text:
American Idol Watch 2009
It was Motown night on 'Idol' yesterday and Smokey Robinson, who wrote a good chunk of the label's 1960s and '70s hits, was the guest mentor. He didn't really have much to say to the singers though.
Adam knocked another one out of the park with a quietly affecting take on "Tracks of My Tears." Matt exuded the right amount of sensuality for "Let's Get it On." And Kris' "How Sweet it Is" was joyfully endearing (his outfit reminded me of a G.I.).
I don't know what was up with Paula and Simon. First she pulled out a coloring book and markers for him and he later used them on her face. The judges went a bit overboard with their praise of Alison. I find her grating. None of the remaining gals are very interesting at all.
It was surprising to see Danny actually getting advice from Smokey on the taped intro to sing some background parts on "Get Ready," looking like he agreed, then totally disregarding it onstage. And none of the judges called him on it!
Posted by newwavegeo at 6:45 PM No comments: Links to this post
American Idol results show
If I was Randy Travis' manager, I'd be a little mad that Ryan Seacrest didn't even mention Travis' new "Hits" collection on air. When Kelly Clarkson was on last week, her new album definitely got airtime. Then again, she's an 'Idol' alum. Still, any exposure by an established act on 'Idol' makes their albums/singles sales go through the roof. So I won't feel sorry for Travis or Brad Paisley.
Ever notice how Ryan briefly talks to some big stars after they perform and not others?
I think Alison, Michael or Megan should have gotten cut last night.
Concert ticket rip off
Last Friday, Live Nation teamed with Ticketmaster to put a bunch of shows at several of its venues (obviously the slow selling ones) on sale for $13 for one day only. Just as I expected, all the facility fees and surcharges doubled the total price on most of them. What a rip off. If prices were lowered across the board, maybe more of them would sell out.
Let's hope the companies' proposed merger falls through!
Posted by newwavegeo at 1:08 PM 1 comment: Links to this post
To Lose My Life
(Geffen/Fiction)
Dark themes don't always equal dreary music. Take White Lies, for example. Bassist and primary lyricist Charles Cave favors morbid couplets, but on the band's stunning first album To Lose My Life, everything is dressed up with sharp post-punk and upbeat New Romantic sounds (think old Echo & the Bunnymen and Ultravox, plus some Killers and Interpol).
The London trio, barely out of their teens, has been the toast of Britain's overly excitable music press since two EPs came out last year. This time, the hype is justified. Life recently made its U.K. chart debut at No. 1. Frenetic opening track "Death" finds versatile singer/guitarist Harry McVeigh repeating "this fear's got a hold of me" to ultra-dramatic synth strains and stabbing guitar lines. "To Lose My Life" is driven by a Duran Duran-styled bassline and pleas to "grow old together and die at the same time."
Then there's the haunting "Unfinished Business," which revolves around doomed lovers. Here, church organ and surf guitar bursts lead the way (key line: "you've got blood on your hands and I know it's mine"). Other standouts delve into a millionaire's breakdown at a funeral (the picturesque "From the Stars"), pros and cons of Electro-Shock Therapy (austere, Joy Division-like "E.S.T.") and a hostage drama ending in – you guessed it – murder (intense album closer "The Price of Love," all awash in orchestral flourishes). Totally enrapturing. One of 2009's best debuts so far.
Posted by newwavegeo at 12:46 PM No comments: Links to this post
...Trail of Dead album review
The Century of Self
(Justice/Richter Scale)
Starting in the mid-'90s, ...Trail of Dead gained a reputation for destructive live shows and frontman Conrad Keely's autobiographical lyrics sung in a Billy Corgan manner. The Austin alt-rock band didn't have the best experience on a major label, which tried to make their prog rock-leaning music palatable to the masses. Now the group is back on an indie with intriguing sixth album The Century of Self.
Instrumental "Giants Causeway" leads off with a noisy barrage, like some demented version of Disney theme parks' Main Street Electrical Parade song. From there, it's straight into the frantic "Far Pavilions." Epic melodic maelstrom "Isis Unveiled" simultaneously recalls Muse and early '90s British shoegazer rock before concluding with gang vocals. The cold gloom of 6 1/2-minute long "Halcyon Days" utilizes a chorale and organ coda. Pop-inflected "Fields of Coal" finds Keely concerned about a fatal prophesy, dreaming about aliens and losing his soul amid chants.
Laid back, melodic ballad "Luna Park" finally allows some breathing room with acoustic guitar and piano leading the way. There's a woozy, early morning vibe as Keely describes pyromaniac tendencies on this album's standout. The energetic "Ascending," another highlight, has dense guitars, counterpoint vocals and some Spanish lyrics.
Finally, ...Trail of Dead caps it off with the dramatic cabaret of "Insatiable Two" and another gang-styled chant (Yeasayer and Dragons of Zynth lend their pipes). All told, Self unveils more subtleties after repeated listenings.
Thursday album review
Common Existence
(Epitaph)
Serious as a heart attack, Thursday emerged from the East Coast post-hardcore scene in '97 and immediately stood out from the pack, thanks to its complex time signatures and literary minded lyrics (singer Geoff Rickly counts authors David Foster Wallace, Martin Amis and Cormac McCarthy as inspirations). Many fans were taken aback by the experimental tack of 2006's impressive A Light By the City Divided, where the New Jersey group worked with producer Dave Fridmann (Flaming Lips, MGMT) and the screamo elements were downplayed.
Not anymore. They team up again here and the results are mixed. Rise Against's Tim McIllrath guests on a solid, tension-filled "Resuscitation of a Dead Man," where Rickly yelps about wanting inside an ambulance. The muscular thrust of "Friends in the Armed Forces," featuring Quicksand's Walter Schriefels, revolves around war casualties as Rickly shouts that he's "sick of tying yellow ribbons around trees." Exotic keyboards, treated vocals and melodic washes of sound on "Beyond the Visible Spectrum" make for a welcome change of pace. Same goes for the haunting, reverb-heavy "Love Has Led Us Astray," where Rickly is front and center, intoning "you float like a wreath in a riverbed."
"Time's Arrow," with backward loops, luxuriously dense sonics and echoey vocals could almost be a Radiohead outtake. From there, it's by-the-numbers screamo ("Subway Funeral," "You Were the Cancer") and hard-hitting, but average anguish ("Unintended Long Term Effects").
Soundtrack of Our Lives album review
(Yep Roc)
The Soundtrack of our Lives' shaggy-haired leader Ebbot Lundberg says his band creates the musical entrance to another dimension; listening to them can be a real head trip. Formed in 1995, the Swedish sextet takes stylistic cues from Arthur Lee & Love, mid-'60s Stones and Who and early Pink Floyd. They gained a cult following Stateside in 2002 via the acclaimed Behind the Music, delved into harder guitar grooves on Origin Vol. 1, then toured with Oasis and Black Crowes.
Buoyed by a creative streak, TSOOL came up with enough strong material to fill a double album. Not everyone can pull off such an ambitious undertaking (24 tracks in 93 minutes). These Scandinavians do so with ease on sixth effort Communion, about the eternal quest for reality. Revolving around the daily cycle of light and dark, there's a song for every hour.
Disc 1 kicks off with the spacey, raucous "Babel On," complete with sitar. Moody, slow-building rocker "Universal Stalker" is propelled by Doors-styled organ. An ethereal "Ego Delusion" features floating keyboard sounds and chiming guitars. The band even goes tribal (crazed "RA 88") while primary axe man Ian Person channels Exile-period Keith Richards (hedonistic "Thrill Me") and unleashes a spastic solo (the aptly-titled "Distorted Child"). Lundberg's elastic voice and stream of consciousness lyrics serve the hard and soft songs well, especially the endearing horn-infused cover of Nick Drake's "Fly."
Disc 2 has a more of an acoustic vibe, other psych-rock gems ("Reconnecting the Dots," "Songs of the Ocean") and two infectious surefire hits ("Utopia," "Saturation Wanderers"). Go ahead and share the love.
On last night's "Idol," it was country music week with guest mentor Randy Travis. I'm not a fan of his music at all, but I thought he did a decent job giving advice to the contestants.
With all the country musicians around, I thought it was redundant for there to be two songs each by Carrie Underwood, Martina McBride and Garth Brooks. If a few of the singers hadn't mentioned who they chose in their taped intro segments (or Travis making a passing reference), the audience would be totally left in the dark about who the original artist was. I think Ryan Seacrest mentioned one - the Willie Nelson popularized "Always on My Mind."
I believe it was that particular song, when the "that song is untouchable" comment came from one of the judges or Travis (can't recall which). No, it's not. It has had several popular covers over the years, including Elvis Presley and Pet Shop Boys. Even so, no song is untouchable.
Scott MacIntyre, when responding to Simon Cowell's critique, said "I've been the victim of bad hat picks." Does this mean the songs are chosen for them? I thought it was the other way around. Has Scott covered Bruce Hornsby yet? If not, he should.
Standouts for me included:
Adam Lambert(pictured above), who reinvented June Carter Cash & Merle Travis' "Ring of Fire" into a Middle Eastern tip. Randy Jackson likened it to NIN. But it was more like Marc Almond of Soft Cell. Everyone seemed flummoxed by it, but shouldn't these singers take chances?
Anoop Desai redeemed himself on the "Always" ballad, which was effective.
Kris Allen recalled Enrique Iglesias on "To Make You Feel My Love."
Matt Giraud was passionate at the piano for "So Small."
Well, I started watching "Idol" again this week since they narrowed down the field to 13 (now 11). Some initial thoughts: Paula seems loopier than ever. I don't know how the contestants are supposed to learn anything from the judges' comments when they contradict each other.
Usually I agree with a lot of what Simon says, but not when he tells someone they shouldn't pick an obscure Michael Jackson song nobody knows. Then Randy and Paula say a couple of the hit MJ songs chosen are so ingrained in people's minds that they can't picture anyone else singing them. Talk about mixed signals!
And no, Randy, not all of us think of your sometimes employer (the wretched Mariah Carey) when we hear someone do "I'll Be There."
I was most impressed by: Adam Lambert, Scott McIntyre, Alexis Grace and Kris Allen. Danny Gokey, too - but when you get these devout Christians in the competition (like David Archuleta last season), they tend to leave out "objectionable" or sensual lyrics during the theme weeks and that bugs the heck out of me.
Q&A with Raul Malo
My feature on Raul Malo ran at www.nctimes.com/entertainment this week. He plays the Belly Up Tavern in Solana Beach on Monday. Here's more from our chat:
You just returned from a press tour of Europe. What is your fan base like abroad?
The Mavericks' "Trampoline" was a really big record over there. So we've got a pretty good loyal following, even still.
Since you're doing the Belly Up, got any fond memories of San Diego area shows over the years?
Oh man. Honestly, it's one of my favorite cities and I love hanging' out down there so much. I remember a couple years ago, we happened to be in town when the Italian Street Fest was on. That was great fun. I got to sing either "O Solo Mio" or "Santa Lucia" with one of the street bands. It was just everybody drinking wine and beautiful weather. It was just one of those nights. So that's definitely a fun memory of San Diego.
Back in February, during Grammy Week, you did the MusicCares honors Neil Diamond event in L.A. What was that like?
You know, it was pretty amazing. I didn't think about it too much because it's a big event. On top of that, you're singing a big hit for one of the world's biggest artists. And he's sitting right in front of you. Even though he's an old friend and I've known Neil for a long time – everybody in the music business is there. It's a who's who of musicians and executives. I didn't think about it too much until I was done. Then I was pretty nervous about it.
Didn't you contribute to Neil's country CD "Tennessee Moon" a decade ago?
I did. We wrote a song together and I sang harmonies on it.
One review I read of the new album "Lucky One" (Fantasy/Concord Records) said it comes closest in spirit to your Mavericks work. Would you agree?
Yeah, it certainly hints at some of the Mavericks album for sure. To me, that's just a natural progression. I wrote all the songs on the Mavericks records so that's going to come out. The "Today" record [in 2001] purposely explored the more Latin side of things. That was done that way specifically. This one, even though it hints at the Latin stuff, they're all reflective of what I like to do. This one does hint at Mavericks work for sure.
At the end of the new song "Moonlight Kiss," it sounds like a dinner party with all sorts of chattering and stuff. What was going on then?
There were cocktails being had and a lot of clowning around in the studio. We just wanted to evoke that sort of cabaret/Tropicana play on words.
If people listen carefully to "Haunting Me," they can hear your dog bark.
He was on the original demo and I discovered it later as I was listening to it. He was a sweet Rottweiler and died way too young…I thought it would be cool to pay tribute to him because he was a good boy.
Do you think the fans that enjoy your songs in Spanish will get into "One More Angel" and "Lonely Hearts," which have a Tex-Mex feel?
I hope so. I try to make the music that I like and hopefully that translates to a bunch of people likings it. The Latin side of me is always going to be there. You can't shake that even if you don't think about it much, which I don't.
I read on your website journal about your dismay over the popularity of "Guitar Hero."
[laughs] I got three boys. I think I've got them convinced that it actually doesn't teach them anything. They'll eventually figure it out on their own if they really want to play guitar, that's not the way to go about it…I know if you play an instrument and try to play that, it's some simulated thing and it's not even close. If you spend four hours playing that stupid thing, in four hours you can play all the things on there.
Morrissey album review
Years of Refusal
(Lost Highway/Attack)
Whenever Morrissey returns with something new, he usually insults authority figures and put different spins on favorite topics like unrequited love, death and violence. Such is the case on the King of Melodrama's ninth studio album, a frequently rocking affair which recalls 1995's underrated Southpaw Grammar. Originally scheduled for release several months ago, Years of Refusal was delayed due to record company issues. Producer Jerry Finn (Rancid, AFI, Blink-182) - who died last year and helmed comeback effort You are the Quarry - recorded Moz's band live in the studio. That injected the sound with a sharper urgency and vitality.
Impressive songs "That's How People Grow Up" and "All You Need is Me" were carried over from the Greatest Hits collection (a strange decision, considering his prolific nature). Several of Morrissey's acerbic lyrics are bound to provoke a few laughs (the ominous "Mama, Lay Softly on the Riverbed"), while fast opener "Something is Squeezing My Skull" finds the enigmatic Englishman singing about prescription drug addiction and hitting extremely high notes.
Meanwhile, Sixties guitar god Jeff Beck guests on the crunching stomper "Black Cloud," Oscar-nominated trumpeter Mark Isham adds tasteful flourishes to the glorious "I'm Throwing My Arms Around Paris" and a couple Latin-tinged tunes. Roger Joseph Manning Jr.'s vibrant keyboards/synth work gives everything an added bounce. Since enquiring minds want to know: the baby on the cover belongs to Morrissey's asst. tour manager.
War Child: Heroes album review
War Child presents "Heroes"
(Astralwerks)
Whenever War Child assembles a new charity album, you can bet it'll be worth your dough. The international organization focuses on reducing poverty, education and
human rights for children in war-torn areas of the world. The Help Album (1995) featured an all-star Britpop lineup. 1 Love (2002) sported cover songs. Help!: A Day in the Life (2005), with another crop of original British tunes, set a U.K. digital download record.
Heroes has a cool concept: 16 music legends selected one of their compositions and nominated a younger artist to do a modern day version.
Beck puts a brilliant eclectic spin on Dylan's "Leopard Skin Pill Box Hat"; The Hold Steady prove perfect for Springsteen's "Atlantic City"; Lily Allen nabs The Clash's Mick Jones on that band's "Straight to Hell" and does an ace job at reinventing the tune. Same goes for Hot Chip's spacey, electro-leaning "Transmission" by Joy Division and Duffy's luxuriously retro treatment of Paul McCartney's "Live and Let Die." Scissor Sisters take Roxy Music's "Do the Strand" in a fun, Giorgio Moroder dance direction and TV on the Radio make "Heroes" by David Bowie even more icy and detached. Rufus Wainwright, Estelle, Peaches, Franz Ferdinand and Yeah Yeah Yeahs are among the other contributors.
Cut Off Your Hands album review
Cut Off Your Hands
(French Kiss)
New Zealand has a pretty spotty track record here of successful pop/rock music exports (Neil & Tim Finn of Crowded House/Split Enz, OMC, Flight of the Conchords). If there's any justice, that will change with You & I by Cut Off Your Hands (yes, it's an unfortunate moniker, but 50+ years into the rock era, all of the good ones have been taken).
Ranging from the breezy, early '80s sounds of The Smiths and Edwyn Collins' Orange Juice ("Still Fond") to the Buzzcocks and U2 ("Closed Eyes"), the young Kiwi quartet makes a thoroughly enjoyable first impression. Former London Suede guitarist Bernard Butler (Duffy, Black Kids) handled the bulk of the production duties, with an assist from Stephen Street (Morrissey, Blur, Kaiser Chiefs).
Butler's Phil Spector/Wall of Sound-styled touches on adrenaline-fueled opener "Happy as Can Be" are masterful. Then there's "Oh Girl" and "Turn Cold," where frontman Nick Johnston's lovelorn lyrics - he breathlessly sings "Oh darling/Can you come over to my house/We can do things that we've never done" on the former - and the supple group harmonies will have you bopping around the room in seconds flat.
A couple spiritual leaning folk tunes ("Someone Like Daniel," "In the Name of Jesus Christ") recall early Coldplay. They break the giddy flow and should've been relegated to bonus track status, but overall this is stellar stuff. Dig the ingenious cover and title graphics. The first strong debut of 2009 so far.
Von Bondies album review
Love, Hate and Then There's You
(Majordomo/Shout! Factory)
Hailing from Detroit, The Von Bondies formed at the beginning of the decade. They rode in on the garage rock wave, gaining attention after Jack White invited the band on tour and contributed to their bluesy, volatile 2001 debut, Lack of Communication. Two years later, White and Von Bondies leader Jason Stollsteimer severed ties when a nasty nightclub brawl led to lawsuits and arrests. A major label deal resulted in 2004's uneven Pawn Shoppe Heart. It spawned the minor alt-rock hit "C'mon C'mon" (also the theme to Denis Leary's FX-TV series "Rescue Me") and teetered unconvincingly between punk/pop, jazz rock and garage sounds.
After a long hiatus, the group is back on track with Love, Hate and Then There's You, helmed by the amazing Butch Walker and others. Everything kicks off with "This is Our Perfect Crime," propelled by careening guitars and rambunctious Replacements-styled drum work. Stollsteimer has described these songs as sinister. No kidding. "Shut Your Mouth" melds a Smashing Pumpkins-style guitar crunch with a defiant chorus asking "can you say a good word about us?" and bassist Leann Banks provides ominous backing vocals.
Among the picks to click are the roaring, mid-tempo "21st Birthday," where Stollsteimer gets dismissive ("never gonna have to see your pretty face again…there's nothing worse than a happy soul mate") and some fast-paced tracks where the male/female vocal dynamic works well amid power pop territory ("Blame Game," "Accidents Will Happen"). Also noteworthy: a brisk and bratty "She's Dead to Me" (think of much missed L.A. rockers Redd Kross).


Summer days are coming and, we have much work to do for school.
There is a lot for this girl to catch up on. I tell her when one takes a vacation such as we have you can't take summers off.
She knows it's all okay. She knows the important stuff is done. She knows the heart beats so well. She knows without the heartbeat. . . we don't have much.
We have a first grader in the house.
For some reason when I look at this photo it reminds me of The Great Gatsby.
Maybe it's her haircut, her short skirt or maybe the exotic animal that give me the Gatsby feel. I don't know. I just look at this picture and think F. Scott Fitzgerld. MMMM maybe it's time for another break from all this schooling we are doing.
Playing along with NiHoaY'all and the Sunday photo challenge: I took this shot with my camera set on natural with Fuji S1000. I only cropped this photo and didn't change anything else about the lighting.
The Last Day. . .
Today is the last day of debate club for the year 2012.
The debate forum this year has been: "Should the United States Government change it's policies toward the criminal justice system?" The answer is yes! but "the how" this change is to take place is left up to each team. My job as a debate club parent is to listen to two teams argue their cases ((one team for change and the other team against that change)) I then decide who was the best team and which team had the best case. I am also required to give helpful suggestions of how each team should and could improve their cases. I then decide a winner and tell them how and why they won and lost.
Do you know how very hard this is to do when you realize ~ the kids you are judging and are suppose to be helping, are way smarter then you? Let me tell you. . . it's hard. It's really hard.
I put my thinking cap on and I fake it. I pretend I know exactly what these teams are talking about and when we are done listening to the cases – I tell the teams how I think they could be improved . . . the kids thank me and tell me how helpful I have been to them. . . and I think. . . Yay!!! I fooled them again.
As I said before, today is the last day of debate club for the year of 2012 . . . Today, again, I will be judging and faking it the whole time – and when we are done – the teams will thank me and tell me how very helpful I have been. They will tell me how they really like it when I judge their cases because I give them helpful advice. They will tell me I seem to really listen and am always fair. . . and I will think MMMMM maybe these kids aren't so bright. . . I mean after all, I fooled them again this year.
This must be Kathryn's favorite quote. She says it everytime I ask, "So, what did you think about what we just read? " It always makes me laugh. But, if the truth was told. . . this is the way we spend most of our days: reading, writing. . . learning about the classics ~ taking stock in dead people.
Everyone home schools for a different reason: it maybe family practicality, religious reasons, academic, the list just goes on and on. But, the truth is "why" a family homeschools is very personal. I have home schooled all our four children for 9 years now.
I believe in home schooling.
I believe most families would love homeschooling their children. There is a closeness to home schoolers that just can't be matched anywhere. Home schooled kids are not weird. They are not antisocial. They are just normal children. Home schooled kids have to be made to do their homework, made to get up in the morning, made to go to bed at night and for the most part they have to be made to practice their piano just like other kids.
I was not always a home schooling mom.
At one time my children went to school. But, I soon realized public school was not the path we needed to take. I had a son that was struggling terribly in first grade. He wanted to read but just couldn't get it. Time went by and I talked to the teacher weekly about his struggles. I talked to the teacher about my son's upset stomach and how sick he felt every morning going to school. It was clear to me, even though I was telling her often this teacher was not aware of my son's distress. It was clear to me she was not listening. Unbelievably, she was not aware, by any means, that one of her students was not reading. She told me time and time again my son was fine. But, I knew better. I knew he was struggling and desperate to achieve.
Then there was the day my phone rang. It was the school principle. He wanted to talk to me about my first grader who had just been caught cheating on a daily spelling test. I remember it all like it was yesterday. I went down to the school and learned my young son had spelling tests daily. I learned that the children in this first grade class had 10 minutes in the morning to study 10 new words each day and then they would be tested on them. I learned my little boy kept his new spelling words out on his desk so he could see them while taking the test that day to finally make a passing grade. He wanted to feel good about himself, if only for a moment.
My reaction was not at all what was expected by the principle or the teacher. My reaction was not anger towards my son. My anger was directed towards the teacher. My thinking was, and my thinking still is, 6 year olds do not cheat. . . unless they are desperate and he was.
That day I learned most of the children didn't pass these spelling tests. I learned this teacher was trying a new program that was not working for her class but she wanted to stick to it because it was an expensive program. I was appalled the school would let such a thing happen. I was told by the principle not to worry because "next year things would be better".
I demanded my son be tested for reading issues. I told the principle my baby had been struggling. I told this man how my son would tell me when he tried to read words would slip off his paper and it all made him sick to his stomach. I told the principle how many times this year I told my son's teacher about these issues and she told me time and time again my son was fine. And now, here he was in trouble for cheating and I blamed them. I made it clear that the school was not to punish my son for this act. I would take care of it at home and I did.
An IEP was set up for this child. This smart little boy of mine would have to leave his class mates during science and history and go to a remedial reading group to learn the one thing he wanted so badly. This first grader was also required to keep up with the other studies he would be missing to go to the remedial classes. I knew my son was bright. His IQ tests showed me his intelligence was way above average. I already knew this about him. I knew if a 6 year old was going to take apart a VCR and put it back together. . . mostly right. . . he had to be smart. I could not figure out how in the world a school expected a child to keep up with reading subjects when he was struggling so much with reading. When I pressed the school to keep my son out of gym or art I was told this was not allowed by our school district. It was plain to see this plan would cause more frustration for this wonderfully bright, loving child of mine.
My husband and I knew if our son was going to achieve we had to help him ourselves.
To much disapproval from everyone around us we took all the kids out of school and started a new year. I learned a lot that first year. Little did I know this thing called dyslexia that my son had came from his mother.
I learned Dyslexia runs in families.
I got mine from my father, he from his mother and so on. I also learned Dyslexia is a gift. It's a gift that has to be worked around to reach the gift of reading. With a lot of hard work it can be done. But, never the less, this gift of Dyslexia brought us to home schooling and I am so grateful for that.
I can honestly tell you as a dyslexic home schooling mother of four this is one gift I would never trade for anything.
Home school is something I know I have to do for my son. I take one year at a time. Not everyday is bliss. There are many days I wonder why am I still doing this thing. And then there are those days that I know why I do this thing.
It doesn't happen often but every now and then I will hear a "thank you" from one of my kids. Like the time my oldest said "Thanks Mom." "Home schooling me was the best thing you could have done for me." and that my dear Friends nine years later was my ah ha moment when I knew following my gut and home schooling our children was right.
I have come to think of Fridays as a day off for me. A day I take a step back, a step away from our busy school week and rest. . . well. . . kind of.
Friday mornings Liz and I drive Kathryn and Stephen to Spartanburg, a good 50 minutes from our house to a class. . . a Biology class. Biology is something I am NOT capable of teaching in this home school life of mine.
I thank God every Friday all our high school sciences are taught by Dr. Bennett. Who is a college professor at one of the local colleges. He teaches home schooled kids science at a college level. . . every Friday. And I, their teacher, four days a week, leave two of my babies at this class knowing they are in the best of hand. And most importantly, their high school future looks brighter because of Dr. Bennett.
Did I say, Thank GOD! I don't have to teach Biology???
Let me hear a Hallelujah!
So anyway, My little friend and I drop these guys off for the whole day and we go out to play, get some running around done and do a little school work.
Our first stop for the day is always, without a doubt, Panera Bread. My girl likes the cinnamon rolls there. I get a coffee and an apple and we sit and talk, work on her school stuff and just spend time together not rushing.
This girl must have a hollow leg.
Because she eats. . .
I have home-schooled our children for 10 years now. I even home-schooled our oldest son all the way to college. When you home-school you never know what the day will bring. There are so many things going on in a life the day could change in an instant.
One thing you do as a home-school family is study.
And, boy do you study many, many things. Through the years my kids and I have studied: Ichthyology, Theology, Economics, all the maths, Nato, English for 10 years now, American Literature, World Literature and the list just goes on and on and on.
Do you want to know what my favorite subject to study in school is?


These are all just suggestions of course. You don't have to do any of these things.
Posted on Monday, October 13th, 2003 at 2:58 pm. Subscribe to the comments feed. Both comments and pings are currently closed. Post on your own blog.


Mummy's Little Blog: Our first ever trip to Disney Land!
Always as a girl i wanted to go to Disneyland so when the offer came up in the good old sun for a trip for £9.50 we thought yeah why not!! we decided to keep it a secret from Pants and tell him when we got there! We decided to go in February we were worried before hand as it had been snowing in the UK and hoped we could get there! But everything was ok but it was so cold! the drive there the windscreen kept on freezing over, and my husband to keep him awake whilst driving had the window open! The journey took 5 hours from Home to Disneyland Paris so not too bad! The great thing about going this time of year is that the park was very quiet! there was hardly any ques for any of the rides huge bonus! but Pants didnt want to go on to many rides just the smaller ones! We went on the buzz light year ride which was Pants Favorite. He also loved meeting Donald duck one of his favorites! We also took him on the armageddon ride but he didnt like it he cried!! He also said next time he wanted to go to America so they didnt speak french! We had a lovely and tiring 24 hours but was defo worth it for the price of £19.50 bargain!!! Heres some picture from our day!!
Looks like you all had fun. And a brilliant price as well.
Better get saving for Disney World now lol!
i would love to visit here!! i think we need to sort it so we are going next year.
ha yes it was good next trip legoland!! really want to go always have!!


Support Oxford in one of the oldest and most iconic sporting battles in this Oxford Short Sleeved Performance Tee.
Perfect for both racing and training our Short Sleeved Performance Tees are a must-have for the sporting kit bag.
This performance t-shirt utilises GS-TEK and GS-EVO lycra that is specifically spun to make you more competitive. Utilising our advanced moisture management system, the performance t-shirt is fully breathable. The fabric offers superb colour and shape retention properties whilst also providing protection against UVA and UVB rays.


The U.S. automotive sector has nearly doubled exports in the last six years (2009-2015) from $74.09 billion in 2009 to $137.66 billion in 2015. The automotive sector represents the nation's No. 1 export industry and is responsible for driving job creation and economic growth across the country. This is further evidence of the economic significance of U.S. exports to job creation and a fast-growing economy. According the U.S. Department of Commerce, in 2013 each $1 billion in exports represents 5,600 American jobs. Based on that, the automotive export level last year supported 771,000 American jobs.
Increased exports have far reaching impacts on the economy overall. FCA US, Ford and General Motors produce more of their vehicles, buy more of their parts, conduct more of their research and base more of their workers in the United States than their competitors. These differences represent billions of dollars in investment and purchases, representing millions of American jobs.


text:
Tag: Certified Public Accountant in Seletar
Strategic location and attractive tax benefits make Singapore the most preferred location for the overseas companies to set up their business. Various options are – opening up a Branch Office, a Representative Office or a Subsidiary in Seletar . The country also has liberal immigration policies. If the company wants to set up their regional head quarters in Singapore they are also provided with Financial Assistance.
Best Tax Planning In North-East, SG
A key determinant for setting up a business in Seletar is the tax regime in force. In this regard Singapore boast of being one of the lowest tax jurisdictions in the world. Detailed below is an overview of the tax system and Tax Planning in Singapore.
Quality Bookkeeping Services - Tips on Finding the Right Provider For Your Company
In 2010, Singapore was ranked as the most competitive country in the world. Doing business in Singapore, therefore, means a more fulfilling business atmosphere and better chances of higher profits. However, anyone can say the same about any other country or city in the world. So, what sets Singapore aside from the others? What makes it unique and more business friendly? Why is it that many multinationals are moving their headquarters in to this 710 square kilometers span of an island?
What Makes Doing Business in Singapore Attractive?
1. Singapore is a modern city
Singapore is placed among the most dynamic cities to live in and work in the world today. It has global connections, is cosmopolitan and is also multi-cultural, accommodating a population of about 5 million inhabitants. It is also regarded as one of the most conducive cities for the knowledge-driven industries, globally.
2. It is pro business
Within the last 4 decades, this city has transformed itself from being a small business trade center to one of the world's top financial hubs. It has international air, sea hubs, and one of the most open economies for investment and trade.
3. Consistency in governance
This city is governed by consistent guidelines on business and investment where any business is guaranteed access to an impartial and competent judicial system. There is also clarity and commitment with regards to corporate governance and anti-corruption policy enhancement.
4. Ease of set up
The excellent infrastructure, a cosmopolitan labor force that is highly skilled, attractive tax laws that allow avoidance to double taxation, and low startup costs make starting a business in Singapore very attractive and easy to set up. Entrepreneurs are known to come in to Singapore and set up big businesses within a week!
5. Knowledge based industry
The economy of Singapore is skewed towards high knowledge based industries. There is a lot of emphasis towards innovation and this is what keeps this city very competitive business-wise. The government of this city-state is also relentless in its efforts to protect intellectual property to ensure that ideas and innovations nurtured here are well protected. This further enhances competitiveness.
6. Free trade
Being an active member of the World Trade Organization, Singapore businesses enjoy the luxury of investment guarantee agreements and the many free trade agreements with most other countries in Asia and around the world. International businesses here also get to enjoy 50 of the state's comprehensive double taxation avoidance agreements.
It is these powerful factors that have made Singapore to stand as one of the strongest financial hubs in the Asian region regardless of its small size and small, almost insignificant, population. It has grown in to an Asian region power house for international banking, maritime finance, asset and wealth management, trade finance, treasury operations and insurance.
Companies and businesses that seek to establish themselves in this city-state can easily tap in to the diverse and deep capital markets, while at the same time getting access to the many local and international professional service and financial institutions that are based here.
Simply put, doing business in Singapore is affordable, easy to set up, and fun for any serious business person.
Tax Planning In Singapore
Author adminPosted on March 10, 2019 March 10, 2019 Categories North-East Top Accounting FirmsTags Account Manager in Seletar, Accounting Consultant in Seletar, Accounting Dictionary in Seletar, Accounting Office in Seletar, Accounting Outsourcing in Seletar, Accounting Packages in Seletar, Accounting Practice in Seletar, Accounting Profession in Seletar, Accounting Software in Seletar, Accounting Systems in Seletar, Bookkeeping Services in Seletar, Bookkeeping Software in Seletar, Certified Public Accountant in Seletar, Chartered Accountant in Seletar, Company Accounts in Seletar, Corporate Accounting in Seletar, Financial Accounting in Seletar, Find An Accountant in Seletar, Online Bookkeeping in Seletar, Personal Tax Account in Seletar, Quickbooks Accountant in Seletar, Small Business Accountant Near Me in Seletar, Small Business Accounting in Seletar, Tax Preparation in Seletar

redpajama_set_name: RedPajamaCommonCrawl


I entered this week in a much better mood than I had in weeks past. I have stopped feeling sorry for myself and my first world gripes. I am trying to focus on the positive in every situation and producing content. Now maybe, I can take enough control over my schedule to get back on track trying to tackle my resolutions I set earlier this year. One of them, learning Spanish, I get to work on while in Spain. I am hoping to make a dent in about 4 different books while away. Lastly, I checked out the new albums by Feist and The Gorillaz. They were both forgettable. I had been eagerly anticipating an album from Feist in particular and was disappointed with the end product. However, the new Ed Shereen album, Divide, has been amazing though. He really put together an emotional and world hopping album that you have to check out.
Also, our no car experiment is working out nicely. We've benefited by also timing getting rid of our close to a time when we would be in cities with good mass transit a lot. Nonetheless, it is nice not to have a car payment. If we did get a backup form of transportation it would be something like the motorcycle here with a side car for LuLu.
I am not at all where I want to be physically and I'm far behind on my running, swimming and cycling goals. Yoga is becoming my primary activity because of it's restorative effects from all this sitting around and traveling. Sitting around on planes, in conference rooms, and squeezing myself into cramped MTA trains has been wrecking havoc on my lower back. So, I am upping my yoga classes to at least three sessions per week. I have noticed that my flexibility is improving with all this yoga which has eased my back pain.
I am also adjusting the travel routine a bit so that I am spending less time at airports and can therefore get in more hours training over the next few months and back into peak shape. No races for a while, so all my training will be for just general fitness and health. The real challenge is really watching my diet because that matters more than all the excercise I can endure. Luckily, the Spanish eat the way we like to eat the most, tapas style. Sharing small plates in real human portion sizes is how Angela and I love to dine. The only hard part is how late they love to eat here.
It's amazing what traveling can do for the soul. The sights, sounds, smells, and challenges of navigating around really help to broaden your horizons and stimulate the senses. We met an awesome couple in Ibiza that I labeled as "Creators," a term I borrowed from The Minimalist. Angie is a fashion stylist and Gavin is a writer. I talked to them about how I want to have a world where more people can become creators or help build a service based economy where we actually engage each other.
I think a few things stand in the way of this pardigm shift. First, our dependence on a consumption based economy. Some good news there, retail is getting squeezed by a millennial led transition to experiences over things. Secondly, we need to encourage kids to take gap years to find their passion before committing 4 or more years to studying something they could hate doing. As automation and technology continue to take away many vocations, we are going to have to find new things for people to do so we don't waste away as a society like in the movie Wall•E. We are adventurers, and though we, as a collective, have shed light on almost every corner of this blue rock, there are an infinite number more in the heavens that I hope we are brave enough to set out for eventually.
Here is a montage from our first week in Spain. I really love this country, it's languages, it's people and culture. I thought we could see so much in two weeks. That's a drop in the bucket. I am anticipating at least two or three more visits over the next few years to explore deeper.


text:
Q: In Rails 3.1 how do I show only future events? So I am building a calendaring application, and showing an event from the past is not as important as showing the upcoming events.
Right now I have built the model for events to show the earliest events first, but how would I hide from view any event that has passed?
Currently showing in my controller:
@events = Event.find(:all, :order => "start").paginate(:per_page => 10, :page => params[:page])

I have no idea how to remove entries that have a start date :start that is before today. For this purpose I only need to remove from view, can worry about a db delete after MVP.

A: As I understand all you need is condition in your find call:
@events = Event.find(:all,
    :order => "start",
    :conditions => ['start >= ?', Date.today]
).paginate(:per_page => 10, :page => params[:page])

Or in more Rails 3 style:
@events = Event.where('start >= ?', Date.today).order(:start)
               .paginate(:per_page => 10, :page => params[:page])

redpajama_set_name: RedPajamaStackExchange


text:
B2C Lead Generation
Digital Evaluations
Register for future events
Partners & Awards
Thinking of Getting into SEO? Let's Get Technical
Posted in SEO,ClickThrough News
By ClickThrough Marketing
Carl Ashfield takes us through a day in the life of a trainee Technical SEO Executive.
So here I am, sat at my desk figuring out what to write about after I specifically said in my interview that I couldn't write a blog post if my life depended on it!
I've been given the task to write about how I've found my first three weeks of office life at ClickThrough Marketing. I don't want to delve too much into it, but before entering the world of SEO and digital marketing, I spent most of my life working on construction sites and railway tracks. So, working in an office is a little different to what I am used to.
See, SEO was a hobby awhile back, but it became more of a passion of mine and something I really wanted to do. Even though I'm 32 this year - and no, it's not an early midlife crisis - I needed to make a career change now before it was too late and these past few months of reading and learning got put to waste.
So I thought I'd share with you how I'm finding it and what obstacles I've faced so far.
Time to Excel in your Career
Remember back at school, in I.T. class when the teachers tried to push Excel training on you, but you just didn't want to know? Well, I just wish I could borrow Doc's car from Back To The Future and go back to those lessons.
Since becoming a Technical SEO Executive, I've quickly learnt that SEO is not just about pulling key phrases from the keyword planner, creating a piece of content and firing lots of links at them. Yes, I know there was a recent article about Content and Links being the top ranking factors, and content and links are really important, but there's more to SEO than that.
Technical SEO goes a little deeper and this is where Excel comes into play.
What I've learnt is that there's a lot of data collecting to be done. At the start, I never knew anything about Excel formulas such as =vlookups and =countifs etc. Now… well, I know a little more!
So my advice for anybody that's getting started in SEO would be to learn a little bit of Excel and get comfortable navigating your way around a spreadsheet. Trust me, you'll be extracting a lot of data from site scanning tools, and these skills will stand you in good stead.
Oh, and another thing while we're touching on the Excel subject – save everything!
My second day in the office, I was asked to download Search Queries from Google Search Console and put the data into Excel. Five hours later, don't ask me how? But I lost the lot and had to start all over again. It was a valuable lesson!
Technical SEO: The Best MOT and Service in Town
Another thing I'm starting to realise since becoming a Technical SEO Executive is that we're more like mechanics. We take your website, open up its bonnet and take a look at what's really going on inside.
A bit like servicing your car, we dig deep into the engine and other parts to find any faults that are going on in your website.
We even have our very own tool box, but we don't own any spanners or tubs of grease. We use a lot of online tools to test different criteria of your website.
For example - we use crawlers that search every page on your website to check if you have broken links, redirects, duplicate titles and meta descriptions etc. We also need to check the Robots.txt file, sitemaps and also the page speed of your website. Is it mobile friendly too? That is now an important ranking factor.
You wouldn't want to drive off into the sunset if you knew the mechanic had told you that there were faults in the car. The same applies with SEO. There is no point starting an SEO campaign unless you are prepared to fix all the technical errors and issues on your site - because you will never set off into that sunset.
I actually thought that I knew quite a bit about SEO before I joined ClickThrough, but as it turns out I didn't really know that much. Since being taken on as a trainee Technical SEO Executive, I've learnt the value of understanding the basic tools, such as Excel.
I'm also starting to realise that it helps to have a little HTML and CSS knowledge, as it helps when analysing web page source codes. I'm in the process of learning it myself over at Codecademy.
One thing I do know is that I'm in good hands here at ClickThrough. I work with an amazing team of digital marketers, content writers and web designers, so I'm learning a lot on a wide range of topics.
So wish me luck as I strap on my self-lacing boots and continue to embark on an exciting digital marketing journey.
Find out more about our Technical SEO & Audits services and how they can improve your website's visibility. Contact us today.
More articles you might be interested in:
SEO news Roundup: Google's BERT Impacts 10% of Queries
Discover the latest SEO news and trends, including BERT's global release and algorithm updates.
Linking Search Marketing to Different Consumer Need States
Dr Dave Chaffey talks us through the best ways to understand audience intent, using a range of different digital tools and frameworks. Read more.
Clients Nominate ClickThrough for 7 Drum Recommends Digital Awards
We've been nominated for The Drum Recommends Digital Awards 2019! Find out more about the awards and what they entail.
How To Plan For Seasonality Peaks to Maximise Organic Traffic
Learn about identifying seasonality peaks and maximising your organic traffic in my latest post...
ClickThrough Welcomes Sophie Hillier!
We caught up with our Digital Content Executive, Sophie Hillier, to find out more about her CTM experience so far...
Your July SEO Roundup
Our technical SEO wizard, Tom Williams, gives us the top news in SEO from last month. Learn more.
ClickThrough Welcomes Kim Waldron!
We caught up with our Senior Digital Content Exec, Kim Waldron, to find out more about her CTM experience so far…
Your June SEO Roundup
Join our technical SEO whizz as he delves into the top news in SEO from June...
Subscribe to our blog and get the latest industry-updates direct to your inbox
Join our growing social communities to learn more about the benefits of digital marketing and the people who make us tick.
Our vision...
Be the most recommended digital performance
agency in the UK
ClickThrough Marketing Ltd
Charter House, Sandford Street, Lichfield, Staffordshire, WS13 6QA
Fair Processing Policy


text:
package com.rey.sqlfluent;

import android.provider.BaseColumns;

import static org.assertj.core.api.Assertions.*;
import org.junit.Test;

/**
 * Created by Rey on 8/5/2016.
 */
public class SqlFluentTest {

    @Test
    public void testCreateTable() throws Exception {
        String sql = new SqlFluent().createTable("category")
                .columnDef(BaseColumns._ID, DataType.INTEGER).primaryKey(Conflict.REPLACE).autoIncrement()
                .andColumnDef("name", DataType.TEXT)
                .andColumnDef("color", DataType.INTEGER)
                .endCreate()
                .build();

        String result = "CREATE TABLE IF NOT EXISTS category ( _id INTEGER PRIMARY KEY ON CONFLICT REPLACE AUTOINCREMENT, name TEXT, color INTEGER)";

        assertThat(sql).isEqualTo(result);
    }
}

redpajama_set_name: RedPajamaGithub


Set with 3 aluminum pin poles with a length of 26,5 cm. Available with a diameter of 22mm en Ø 25mm.
- Set with 3 pin poles.
- Length of the pins: 4,5 cm.
- Available in Ø 22mm en Ø 25mm.
Wednesday, 18 July 2018, 06:02 "Stevige lichtgewicht aluminium stokken.
Friday, 25 May 2018, 14:08 "Sehr schnell geliefert und super Wäre.


text:
from glanceclient import exc

class ArtifactType(object):
    generic_properties = ('created_at', 'id', 'name', 'owner', 'state',
                          'type_name', 'type_version', 'updated_at',
                          'version', 'visibility', 'description', 'tags',
                          'published_at', 'deleted_at')

    supported_show_levels = ('none', 'basic', 'direct', 'transitive')

    def __init__(self, **kwargs):
        try:
            for prop in self.generic_properties:
                setattr(self, prop, kwargs.pop(prop))
        except KeyError:
            msg = "Invalid parameters were provided"
            raise exc.HTTPBadRequest(msg)
        self.type_specific_properties = {}
        for key, value in kwargs.items():
            try:
                if _is_dependency(value):

                    self.type_specific_properties[key] = ArtifactType(**value)
                elif _is_dependencies_list(value):

                    self.type_specific_properties[key] = [ArtifactType(**elem)
                                                          for elem in value]
                else:
                    self.type_specific_properties[key] = value
            except exc.HTTPBadRequest:
                # if it's not possible to generate artifact object then
                # assign the value as a regular dict.
                self.type_specific_properties[key] = value

def _is_dependency(d):
    if type(d) is dict and d.get('type_name') and d.get('type_version'):
        return True
    return False

def _is_dependencies_list(l):
    if type(l) is list and all(_is_dependency(d) for d in l):
        return True
    return False


text:
Conformationally stressed phthalocyanines: the non-planarity of the 1,4,8,11,15,18,22,25-octaisopentyl derivative
Isabelle Chambrier, Michael J. Cook, P. T. Wood
School of Chemistry
An X-ray crystal structure determination reveals that 1,4,8,11,15,18,22,25-octaisopentylphthalocyanine adopts a saddle conformation, a geometry which shows modified spectroscopic properties and reduced photostability relative to planar ring structures.
Chemical Communications
https://doi.org/10.1039/B006935N
10.1039/B006935N
Chambrier, I., Cook, M. J., & Wood, P. T. (2000). Conformationally stressed phthalocyanines: the non-planarity of the 1,4,8,11,15,18,22,25-octaisopentyl derivative. Chemical Communications, (21), 2133-2134. https://doi.org/10.1039/B006935N
Chambrier, Isabelle ; Cook, Michael J. ; Wood, P. T. / Conformationally stressed phthalocyanines: the non-planarity of the 1,4,8,11,15,18,22,25-octaisopentyl derivative. In: Chemical Communications. 2000 ; No. 21. pp. 2133-2134.
@article{d86e67c398a4498b883c53ce2f6da4cf,
title = "Conformationally stressed phthalocyanines: the non-planarity of the 1,4,8,11,15,18,22,25-octaisopentyl derivative",
abstract = "An X-ray crystal structure determination reveals that 1,4,8,11,15,18,22,25-octaisopentylphthalocyanine adopts a saddle conformation, a geometry which shows modified spectroscopic properties and reduced photostability relative to planar ring structures.",
author = "Isabelle Chambrier and Cook, {Michael J.} and Wood, {P. T.}",
doi = "10.1039/B006935N",
journal = "Chemical Communications",
Chambrier, I, Cook, MJ & Wood, PT 2000, 'Conformationally stressed phthalocyanines: the non-planarity of the 1,4,8,11,15,18,22,25-octaisopentyl derivative', Chemical Communications, no. 21, pp. 2133-2134. https://doi.org/10.1039/B006935N
Conformationally stressed phthalocyanines: the non-planarity of the 1,4,8,11,15,18,22,25-octaisopentyl derivative. / Chambrier, Isabelle; Cook, Michael J.; Wood, P. T.
In: Chemical Communications, No. 21, 2000, p. 2133-2134.
T1 - Conformationally stressed phthalocyanines: the non-planarity of the 1,4,8,11,15,18,22,25-octaisopentyl derivative
AU - Chambrier, Isabelle
AU - Cook, Michael J.
AU - Wood, P. T.
N2 - An X-ray crystal structure determination reveals that 1,4,8,11,15,18,22,25-octaisopentylphthalocyanine adopts a saddle conformation, a geometry which shows modified spectroscopic properties and reduced photostability relative to planar ring structures.
AB - An X-ray crystal structure determination reveals that 1,4,8,11,15,18,22,25-octaisopentylphthalocyanine adopts a saddle conformation, a geometry which shows modified spectroscopic properties and reduced photostability relative to planar ring structures.
U2 - 10.1039/B006935N
DO - 10.1039/B006935N
JO - Chemical Communications
JF - Chemical Communications
Chambrier I, Cook MJ, Wood PT. Conformationally stressed phthalocyanines: the non-planarity of the 1,4,8,11,15,18,22,25-octaisopentyl derivative. Chemical Communications. 2000;(21):2133-2134. https://doi.org/10.1039/B006935N


The date // Dinner at Toki Underground.
Every time we go to New York, we talk about trying Totto Ramen. And every time, we wimp out… the line is just. so. long.
But we have to get our ramen fix somehow… so last night Mark met me after work (flowers in hand) and we wandered down to H Street for some fried chicken steam buns and kimchi ramen.
The night was rainy and we were in need of a little lazy break after a big week of Field + Foundry work, so the warm soup hit the spot.
… and the miso chocolate chip cookies didn't hurt either.
Steamed buns are my weakness, and this looks amazing. John and I had an impromptu date last night, ate lamb burgers and ran through the rain back to the car. It made me wish I captured our date nights like you guys do!
My husband and I moved out of DC this summer and while it was definitely the best decision for us for many reasons, we had a few remaining food places on our bucket list that we never got to, including Toki. All the more reason to go back and visit!
I used to live a few blocks away from Toki Underground — hands down, one of my favorite restaurants in the world!


Under direct supervision of the Sous Chef, provides supervision and coaching to all Lead Cooks, Cooks, and Kitchen Stewards. Assists in all menu creation, labor control, food cost control, scheduling, ordering and procurement of food/product and daily operations of all food venues.
Responsible for daily operations of assigned food venue or production areas.
Responsible for quality, cost, waste, and distribution of all foods to all areas.
Order/procurement of all food and nonfood items.
Ensures proper delegation of all assignments, tasks and job to employees.
Ensures that all Tribal, City, State and Federal Health/Food Safety codes are upheld and that all work areas are safe, clean, and professionally kept.
Provides training to staff members, organizes workloads and directs staff.
Creates schedules according to venue and business needs and anticipation.
Responsible for maintaining supplies and service ware.
counseling, and/or disciplinary action and other supervisory responsibilities.
Works with the Food & Beverage Department to make sure that all directives are clearly defined and delivered to staff in a timely fashion.
Knowledge Culinary methods and techniques.
Knowledge of operation of food preparation equipment and machinery.
Knowledge of financial reports (General Ledgers, Profit and Loss Statements, Food Cost, etc.).
Knowledge of global and local food trends.
Knowledge in Microsoft word and Excel.
Knowledge of evaluating staff and writing and communicating clearly defined goals and expectations.
Knowledge of food ordering and procurement.
Ability to clearly communicate, read, and write in basic English.
Ability to work in a busy, fast paced work environment and to perform in a professional appearance manner.
Ability to supervise/manage assigned staff.
Ability to be able to successfully handle a multitude of tasks at one time.
While performing the duties of this job, the employee regularly is required to stand for extended periods; use hands to finger, handle, or feel; reach with hands and arms; and talk or hear. The employee frequently is required to walk. The employee occasionally is required to sit; and stoop, kneel, crouch, or crawl. The employee must occasionally lift and/or move up to 50 pounds.
Work is generally performed in a Restaurant and Casino setting with exposure to second-hand smoke, high noise level, heat, fumes and steam. Evening , graveyard, holiday and/or weekend work may be required. Extended hours and irregular shifts may be required. Will work in all venues unless specified by the Executive Chef.


text:
Photo Gallery: Khalid at Chicago's United Center on July 25, 2019
Submitted by JeffDoles on July 26, 2019 - 1:16am
American Teen
Jeff Doles
Young Dumb and Broke
Previous | Image 1 of 6 | Next
Khalid performing at the United Center in Chicago, 1 of 6
CHICAGO – The R&B singer/songwriter Khalid burst onto the music scene the same day he graduated from high school. His debut single "Location" was released in July of 2016 and peaked at number 16 on the Billboard Hot 100 chart … and was later certified quadruple platinum. His debut studio album, "American Teen," was released on March 3rd, 2017. Since then he has achieved several top ten hits, including the song "Young Dumb and Broke," a number one album and five Grammy nominations.
Photographer Jeff Doles of HollywoodChicago.com took these Exclusive Photos of Khalid performing at The United Center in Chicago, Illinois, on July 25th, 2019. Click "Next" and "Previous" to scan through the slideshow or jump directly to individual photos with the captioned links below. All photos © Jeff Doles for HollywoodChicago.com
KHALID1: Khalid performing at the United Center in Chicago, 1 of 6
Photography by: Jeff Doles
Published by: Patrick McDonald, Editor, HollywoodChicago.com
For more information on Khalid and his current tour, click here
© 2019 HollywoodChicago.com LLC
Music Review: 2017 Chicago Open Air Festival With Anthrax, Megadeth, Rob Zombie, KISS
Interview: Pino Farina (and His Band) Are Huntley Hometown Heroes
Preview: Jennifer Hudson to Perform at Art Van's Grand Opening on July 30, 2015 in Downers Grove, Ill.
Red-Carpet Video Interviews: 'Divergent' Stars Shailene Woodley & Theo James, Author Veronica Roth
Interview: Michael Nehs is Building Up Chicago's Periscope Post & Audio
Interview: Official 'Star Wars,' 'Indiana Jones,' 'X-Men' Poster Artist Ciara McAvoy
Exclusive Video Interview: Best-Selling Chicago Author Veronica Roth on 'The Divergent Series: Insurgent'
Preview: Final Week of the 50th Chicago International Film Festival
Preview: Mid-Week With the 50th Chicago International Film Festival
Red-Carpet Video & Photo: Woody Allen in Chicago for 'Magic in the Moonlight'
Interview: From Hollywood to Holy Vows, Mother Dolores Hart on Her Book 'The Ear of the Heart'
Interview: 'Gold, Frankincense & Myrrh' Keep on Delivering
Film News: HollywoodChicago.com to Host Q&A for 'Wild Honey' on Dec. 12, 2018
Photo Gallery: Ministry Performs in Chicagoland at The Forge
Festival Feature: The Films of the 2017 Tribeca Film Festival
Interview: Directors Chris Lofing, Travis Cluff Swing on 'The Gallows'
Entertainment News: Film & Comedy Star Robin Williams Dies at 63


Instants is a simple app to make a realistic instant photo effect.
• Add text to instant photos.
• Enhance your photos with filters and effects.
• 12 instant photo backgrounds (mockups).
• 6 cool fonts to caption your photos.
• 30 more instant photo backgrounds (mockups).
• 11 Light Leak Effects.


text:
Local Coordinator Program
Virtual Reading Groups
Group Activism Grants
Group Network Kits
Peace, Love, Liberty
Donor Hub
Andrew Bernstein
Guest Author, United States
Author, Lecturer. SUNY, Purchase. Andrew Bernstein holds a Ph.D. in Philosophy from the Graduate School of the City University New York. He has taught Philosophy at the State University of New York at Purchase, Marist College, Hunter College, the State University of New York at New Paltz, and other New York-area universities. He was selected as "Teacher of the Year" at both SUNY Purchase—and at Marymount College. He lectures regularly on college campuses, including at Harvard University, Stanford University, the University of Chicago, Yale University, the United States Military Academy at West Point, Columbia University, and numerous others. He speaks at many other venues, including—but not limited to—Tea Parties, Objectivist conferences, and events sponsored by the Foundation for Economic Education (FEE), the Institute for Humane Studies (IHS), the Clemson Institute for the Study of Capitalism (CISC), and the Bastiat Society.
Articles by Andrew Bernstein
Free Market Economy
Why Christmas is a wonderful time to celebrate capitalism


text:
Ski Team and SOC Join Forces to Host Costume Fun Race | Farmington Flyer
By Courtney Fowler, Staff Reporter
Participants of the Costume Fun Race (photo courtesy of Lindsay Mower)
Recently, the UMF Ski Team and Skiing and Outing Club (SOC) joined together to host a Dual Slalom Fun Race at Titcomb Mountain in Farmington.
With the sun high in the sky and excitement in the air, twelve teams joined at the mountain to benefit both the Ski Team and SOC. Each team consisted of five people, requiring one to be a snowboarder, one to be a girl, and one to be a faculty member or older member of the community.
"The event was a huge success," said UMF ski coach Scott Hoisington. "60 students showed up to race and many friends were there too. This was much more than expected."
Being a dual slalom race, teams took turns racing side by side. Teams were not timed, but instead, had to win three consecutive races to be crowned the winners. Along with the race, many teams participated in the costume contest as well.
"Everyone had such cool costumes," said Andrew McCabe, UMF junior and ski racer. "We decided to dress up like gapers – people who aren't that good at skiing. We wore jeans, flannels, and grey helmets. Clearly not the most typical ski attire."
From rainbow tutus to tuxedo racing suits, teams sped down the mountain in their most creative outfits. The winning team of the costume contest dressed as farm animals.
"The event got A LOT of hype," said Ski Team Captian Bill Asbell. "Skiing has a deep history at UMF and it's always good to get some publicity."
In addition to the racers and friends who came to watch, many community members who were at Titcomb stopped to watch the event. Kids cheered and watched in awe as skiers and snowboarders dodged the gates and raced to the finish.
"Overall, the race was by far the most fun day I've ever had at Titcomb," said McCabe. "I've never seen the entire ski and snowboard community come together like that at one time."
As for Hoisington, he also agreed that the sense of community was the most important aspect of the event. "We wanted to keep the entry fee low to encourage participation. We even paid for lift tickets for guests who showed up. It wasn't really about raising money, it was about raising awareness about the ski team and how much fun we have."
From the music playing outside the lodge, racers falling and jumping up with smiles, to the constant cheering and chatter, it was clear everyone who attended enjoyed the race. The Ski Team and SOC plan to make it an annual event.
"I would do this every week if I could!" said McCabe. "I loved my team and love the entire skiing and snowboarding community. We're basically one big happy family."


text:
Conversation with Ewa Podles
Of a great work, artists create a work that is even greater
– "Trubadur" You have a lot of devoted fans, you are called the best contralto of the world or the best Rossini singer but sometimes you are considered to be a controversial singer.
– Ewa Podleś: I do not care to be liked by everybody, I do not know whether anything else can be said about that. I usually have very good reviews but there are also opinions that the style in which I perform baroque music is terrible, unacceptable. When I recorded a disc with Handel arias for Delos, I wrote in the booklet what the baroque music was for me. I do not regard myself as a baroque singer and I do not stake any claims to that title, I do not study baroque and I do not intend to do that. I just sing as I feel it. I think that people in those times loved in the same way, hated in the same way and had the same emotions as we have now. And I do not see why we should sing with a plain, "castrated" voice, with no vibrato and expression. Today we need different means of expression. I interpret baroque works in my way and I am glad if somebody likes that and I am grateful for words of praise. But if somebody does not like this, he or she does not have to listen to me. Let him or her take classical – in his opinion – baroque singers and enjoy them.
In January I sang a concert of baroque arias at the Carnegie Hall, which was enthusiastically received by the audience. Carnegie Hall regulars told me they had not witnessed such an applause there for years. My baroque style didn't bother anyone. People want to hear a message, to experience something, to be moved. But sometimes you may sing very well and yet the listener will remain completely indifferent. Recently, there has been an interview with me in the American magazine, Classical Singer, which was entitled Love me or leave me. I know from my experience that all those who fell in love once still love me. And those, who did not like me will not change their mind no matter what. Some time ago my agents were trying to make some directors of opera houses like me. No success. After a while I understood what the problem was and I told them: Leave them, concentrate on those who like me and who want to engage me. Do not try to convince people who do not accept me. So I do not fight for those who do not like me. If somebody does not like me, he does not have to listen to me. No one is under an obligation to listen and like me. I am almost certain I will not win the approval of such people.
– The "controversy" does not concern only the interpretation of the baroque music, the way of singing. It is probably also a matter of the type of voice, its beauty. Your voice is very characteristic, a few seconds are enough to know that this is Ewa Podleś singing and nobody else… Some people may like your voice very much, others may prefer, for instance, countertenors in some parts.
– They may also prefer other mezzo-sopranos. Everybody has their own individual taste. I am not angry with people who do not like me. For instance, I do not like Yo Yo Ma, undoubtedly an excellent cellist. He does play perfectly but he does not move me. If art does not move me, I do not like it. I do not like Picasso but does it mean that he is a bad painter? Of course not. If an audience does not like a particular artist, it denigrates neither the audience nor the artist. We must leave ourselves some margin, some space. Everybody has their own likes and dislikes and is entitled to their own opinions. This has to be respected.
– You speak about taste, which is a very subjective thing. But on the other hand, there are also such objective things as technique and breath control.
– My technique has never been questioned. But I think I make such a strong impression on people that they cannot pass me by indifferently. I am either adored or strongly disliked. I think it is also a sign of uniqueness. Ordinary, though very good singers, who fit in the so-called norms, are received "normally". No one gets furious, no one is strongly "against" or "for". The way I sing does not fit those norms, it is different Similarly, the reaction to my performances is different. People are very strongly "for" or "against". There are critics who do not like me. But I do not remember very negative reactions of the audience. Of course, there are people who do not like me, but the majority supports me. So I do not care if somebody writes that my concert was unacceptable in terms of style. How does that person know for sure how the baroque music should be sung? Did he sleep with Handel? The most important thing is that the audience liked what they heard and that I find no fault with my performance. Of course, sometimes something may go wrong, sometimes I am not in good form, everybody has a different constitution.
Emotions must be revealed on stage. Obviously, I cannot cry at the piano, but I have to direct my acting and narration consciously in such a way that the audience will cry or laugh. When I study a part, I sing with no emotions, because I am only learning it at that moment, I am programming myself, preparing. I put that music into myself, it must settle inside myself.
– You mentioned critics. What do you expect from a review?
Of course I read the reviews. And of course I would like the reviewers to write well about me. But first of all I would like them to write professionally. The critics will not deceive me because I am a professional while they seldom are. Some of them even lack appropriate vocabulary that should be used in a professional review. By a professional review I mean a review in professional periodicals such as Opera, Opera News etc, periodicals which are usually not read by ordinary people but by specialists and music lovers. This is where I would like to read something specific. If a reviewer did or did not like something, I would like to know why. I am not satisfied with the sentence Ewa Podleś sang very well What does it mean, sang well? It is not enough. Similarly, when a reviewer has any critical remarks, he or she should write what was wrong, doing it in a professional way, explaining his or her opinion. It must be something that will convince me, as a professional. The reviewer should turn my attention to something I did not realise, did not notice, and now, after reading the review, I come to a conclusion that he my be right. That kind of review may be very helpful in correcting myself. We, just like our family and friends, get used to ourselves, to our ways of doing things, to our voices and even to our mistakes, which, at certain point, we do not notice anymore. If the charges are explained in a professional way, with reference to specific points, they may only help the singer. But such reviews are unfortunately very rare. I will not even mention reviews in daily newspapers…
– Does the audience change you somehow? Do you feel the mood of the audience, the way people receive you?
– The audience mobilises me. When the reception is warm from the very first piece, it allows me to spread my wings, I open out. On the other hand, if I do my best and the audience remains unmoved, then everything closes inside me. And there is no way I can establish a close contact. And I feel I am baring my soul in front of inappropriate people. That is why the contact with the audience is so important.
– Do you listen to the recordings of other singers when you prepare new parts? Are there voices that inspire you?
– I do not listen to various voices for pleasure. I use recordings as a kind of educational tool because thanks to them I learn faster. A recording helps me to learn the part, to get to know it, to find out what tempos, what difficulties etc lie ahead. But when I do listen to recordings while preparing new roles, I always try to listen to Russian operas sung by Russians, Italian operas sung by Italians, in order to learn the melody of the language as well. I cannot say that I will not listen so as not to have other interpretation "imprinted" on me. Nobody can "imprint" anything on me because I have to do everything my way. I have a strong personality, and even if I would like to repeat, I rebel against that. There is something in me that makes me sing, that pushes me into singing in that way and not the other. Sometimes I am not able to sing a piece in the way which that "something" in me suggests. I keep trying then, I look for a sound, colour, way of telling something. Unfortunately, it is not always possible to sing the way that inner voice does.
– You sing in various theatres in the world, which function in a different way than those in Poland. How, in your opinion, should an opera house function?
– I think that the stagione system is the best for an opera house. Usually, when I perform in a theatre where there is no stagione but a system with singers as members of the house's staff (in a recent Falstaff in Berlin, for instance, only Raimondi, Pieczonka and I were from outside) I see a mess. I see exhausted singers, who ran from one rehearsal to another, who often have fits of hysterics, who work like slaves. They are on the verge of a breakdown and do not respect each other. The atmosphere in a theatre where singers are full-time employees is not very healthy, there are envies, resentments, nerves among the house's singers because of, for instance, the casting. Often singers are on the books but do not sing because they should not sing at all. The atmosphere is much healthier when soloists are engaged for particular roles, including the small ones. La Scala, for instance, contracts with specific singers even for lines such as The dinner is served. Of course, you do not bring a singer from New York for just this one line. It is a local singer who has an appropriately smaller salary than the stars. But everything perfectly clear. And the artist is paid for a particular performance and is not given a fixed salary. It is much nicer to work in a stagione theatre, no one bears any grudges against anyone, because from the very beginning everyone knows who sings what. It also very seldom happens that singer cancel performances. When there is just one cast, illnesses, postponements are much less frequent. The feeling of responsibility is greater. People try to keep together and help each other. There is no need of any trade unions. Artists should defend themselves only with their art, without relying on trade unions. You cannot force the audience to listen to artists who want to sing because they are on the books and think that this is their due.
– You said once in an interview that your career would probably be different if your surname were, for instance, Podlessini…
– The fact that I am from Poland, that I live in Poland is still received with disbelief. I often see that Russian, Bulgarian or Italian singers are fawned on not because they are the best but because they come from Russia, Bulgaria and Italy. An artist can be mediocre, but when it turns out that it is a Russia alto or bass, everyone starts saying that the singer in question is the best in the world. On the whole, it is difficult to convince the decision-makers to engage a Pole if Russians or Italians are available. Maybe if I were Italian I would be the greatest singer in the world. The fact of being Italian gives you a great advantage – you can sing poorly, but people think that it should be like that. Italians are always right!
– So the final result that reaches us – casts in the greatest theatres, recordings etc. – is sometimes the effect of the workings of mechanisms which have little to do with art?
– Oh yes. Very few artists are engaged solely because of their artistic merits, because of the beauty of their voices. Many engagements are the result of non-artistic deals – for instance, somebody has a better agent. The agent is very important because if you have a bad agent, you will not perform anywhere. Agent is like a matchmaker and he has to arrange a match between me and the director of the theatre. It is the agent who fights for a contract. Of course, the artist's fame is also important, and so are audiences' reactions and reviews. But not all theatres engage specific artists they initially intended. If an artist does not agree to the proposed conditions, they have fifty others to choose from, and it doesn't really matter that those are often worse. Some time ago I had an American agent. He was my agent for 5 years and I think it was a wasted time. For 5 years he did not get a single contract for me in the USA, although he loved me and for him I was the best singer in the world. Since I came to my present agent I have had so many offers that I could settle in the USA and sing only there. I have so many contracts that I have no time to sing in Europe. I have no time to accept all offers.
– You not only perform in the USA but you also make recordings there. Your two latest recordings, baroque arias with the Chamber Orchestra of Moscow and Chopin's songs with Garrick Ohlsson were released by American companies.
– Yes, and the next ones are on their way. I have no time for making recordings recently, I think that I have made enough records and, to tell the truth, I do not want to make more. It takes a lot of time. It is not always possible to stand in front of the microphone and just record everything from beginning to end. The voice needs a rest. And I have no time. Since the recording with Handel arias had a great success in the USA, I was asked to record more baroque arias. But now I want to record something else – something from the Russian repertoire this time. In December I will record, among other things, Mussorgsky's Songs and dances of death, Tchaikovsky's cantata Moscow, Konchakovna's, Paulina's, Jocasta's and Joanne d'Arc's arias and also Varvara's aria from Shchedrin's opera, Not only love, with the Chamber Orchestra of Moscow under the direction of Konstantin Orbelian.
– There are many unofficial, pirate recordings of your performances circulating around the world. Do you have anything against your pirate fans, who record your performances "unofficially"?
– I am not against pirate recordings. If it gives people pleasure, then why forbid that. Of course this makes life even more difficult for the performers. We are not proud of all our performances and we would not like some of them to be recorded and, what is more, distributed. But I personally prefer recordings of live performances (even with some defects) to the "processed" studio recordings. I think that music lovers have had and will have a lot of joy and fun listening to those pirate recordings.
– You have been regarded as the greatest Rossini singer for many years. But you have been always absent from the only Rossini festival in the world. Why haven't you sung in Pesaro before?
– Probably because the previous management of the Festival did not consider me worthy of performing in Pesaro and to sing Rossini there, although everybody sings there… It was strange for me but I said to myself that probably someone out there did not like me and did not think me worthy of an invitation. I was eventually invited to Pesaro by Alberto Zedda, who became the artistic director of the Rossini Opera Festival.
– You sang there in a very seldom performed work, Le nozze di Teti, e di Peleo. In original score the part of Giunone, which you performed, is small but two fragments were added to it especially for you: cantata Giunone and the final rondo from La Cenerentola.
– Zedda said that he had invited me not to let me sing only a little duet, merely fifteen bars long, but to let me show off. Apart from the fragments you have just mentioned, he also added a few fragments from other Rossini's works, including the ballet from Armida and Lindoro's cavatina from L'Italiana.
– In Non piu mesta you sang very original embellishments we had never heard before.
– They were Alberto Zedda's embellishments. On my Naxos recording of Rossini arias I sing without embellishments. I had no time to prepare them at the time and, besides, I have sung Cenerentola relatively rarely in my career. Zedda said that there were three version of the rondo to be performed, each with different ornamenti, each with different text, different ending. Zeddda's ornaments were very interesting but I "corrected" them even further, adding, for instance, leaps into the lower register. I wanted to adapt them more to my voice.
– You also sang a recital in Pesaro with a very rare repertoire. There were no spectacular Rossini arias.
– All four recitals presented during the Festival were to be short – about 45 minutes of music. Zedda told me that they should consist only of Rossini's works. Until then I had had no Rossini recital with piano in my repertoire so I had to learn a lot of new things. I sang the aria C'est bien lui!, the authorship of which is sometimes doubted. But nobody so far has managed to convince me that it was not Rossini for sure. Some people wanted me to drop that aria from the programme but I did not agree. Even if it had turned out that it was not Rossini, nothing wrong would have happened, especially given the fact that other artists sang works not only by the master from Pesaro.
– You said some time ago that you preferred singing tragic parts to comic ones.
– People tell me I am funny and I have a talent for comedy. I remember that once during La fille du regiment at La Scala I was supposed to accompany Mariella Devia on harpsichord, while giving her a singing lesson. The instrument was very delicate, an antique to boot, and its owner kept telling me: Please, do not bang so hard on the keys, and I replied: When I play gently it does not respond... And during the opening night I mixed things up, I was looking at the score and did not see anything, I had a complete blackout. Devia sings and I… nothing. The recitatives in that opera were spoken so I said in full voice: Oh, pardon, ma petite, ancore une fois…, which, of course, was not there in the libretto. And I started to play that fragment again from the beginning. During another performance of that series I sprained my ankle and roared Uuu!! – and the audience burst into laughter. It was very painful and people were laughing. So apparently I am funny… But generally, I feel much better in dramatic roles, where I can show emotions, inner life, where the voice is used to express drama, threat, fear and not only for technical fireworks. But even with the most "technical" of works I always try to show that there is more to them than just a display of vocal pyrotechnics.
Not in all operas have situational humour. In this work of genius, Il barbiere di Siviglia, for instance, the music is funny in itself, everything is funny. In Le nozze di Teti, e di Peleo, on the other hand, there is nothing funny. The director was trying very hard but we still had to look for opportunities to play tricks.
– Why are there so many embellishments in baroque and bel canto operas?
– Baroque arias are extremely difficult already in their original versions. There are enough traps, ornaments and not everybody is able to sing all of them. Those who are able to do it, start to play and add new embellishments. There is nothing wrong in this, we do not betray thus the composer's idea. When I began to sing baroque arias, I was often inspired by the cadenzas and ornaments of Marylin Horne, because they were "appropriately difficult" for me then and I did not know how to compose them myself. Later on I learned to compose my own cadenzas. I write them with my husband. I am often helped by the harpsichordist, Jory Vinikour, who studied the writing of ornamentation (to learn how to write stylish embellishments). Jory Vinikour is the author of the cadenzas I sing on the recording of arias from Rinaldo and Orlando.
– But there are conductors who think that all additions are unnecessary…
– These are doctrinaire attitudes, which, in my opinion, are sick. In certain repertoire the audience does expect a display of virtuosity at some points. If there is a fermata or "at will" (a piacere) marked in the score, why shouldn't we show off? When I sang Tancredi at La Scala, the conductor, Daniele Gatti, cut all embellishments and, in effect, really butchered that Tankred – everybody sang beautifully but it was expressionless and lacked the Rossinian charm, and so Gatti was booed at the end. He took the pleasure away from us, the artists, and the audience. The part of Tancredi was written within one octave – there are no spectacular high or low notes, or coloraturas, if they are not added. We discussed and almost fought with Gatti, we tried to convince him that there were certain performing traditions. There is no b written originally in Rosina's aria, but if dared not sing that b… It is not an argument for me that something is not there in the score. Of a great work the artists create an even greater work and this is what people like. The more special effects, the crazier people get.
– Your voice is described as contralto, you sing not only Rossini but also Verdi, and recently Wagner. However, this is not an evolution of the voice because you still come back to Rossini, the flexibility and mobility of your voice have not disappeared.
– In a way, this is a small evolution because I have started to sing Verdi or Wagner only recently. The choice of the repertoire depends on very individual assets, qualities and inclinations of the voice. Not everyone can combine coloratura parts with dramatic ones. I too am still experimenting to see to what extent I can combine the two. I try not to have them both two close together – I could not, for instance, sing Erda today and Il Barbiere di Seviglia tomorrow. You can try but the voice needs time to adapt itself. I did not decide to sing Erda straight away, I had to listen, to look into the score. And it turned out that Erda's register is very comfortable for me, I am also an alto and Erda is an alto part.
– What are your plans for the nearest future? Where and in what will we be able to listen to you?
– This season I will be singing mostly in the North America. I will have recitals in Kansas, Philadelphia, Berkeley and Vancouver. Later on I will sing Gluck's L'Orfeo in Detroit, then again recitals – Chicago and New York, at the Lincoln Centre. At the beginning of December I will perform at the Moscow Conservatory and then the recording I have mentioned earlier, the New Year's Eve concert in Warsaw with Alberto Zedda, then again recitals (Madrid, Toronto, Cleveland, Ottawa, Montreal). In March I will sing Julius Caesar with Toronto Opera, in June Mahler's III Symphony in Paris at the Salle Peyel and in La Coruna – L'Italiana in Algeri and Il Viaggio a Remis.
– Is there a part you are dreaming of, a part you would like to sing?
– To be honest – I do not know. I always dreamt of Tosca but, of course, I will never sing that. I think I have no such dreams. I had one dream in my life – a silly dream to go abroad and sing there at least once. And now I dream of not going abroad…
– Some artists say that singing is their life, others that it is their work and that at home they cut themselves off from it. What is your attitude towards singing?
– I treat singing very professionally – this is just my profession. I can live without singing. I am very happy when I do not have to sing or learn new things. Taking Gluck's L'Orfeo as an example – I have to sing on one occasion in Italian, on another in French and at that moment I have a great mess in my head -I sing half of a phrase in Italian, half in French. But this is my profession and I practice it with a great devotion and with the full awareness that I have to do it as best as I can. Besides I demand that from everybody. Sometimes you can't buy a good bread roll; or we can have 70 kinds of sausages, all of them bad, and nobody wants to use old, tried and tested recipes. Simply a lack of professionalism. I am very demanding towards myself and others. And the most beautiful holidays for me are when I am at home. People are surprised when, in reply to their question about where I go for my holidays, I say: home. I am very happy at home, I do not have to pack my things, I do not have to fly, which I hate. I have 100% of rest, I am with my family, with my dogs.
– It must be a great comfort for you to be working work with your husband, Professor Jerzy Marchwiński.
– Artistic and technical matters (the preparation of the repertoire etc) apart, you really need somebody you trust, somebody who will tell you frankly whether something is good or bad. There are also non-artistic matters which are very important – faxes, correspondence with agents. And I do not even know how to turn on the computer… But the most important thing is that we are together in good and bad moments, that we share not only work but also life. You do not know but I was born with a caul, which is a cap-like membrane on the head of a new-born child [Polish To be born in a cap is the equivalent of the English saying To be born with a silver spoon in one's mouth] My mother told me that when the midwife saw me, she exclaimed: Oh! She will be a lucky girl! So I am very lucky to be able to live and work with the person who is the closest to my heart. I also often perform with my husband's daughter Ania… A complete happiness. That part of my life is a bed of roses.
– Thank you very much for the conversation.
Tomasz Pasternak, Krzysztof Skwierczyński


text:
Sam Becker
Senior Research Manager, Data Analytics
Sam Becker is a Senior Research Manager, Data Analytics, in the Deerfield Institute and joined the Firm in 2019. Before Deerfield, Mr. Becker was a Data Analyst at Nielsen Sports and worked on the Research team for FanDuel Inc. Mr. Becker has led multiple fundraising efforts for Cincinnati Children's Hospital's Cerebral Palsy Clinic, and has also been involved with Cincinnati Therapeutic Riding and Horsemanship (CTRH), a non-profit providing a comprehensive therapeutic horseback riding program for children and adults with disabilities. He is a recipient of the President of the United States' Volunteer Service Award. Mr. Becker holds a B.S. in Business from Miami University's Farmer School of Business.


text:
Home → Environment
Kyoto Symposium: The Collapse and Restoration of the Mongolian Ecosystem Network in the Context of Global Environmental and Social Changes
The Research Institute for Humanity and Nature (RIHN), Kyoto, Japan holds an International Symposium on "The Collapse and Restoration of the Mongolian Ecosystem Network in the Context of Global Environmental and Social Changes" on 23rd to 24th of January, 2010.
This symposium aims integration of information related to the environmental issues and deepening the understanding ecological system in Mongolia. About 20 presentations are scheduled by both natural science and humanities' studies. Those researches are managed by one of the RIHN's projects "Collapse and Restoration of Ecosystem Networks with Human Activity". Leading scientists from Mongolia are invited to the conference as well.
Venue: RIHN, Kyoto, Japan
Date: 23rd-24th, January 2010. (25th excursion)
Details & Website: http://www.chikyu.ac.jp/yamamura-pro/mn_sympo/
One of the abstracts
"Interference impact of global warming and globalization on the society in Mongolia"
BATJARGAL Zamba, World Meteorological Organization, UN
There still is a significant portion of uncertainties with regard to the global climate change despite that the last Fourth Assessment Report of the IPCC increased a worldwide common understanding about the present trend of global climate change and human activities as its main cause. Estimated future climate scenarios vary from model to model due to the limitation of global climate models (GCMs) and accordingly climate projections are different for given particular areas. Mongolia has developed the National Climate Change Programme referring to the results of projections based on well known GCMs. However, the scientific and professional communities engaged in this exercise are not able to guarantee full confidence in these projections due to the fact that the current GCMs had not captured all intrinsic components in driving factors and possible imperative non-linear feedback effects. The current level of warming at the territory of Mongolia based on instrumental records also needs to be shaped taking into account the locations of specifics of meteorological stations and gradually increasing localized "smog cap" effect in cold seasons in some key settlement areas. Studies on climate change undertaken so far mostly focused on the expected stresses of climate change on ecosystems, while interaction between natural and managed socio-economic systems were considered in simplified ways. In the IPCC Synthesis Report on Climate Change it was recognized that the "effects of climate change on human and some natural systems are difficult to detect due to adaptation and non-climatic drivers". Mongolian society in recent years has been experiencing series of "shocks" induced by globalization related pressures. At the same time, Mongolia has a limited background to absorb these shocks as a nation due to its past political isolation with non market economic system and culturally "land locked" situation with limited access to a broader cultural domain in the world due to its imposed ideological barriers. Therefore, it is important for Mongolia to consider possible combined effects of global warming and globalization on the society in the process of developing its adaptation strategy anticipating both long term variability and non reversible change in climate conditions.
Khan Resources Strikes Peace, Signs MOU With Monatom


text:
import onEvent from './onEvent.js'
import * as utils from '../libs/utils.js'
import * as CONST from '../consts.js'

/**
 * 消耗虚拟币,设置留存总量
 * @param gainNum 消耗数量
 * @param balanceNum 留存总量
 * @param coinType 虚拟币类型
 * @param reason 原因
 */
export default function onCoinUse(useNum, balanceNum, coinType, reason) {
	balanceNum = utils.parseInt(balanceNum)
	useNum = utils.parseInt(useNum)

	if (balanceNum < 0 || useNum < 0) {
		utils.tryThrow('Argument error')
		return false
	}

	onEvent(CONST.EVT_COIN, {
		actionType: 'coinUse',
		coinType: String(coinType),
		balanceNum: balanceNum,
		coinNum: useNum,
		reason: String(reason)
	})
}