text:
FAM - SFO
Parent Wiki
Horizons at SFFS
Parent Handbook Basics
The Strategic Direction: Our Pathways
Courses of Action
The Schedule Project
Developmental Support
Apply to Lower School
Apply to Middle School
Adjustable Tuition
Friends Community Scholars
Quaker Values
Quaker Meetings
A3 and Extended Day
Congratulations to Friends School Faculty Graduates
SF Friends School
(L-R): Katy, Tanya, and Beth at their UOP graduation
For Friends School faculty, learning does not stop in the classroom or end when the school day is over. This year, a number of our teachers completed advanced degrees, challenging themselves to strengthen their teaching chops and explore new horizons. Below are just a few highlights of their hard work and dedication to both teaching and learning.
Just this month, TAs Tanya Cotom and Katy Hill received Masters in Education from the University of the Pacific (UOP) and the Bay Area Teacher Training Institute (BATTI). Katy will be pursuing a lead teaching position in the fall, and Tanya plans to continue her work as a second grade TA at Friends.
Middle School Humanities Teacher Beth Pollack also graduated from the BATTI/UOP program, completing an MA in Educational Leadership and Administration. Her plans include employing her leadership skills at Friends and looking for more leadership opportunities in the future.
Dance/Drama Teacher Hilary Palanza has spent the past year working on an MA in public policy at UC Berkeley's Goldman School of Public Policy, focusing particularly on how to support and advocate for the Arts. For her next project, she will be working on her long-held dream to develop and open the first ever interactive dance museum.
And a congratulations are also in order for lower school TA Gavin Odabashian, who was accepted into the BATTI program and follows in the footsteps of Tanya, Katy, and Beth.
Read more about Congratulations to Friends School Faculty Graduates
Mysteries of the Unseen World: Thinking Like an Artist/Scientist
Caren Andrews and Jennifer Stuart, SFFS Visual Arts Team
"The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. So the unknown, the mysterious is where art and science meet."
In mid-march, we attended the National Art Educators Association (NAEA) conference hosted in Seattle, WA. This is the ninth year that we attended, and the third time that we co-presented at the conference, which has been an amazing opportunity not just to share the unique approach to the arts at SFFS with independent schools from across the country, but to gain inspiration from other visual art instructors as well. While at the conference, we celebrated ten years of collaborative work at SFFS by presenting a hands-on workshop that illuminates how the visual arts and scientific inquiry are intertwined by sharing two interdisciplinary units—one third grade, the other seventh and eighth grade.
Integration is a natural way in which we experience the world. True integration in the classroom serves all of the disciplines involved and makes connections to 'real life' experience outside of the walls of our school. As in our classroom/studios, participants in our (sold out) workshop were introduced to a series of artmaking routines to investigate a question that is relevant to both scientists and artists. Those attending the workshop came away with a clearer sense of how this approach builds understanding in both disciplines while providing experiences that invigorate a spirit of inquiry, connecting to the real world of artists and scientists.
Here is a small sample of the brilliant student work that we showcased at the conference:
Three examples from the third grade of a two-minute warm up drawing.
The prompt: Draw yourself as an artist/scientist.
Seventh/eighth grade art inspired by the Hubble Telescope images.
Students used embroidery in order to focus on line, shape, and patterns.
More seventh/eighth grade art inspired by the Hubble Telescope.
Third grade computer virus drawings. Prompts: What is the story of our computer virus?
What kind of computer virus will we craft?
A closer look at third grade computer virus drawings.
A closer look at third grade computer virus sculptures.
Read more about Mysteries of the Unseen World: Thinking Like an Artist/Scientist
SFFS Math Faculty Learn about "Lesson Study" from Japanese Expert
Amabelle Sze and Jake Ban, Third Grade Teachers
The SFFS math team with Dr. Takahashi (fourth from right)
Established in 2016 with generous support from our community, the Cathy Hunter Fund for the Future (CHFF) supports our faculty with transformative professional development experiences at key moments in their careers. Encouraged to think beyond workshops and conferences, teachers submit an application seeking support for a professional development experience that will enrich future programs, our school culture and greater community.
After receiving support from the Cathy Hunter Fund for the Future, third grade teacher Amabelle Sze trekked many miles south to Hillsborough to attend the Innovative Learning Conference in the fall of 2017. There, she learned about "Lesson Study," a Japanese method for deepening collaboration, planning and reflection in teaching and learning. The name for Lesson Study in Japanese is "jugyokenkyu." "Jugyo" meaning "teaching and learning." "Kenkyu" meaning "study or research." So, Lesson Study is the study or research of teaching and learning.
When Amabelle gets excited about a new, educative idea, she is unstoppable. Upon her return, Amabelle extolled the value and importance of Lesson Study to anybody who would listen.
Luckily for her, she can typically find a learning partner that is game in fellow third grade teacher Jake Ban. Jake, who had previously engaged in Lesson Study during graduate school, was immediately excited about the opportunity to delve deeper with colleagues in the service of student learning. Jennifer Arnest, who had learned about Lesson Study at Mills College, fanned the fire. Amabelle and Jennifer then presented about Lesson Study at a professional development day this past fall. It was soon clear that Amabelle, Jake, and Jennifer's enthusiasm about Lesson Study was shared by many colleagues.
A few months later, Jake and Amabelle were sitting in a public library in East Oakland. After Jake's persistent nagging, a graduate school classmate had arranged for them to attend a public lesson with elementary teachers from Woodland Acorn. For these teachers, this class was the culmination of a months-long Lesson Study process. For Amabelle and Jake, what had felt like a vague, interesting idea now seemed imminently achievable and ever more important. They were impressed by the depth of practice and knowledge the teachers exhibited. The Acorn Woodland staff were reflective and curious while simultaneously deliberate and savvy. Their research proposal, pre- and post-lesson conversations, the lesson itself, and the reflection, demonstrated the deep complexities inherent in teaching and learning.
At Woodland Acorn, it was not only teachers who were deeply engaged. The students were presented with a problem, "Can you write 8/3 as a mixed number?", and persisted in solving this problem in a variety of ways independently. When asked to explain their thinking, these students, most of whom are English Language Learners, demonstrated a depth of mathematical understanding through conversation, writing, and whole-class presentation. In the teacher reflection of this lesson, Jake and Amabelle heard the letters "TTP" repeated often. They turned to each other and shrugged at this acronym. Afterwards, when one teacher passed by, Amabelle asked, "Excuse me, what is TTP?" The response: "Teaching Through Problem Solving."
Throughout Japan, this methodology of teaching mathematics is used. Rather than teaching concepts, with a traditional "I do, you do, we do" structure, students engage in a problem for which the solution is not known in advance. Teaching Through Problem Solving is open-ended and thusly often time-consuming, often messy, and often unresolved. A leading Japanese math teacher and strong proponent of Lesson Study, Akihiko Takahashi reflected on this process, "[Math teachers] are too impatient. You expect children to learn a concept by the end of the lesson."
TTP provides young mathematicians with an opportunity to delve deeply into mathematical practices to develop strong conceptual foundations and problem solving abilities. TPP overlays nicely with the Common Core Standards for Mathematical Practice, which essentialize the habits of professional mathematicians.
Both Lesson Study and TTP reflect many of our shared Quaker values:
Simplicity: teaching math through problem solving encourages narrow and deep mathematical learning
Community: working together with colleagues to plan curriculum
Reflection: being more mindful of our practice through group reflection
Continuous revelation: researching lesson topics, planning and reflecting together provides a greater truth than any one individual teacher could possess
We are very happy to announce that we hosted Dr. Takahashi at San Francisco Friends School on March 19, 2018. He worked closely with a team of our K-8 math teachers on collaborative lesson research and the approach to teaching through problem solving.
Read more about SFFS Math Faculty Learn about "Lesson Study" from Japanese Expert
Faculty and staff join NAIS People of Color Conference
San Francisco Friends School
Friends School has been sending faculty and staff teams to the National Association of Independent School (NAIS)'s annual People of Color Conference (PoCC) on and off since 2003. This conference equips educators from teachers to trustees with resources to enhance the interracial, interethnic, and intercultural climate in their schools. This national gathering also provides a safe space for leadership teams to discuss issues that matter to them and their students, and to better prepare them to address the academic and social-emotional outcomes for students and adults alike. As we've seen over the years, this conference has been very helpful in providing professional development (and networking opportunities) for faculty and staff of color, along with their allies.
This year, SF Friends School's team of attendees included Middle School Humanities Teacher Raymond Artis, Director of Admission Yvette Bonaparte, PE Teacher Sunné Clarke, and Director of Community Engagement Guybe Slangen.
Guybe says: "My first PoCC was in Boston in 2007 while I was at the Head-Royce School in Oakland. I remember being overwhelmed (in a good way) by all there was to absorb. From the speakers to the workshops, and from the networking to the affinity groups, I came back informed, inspired, and ready to do the work to make my school more equitable and inclusive for all. Since then I have attended off and on, and while the locations have changed from year to year, the impact of the conference remains strong. This year in Anaheim was PoCC's 30th anniversary with over 6000 attendees from around the country, including over 1,500 students. I was grateful for the opportunity to engage with and learn from others, hear amazing speakers like Ta-Nehisi Coates and Kimberlé Crenshaw, all the while refueling my commitment to help move our school community forward."
"I find the People of Color Conference useful, refreshing, and it definitely helps me to learn more about myself and the people I work with," says Sunné . "This is my eighth year attending, and every year I come away with some new and exciting goals to pursue. For instance, I've learned how to start and collaborate with colleagues at Friends to create affinity groups. I've also developed a nice network of people from other schools where I can lean on to gather more information. It amazes me that every year the workshops are always so different yet relevant to the work I do as an educator. POCC has also inspired me to develop skills to work in a leadership role. My hope every year is not only to attend the conference again but also to inspire others to attend because anyone can benefit from this wonderful conference."
Read more about Faculty and staff join NAIS People of Color Conference
Relying on the Silence of Strangers: A reflection on meeting Quakers abroad
Jodi Pickering, Middle School Humanities Teacher
In 2016, humanities teacher Jodi Pickering sat down with former Head of School Cathy Hunter to brainstorm on how to make her 25th year of teaching "transformative." Deciding to set aside time to study writing and publishing while also teaching, Jodi developed a better writing practice that culminated in a reflective journey to England and France, where she visited Quaker sites and joined Meeting For Worship abroad. Below is just a piece of her writing from that experience.
A Quaker meetinghouse in France.
Relying on the Silence of Strangers
After an hour of driving, we turn onto the Avenue des Quakers. It is the second-to-last day of our journey, and my plan to have my family attend Meeting for Worship here, the day before we tackle ten hours of driving and two flights, does not seem as wise as it had when I was mapping out our travels months ago.
It is hot, around 95 degrees, and we are early. With no town center in sight, we wander into the graveyard. As my husband reads words on the gravestones, my daughter and I walk briskly around, moving our legs in anticipation of the 60 minutes of sitting that await us.
Sweaty now, we enter the gate of the Quaker House to look for the Meeting Room. An older woman is bent over a browning end-of-season garden and, without looking up, she says to us, in English, "It's through there," as if people come through looking for the Meeting Room with some frequency. The room has the feel of a conference room, with books on the shelves, pamphlets on the table, and a door leading to the kitchen. About 15 chairs form a circle, many occupied by quiet, older people. In an effort to seat us together, my husband approaches two chairs that have been stacked, one on top of the other, and begins to separate them. A woman leans forward, smiles and shakes her head, asking him not to, whispering that that chair (or set of chairs) is for their friend with the extra long legs. She shifts her seat so that three chairs might be open side by side.
And so we join them.
There is no fan, but the door is open and in a few minutes, the gardener enters and, after her, a couple joins them. They too try to separate the chairs and are told of the not-yet-arrived man of long legs.
I often have trouble settling into the silence, and that day is no different. My curiosity is peaked and my stomach is rumbling an embarrassingly loud rumble, a rumble which everyone save my daughter pretends not to notice. Desperate to settle, I focus my energy on conquering the growl, but my stomach roars and my sweat is now a nervous sweat.
The friend of the lengthy legs arrives. His legs indeed are long and his hair is surprisingly red; he shuffles his way to the stacked chairs and settles in. Watching him, I have given up trying to control my stomach grumblings and they stop. We settled into the silence together. Strangers bound by tradition.
For me, it is not silent long. The voice of my inner teacher begins to make itself heard. Slowly at first, a reassuring soft voice quietly reassuring me that I will find my way after I send my daughter off to college. There is more to me than mother and wife, the voice reminds me. My daughter will depart soon after we arrive back home, and my thoughts shift to reviewing our two-week trip, and soon a cacophony of inner teachers are shouting, each urging me to examine a truth. One urges me to go ahead and call myself a writer, another pushes me to find ways to teach the stories of those behind the scenes, and yet another yells at me for not being present.
I turn my attention to the possibility of a new identity. I've always enjoyed writing, but I've been ashamed of my lack of ambition. If you read, you're a reader. If you write and get published (I thought), then you're a writer. I wrote my first children's book, Larry the Land Shark, when I was 18, and since then I've written essays, short stories, and a young-adult novel, but I have never called myself a writer. Until this past year, no one but close friends or family had ever seen my words. With a week-long conference and four workshops and dedicated time set aside for writing, I worked diligently to transform from caterpillar to butterfly, and there, listening to the silence, I realize that I have my wings. One of my teachers had started her course by lauding us all for being there, encouraging us all to shed the scales of insecurity we carried with us. She asked how many of us considered ourselves readers, and all of our hands shot up. Shifting the question to ask how many of us considered ourselves writers, a smaller number of hands raised, many of them with trepidation. "If you read, you're a reader," she said, "and if you write, you're a writer." And with that sentence, I was free to love my writing for the joy it gives me and not carry the weight of responsibility to publish or even to share if I didn't want to.
I think about how this freedom opened the door to sharing. I shared Larry the Landshark with second graders to get their feedback; I shared short stories with friends and bosses who are friends. I pushed myself to write seven short stories for the seven sins, and though I may never share "Lust" with anyone, I think I can share "Wrath" with my seventh graders next year as they tackle their own short stories.
I reflect on how, when traveling this summer, I wrote daily, most often first thing. I remember most fondly the Gulf of Poets in Italy, chosen because I wanted to write where D.H. Lawrence, Lord Byron and Percy and Mary Shelley had written years ago, and it was immediately evident what made the place so fruitful for them. The light, the boats, the cliff hugging homes—they all slowed life down. I rose early and wrote, and there the words flew more quickly.
I flush with pride at the memory of easily reaching my daily goal of 1,000 words and how, with extra time before the family awoke, I added to my morning routine a swim. Across the empty plaza, chairs stacked up at the restaurants that had been so lively before. I had walked down to the harbor to a spot on the rocks where four old women in bikinis were socializing. Presumably a swim was also in their future, but their day began together. They welcomed me with a nod and "Bongiorno" and smiled as I gasped a bit, sliding into the water to began my swim.
I remember how this idyllic scene at the harbor had been tainted when I learned that, in the 16th century, the Jews of this picturesque town were locked in a ghetto, blamed for the plague that had struck the city. The quaint gate I had passed was no longer quaint. The inner teacher reminding me that we have to learn the stories of those behind the scenes begins to clamor for my attention.
I shift in my chair and wonder if anyone else's mind is racing. I see one man's chest rising up and down, up and down. He's going to speak soon, I think, and sure enough he begins. He speaks slowly and sadly, and it is all in French. I hear something that sounds like civilization and then Egypt? Did he just say Egypt?
History teachers are often drawn to must-sees, must-knows. At the beginning of our trip, when we were headed to London, I was eager to go to Westminster Abbey, the site of all coronations since William the Conqueror in 1066. However, my husband, ten years older than I, had not set his alarm clock for 4:30 in the morning on July 29th, 1981; had not sat mesmerized watching Diana walk down the red carpet, long train trailing behind her, on her way to becoming Princess Di. And though my daughter could capably demonstrate her Friends School learning, remembering Henry the VIII and some other medieval facts, she, too, wondered what the fascination with royalty was. With their help, I ditched the sites of those whose stories are often told and saw instead the Roman walls, the rocks and those who had put them there and the Museum of Fashion, filled with one woman's story of realizing a dream to incorporate history into textile and send it down a runway for the world to see while she stayed behind the scenes.
I find myself wondering how anyone ever decides what history to teach. In the midst of a city that had literally thousands of years of tales to tell, how did the Brits build their curriculum? What was it about that monument that we stumbled upon as we walked along the Thames—a monument to a group of low ranking fliers who fought for twenty days during WWII to protect London from Germany— that was so captivating to all of us?
And then, my small voice reminds me, there was the Pont du Gard, a Roman Aqueduct, a site we almost skipped because we were tired of touring and had already seen Roman arenas and crypts. Yet again we were all entranced. Yes, there was appeal in the grand expanse, its golden color and the cool swimming waters underneath, but what awed us was its functionality. The idea that an instrument of engendering could transform a few river-sided cities into a connected empire. When we later saw pipes that were used to continue the path of the water over valleys, we wondered how they did not get lead poisoning; it was the power of the engineer, not the emperor, that was the story we wanted to hear.
The man in the Quaker meeting room standing finishes talking and sits down. I have missed most of what he has said, but he looks up at my three-person family and asks if we would like him to restate it in English. He had spoken for a while. My husband, without looking up, shakes his head no. The implication that we speak French hangs there for a moment, and I feel the three of us stifle a laugh. We are bonded in a way that we weren't before this trip.
I enjoy the rest of the silence, feeling the wisdom of the voice telling me to be present, to notice and appreciate the way a member of the group stands and retreats into the kitchen, returning through the swinging door with a tray carrying a pitcher of water and a stack of glasses. I am not brave enough to reach forward to take one; I consider that lack of courage.
The meeting ends, and instinctively I want to run. The end of meeting always makes me feel that way, and the feeling is intensified by the awkwardness I feel in having shared an intimate moment with strangers.
Be present. Okay, I will, and I wait for someone else to leave first. Not quite present, but a start. Only no one leaves.
Instead, one woman suggests, in English, that we introduce ourselves. When it is my turn to speak, I reveal that we do not speak French. This is not news. The man with the long legs claims to be the most Quaker of all: his Parkinson's a testament.
One member remarks to the others that we should let our visitors know that an ancestor of the original Quakers is with us, and all eyes turn to a woman who does not smile. She is French and does not speak English; we learn the story of those before her from others that seem to know the story well. We learn that that the English had come and pillaged Congenies, and that a man had regretted the actions and written the townsfolk explaining that, as a Quaker, their actions did not reflect their beliefs. We learn that someone wrote him back and told him that they weren't Quakers but that they were interested in meeting a man of such integrity and would he like to come visit?
They tell the history without speaking over each other, and without the awkward pauses that come when people wish they could interrupt but are too polite to do so.
And, the man with the long legs adds, this is how these Quakers also came to leave the door open because it is the English Quakers who do that. When Quakers have had to hide, they met behind closed doors, but true Quakers leave the door open to new truths.
It is still awkward when we leave, but less so than it would have been had we run out immediately after. I feel giddy as we make our way to car. Our trip is over tomorrow, but I no longer look at the travel day as just a day to get through. Tomorrow, as all days, will be a day to leave the door open and to be present. By doing this, I might get lucky and learn some hidden history. And, once having learned it, I'll do my best to write it down.
Read more about Relying on the Silence of Strangers: A reflection on meeting Quakers abroad
Coaching and professional development at Friends
Erin Kendrew, First Grade Teacher
"Coaching is the art of creating an environment, through conversation and a way of being, that facilitates the process by which a person can move toward desired goals in a fulfilling manner."
~Tim Gallwey
Erin (right) and her teaching assistant, Max
During the 2016/17 school year, I had been fortunate enough to receive professional development funding from the Cathy Hunter Fund for the Future (CHFF), which enabled me to begin a coaching role that will take me through the end of this school year.
I used the time and opportunity to explore and work with my colleagues as their "coach." This experience has allowed me to strengthen my relationships with my colleagues, getting to know them in and outside of the classroom. I also learned that, even though I may not be able to teach middle school science, I can identify common threads in childhood development and student behavior. Whether it is individual coaching, peer coaching, or mentoring new faculty, I have opened doors and made connections that will only strengthen the greater school community over time.
You might imagine that being surrounded by 22 students and a teaching assistant all day is highly social, sometimes noisy, and never dull. All of this is true, but teaching can also be isolating, particularly when working in a self-contained classroom. I have been drawn to mentoring and coaching at this point in my profession as an aspiration to share experiences and observations collaboratively, but also to stretch my own teaching. What better place to do this than with other dedicated and skillful teachers in their own spaces?
It is abundantly clear now that a valuable resource is right here within the four walls of 250 Valencia—each other.
My journey has included working with teachers outside of my classroom at Friends School since the spring of last year, as well as visiting others in the East Bay, where I also supervise and mentor trainee teachers with the Bay Area Teacher Training Institute (BATTI).
For most teachers, coaching is a valuable feedback tool. It complements nicely the relationship teachers have in place with their direct supervisors. It carves out more informal time, is driven by choice, it allows for reflection, sharing of ideas, and ultimately insight into how to improve the learning experiences of students. Teachers can meet to discuss pedagogy and curriculum, utilize me as a second set of eyes in the classroom, or allow me to be a sounding board.
So far, I have worked with a range of both middle and lower school teachers and also specialists in varying roles. In the first semester, I observed in an eighth grade science classroom for the first time with a little trepidation. What did I know about middle school science? It was extremely reassuring to find the familiar aspects to nearly every classroom, no matter the grade. Whether in first grade or eighth, sometimes transitions are slow, some students are focused and engaged, while others prefer to chat to their table buddy. What is most important, however, is that the teacher being observed is clear about the goal of their observation and feedback. Then it doesn't matter who or what I am observing, the focus can be directed to where it is most needed.
Along with many other professions, the job of an educator is never done. There isn't ever a moment where you say to yourself: 'Well I think I've learned everything there is to know now.' As someone who has been teaching for many years now, that has never been more apparent than when visiting a colleague's class. Although my role has been as coach and support, I have walked out of each classroom several times thinking, 'I can't wait to try that out,' or, 'I think I can adapt that for first grade.'
I noticed that last year, for example, Anil Chopra (former SFFS middle school science teacher), would give immediate feedback to students in the midst of a project. This created an environment where students were more excited about making a revision in the moment. And rather than students focusing on making a mistake, they viewed the feedback more as a piece of the process.
It is abundantly clear now that, indeed, a valuable resource is right here within the four walls of 250 Valencia—each other. Many of us want to take advantage of opportunities to see one another teach even more.
Like most busy professions where there is a lot of contact time with others, moments to share and have someone just listen are in short supply. Hence a large part of my work has been to provide that space. Albert Einstein once said that, if he had an hour to save the world, he would spend 55 minutes defining the problem and five minutes finding the solution. This suggestion resonates for me; it's a reminder to slow down and and deeply think about the situation before offering a way to remedy it. I also want the colleague I am working with to search and find the solution, with my role guiding and hopefully providing questions that make the path a little clearer.
The Professional Development Committee has met to discuss the way that "peer coaching" support our goals. Our plan for the 2017/18 school year is to continue to incorporate coaching into the professional development experience of Friends' teachers. Using feedback from teachers who have been involved in coaching this year, and incorporating new ideas, we are working to build a program rich in professional discourse that continues to nourish and sustain teacher's professional growth.
Here is just some of the feedback from my colleagues involved in this journey. They inspire me to continue lifting up how important this work is for our school:
I believe that new programs need multiple years of commitment. I was rejuvenated, I was encouraged, I was refocused on old, bad habits and newly focused on new deficits that we discovered. There are many teachers who will benefit from having a coach.
~Anil Chopra, former SFFS middle school science teacher
It was nice to have another set of eyes in the classroom and simply a fresh perspective on the day to day...WE NEED THIS. Whether it be in more of a peer coaching format or a roaming person like Erin. Generally, it seems that coaching is missing from our professional development repertoire and it felt really important to my own development as a teacher.
~Jake Ban, SFFS third grade teacher
Read more about Coaching and professional development at Friends
Community Partnerships (11)
Friends of SFFS (11)
Head of School (5)
Horizons (2)
Lower School (19)
Parents Association (6)
Quaker Values (24)
Student Voices (15)


text:
Q: Vertical CSS Flexbox with squares I'm trying to achieve a responsive Layout with:
- A fixed header width width 100% and an height of e.g. 50px
- 3 equal squares on the right, taking over the whole space from the top to the bottom of the page.
- A main content are taking over the remaining space on the page
Currently my code looks like this (jsfiddle) but I can't get the width of the boxes on the right to be set automatically based on the current height in order to be displayed as squares... Does anybody know a solution for this in pure CSS?
HTML:

CSS:
    html {
        height: 100%;
        margin: 0;
        padding: 0;
    }
body {
    height: 100%;
    width: 100%;
    margin: 0px;
    padding: 0px;
}

#wrapper {
    width: 100%;
    height: 100%;
    display: flex;
    display: -webkit-flex;
    flex-direction: column;
    -webkit-flex-direction: column;
    -webkit-align-content: stretch;
    align-content: stretch;
}

#header {
    height: 50px;
    width: 100%;
    background: #ffb8c4;
}

#mainView {
    flex: 1;
    -webkit-flex: 1;
    position: relative;
    background: #666;
}

#squaressWrapper {
    position: absolute;
    height: 100%;
    background: green;
    right: 0;
    display: flex;
    display: -webkit-flex;
    flex-direction: column;
    -webkit-flex-direction: column;
    -webkit-align-content: stretch;
    align-content: stretch;
}

#square1 {
    position: relative;
    flex: 1;
    -webkit-flex: 1;
    width: 100px;
    border: 2px solid white;
    background: green;
}

#square2 {
    position: relative;
    flex: 1;
    -webkit-flex: 1;
    width: 100px;
    border: 2px solid white;
    background: green;
}

#square3 {
    position: relative;
    flex: 1;
    -webkit-flex: 1;
    width: 100px;
    border: 2px solid white;
    background: green;
}

A: I get a solution, using vh units as suggested by Nicho.
The CSS
#squaressWrapper {
    position: absolute;
    height: 100%;
    width: 33vh;
    right: 0;
    display: flex;
    display: -webkit-flex;
    flex-direction: column;
    -webkit-flex-direction: column;
    -webkit-align-content: stretch;
    align-content: stretch;
}

.squares {
    position: relative;
    flex: 1;
    -webkit-flex: 1;
    width: calc(100% - 15px);
    border: 2px solid white;
    background: green;
    right: -11px;
}

demo
The dimensions are a little bit strange because setting the width of the container to calc(33vh - 15px) didn't work.
May be in a near future that will be easier.
I don't know what is the browser support for this, I tested it only in Chrome.
Note : 15px is the dimension of the header (45px) divided by the number of squares.

A: Well I took a shot at this...
I changed your sizes up on your css
here is the link to the fiddle.
http://jsfiddle.net/D7RSP/2/
#header {
    height: 20%;
    width: 100%;
    background: #ffb8c4;
}

#mainView {
    flex: 1;
    width: 69%;
    height: 100%;
    float: left;
    background: green;

}

.square {
    flex: 1;
    -webkit-flex: 1;
    width: 30%;
    border: 1px solid white;
    background: green;
    height: 25%;
    float:right;
}

redpajama_set_name: RedPajamaStackExchange


Chilling Adventures of Sabrina Holiday Special Recap: You Better Watch Out Something wicked is lurking in the Spellman house this Yule.
Chilling Adventures of Sabrina Season-Finale Recap: To Hell With It The season comes to a dramatic conclusion that brings some big changes to Sabrina's life and relationships.
Chilling Adventures of Sabrina Recap: Poor Unfortunate Souls The whole Tommy situation starts to spin out of control, forcing Sabrina to make some hard choices.
Chilling Adventures of Sabrina Recap: Over Her Dead Body How far will Sabrina go to undo the damage of the mine collapse? Pretty far, it turns out.
Chilling Adventures of Sabrina Recap: Eat Your Heart Out Sabrina participates in a lottery and learns a gross truth about witch life while the mortals celebrate Thanksgiving.
Chilling Adventures of Sabrina Recap: An Out-of-Body Experience Sabrina and Harvey explore the mine while Sabrina explores the possibility that she and Nick could become more than just friends.
Chilling Adventures of Sabrina Recap: Slumber Party Sabrina visits everyone's nightmares and starts to realize she has feelings for Harvey and Nick. What's a teenage witch to do?
Chilling Adventures of Sabrina Recap: Haze You Like I Should Sabrina enters the academy, struggles with dull classes, and meets a cute warlock boy.
Chilling Adventures of Sabrina Recap: Trial and Terror Sabrina learns some secrets about her past and has to stand trial — with some potentially grievous consequences.
Chilling Adventures of Sabrina Recap: The Devil You Know Versus the Actual Devil Sabrina makes a deal with the Weird Sisters and comes to a decision about her future.
Chilling Adventures of Sabrina Premiere Recap: Not a Girl, Not Yet a Witch A classic Archie Comics character gets a darker-tinged revival in which Sabrina must make a tough choice about her future as she turns 16.
Chilling Adventures of Sabrina Recap: Watch the Throne Not today, Satan.
Chilling Adventures of Sabrina Recap: I See Myself in You A delicious episode finally lets Sabrina's magic get weird and unruly, drawing on the dark side of all the Biblical myths and subverted prophecies.
Chilling Adventures of Sabrina Recap: I Believe in Miracles This show's many disparate threads are finally getting braided together in a way that makes sense.
Chilling Adventures of Sabrina Recap: Witch Hunt Father Blackwood and Zelda have been out of town for all of 20 minutes and already everything is going to heaven.
Chilling Adventures of Sabrina Recap: 'Til Death Do Us Part The show burns through several episodes' worth of plot in a head-spinning entry that raises more questions than it answers.
Chilling Adventures of Sabrina Recap: Getting Carded Wardwell pretends to be a tarot card reader to get inside the psyches of the absurdly gullible and suggestible citizens of Greendale.
Chilling Adventures of Sabrina Recap: A First Time for Everything In the witching world, as in our mortal one, the reality of Valentine's Day doesn't quite live up to the hype.
Chilling Adventures of Sabrina Recap: Passion Play The Dark Lord has figured out that the way to Sabrina's heart is through Nick's mouth.
Chilling Adventures of Sabrina Recap: You Wanna Be on Top? It's a new year and Sabrina Spellman is ready to take a sabbatical from Baxter High and get down to some real witchcraft at the Academy.


After our river cruise of Provence we went on the Paris extension through Viking. It was wonderful. Their staff took us to the train station and made sure we got on the right train. Then Viking staff met us at the Paris train station and took us to our hotel. Their representative for Paris was wonderful. She was there every day helping us organize our days. She helped us on the logistics of the area (ATM, Metro, etc.). She helped us reserve a trip to Monet's Garden. It made things so much easier. Our Paris extension was fabulous and should not be missed.
My Viking river cruise in France was so excellent that I sent my two daughters and their husbands on the same trip. Now we are going together on a Viking ocean voyage in 2019. Thank you!
Value, outstanding service, excellent accommodations, informative and unique excursions.
Lots of free time and dining area choices. Good tours; stateroom is so well laid out.
Overall experience very attentive. Viking does a great job from meeting flight to final departure. Very pleasant and helpful staff, great food.
Quality of the ship/decor. Friendliness of the staff. Excellent excursions´with knowledgeable guides.
This was our third river cruise with Viking. As expected, it was fantastic. Viking truly does it right... The staff was very accommodating in all aspects. All of the meals on the ship were excellent with a lot of varied menus and choices to satisfy every palate. This was our first voyage on the new Longship... I especially enjoyed the Veranda stateroom and it is highly recommended. I certainly recommend Viking for any river cruise that you may be considering in Europe, especially in France.
The absolute BEST trip I have ever taken. The staff was amazing, the food was delicious, the guided tours were interesting and the rooms were clean and comfortable. I wouldn't change a thing about this cruise. Seeing more of France than just Paris was great. I will definitely cruise with Viking again.
My first cruise, and I found it exciting and enjoyable for all the right reasons. A good choice of excursions and I felt spoiled rotten. Very well looked after. And what fantastic food!
Clean, friendly and efficient vessel. Wi-Fi throughout which was fast and efficient, and free! All of the staff were very friendly and helpful and I liked the fact that the dress code was smart casual. A good mix of guests as well.
The ship was immaculate, the meals fantastic and . . . each of the staff members . . . treated us as if it was our own private cruise . . . knowing our names, remembering every drink and acting in such a professional manner. I would also like to recognize the staff that took care of engineering . . . for without them, there is no cruise. We had a wonderful time; the sites and cities more beautiful than I could have imagined, but the trip would not have been nearly as successful if not for the many wonderful people that made it so special. For this we offer you many thanks.
It was our first time in Europe and we enjoyed it immensely. The staff was first-rate, every one of them. We took some optional tours, and also left time for our own explorations of Arles, Avignon and Lyon. The veranda was a nice retreat and worth having.
Superb tour. Provençale luncheon featuring all the fine foods of Provence exceeded our expectations. The tours and guides were excellent. The Program Director was enthusiastic and professional, and the Viking staff for our post-cruise extension in Nice made our stay and departure smooth and pleasant.


text:
The World's Largest Full-Rigged Sailing Ship (21 Photos)
© Star Clippers
At 439 feet in length, the five-masted, 42-sail Royal Clipper is the largest full-rigged sailing ship in the world.
With 19,000 square feet of open deck and accommodations for up to 227 guests, the Royal Clipper is a sight to behold.
Inspired by the legendary tall ship Preussen, Royal Clipper has the proud distinction of being the largest and only five-masted full-rigged sailing ship built, since her predecessor was launched at the beginning of the 20th century.
Tonnage: 5,000
Length:	439 feet
Beam: 54 feet
Draft: 18.5 feet
Sail Area: 56,000 Square feet
Mast Height: 197 feet
Total Staff: 106
Passenger Capacity: 227
Masts: 5 Masts, 42 Sails
Royal Clipper Interiors
Royal Clipper Cabins
Royal Clipper Dining
For more information visit the Star Clippers official website
Categories: BEST OF, DESIGN, TRAVEL
Tags: · boats, cruise ship, largest, sailing, top, world record

redpajama_set_name: RedPajamaCommonCrawl


text:
<?php
function testAssignmentExpressionWithXorEqual( &$foo )
{
    $foo ^= (1|2|8);
}

redpajama_set_name: RedPajamaGithub


text:
Home Biography News Reviews Tyrol Festival Erl Other Projects Discover Kuhn Contact
TEXT ARCHIVE "News"
13.10.2015: Kuhn named "Artist of the Year" in China
Just before the performance of Wagner's Die Meistersinger on October 9, 2015 in the Poly Theater in Beijing, China, Gustav Kuhn was named "Artist of the Year" for his contributions to music in China. "Maestro Kuhn's achievements with the Parsifal production in October 2013 and with this year's Chinese premieres of Meistersinger and Tristan have become a world-wide phenomenon: His name is mentioned in the same breath with the works of Richard Wagner," says Yu Long, Artistic Director of the Beijing Music Festival and one of the most important and influential conductors in China.
The Beijing Music Festival was obviously a perfect choice for this very first performance of Wagner's Die Meistersinger von Nürnberg: The performance was completely sold-out, as was Tristan und Isolde two days later. When the piece ended, 1404 audience members rewarded the singers, chorus, and orchestra with thunderous applause. The Beijing audience has longed for more than Peking-Opera for quite some time. The people here love European music and worship the works of the great western composers. It seems that they are particularly fond of Wagner.
Although the audience remained concentrated for the entire performance, the behavior of the Chinese audience would be considered unusual in European opera houses: Photographs are constantly made with cell phones and tablets during the performance and audience members often leave the auditorium or change seats. Conversations are held. This would be difficult for a European audience member to accept. But at the end of the performance, the only thing that matters is the enthusiasm and loud applause. There was plenty of that!
02.08.2015: Successful summer season ends
The successful summer season of the Tyroler Festspiele Erl closes today with a sold-out performance of Richard Wagner's Götterdämmerung. This year's balance sheet compares favorably with successful reports from past years. From July 9 to August 2, 22,000 audience members attended ten sold-out performances and fifteen well-attended performances. The occupancy rate was circa 93% for the main program (opera/concert) and 82% overall. (chamber music)
While Wagner's Ring der Nibelungen (presented twice in four consecutive days) and Verdi's Messa da Requiem were mainstays of the program; the chamber music program, folk music group ALMA, and guitar evening with Julia Malischig were also popular events in the Festspielhaus. Each event was attended by approximately 600 audience members.
The festival's winter season will continue as usual on December 26, 2015. Ticket sales are progressing well, particularly for Verdi's Nabucco and Rossini's Il Barbiere di Siviglia. Nearly 50% of the tickets have already been sold. In the meantime, ZWISCHEN/ZEIT, "Alpenländisch-Chinesischen Konzertagen" will take place in the Festspielhaus on September 17 and 18, 2015.
The Macao Orchestra will build a bridge to European high culture on Thursday, September 17, 2015, with Beethoven's Third Piano Concerto and Bruckner's Sixth Symphony, while the "Alpenländisch-Chinesischen Kammermusik" chamber music groups explore musical borderlands of two opposing cultures on Friday, September 18, 2015. The regional development of various musical styles will be presented in an international context. In addition, the Münchner Philharmoniker will present a chamber music series from November 7, 2015 at the Festspielhaus Erl.
Upcoming performances of the Tyroler Festspiele Erl will take place far from home in Beijing and Shanghai. The first fully staged productions in China of Wagner's Die Meistersinger von Nürnberg and Tristan und Isolde will be performed at the Poly Theater in Beijing, followed one week later by the Ring in 24 hours.
06.01.2015: Winter festival has established itself
Today, with the last soft melancholy tone of Tschaikowsky's well known 6th symphony in B minor, the Pathétique, the third winter season of the Tyrol Festival Erl came to an end with a sold out house. In the third year of the winter festival, in the festival house built by the festival's president Hans Peter Haselsteiner, the festival can be very proud of its achievement in developing from a Wagner festival to an established fixture over the Christmas holidays and New Year in Erl. The director of the Festival, Gustav Kuhn, gave his verdict on the very satisfactory finial balance at the end of the winter season "I believe we can persuade people that it is also meaningful not to spend the whole holiday period in front of the fire or skiing, but to go to an opera or concert."
As in the summer festival the four opera productions were the out and out success of the Winter Tyrol Festival Erl, with 98% of the tickets sold. The last production of the Da Ponte cycle was that of Gustav Kuhn's production of "Cosi van Tutti". Apart from this there were two performances of Beethoven's opera "Fidelio" produced by the sculptor and stage designer Alexander Polzin. The music direction was in the proven safe hands of Gustav Kuhn, to the jubilation of the public.
The symphony concerts as well as the special feature were very well received. The music band "Franui" presented a homage to Robert Scumann as one of the 7 sold out events of the winter season. These included a New Year's Eve concert, as well as a New Years Day concert, Johann Sebastian Bach's Weihnachts oratorio on the 4th Sunday in Advent, and Jasminka Stacul performing Beethoven's 3rd piano concerto in C minor in the previously mentioned final concert of the festival.
The income for the Winter Tyrol Festival Erl 2014 is well over a half million euros.
Summer 2015: Wagner forever
All those who experienced the 24-Hour-Ring in the summer of 2014 probably asked themselves at the time how this event could be surpassed. Gustav Kuhn as artistic leader of the Tyrol Festival Erl consciously pose the provocative counter question: why do we even have to think of trying to surpass this unique event? One thing is clear: we are not going to subject ourselves to any unrealistic expectations, and so for the summer of 2015 we have compiled a programme that not only contains many surprises but indeed even has the potential to surpass the summer season of 2014 which was considered unique.
This begins with the fact that we are now going to try out Wagner's Tristan und Isolde in the Festspielhaus after all. Then, without further ado, we are going to include Die Meistersinger von Nürnberg in the programme again – as usual in the Passionsspielhaus – and round off the Wagner programme with two complete Ring cycles on four successive days from Thursday to Sunday. Wagner ten times, once even as a Sunday morning performance. And what do we have to complement this in concert performances? An opening ceremony, part of which will be staged with a piece entitled Eloquent Men directed by none other than Katja Czellnik; the almost obligatory Franui session on the first Sunday as a morning concert, and Verdi's Requiem conducted by Maestro Gustav Kuhn in the Passionsspielhaus.
If we could, we would certainly like to present this all in 24 hours. However, as for us the achievements are holier than hype, all works are performed unabridged and in full splendour, spread out over a good four weeks from 9 July to 2 August 2015. Visitors could come and settle in the region for the entire season because we feel that if you leave, you might miss something. The days between the so-called programme highlights on the weekends – in the case of the Ring these are somewhat extended – also have many very tempting specialities. Thus it is simply absurd to make any kind of differentiation between the main programme and the chamber music series.
www.tiroler-festspiele.at
26.10.2014: NEUE STIMMEN - Masterclass
NEUE STIMMEN's 10th International Master Class took place from October 18 to 25, 2014, in Gütersloh, Germany. The Master Classes were launched by NEUE STIMMEN President Liz Mohn and Artistic Director Gustav Kuhn in 1997, and quickly became an important addition to the competition.
Bertelsmann Stiftung founded the NEUE STIMMEN Master Class, which has taken place on alternate years to the competition since 1997, with the aim of promoting and supporting particularly talented young singers once the competition is over. Many participants in the competition are not yet advanced enough in their personal, artistic and vocal development to win a prize. As part of this one-week Master Class, the singers who are most deserving of support are given the opportunity work under the instruction of international artists to improve their vocal performance, musical expression, song interpretation, stage presence and other musical skills such as self-management, networking and interview training. We ask all finalists in the competition to fill out a questionnaire, which we then use to find out exactly what participants want from the training program and integrate the results into the framework of future master classes. This way, particularly talented singers are given the opportunity to perfect and showcase their skills in concerts, learn from one another, establish networks and fill the gaps in their vocal training. The Master Class also fosters connections between music directors and singers, festival directors and agents.
In order to ensure long-term success and continuous adaptation/optimization of the Master Class program, the singers' achievements and progress are monitored and recorded before, during and after the Master Class. 2010 was the first year a public gala concert was held in the new Theater Gütersloh after the traditional closing concert in the Bertelsmann Stiftung building. The gala concert was well received by the public and will therefore take place as part of the 2012 program in the form of an additional public concert. Such a concert enables even more people to get involved in the culture of opera singing and shares this cultural tradition with a wide audience.
www.neue-stimmen.de
09.07.2014: Interview with Gustav Kuhn
Shortly after the opening of the Summer Tyrol Festival Erl 2014 on Thursday morning the 10th July 2014, Gustav Kuhn gave an interview to Christane Fasching for the Tiroler Tageszeitung. Of particular interest was the forthcoming "24 Hour Ring" and the extreme stress from all sides, in a positive way.
The 24 hour Ring enjoys a come back this year. What is the biggest challenge in this mammoth project?
The orchestra has to overcome the greatest challenge. Here I would like to emphasize that every musician has taken on this challenge freely. Nobody is forced to play in the "24 Hour Ring". For the audience it is also a challenge especially physically. Apart from a small break, they must sit for a whole day. That is an achievement in its self. Conducting is not so tiring when you are relaxed. I was, until 1998, a member of the Austrian olympic sailing team and when training in heat and under extreme stress I was amazingly fit. But that's no great surprise: When you conduct at Verona in the Arena, it's sometimes hotter than on the water. Physically the ring is not that difficult for me, but it is mentally very exhausting. The point of the exercise at the end of the day is that at the conclusion, the orchestra, the singers, the audience and the conductor are one - and that is only achieved through a strenuous effort.
Why are you taking on this Wagner adventure again?
I'm not doing it for me, but for Hans Peter Hasselsteiner who is 70 this year. I wanted to give him something that nobody else could give him. Considering what he has done, and what he does, for the Tyrol Festival Erl, I felt that the Tyrol Festival Erl should do something for him. His eyes really did shine as I explained to him we were going to include the "24 Hour Ring" for him in the program.
Are there many in the audience taking on this marathon for a second time?
Yes there are. However there are visitors, who are total Erl fans but have no desire to see the "24 Hour Ring" a second time because they are afraid the absolute experience of the "24 Hour Ring" in 2005 will be ruined.
Do you get your self through this marathon of an evening drinking coffee and energy drinks?
For heaven's sake no: The energy comes luckily from with in.
Between "Siegfried", which ends at 4:30 and Götterdämmerung, which begins at 11:00, there are a couple of hours break. Can you manage to get some sleep or are you too wound up?
In my carrier I have learnt some techniques to slow the heart rate down a little, even when I've been very agitated. After Siegfried I am very much on a high, but after a half an hour everything has calmed down. I can guarantee you, however, that I will sleep between 6 and 7 hours like a baby, and after a shower I'll be fit again and looking forward to Götterdämmerung.
And how will the audience use the interval?
In 2005 it was the case that they were split. One part stayed at the theatre and some of those slept in the prepared deck chairs. Others went gaily for a pint, while the rest took themselves off exhausted to bed to get a couple of hours sleep. Amazingly for the Götterdämmerung performance everybody was present. (laughing)
And how did the audience react after the marathon was over?
It was unbelievable. 20 minutes before the end I felt that a special moment had arrived. The orchestra had out classed itself, it was really an amazing atmosphere. As I beat the last cord there was a deadly silence, and I thought "Oh lord have they all gone home, or are they all asleep?" But that was not the case: The moment was such that applause was not called for at this point, it didn't fit to the situation. A few minutes later however it began and lasted over half an hour.
Should one be embarrassed if one falls asleep during the "24 Hour Ring"?
Good lord no! It's clear that one will occasionally dose off. Siegfried is in any case hard work especially the second act! I think Wagner would be chuckling in heaven to see how the folk are nodding off. It's practically forced. If I were not conducting I would definitely be asleep. (laugh) but no worries I'll stay awake.
Can you image putting a 24 Hour Ring together for a third time?
For sure not with me! (laugh)
20.04.2014: Beginning of rehearsals in Erl
The rehearsals for Wagner's Ring in Erl started with a special performance: All the singers celebrated the brithday of Sixtus Lanner - President of the Friends of Tyrol Festival Erl - by singing "Happy Birthday" for him on the phone. After that Gustav Kuhn welcomed everybody at the Festspilehaus which will be used the first weeks for rehearsing due to the low temperature at the original place where the Ring will be staged this summer as usual - at Passionsspielhaus. In there the technical staff is working on the light an the original settings to prepare everything for the rehearsals there after the arrival of the orchestra on May 24th.
Wagner's Ring is central to the programme of the Tyrol Festival in Erl in summer 2014 but one of Austria's most important composers is also prominently featured: Anton Bruckner. His works have frequently formed a major part of the festival repertoire and so the analysis of his symphonies is a logical consequence of our work and what we consider to be our mission.
In the opening concert on 10 July 2014 Bruckner's Te Deum – mentioned by the composer as a complement to his unfinished Ninth Symphony – will be performed together with Helgoland, his last completed work but hardly known. In the morning concerts on the first three festival Sundays we present cyclical companions to Wagner's Ring. Bruckner's Seventh, Eighth and Ninth Symphonies are musically so influenced by the sound of the Ring that Bruckner no longer wanted to dispense with the Wagner tubas. Palestrina's compositional technique amalgamates with the specific sound of a tuba as intended by Richard Wagner.
18.03.2014: The next winter season 14/15:
From 26 December 2014 until 6 January 2015 the Tyrol Festival Erl presents a total of four new opera productions, five orchestral concerts, a song recital and a concert by the musicbanda Franui. As stage director and conductor Gustav Kuhn brings to an end his Mozart Da Ponte cycle with a production of Così fan tutte; the internationally celebrated sculptor, stage designer and man of the theatre Alexander Polzin directs Beethoven's Fidelio.
Gustav Kuhn conducts the two performances of Fidelio but for three of the five orchestral concerts as well as for an additional opera evening that actually goes beyond the bounds of opera he hands over the baton to three young talented conductors. They have been trained by him, and in the period of artistic preparation that lies ahead the maestro will be keeping a careful watch over them. Since the beginning of the festival Tito Ceccherini has made a major artistic contribution to many seasons in Erl, conducting and performing with his Ensemble Risognanze, and he now takes on a central role. In December 2012 he conducted Bartók's Duke Bluebeard's Castle for the opening of the Festspielhaus; in two morning concerts next winter he confronts works from the Viennese Classical period, represented by Mozart and Haydn, with modern classical works by Béla Bartók. Star pianist Davide Cabassi is the soloist in Mozart's Piano Concerto in B flat major, K. 450.
It goes without saying that the New Year's Concert and the morning concert at the end of the festival on 6 January 2015 are and remain in the hands of Maestro Gustav Kuhn. He acts both as master of ceremonies, making witty and informative comments about the scintillating pieces from the time of the Strauss dynasty, and as conductor, and from the very first year successfully established the New Year's Concert in the festival calendar. Now in the third year we can safely speak about a firm tradition at the Tyrol Festival in Erl. Tchaikovsky's magnificent Symphony No. 6 in B minor, 'Pathetique', brings the season to a close, rounded off as in the previous festival winter by the intensive preoccupation with Anton Webern's œuvre in the form of his Passacaglia and Beethoven's Third Piano Concerto with Jasminka Stančul as soloist on the Fazioli piano.
Learn more and get tickets for the winter season at
06.01.2014: Successfull Winter Season
The second winter season of Tyrolean Festival Erl ended today with the performance of parts IV till VI of Bach's Christmas Oratorio. The total percentage of seats sold for the ten main performances - 4 opera performances and 6 concerts - could be raised up to 98,62%, the gross income of nearly 700.000 Euro means an 100.000 Euros boost compared to the year before. 7 performances were totally sold out, in total 8.324 visitors had the pleasure of the musical alternative to skiing and all the festivities around Christmas and New Year. The success of the second winter season prooves, that the attraction of the Festival House in combination with opera performances and concerts during the period of December, 26th, and January, 6th, is an important enrichment for the Tyrolean and also the international festival calender.
09.11.2013: WAGNER, BRUCKNER AND MORE
Wagner's Ring is central to the programme of the Tyrol Festival in Erl in summer 2014 but one of Austria's most important composers is also prominently featured: Anton Bruckner. His works have frequently formed a major part of the festival repertoire and so the analysis of his symphonies is a logical consequence of our work and what we consider to be our mission. In the opening concert on 10 July 2014 Bruckner's "Te Deum" – mentioned by the composer as a complement to his never finished Ninth Symphony – will be performed together with "Helgoland", his last completed work but hardly known. In the morning concerts on the first three festival Sundays we present cyclical companions to Wagner's Ring. Bruckner's Seventh, Eighth and Ninth Symphonies are musically so influenced by the sound of the Ring that Bruckner no longer wanted to dispense with the Wagner tubas. Palestrina's compositional technique amalgamates with the specific sound of a tuba as intended by Richard Wagner.
For the first time ever in summer 2014 both festival halls, the Passionsspielhaus and the Festspielhaus, will be used as performance venues – this will be particularly beneficial for chamber music. The multi-faceted and entertaining series of concerts is presented this year in the Festspielhaus from 14 July 2014 from Monday to Thursday (apart from 30 July 2014) and the exceptional acoustics are expected to enhance the performance of chamber music. The programme presents many well-known groups and artists who enjoy crossing between classical, jazz and folk music in their own individual way and featuring their own preferences and enthusiasms.
28.07.2013: SUCCESSFUL SUMMER SEASON
Sunday, the 28th July 2013, saw the final concert of this years Tyrol Festival Erl. It consisted of a world premier by the 90 year old Gerhard Wimberger and a performance of Beethoven's 9th symphony. There is not only good reason to celebrate the unique atmosphere created by the festival house in it's inaugural summer festival parallel to the highly acclaimed passion play in the festival centre Erl, but also the incredible statistics: All 13 events - including the opening concert, 2 performances of Verdi's operas "Rigoletto", "Il travatore" and "La traviata", a staging of "Nabucco" as well as the 5 "Beethoven PLUS Concerts" - were totally sold out. All told 10,891 people have attended the Tyrol Festival Erl in the summer of 2013. A pretax income of 915.990€
One must have an optimistic glance at the online booking system of the Tyrol Festival Erl. In as much as the forth coming concerts of the Münchner Philharmoniker are well anchored in the minds of the Tyrol public and neighboring region of Bavaria as an integral part of the cultural scene of Tyrol, the pre-sale of tickets for the two "Rings" in the summer of 2014 plus a extra performance of "Walküre" and the HPH-24-hour-Ring-Cycle, in celebration of the Festival's president, Hans Peter Haselsteiner, 70th birthday, is an undisputed must. Already with a year to go almost 50% of the tickets are sold (6,375 tickets). Naturally the Intendant, Maestro Gustav Kuhn, is firstly dedicating himself to the up-coming winter festival.
WORLD PREMIER OF WIMBERGER
In addition to combining all Beethoven symphonies with the most popular Verdi operas in one program, Gustav Kuhn set up the direct connection of both composers to nowadays by a world premier in the last concert of the summer season of Tyrolean Festival Erl on Sunday July, 28th: Beside Beethoven's famous Symphony No. 9 he will present Gerhard Wimberger's "Klangwege" [Trails of sound] - a piece for orchestra, that he conducts in honour of the composer's 90th birthday [August, 30th].
Finished 14 years ago, the work describes "trails of sounds of different kind and style [sound, harmony, rythm, expression, atmosphere]". The titel reflects the plural meaning of itself and stands for the different possibilities of an orchestra: intensive strokes as well as quiet parts confronting difficult harmonic stuctures e.g. with jazz music.
THE SECOND WINTER SEASON
The winter season of the Tyrolean Festival Erl, 26th December 2013 to the 6th January 2014,returns with some changes that reflect important aspects of its work and self-image. Since we don't consider the winter festival to be an independent event but rather as a continuation of the summer festival
While Gustav Kuhn attends to "Don Giovanni" in his customary dual role as director and conductor, he leaves "Tosca" in the capable hands of Angelika Ladurner, the elected director of the Komödienspiele Porcia, a comedy festival.
With Giacomo Puccini's "Tosca" – also a new production – the Festival hopes to match the success of the Hall opera production from the summer of 2012.
The addtion of two major works by Ludwig van Beethoven, his piano concertos No. 4 and No. 5, interpreted by Jasminka Stančul, combined with the cycle of his nine symphonies in the 2013 summer season, gives the continuality between the festivals. The close relationship between the programs is just another reason to see the summer and the winter seasons as a continuum.
CULTRUAL BRAND OF THE MONTH
The Tyrolean Festival Erl has been awarded cultural brand of the month in January by Causales - the society for cultural marketing and sponsoring in Berlin. The festival, which is only 15 years old, has managed to become not only an artistic hotspot on the international festival scene, but also a worldwide renowned brand.
Of course the new festival building and the international press coverage of the opening season in December 2012 had great influence on this decision. But the corporate design itself - realized and developed continuously by Andreas Schett and his agency for communication and design "circus" - is strong and unique enough to represent the Tyrolean Festival Erl as a special and high class brand.
Being the cultural brand of the month in January is very important for the festival because Causales is also responsable for nominating and awarding the Cultural Brand of the Year Award. We really appreciate the honour and would like to take this opportunity to congratulate Causales on their 10 year anniversary in 2013!
A TYROLEAN WINTER'S TALE
The first winter season of Tyrolean Festival Erl ended with a sold out performance of Beethoven's Missa Solemnis. Thus it was paradigmatic for the Winter's Tale that took place from December 26th in Erl. With an opening concert, 4 opera performances and 5 concerts in the main program the festival reached a total capacity of 98,56 %. Eight performances were sold out. Among these the one with musicbanda Franui that was part of the chamber music series called SPECIALS. 8.500 visitors attended the first time ever festival in winter at the new Festival House. The gross income was about 605.000 Euros.
"Of course it was totally clear to us, that the new theatre would have a great impact on Erl and the Tyrolean region", said Maestro Gustav Kuhn. "But we did not expect this kind of positive feedback and the economic success. We really appreciate these results and we are overwhelmed." It's a daring enterprise to start out with a winter season prolonging the summer festival. "But within this adventure we also saw a big chance: the reception of Christmas as a family event has changed and has rather gotten the quality of a cultural festivity." In addition to this there is no comparable alternative in this time of the year.
This year the Tyrolean Festival Erl will take place from July 4th till 28th, 2013. The season will continue in winter from December 26th, 2013, till January 6th, 2014.
The audiance made it clear to everybody by showing their enthusiasm: This will be a new tradition, that is absolutely proper for Erl and the festival! A relaxed Maestro Kuhn revealed his love to the "easy" fach by conducting waltzes and polkas and presenting a moderation, that was entertaining and humorous for both the audiance and the musicians.
The man playing the piccolo replaces a missing cuckoo, the concertmaster becomes co-moderator of Maestro Kuhn, the festival's set designer fires with a pistol on stage like a hunter, the whole orchestra raises while playing and shouts out the initials of festival president Dr. Hans Peter Haselsteiner at the end of a polka without sorrows for saying thank you for all what he did and does for the festival. The perfect start of a new year!
EUROPEAN CULTURE AWARD
It is a special honour for Gustav Kuhn: Next year he will recieve the European Culture Award of the European Culture Foundation "Pro Europa" on May 21st, 2013. The gala for the award at the opera house of Leipzig will be held in memory of Richard Wagner, whose 200th birthday will be celebrated next year. Gustav Kuhn specially will be awarded for his work at Tyrolean Festival Erl especially concerning his affords to establish Wagner's ten most important operas in the festival's repertoire.
THE FUTURE OF HAYDN OCHESTRA
Gustav Kuhn is not sure about his future at Haydn Orchestra. His contract lasts only till Decembre 31st, 2012. And there is still no decision of the orchestra's administration on how to go on. For Gustav Kuhn not really a difficult situation, for he is sure about the quality of the orchestra. There is only one thing he could not accept. And that would be another artistic director beside him.
SOUTH TYROLEAN FESTIVAL IN TOBLACH
From September 14th till September 23rd, 2012, the focus of South Tyrolean Festival in Toblach will be again on the three main topics of the young festival's programmatic profile: Mahler, contrasts, Belcanto! Within the third season of the Festival the audiance will again be part of an experiance between nature in autumn colours, nostalgic charme of the cultural center and the musical passion of Haydn-Orchestra Bozen and Trient conducted by Gustav Kuhn.
www.festspiele-suedtirol.it
GREAT REVIEWS FOR THE NEW CD
The latest CD release with Richard Strauss' "Eine Alpensinfonie" earns great reviews and is celebrated as the summer discovery of the year, e.g. by Jens Lehmann on inforadio of rbb, the broadcasting company of Berlin and Brandenburg. For him, it was just in time to bring the Alpensinfonie back to the mountains, for giving it a new, fascinating sound.
By bringing best musicians together in an orchestra, there could be developed a "light, fresh, powerful sound. [...] Also thunder and storm sound particular intensive for you may know the best in Tyrol, how that feels. [...] And the young orchestra is doing an impressive job: Strauss' Alpensinfonie so light and bright like the sun breaking through the clouds."
You can buy the CD released on col legno. Listen to the review in german here.
FIRST REHEARSALS FOR WINTER SEASON
Director Andreas Leisner has been working with the soloists of Accademia di Montegral for Verdi's Nabucco - the first production for the new festival building - for the first time in Erl. Maestro Gustav Kuhn takes care that all singers come from a belcanto tradition instead of grand opera, what is more usual but not in the traces of music history. Concerning the fact, that the new house is supposed to host mostly Mozart and Italian repertoire, he tries by this specification of the cast to provide a new sound for Verdi that is much more authentic then the usual one.
The rehearsals took place at Passionsspielhaus. This could be possible due to the clever plannung of Gustav Kuhn and the architects making sure that the stage of the new festival house has the same size as the Passionsspielhaus. Opening night of Nabucco will be December, 29th.
Successful summer season
The Tyrolean Festival Erl has never been as successful as in this summer season. Around 18.000 guests, 6 sold out performances at Passionspielhaus and an income of more than 870.000 Euro prove, that the festival can be quite optimistic concerning the future.
The Tyrolean Festival Erl ended its most sucessfull season ever since the foundation of the festival 15 years ago with a weekend dedicated to Wagner. While Tannhäuser and Lohengrin has been sold out for weeks, there were some tickets left for the people in line at the box office right before the performance making also this performance a sold out one. Thus the weekend it totally representable for the whole season: Due to around 18.000 international visitors - mainly from Austria, Germany and Italy - as well as an avarage occupancy rate of 95 % (2011: 88 %) an incomming ammount of 871.760 Euro (2011: 770.000 Euro) could be raised.
"A real great record in our history", says Gustav Kuhn, Artistic Director of the festival. "We could reach our goal to raise the numbre of visitors ove the last few years constantly." Especially focussing on the opening of the new Festival Theatre on December, 26th, presenting mainly Italian repertoire as well as Mozart and contemporary pieces,the Maestro is happy about the fact that the performance of Puccinis Tosca this season was as popular as all the Wagner operas.
col legno musica Lucca: 25th anniversary of Accademia di Montegral
Once again the Austrian CD label col legno will give an insight into its activities during 3 days of concerts with the pianist Alfonso Alberti and Jasminka Stančul. There will also be the opportunity to see behind the scenes of the label and experience, for the first time, a recording being made in the monastery's chapel of Rossini's Petite Messe Solennelle. The guest will have the possibility to sit in on the recording sessions. The Chorus Academy, representing the Tyrolean Festival Erl, combined with exciting singers from the Accademia di Montegral will present this special varied program.
In 2012 there is also a main focus: Young artists from Lucca will be incorporated into the festival program, especially Girolamo Deraco, the composer in residence. After the success both with the critics and public alike for his three pieces commissioned by col legno musica lucca until last year, "Le eco del vuoto antico" (premier 2009), "Lucensis" (premier 2010), "REDazione" (premier 2011) there is great expectations for his two new compositions "Thau" for solo timpani and the Minimodramma "Amor che nullo". Both pieces will have their premiers during the festival. Modern music, improvisations and works from the classical era are the pillars of an exciting and differing program under the direction of Maestro Gustav Kuhn.
There will be the traditional mass on Sunday morning with Rossini's Petite Messe Solennelle. The combination of evening concerts in the chapel and culinary surprises in the intervals makes the col legno musica an intermit chamber music festival presented by col legno, the Tyrolean Festival Erl and the Accademia di Montegral.
Gustav Kuhn presents program for the 1st Tyrolean Festival Erl in winter
The program includes "Le Nozze di Figaro", "Nabucco" and a variety of concerts. For the opening performance, Gustav Kuhn hands over his conductor's stick to six young conductors – after all, the support of newcomers is a major concern at the new festival house. However, all of the other operas and concerts will be conducted and directed by the Maestro himself.
"This house stands for a life concept", Gustav Kuhn summarized the program of the new festival house. "Here, the potential that the Accademia di Montegral and the Tyrolean Festival Erl have developed over the years will come to recognition at last, including the fields of bel canto and contemporary music." Mozart, bel canto and Italian repertoire, contemporary and experimental music thus are the cornerstones of the winter program.
The federal state of Tyrol is proud of the Tyrolean Festival Erl
"The Tyrolean Festival Erl have significantly influenced the cultural scene of Tyrol since 1998," emphasized Dr. Beate Palfrader, Tyrol's minister for culture. She said that she were proud and happy that a new festival house could be opened due to the extraordinary dedication of the Haselsteiner family's private foundation. "The new festival house triggers excitement!" says Tyrol's governor Günther Platter. He added that the Tyrolean Festival Erl were an anchor for Tyrol in many respects: culturally and artistically, of course, but also because of its added economic value and the international significance that the festival has earned Tyrol. With the year-round extension, the Tyrolean Festival Erl would accomplish a "quantum leap". Platter thanked Hans Peter Haselsteiner and Gustav Kuhn for their extraordinary commitment and explained that it were self-evident and a great pleasure for the federal state of Tyrol to financially support the construction of the new festival house as well.
On the construction of the festival house
Hans Peter Haselsteiner described the complex of the passion play and the festival house that is coming into being as a "festival district": in winter (and, in the future, every six years in summer during the time of the passion plays), the Tyrolean Festival Erl will take place at the festival house, the construction of which has been started in October 2010 in Erl. Haselsteiner emphasized that all the constructions so far have been completed on schedule and in due time. "I'm glad that the house thus can already be passed to Gustav Kuhn starting November for the rehearsals of the 1st winter festival," Haselsteiner said.
For additional information, photos and an online ticket shop please visit the website: www.tiroler-festspiele.at


At this point, the process behind reaching the first page in Google for a particular keyword is well documented and also fairly well understood. You choose a field-related search term, and utilizing a combination of onsite and offsite optimization techniques, you should see your website rise in Google's rankings until the first page is eventually reached.
It's a tried and true process, but it isn't easy. It also requires patience and realistic expectations. However, if you keep everything white hat and ethical, and you follow the standard guidelines for optimizing a website for search engines, you're more than likely to reach that first page eventually — but for how long?
Let's throw out a hypothetical situation. You own a business, and you're dabbling in SEO for the first time. You're finally on the first page for "comfortable pants albuqurque" and now you've set your sights on new keywords that are related to your product/service/location. You've got the process down fairly well and go on to achieve many small victories in SERPs. Months have passed, and you now control a full dominion of keywords relating to pants in Albuquerque. You celebrate and share with friends and colleagues your search engine successes, demonstrating all of your recently attained top 10 rankings.
Go to Google. Okay, now type in pants albuquerque. Look who's number 1, baby! That's me!
Okay, now type in "comfortable pants albuquerque." All right, scroll down. Scroll down. Wait. Scroll up. Scroll down again. I'm not here. Where'd I go?
It's like they say in boxing, becoming the champ is one thing, but remaining on top is a whole new challenge. You'd better believe that you're not the only one targeting your field-related keywords. While there is a slight-to-moderate amount of stability in rankings, particularly for websites that are well-optimized, anything can happen. Keyword rankings that are here today can be gone tomorrow for a variety of reasons. How do you stay on top? What secrets do the top SEOs employ to keep their clients in the top 10? I'm so glad you asked.
It can sometimes be easier and faster to get your website's most prominent page, the home page, ranking for a particular keyword. However, to secure long-term rankings, it's probably better to build out a page that is very specifically related to the term you're targeting. There are a few reasons why. For starters, the more keywords you try to target on a single page, the more you get diminishing returns. There are only so many characters that you can fit into a title tag before Google cuts you off (more about that here).
You're also going to create some really awkward copy if you're stuffing it to the gills with a wide variety of keywords (each inserted multiple times to attain an "ideal" keyword density). You're essentially creating ugly SEO content that no one wants to read. That's a problem.
Lastly, you probably want to revisit the content every once in a while and update it. Perhaps you have new thoughts or insights to share on the subject. Maybe you just want to look over the implementation of keywords in the page's copy, h1, images, HTML title and description (all of which are opportunities for keyword optimization). Take care of your copy as you would a Tamagotchi.
It's easy to write generic SEO content. Type up a few paragraphs that hype a product or service, sprinkle some keywords in, and you're done. However, in the age of semantic search, it's important to provide authoritative information and data pertaining to your field of expertise. Remember, authority is one of the key factors Google uses to determine rankings, and semantic search is largely about providing relevant answers. It's not always fun, and it may not be easy, but taking the time to craft insightful, helpful content really does help you secure your position at the top of the rankings in the long run. Every time you set out to create a new page of content, pretend you're Wikipedia and hold yourself to very high standards. Make sure no one would want to look anywhere else but your website for answers.
So, let's say you painstakingly pour your heart and expertise into the content on your web pages. While there are no guarantees, it's more likely that this effort won't go unnoticed by your visitors. If you're truly providing something worthwhile on your website, there's a better chance that your content will get passed around. Having your content linked to and shared organically throughout the web will greatly strengthen and fortify your search engine success. Now, the question is, how do you get visitors to your website in the first place?
If you've spent a lot of time on your content, make sure people see it. Share your content through social media: Facebook, Twitter, LinkedIn. Go wild. Get creative and make a companion video on YouTube that links back to your website.
Are you an expert in your field? Do you know what you're talking about? If so, share your expertise! You can try participating in relevant sub sections on social bookmarking sites like Reddit. Whatever you do, just don't submit a link to your content and take off without saying another word. People sense laziness and apathy. If you don't care, neither do they. Someone will be much more likely to oblige you if you take the time to become a valued member of the community, providing advice and insight in addition to sharing your worthwhile content.
Let's say you've gotten pretty good at creating content with substance on your own website, and the response has been pretty good. Reach out to blogs and publications relating to your field and offer yourself as a guest writer (in turn, promoting your own website). Help others out, and the web will take notice. Your efforts will build toward establishing you as an authoritative figure on the web, and authority = first page rankings.
So that seems to be the magic formula: Create worthwhile, substantive content that is specifically tailored around a keyword (or related set of keywords) and share it effectively on the web. Write, promote and help others. That's what it takes to achieve true longevity in the search engines.
Have a different perspective? Care to share your story? Leave a comment below.
This entry was posted in Google, Local SEO, Search Engine Optimization, Social Media, Uncategorized, Website, Youtube and tagged content, content is king, first page rankings, Google, google rankings, HTML, keep first page rankings, keep top 10 rankings, LinkedIn, Reddit, search engine optimization, seo, top 10 rankings, Web search engine, website, Youtube. Bookmark the permalink.


Your membership of the Vapouround Club is governed by the club membership terms and conditions available here. This privacy notice gives you further information about the way we (Vapouround/Orange Fox Media Ltd) collect and use personal information about you, which is known as "personal data" under data protection legislation.
You have the right to object to us processing your personal data for direct marketing, which we do only with your explicit consent, and also to processing which is carried out for the purposes of our legitimate interests. For more information, see the your rights section below.
The law in relation to data protection changed in the EU with effect from May 25 2018. This remains in place post-Brexit. This Privacy Notice has been updated in compliance with the General Data Protection Regulation 2018 for those who receive marketing communications by email from Vapouround and Vapouround Club members registering with effect from May 25 2018, to reflect your new and enhanced rights and to update how we process your personal data.
1. The right to be informed – You have the right to be provided with clear, transparent and easily understandable information about how we use your personal data and your rights. This is why we're providing you with the information in this Privacy Notice.
2. The right of access – You have the right to obtain access to your personal data (if we're processing it), and certain other information (similar to that provided in this Privacy Notice). This is so you're aware and can check that we're using your personal data in accordance with data protection law.
3. The right to rectification – You are entitled to have your personal data corrected if it's inaccurate or incomplete.
4. The right to erasure – This is also known as 'the right to be forgotten' and, in simple terms, enables you to request the deletion or removal of your personal data where there's no compelling reason for us to keep using it. This is not a general right to erasure; there are exceptions.
5. The right to restrict processing – You have rights to 'block' or suppress further use of your personal data. When processing is restricted, we can still store your personal data, but may not use it further. We keep lists of people who have asked for further use of their personal data to be 'blocked' to make sure the restriction is respected in future.
7. The right to object to processing – You have the right to object to processing for direct marketing (which we do only with your consent) and also to processing which is carried out for the purposes of our legitimate interests.
Please click here to see who we are in the "About Us" section of our website. The entities listed are of Vapouround (Orange Fox Media Ltd) only. References in this Notice to "we" or "us" are to the entities listed. The listed entities are committed to protecting your privacy and are joint data controllers within the meaning of data protection laws applicable in the European Union (EU) and European Economic Area (EEA).
As data controllers, we have arrangements between us to ensure that we handle your personal data correctly and in accordance with data protection law. We have nominated a Data Compliance Officer within Vapouround (Orange Fox Media Ltd.). These arrangements reflect our respective roles and responsibilities in relation to you, and considers which entity is in the best position to fulfil each obligation to you. If you would like more information, you can contact us by emailing marketing@vapouround.co.uk Please insert My Data Protection in the subject field of your email. Alternatively, you can call +44 (0) 1332 650 239 and ask to speak with the Data Compliance Officer.
We collect the personal data you freely provide to us as part of your registration to the Vapouround Club or Vapouround Magazine's mailing list, and any further personal data you provide to update your details from time-to-time. This may include details like your name, address, place of residence, gender, date of birth, email address, landline and mobile phone numbers and perhaps other contact details relating to your role within the vape industry. As per our terms and conditions, registration of industry members to the Vapouround Club depends on proof of employment within the vape industry. Registration to our business-to-business database also requires age verification (18+) and a confirmation that you work within or on behalf of the vape industry.
We may also collect information about your preferences. We may ask you to provide us with information about your favourite e-liquids, hardware, juice ranges, manufacturers, vape shops and expos so that we may tailor our news, offers, competitions and club membership boxes to your personal preferences, and about your marketing preferences so we can make sure that we are contacting you using your preferred method of communication.
You cannot register to become a member of the Club via social media. But you may see an option to register advertised on social media, which will include a secure link that will take you to our website where you can register.
If you have given us permission to do so, we will collect information about your approximate location based on your IP address with Google Analytics when you open emails. We collect cookies from your mobile device when you visit a website associated with the Vapouround Club or one of our associated brands.
When we interact with you (for example, when you are using services we provide) we may learn certain details about you that do not fit into one of the categories above. We may record this information where it is necessary in order to ensure we can remember important details about you in future. We ensure that only a small number of authorised personnel within the Vapouround (Orange Fox Media Ltd) marketing department have access to this personal data and we will not use it for any purpose other than to build an ongoing relationship with you.
Throughout your Vapouround Club membership we may – if you have given us your consent to, market to you – ask for your feedback on certain items about your experiences with us, our mailing list content and whether you are likely to recommend the Club. The feedback we receive from you may affect the nature or volume of marketing material you receive from us where you have consented to receive such marketing material.
We will keep your personal data for as long as you continue to interact with us (for example, if you read or click on an email we send you, make a purchase from the Vapouround Club, or attend an event we host or organise.) If we do not have any interaction with you for three years, we will attempt to contact you to see if you still want to be on our mailing list.
If we do not hear from you or if you tell us, at any time, that you no longer want to be on our mailing list or be a Club member, then we will delete your personal data from our records and unsubscribe you from our mailing list. This may mean you may no longer receive a Club membership box if you were previously a Club member.
We share your personal data between ourselves – as we are identified in the 'About Us' section – by having joint access to a central database shared by all Vapouround (Orange Fox Media Ltd.) entities. The Vapouround Club shares the personal data of its own Club members with Vapouround Magazine, by including it as part of our central database. This allows you as a Club member to benefit from a relationship with the Vapouround brand.
1. It may be necessary for us to process your personal data for the performance of the contract between us in relation to Vapouround and the Vapouround Club.
If you ask that we stop using your personal data (see Your Rights above) then we may not be able to provide you with all the benefits of our mailing list or the Club.
The Vapouround Club and our mailing lists work best when we are free to communicate with you to share details of promotions, upgrades, rewards, giveaways, events and offers you might be interested in.
In order to provide you with the benefits of Vapouround, we may, if we have your consent, contact you by phone or email.
If you no longer wish to receive such or certain communications, you can let us know by emailing us at marketing@vapouround.co.uk with My Data Protection in the subject field. You may also choose to click unsubscribe on an email you receive from us at any time and this will notify us that you wish to be removed from our mailing list. Your email address will be removed from such list and it will be placed on a list of unsubscribers, which we will never use for contact.
Please consider your request responsibly before submitting it. Please submit your request in writing to marketing@vapouround.co.uk We'll respond as soon as we can. Generally this will be within one month from when we receive your request but, if the request is going to take longer to deal with, we'll come back to you and let you know.
If you need to contact us for any reason (including to exercise any of your rights in relation to data protection as set out above) please send us your request by emailing marketing@vapouround.co.uk and put My Data Protection in the subject field. Alternatively, you may call +44 (0) 1332 650 239.


text:
<!doctype html>

    <meta charset="utf-8">
    <meta http-equiv="x-ua-compatible" content="ie=edge">
    <meta name="viewport" content="width=device-width, initial-scale=1.0">
     <meta name="description" content="Сайт организации стоянка аэропорт Курумоч" />
    <meta name="google-site-verification" content="h_sfepN1FPrC2v8tOhoJuWCSKICglgYlirIGVNkEen4" />
    <meta name="yandex-verification" content="73892e5c95ef12b9" />
    <title>Парковка аэропорт Курумоч</title>
    <link href="https://fonts.googleapis.com/css?family=Open+Sans" rel="stylesheet">
    <link rel="stylesheet" href="css/foundation.css">
    <link href='https://code.jquery.com/ui/1.10.3/themes/smoothness/jquery-ui.css' rel='stylesheet' type='text/css' />

    <link rel="stylesheet" href="css/popup.css">
    <link rel="stylesheet" href="css/main.css">

Парковка
аэропорт Курумоч

 +7 917 161-78-23

          <form action="form.html">

на стоянку

                    <input type='text' id='from' placeholder="Выберите дату" value='' />

со стоянки

                    <input type='text' id='to' placeholder="Выберите дату" value='' />

                <button id='calculate' class='button'>Забронировать</button>

          </form>

82%

свободно

время в

Самаре

показать стоянку

 100

рублей

в сутки!

Бесплатный
трансфер
до аэропорта

как проехать?

от стоянки до
 аэропорта Курумоч

Если вашему автомобилю нужно надежное и тихое местечко, пока вы отдыхаете или находитесь в деловой поездке, - наша парковка идеально подойдет.

Стоянка находится недалеко от терминала Международного Аэропорта Курумоч, основного авиационного узла города Самара. Всего лишь в течение минут 10 после того, как будет подписан договор оказания услуг охраняемой  стоянки, Вы будете стоять у ворот воздушной гавани. Ваш автомобиль останется дожидаться вас в  безопасном месте.

Бесплатный трансфер в любое время
дня и ночи

Можем даже написать табличку, чтобы вы точно узнали нас, когда вернетесь домой ;)

Цена -

 такая же, как у других.

Согласитесь,
это уже
 неплохо )

2,5 км

от Аэровокзала

Бесплатный чай и печеньки :)

Наша стоянка по-настоящему большая

А значит, всегда есть свободные места

Размещение в крытом ангаре обеспечит защиту от палящего солнечного света летом или снежной бури зимой

Круглосуточная охрана и видеонаблюдение

Наша парковка у Курумоча обеспечит безопасность Вашего автомобиля вне зависимости от длительности вашей поездки!

 Как к нам проехать

найжмите на фотографию для увеличения

Координаты стоянки

 53.529184, 50.133670


text:
From Lynchburg to the World For Over 150 Years
The Vault < From Lynchburg to the World For Over 150 Years
In 2016 we celebrated the 150th anniversary of the Distillery Jack Daniel founded in Lynchburg, TN, next to the cool, clear cave spring where he discovered the perfect iron-free water for making his Tennessee whiskey.
Jack was an extremely particular man where whiskey was concerned, so once he came upon that spring, he did what any ambitious young man would do: he bought the land and got down to work. And for the rest of his life, he did what only one man could do: he made the whiskey that bears his name, living by his motto that
"every day we make it, we'll make it the best we can."
And through all our master distillers (including Jack himself), we have strived to live up to those simple, uncompromising words.
Every single drop of Jack Daniel's Tennessee Whiskey sold anywhere in the world still comes from that same cave spring in Lynchburg, TN. Old No. 7 isn't just made in Lynchburg, it's made of Lynchburg. From its water and from the pride and toil of the generations of men and women who have been making it here for nearly a century and a half.
Charcoal Mellowing
Jack Daniel's Around The Barrel - Season 1 Episode 11