed the TruLink app and I demonstrated all of the features that she could access. Both Alanna and her mother were overwhelmed with the amount of flexibility and function the Halo hearing aids offer. At the fitting appointment, they were discussing and planning using the microphone and record feature in her classroom situations to streaming music and media while traveling. It was clear that Alanna had never been inhibited by her hearing loss but now she was really empowered to excel!
The following day, I traveled to Alanna's book signing and was thrilled to see her interacting with ease and confidence. I kept asking her, "Can you hear everyone?" and "Do they sound OK?" and she kept replying "I hear everything and everyone perfectly!" even in the crowded bar/restaurant with high ceilings and challenging acoustics. Alanna even graced the gathering with a kirtan classic, encouraging everyone to chant along with her.
The next day, we met for a follow up visit. She had no requests for changes to programming and had not done much exploring beyond the "normal" program. Since that visit, we have followed up by phone and email since she has been traveling from New York City to Belize to California, making sure that she understood the use, care and realistic expectations for even this amazing device. With nothing stopping her, Alanna has truly personified the intention of the Halo hearing aids: "Go Anywhere, Do Everything!"
How have new technologies like Halo and TruLink affected how you practice audiology?
The first question I ask a prospective hearing aid user now is "Do you have an iPhone?" This makes me giddy with excitement for our profession and our patients. I have had people actually tell me that they are looking forward to coming in!
What it has also done is remind me of the patient's need to have the support to be successful. The technology alone is great, but in the hands of a trained professional and an engaged patient, the results are life changing. Even the savviest patients are more successful when they get the precision fitting and guidance they need.
I recently asked a patient who was in for a hearing aid consultation to tell me what his "dream" hearing aid would be able to do. He described the features and functions of the Starkey Halo Made for iPhone hearing aid and the TruLink app almost perfectly. When I began to demonstrate the technology, he paused and said, "You're going to be here to help me with this, aren't you?" I smiled and reassured him that this technology is a powerful tool but that I was committed to his success.
New technologies like Halo and TruLink continue to push us as professionals to be technology experts and give us ways to continue to keep hearing loss from being the stumbling block to a full, enriched life.
Connect with D'Anne and Longmont Hearing & Tinnitus Center:


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جامعة برانديز
Brandeis University was founded in 1948 by the American Jewish community at a time when Jews and other ethnic and racial minorities, and women, faced discrimination in higher education. Brandeis? visionary founders established a non-sectarian research university that welcomed talented faculty and students of all backgrounds and beliefs. From the outset, Brandeis focused on undergraduate education, while building a pioneering research enterprise.
A Brandeis education is a vigorous exploration in critical analysis, creativity and self-expression. The faculty combine innovative teaching with ground-breaking research and scholarship. Students immerse themselves in the liberal arts and sciences, and engage in research that excites them, with faculty leaders in their fields. Brandeis students may choose from a variety of majors in four broad areas: the creative arts, the humanities, the sciences and the social sciences. University also offers a variety of master?s & doctoral degree programs that encourage innovative, exciting new projects of interdisciplinary research and teaching. With an emphasis on small classes and faculty mentorship, it offers students the opportunity to work closely with their distinguished senior scholars.
Free pizza at midnight during finals. Bubble soccer. Organic vegetables from our rooftop farm. Clubs that range from a cappella groups to skydiving. Student?s at the university can find their passion or can create it. Brandeis has more than 260 student-run clubs and organizations, including service organizations, cultural awareness groups, performing groups, spiritual and religious groups, sports and games clubs, student leadership and activism groups, student publications, a television station (BTV) and a radio station (WBRS).
The university encourages and supports all expressions of spiritual and religious life on campus. Brandeis offers a rich diversity of programming, groups and opportunities for academic study. There are more than 20 student groups focusing on religion and spirituality. Faculty teach about a range of religious traditions in courses through a broad span of departments and programs. Chaplains and advisers from a variety of backgrounds serve the Brandeis community.
The Brandeis campus is abuzz most days and evenings with events, performances, film screenings, guest speakers, sporting events, club meetings and other activities. It?s truly an amazing place. The historic city of Waltham has a population 60,000 and offers a wide array of restaurants, shops, and theaters to suit any taste. Downtown Waltham is just a 20-minute walk from campus or a quick trip on the university shuttle.
برامج الدراسة الشائعة
لمعرفة المزيد عن المعلومات المذكورة هنا اقرأ عن كيفية تجميعنا وعرضنا لمعلومات البرنامج الدراسي. لا تتحمل آي دي بي أية مسؤولية عن أي أخطاء أو سهو في محتوى هذا الموقع. ونوصيك دائماً بالتحدث إلى مستشارينا للحصول على أحدث وأدق النصائح.
IDP Countdown to IELTS WebinarGet real-time interaction with the IELTS expert without leaving your place.Virtual SeminarSalmiya, KuwaitAUCAGBIEUS19th أغس 202005:00 م - 08:00 ممزيد من المعلومات
Ask the IELTS Expert with IDP!Join the one-hour Question and Answer session presented by an IDP IELTS expert on Facebook live.Virtual SeminarSalmiya, KuwaitAUCAGBIEUS25th أغس 202006:00 م - 07:00 ممزيد من المعلومات
IDP IELTS MasterclassAsk questions specific to your situation and discover what examiners are looking for when they mark your testVirtual SeminarSalmiya, KuwaitAUCAGBIEUS2nd سبت 202001:00 م - 03:00 ممزيد من المعلومات


text:
Posted: May 16, 2013
Appeal exhibiting at RHS Hampton Court Flower Show 2013
Appeal are delighted to be displaying their ranges of conservatory blinds, window shutters, window blinds and retractable insect screens at this year's RHS Hampton Court Flower Show from the 9th to 14th July.
This is your chance to see the range of Appeal's latest new product ranges and to receive an EXCLUSIVE SPECIAL SHOW OFFER. See us at Stand E205a for details.


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text:
PAT Rowe, 39, from Kensignton, Liverpool, has supported the Reds since she was a young girl but this was only her first FA Cup final.
"My mates were jealous that I got a ticket in the first place and they will be more so now after the fantastic scenes at the stadium.
"I had been really looking forward to it and I am just delighted with the result. There were some tense moments at the end but Michael Owen was just fantastic. The stadium was brilliant and there was a really amazing atmosphere, let's hope we cna do it again next season and I'll be there."
DAVID Rowe, 40, of Kensington, Liverpool, left in the early hours to reach South Wales for the match and he says it has all been worth it.
"I've been really looking forward to this. I was in tears when Arsenal beat us in the 1971 cup final. But today made up for that.
"I've never been here to Cardiff before but the city was great and the atmosphere just built and bulit all day and you just couldn't have imagined the ending. Owen was tremendous and showed real guts. The team did not play as well as they can but it's the result that counts.
"It was a fantastic day and a fantastic stadium, much better than Wembley."
MICK Corry, 40, of Mosley Hill, Liverpool, stayed the night before the game with his friends and family in Bristol and could not more delighted with the result.
"Liverpool showed how they can play with their second-half performance. It was just amazing how they managed to turn things around. Owen was electric and talk about being on the edge of your seat. It was just amazing I don't know how else to describe it.
"Cardiff is becoming our second home, and I reckon the FA Cup should stay here. It's a great day out and the people here are really friendly. The city is really nice, very clean, and we're all having a great time."
Daughter Samantha, six, said: "I have a super time and I can't believe how exciting it was."
CHRIS Finch, 35, Wavertree, Liverpool, stayed in Cardiff overnight to enjoy the big-game atmosphere starting with a spectacular firework display over Cardiff Bay on Friday night.
"It was a great second-half performance, and one of the best that I have seen from Michael Owen. Liverpool were a bit too defensive in the first-half but it did give them the platform they needed to go at the Gunners. I am also delighted by the way that they showed the spirit to fight back.
"The setting for the game was ideal it was really nice to see the city making such an effort.
"There was a smashing atmosphere building up and after the game and the stadium is out of this world."


text:
Mitsubishi Motors
Official Partner of England Netball
Mitsubishi Motors in the UK is backing one of the country's most popular and fastest-growing sports with the announcement of a brand new partnership with England Netball. The exciting new development sees the brand become an official partner of England Netball – the national governing body of what is England's biggest female team sport. The partnership establishes Mitsubishi Motors as the official vehicle supplier to England Netball and the brand's logo will also feature prominently on the Elite Squad's uniforms and warm-up kits, as well as on the coaches' kits.
Mitsubishi Motors' support of England Netball builds on its successful national partnerships with England Rugby and Scottish Rugby, and with the Mitsubishi Motors Badminton Horse Trials. Importantly, and as it has demonstrated with its commitment to rugby and equestrianism, its backing extends all the way from top-flight to grassroots level of the sport.
Lance Bradley
Vice Chairman of Mitsubishi Motors in the UK
"We're delighted to become an official partner of England Netball. Like our brand, the organisation has a long, successful history and is forward thinking in its approach to reaching its goals. Importantly, and as we have enjoyed with our support of rugby and equestrianism, we are very much looking forward to having an impact at all levels of the game and partnering England Netball as it inspires more and more women and girls of all ages to take part in the sport."
Joanna Adams
CEO, England Netball
"We are delighted to join forces with such an established, respected and ambitious partner in Mitsubishi. They have a proven record in positively influencing sport at all levels in this country and Mitsubishi will allow England Netball to continue increasing the popularity and reach of our sport."