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10 Great Games Like The Sims
Games Like The Sims No
Before you start the game, you need to create a character called Lady. Build and decorate a hospital, cure patients with utterly bizarre maladies, train your staff, and upgrade machines to create the most effective facility possible. Best Torrent Sites for Torrenting.
This site uses Akismet to reduce spam. The Sims Stories The Sims Stories is a wonderful series of games that follows the same Sims aesthetics that you have experienced before. The player needs to take care of the game population called Twinizens and navigate them throughout the game world.
1. Virtual Villagers
You are supposed to take care of their food timely. These titles are packed with similar mechanics, gameplays and are a great source of entertainment.
The Cloud Catcher Chronicles. They have incorporated a fantasy world in the game rather than mirror cities.
After seeing all types of simulation games the Sims alternatives, unnai ninaichen paattu padichen movie songs it is the time to move to a pet simulation game. These games like the Sims are great and entertaining and you will surely get over with The Sims after playing them. Virtual Villagers is set upon the theme of life simulation just like the other games like the Sims. Each of the installment is like an upgrade of the previous one.
Meez is a wonderful platform for all the party and hang out lovers out there. The game offers more playability and more freedom as compared to its predecessors. The player must assist his sim character to find the husband or wife and star his virtual family.
It offers a chance to the player to live his second life, where he can fulfill his desires in a realistic environment. This character can decorate and maintain their homes too. This wonderful Community based game lets you live up to your dreams by becoming a hot sensation among all the shining stars around you.
The game takes place in the virtual world where players are able to interact with each other. The player is going to pick the videos to be uploaded on the YouTube channel as well as managing the social and educational life.
Our Dream House, puts more emphasis on the home life. It takes place in the multiple locations around the world, from Japan to Barcelona. These expansion packs are bundled with more exciting episodes for the game. You can customize your construction with different tools and options given.
Life Quest is a wonderful Life Simulation and Management video game that lets you have the delights of Graduating, Going into college and University, Getting a Job and Marrying your loved one etc. The enormously realistic Simulation experience of The Sims made it even more enjoyable. With this new concept, even more, things got created in the game and it became more interesting. If you are a fan of life simulation games and want more games like the Sims then you can check out the list mentioned below. You are also allowed to decorate the apartment too.
With an advanced Artificial Intelligence system, easy controls, and innovative mechanics, The Sims is one amazingly immersive Life-simulation to enjoy. You then take control of your tenants, helping them through life choices, including romance and career goals. This game revolves around YouTube career. It takes place in a stunning world populated by thousands of other players around the world. It is developed by San Francisco-based firm named Linden Lab.
The game takes place in the fantasy-based world populated with other thousands of players. With a range of characters for avatars, plenty of room for character customizations and availability of unique items to modify your avatar, Second Life lets you enjoy a realistic experience. The last pick in this game is Lady Popular. The game offers an exciting gameplay where the players and create and customize their avatars to dive into the game world. As the game progresses further, you witness totally different visuals as the park changes completely.
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The player portrays the role of a successful doctor in this game whose wife has forgotten her past in a jogging accident. If you are a fashion crazy and you are a fan of meeting new people, Social Girl is a place for you.
This made the game even more of a hit amongst the gamers as it brought constant development in the game. Congratulations, you just might be a Sims mega fan. The game requires you to collect magical items throughout the land, but you can also create your own character, farm, fish, and craft items. People love life simulation games and one amazing example in that category is The Sims. In this game, you interact with other players at campsites, perform tasks, make trades, and decorate your living space.
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Categoría gramatical (parte de la oración, categoría morfosintáctica o clase de palabra) es una antigua clasificación de las palabras según su tipo.
Modernamente el término «categoría gramatical» se refiere a una variable lingüística que puede tomar diferentes valores que condicionan la forma morfológica concreta de una palabra.

Categorías en la gramática tradicional

Las categorías que reconoce y la clasificación que propone la gramática tradicional se basan sobre todo en la morfología, aunque también tienen relevancia para la sintaxis.

En el mundo de habla castellana, la gramática tradicional distingue nueve partes de la oración:
 Sustantivo (o nombre)
 Adjetivo
 Artículo
 Pronombre
 Verbo
 Adverbio
 Interjección
 Preposición
 Conjunción

Las cinco primeras (sustantivo, adjetivo, artículo, pronombre y verbo) son las llamadas partes variables de la oración, pues pueden presentar varias formas; y las otras cuatro (adverbio, preposición, conjunción e interjección) son las partes invariables, porque solo presentan una forma.

Por ejemplo, en castellano, el sustantivo o el adjetivo pueden variar en género y número sin dejar de ser la misma palabra, y el verbo, que es la categoría más variable, puede presentarse en cualquiera de las formas de su conjugación, variando en número, persona, tiempo, modo, voz y aspecto. Esta variación de formas mediante la adición de morfemas se denomina flexión, y es propia de las lenguas flexivas.

Por otra parte, palabras invariables como los adverbios así o después, o como las preposiciones en, a o de, como la conjunción pero o como la interjección ¡ea! solo presentan una forma que carece de variantes relevantes (tanto da, por ejemplo, decir quizá como quizás; y las variantes y/e, o/u son meramente eufónicas).

Esta clasificación de la gramática tradicional no es perfectamente aplicable a todas las lenguas, especialmente a las lenguas no flexivas (lenguas aislantes como el chino mandarín), o a muchas lenguas amerindias, ya sea por carecer de flexión, por carecer de preposiciones, porque verbos y adjetivos forman una clase única, etcétera.

Clasificaciones
En gramática generativa, las categorías gramaticales se dividen en dos grandes clases:
 Categorías léxicas. Incluyen las clases de palabras que pueden ser seguidas por un complemento con significado nocional y que pueden ser precedidas de otro elemento que las especifique o las modifique gramaticalmente:
 Verbo. Posee los rasgos [+V] (predicativo) y [-N] (no-denominativo). Selecciona complementos verbales y es especificado gramaticalmente por elementos como la negación y los verbos auxiliares. Forma Sintagmas Verbales.
 Sustantivo. Posee los rasgos [-V] (no-predicativo) y [+N] (denominativo). Puede seleccionar complementos del nombre y ser especificado gramaticalmente por determinantes y cuantificadores. Forma Sintagmas Nominales
 Adjetivo. Posee los rasgos [+V] y [+N]. Admite complementos del adjetivo y especificadores gramaticales de 'grado'. Forma Sintagmas Adjetivos o Adjetivales
 Preposición. Caracterizada como [-N] y [-V]. Selecciona obligatoriamente un complemento (el elemento conocido por la tradición gramatical como 'término de la preposición'). Es raro que lleve especificadores de carácter gramatical, pero sí se dan algunos casos: suelen ser especificadores de grado o la negación, como en Juan es [muy de su pueblo]; no tan hacia abajo. Forma Sintagmas Preposicionales
 Adverbio. Categoría con problemas de adscripción de acuerdo con los parámetros [+/-N] y [+/-V]. Hay propuestas que lo asimilan a la preposición con la diferencia de que carecería de un complemento obligado. Actualmente, no hay unanimidad. Admite complementos del adverbio y especificadores gramaticales de 'grado'. Forma Sintagmas Adverbiales.

 Categorías funcionales. Incluyen las palabras que no pueden ser modificadas y que forman parte de una clase cerrada (o sea, que no es habitual aumentar su número por creación léxica):
 Determinante
 Cuantificador
 Auxiliar
 Conjunción
 Complementador
 Negación
 Otros. Los estudios modernos de teoría lingüística han propuesto otras muchas categorías funcionales, cuyo inventario y caracterización no es aceptado de manera unánime.

Las categorías léxicas poseen contenido o significado nocional, del mundo extralingüístico: en este sentido, enlazan con las categorías mayores, de acuerdo a la clasificación de las clases de palabras por la naturaleza de su significado. Las categorías funcionales poseen significado gramatical, es por ello que se las llame categorías menores.

Por otro lado, las categorías léxicas mantienen importantes paralelismos con las clases abiertas de palabras, en tanto que los nombres, adjetivos y verbos se ajustan a patrones de productividad léxica. Como se ha dicho arriba, y aunque no puede postularse una total identificación, las categorías funcionales enlazan con las clases cerradas de palabras.

Esto se podrá entender mejor con el siguiente ejemplo. Nótese que es posible crear nuevos verbos o nombres (alguien puede inventar, si no se ha hecho ya, por ejemplo, wikipedizar o wikiadicto, y estas voces ser entendidas por los hablantes de español y, además, pueden acabarse extendiendo en el idioma), pero ningún hablante puede inventar o innovar "nuevo pronombre" o una "nueva preposición", al tratarse de categorías cerradas, y sólo los procesos de gramaticalización pueden dar lugar a nuevos pronombres o preposiciones.

Categorías en la gramática moderna

En teoría lingüística moderna, el término categoría gramatical incluye muchos más aspectos que el término tradicional, que en general sólo se refiere a clases semánticas de palabras. En términos generales una categoría gramatical es una variable morfológica que puede tomar diversos valores para una clase de palabras a la que se aplica, por ejemplo, la clase de los verbos presentan variaciones o realizaciones diferentes según su tiempo, modo, persona, etc., y cada una de estas variables puede tomar diferentes valores, por ejemplo en español la variable "tiempo" puede tomar los valores de pasado, presente o futuro. Normalmente las categorías gramaticales están sujetas a restricciones de concordancia gramatical. Algunas de las categorías gramaticales más frecuentes entre las lenguas de mundo son:

 En los elementos predicativos (verbos):
 Aspecto gramatical
 Modo gramatical
 Tiempo gramatical
 Voz gramatical
 Valencia (intransitividad, transitividad, ditransitividad).
 Animacidad
 Evidencialidad
 Intencionalidad (control)

 En los elementos designativos (nombre, adjetivo):
 Caso gramatical
 Género gramatical
 Número gramatical
 Definición gramatical
 Deixis

 En elementos designativos y predicativos:
 Género gramatical (en las lenguas semíticas).
 Número gramatical
 Animacidad

Véase también
 Gramática
 Gramática generativa

Referencias

Bibliografía

 Chomsky, Noam. 1995. The Minimalist Program. Cambridge, Mass.: The MIT Press.
 Eguren, L y Soriano, O (2004). Introducción a la sintaxis minimalista. Gredos.
 M.A.K. Halliday (1975). Estructura y función del lenguaje. Alianza Editorial.

redpajama_set_name: RedPajamaWikipedia


The Hepatitis B Foundation is proud to recognize Michael J. Sofia, PhD, who received the 2016 Lasker-DeBakey Clinical Medical Research Award for his role in the discovery of the cure for chronic hepatitis C. The Lasker Awards rank among the world's most celebrated scientific honors for biomedical research; in fact, 87 past Lasker awardees have gone on to receive the Nobel Prize.
Dr. Sofia received the 2016 Lasker-DeBakey Award with Charles Rice, PhD, of Rockefeller University and Ralf Bartenschlager, PhD, of Heidelberg University, who were recognized for their work in developing systems essential to hepatitis C research. Dr. Sofia used these systems in developing his drug, sofosbuvir (Sovaldi®), while at Pharmasset, which was acquired by Gilead. His drug is now the backbone of Harvoni®, a 12 week course of treatment that cures almost 100% of HCV patients.
Today, Dr. Sofia has turned his attention to the unmet need of hepatitis B through his work as co-founder and chief scientific officer of Arbutus Biopharma, a company focused on HBV drug discovery. He also serves as a resident adjunct professor of the Baruch S. Blumberg Institute of the Hepatitis B Foundation. "Hepatitis B is difficult, but we and the Blumberg Institute have brought together some of the best scientists in the world to achieve this goal. We have put the hepatitis B virus in our cross hairs, and we won't let it get away," he said.


A parent could give their child all the produce in the garden and they may still eat junk when they're away from home. For teenagers, access to unhealthy food, busier social schedules and peer pressure can all make eating healthy a challenge.
By teaching teens the value of good nutrition, you can increase the odds of them reaching for an apple instead of a candy bar when they're out. Here are a few practices you can start today to ensure your teens maintain healthy eating habits anywhere, anytime.
The more at-home family meals, the better a teen's health. According to an American Academy of Pediatrics review article, children and teens who often share meals with family are more likely to eat healthier foods and maintain a healthy weight. So try serving healthy family dinners at least three times a week.
When life gets hectic, shared breakfasts and weekend lunches offer the same benefits. Family togetherness at mealtime instills values in your child around healthy eating they'll carry with them wherever they go.
2. Teach them to make smart fast-food choices.
When your teen goes out with his or her friends, they want to fit in. When the gang ends up at a fast food joint, make sure your teen knows to choose what's best for his or her body.
For example, choosing a grilled chicken sandwich instead of a bacon cheeseburger, or a small order of fries instead of the super-size are both steps in the right direction.
Also, encourage your kids to drink an adequate amount of water. These days, it's cool to carry a water bottle somake sure kids use it when they're eating out.
3. Give them options at school.
As kids enter high school, they can eat from the vending machine instead of the school cafeteria if they want to. In some cases, the school cafeteria isn't much better, with sandwiches often containing processed cheese and mystery meat, hot dogs and even fast food.
If you purchase cafeteria meals for your child, stress the importance of healthy choices whenever possible. For example, encourage them to choose salads, fruits and vegetables and lean protein over pizza and hot dogs.
It's important for you as a parent to also study the weekly menu. If the school serves McDonald's or mystery cheesesteak one day, arm your child with a brown bag lunch and/or snacks. Again, it's about making smart choices in less-than-ideal situations.
4. Send them to school with a healthy lunch and/or snacks.
In some environments, it's not cool to bring your lunch. And an insulated lunchbox? That's often a big no, too.
Even if your teen complains, encourage your child to take some healthy food to school. If you can get away with it, pack a lunchbox. Possible ingredients include a sandwich on whole grain bread, yogurt, apples, baby carrots and dip and string cheese.
If the lunchbox is a no-go, try nonperishable items such as a PB&J sandwich, whole grain pretzels, almonds, an apple or even a well-balanced protein bar. If your teen has a few healthy snacks on hand, he or she isless likely to raid the vending machine.
5. Get them involved in meals.
When you recruit your kids to help grocery shop, cook and meal prep, they're more likely to think about healthy options. Let them help plant a garden or prepare dinner. As they get older, encouragethem pack their own lunch. You might be surprised by the good choices they make.
6. Explain the need for "high octane" fuel.
Many middle school and high school students participate in one or more sports. Among other benefits, sports programs provide a great opportunity for teens to learn about the benefits of eating quality food.
It only takes a bout of nausea or an upset stomach or two for a teenager to learn they feel better competing after a protein shake than a fatty fast-food meal. With good gas in the tank, they'll have more energy at practice and finish the game strong.
On average, U.S. youth consume 143 calories per day from sugar-sweetened beverages such as soda, according to the Centers for Disease Control and Prevention.
Help reduce your kids' sugar consumption by keeping soda and fruit juice out of the house. Encourage your kids to drink plain water, milk, and sports drinks when appropriate.
If your teen thinks water is boring, jazz it up with cucumber, lemon, lime, melon or just a splash of fruit juice. Your teen may still drink a soda at school, but you'll help reduce the overall sugar load.
As parents, we can't control everything our growing child eats. But by establishing a healthy foundation, we can give them the tools to make healthy choices now and well into adulthood.


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text:
Q: R: using customised function in dplyr Sample data:
      library(tidyverse)
      set.seed(123)

      dat <- tibble(
        year = rep(1980:2015, each = 100),
        day = rep(200:299, times = 36),
        rain = sample(0:17, size = 100*36,replace = T),
        PETc =  sample(rnorm(100*36)),
        ini.t = rep(10:45, each = 100 ))

I have a function that operates on a DataFrame
   my.func <- function(df, initial, thres, upper.limit){

        df$paw <- rep(NA, nrow(df))
        df$aetc <- rep(NA, nrow(df))
        df$sw <- rep(NA, nrow(df))

        for(n in 1:nrow(df)){
          df$paw[n] <- df$rain[n] + initial
          df$aetc[n] <- ifelse(df$paw[n] >= thres, df$PETc[n], (df$paw[n]/thres) * df$PETc[n])
          df$aetc[n] <- ifelse(df$aetc[n] > df$paw[n], df$paw[n], df$aetc[n])
          df$sw[n] <- initial + df$rain[n] - df$aetc[n]
          df$sw[n] <- ifelse(df$sw[n] > upper.limit,upper.limit,ifelse(df$sw[n] < 0, 0,df$sw[n]))
          initial <- df$sw[n]
}
  return(df)
}

thres <- 110
upper.limit <- 200
Applying the above function for a single year:
        dat.1980 <- dat[dat$year == 1980,]

        my.func(dat.1980, initial = dat.1980$ini.t[1], thres, upper.limit)

How do I apply this function to each year. I thought of using dplyr
              dat %>% group_by(year)%>% run my function on each year.

Also since there are 35 years, there will be 35 dataframes returned. How do I return the bind these data frame row wise?

A: You were on the right track. do lets you perform functions by group.
dat %>%
   group_by(year) %>%
   do(my.func(., initial = head(.$ini.t, 1), thres, upper.limit))

# Groups: year [36]
    # year   day  rain    PETc ini.t   paw    aetc    sw
   # <int> <int> <int>   <dbl> <int> <dbl>   <dbl> <dbl>
 # 1  1980   200     5  0.968     10  15.0  0.132   14.9
 # 2  1980   201    14  0.413     10  28.9  0.108   28.8
 # 3  1980   202     7 -0.912     10  35.8 -0.296   36.1
 # 4  1980   203    15 -0.337     10  51.1 -0.156   51.2
 # 5  1980   204    16  0.412     10  67.2  0.252   67.0
 # 6  1980   205     0 -0.923     10  67.0 -0.562   67.5
 # 7  1980   206     9  1.17      10  76.5  0.813   75.7
 # 8  1980   207    16  0.0542    10  91.7  0.0452  91.7
 # 9  1980   208     9 -0.293     10 101   -0.268  101
# 10  1980   209     8  0.0788    10 109    0.0781 109
# ... with 3,590 more rows

purrr::map functions are the du jour method but I think in this case it's a stylistic choice

A: We can split by 'year' and then use map to apply the my.func to each of the split datasets in the list
library(purrr)
dat %>%
    split(.$year) %>%
    map_df(~my.func(.x, initial = .x$ini.t[1], thres, upper.limit))

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text:
All Guests
G - I
S - U
V - X
A Boogie Wit Da Hoodie
A Great Big World ft. Futuristic
A Performance From Girl From The North Country
A Performance from Ain't Too Proud
A Performance from Mean Girls
A Performance from Oklahoma!
A Performance from SIX
A Performance from Summer: The Donna Summer Musical
A Performance from The Band's Visit
A Performance from Wicked
A Tribute to Sharon Jones
A$AP Ferg
A$AP Mob
Aaron Frazer
Abbi Jacobson
Abbi Jacobson & Ilana Glazer
Adam Horovitz
Adam Sandler and Chris Rock
Adam Sandler and Dustin Hoffman
The Chainsmokers & 5SOS
The Chainsmokers are a Grammy-nominated EDM DJ duo consisting of Andrew Taggart and Alex Pall. The Chainsmokers are best known for their No. 1 Billboard Hot 100 hit, Closer. 5 Seconds of Summer is an Australian pop-rock band whose members include Luke Hemmings, Calum Hood, Michael Clifford and Ashton Irwin. Their latest album, Youngblood, debuted at No. 1 on the Billboard 200 chart. The Chainsmokers and 5 Seconds of Summer released the song Who Do You Love? in February.
Clips (1)
Musical Beers with The Chainsmokers and 5 Seconds of Summer

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The plan will include innovative planning solutions throughout the MGRA, to accommodate all that want to visit and experience the Mendenhall Glacier and its surrounding landscapes; while balancing the needs of the visitors with the directive for resource protection. The project will be developed within an inclusive process that allows public input and review of the Plan by residents, stakeholders and visitors. The project is expected to take two years to guide future facility developments within the MRGA.
The project is located in Juneau, Alaska and within the Juneau Ranger District of the Tongass National Forest and is under the management of the USDA Forest Service. Corvus Design, Inc., an Alaskan based landscape architectural and planning firm, was selected by the USFS as the contractor for this project.


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Oklahoma City Fans Need to Check Their History Before They Try to Check Kevin Durant
Lawrence Ware
Kevin Durant of the Oklahoma City Thunder walks off the court after being defeated 96-88 by the Golden State Warriors in Game 7 of the Western Conference finals during the 2016 NBA playoffs May 30, 2016, in Oakland, Calif.
Robert Reiners/Getty Images
It's a thin line between love and hate. If you don't believe me, ask Kevin Durant.
On the morning of July 4, KD declared his independence from the Oklahoma City Thunder. Explaining his decision in the Players Tribune, Durant said:
The primary mandate I had for myself in making this decision was to have it based on the potential for my growth as a player—as that has always steered me in the right direction. But I am also at a point in my life where it is of equal importance to find an opportunity that encourages my evolution as a man: moving out of my comfort zone to a new city and community which offers the greatest potential for my contribution and personal growth. With this in mind, I have decided that I am going to join the Golden State Warriors.
Durant signed a two-year, $54 million deal with a player option in the second year.
I live in Oklahoma City, and the impact of this decision cannot be overstated. Durant was treated like royalty prior to announcing that he was leaving. This is no small feat for a man who attended the hated University of Texas and unapologetically bragged about that fact. His restaurant, KD's, became a destination for folks who wanted high-end soul food. On any given day, thousands of black and white kids in the city wore his shoes or jersey. He was one of us. Now he is gone. The response was swift and vicious.
Fans burned his jersey.
Barbers clowned his hair.
He was called a coward.
They even did this:
I understand the outrage. I know where it is coming from—but I deeply disagree.
We have a complicated understanding of sports and race in this country. If you're a black athlete, white folks will cheer for you, they will attend your games, they will even buy your jersey—just make sure you display endless amounts of meekness and gratitude. They want entertainment, but they don't want the help acting too uppity.
Durant decided to veer away from the path a humble, "just happy to play" athlete would follow. He decided to exercise agency, and this angered many. Words like "loyalty" and "faithfulness" were thrown around in the wake of his decision. Yet the Chicago Bulls with Derrick Rose and the Oklahoma City Thunder with Serge Ibaka show the level of loyalty among the owners and general managers. And the way fans turned on LeBron James when he left Cleveland, and now Durant as he leaves OKC, shows us just how loyal the fans are to the players. Everywhere else in life, one is permitted to change employment as one sees fit, but not athletes. They are expected to be loyal to those who are not loyal to them.
Listen, Oklahoma is one of the most conservative states in the nation. We have the highest number of fatal police shootings in the nation. The Legislature recently pushed to pursue the impeachment of President Barack Obama. In the wake of the shootings in Charleston, S.C., protesters lined the route of the presidential motorcade waving the Confederate flag.
Just last year, members of Sigma Alpha Epsilon at the University of Oklahoma made national headlines when their racist chants were made public. Put bluntly, Oklahoma is no place for a young, male, black millionaire. His may be a basketball decision—but Oklahomans did themselves no favors acting a fool in the year leading up to his decision.
Young, socially mobile black folks have been leaving Oklahoma for years. Many feel suffocated by Oklahoma's oppressive, white supremacist culture. Young black men are treated like gods if they are athletically gifted but are largely vilified in almost every other way if they are not. Oklahoma ranks 48th in the nation in education, and due, in part, to Gov. Mary Fallin's idiotic decision to refuse money from the federal government, the state now faces an unprecedented budgetary disaster. Durant's leaving is among the least of the state's problems—but they're mad about Durant and cannot believe he wouldn't want to stay.
NBA players are people, too. They have hopes, desires and fears like the rest of us. Kevin Durant is too thoughtful not to have felt the oppressive nature of this state. I don't fault him for leaving—I love that a young black man is courageous enough to step outside his comfort zone.
In light of the fact that the Golden State Warriors will have an all-time great lineup in the 2016-2017 season, I propose a new rule: No playing with the Warriors on "NBA 2K17." If you do, you're a buster. It'd be like playing with Bo Jackson in "Tecmo Super Bowl"—and doing that is just a sucker move.
Lawrence Ware is a progressive writer in a conservative state. A frequent contributor to Counterpunch and Dissent magazine, he is also a contributing editor of NewBlackMan (in Exile) and the Democratic Left. He has been featured in the New York Times and discussed race and politics on HuffPost Live, NPR and Public Radio International. Ware's book on the life and thought of C.L.R. James will be published by Verso Books in the fall of 2017. Follow him on Twitter.
World's Moistest Jheri Curl
I've been to Oklahoma a few times (Tulsa, Norman, Stillwater & OKC) and I do not know how black folks can choose to live there.


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Press Release: Bach Week 'Bachanalia' benefit October 9 will match music and wine from France, Germany, Italy, and Spain
Expert pairings of music of the Baroque era and beyond with wine and hearty hors d'oeuvres from France, Germany, Italy, and Spain will take center stage at the Bach Week Festival's "Bachtoberfest Bachanalia" fundraiser at 5:30 p.m. on Sunday, October 9, 2016, at the Music Institute of Chicago's Nichols Concert Hall, 1490 Chicago Ave., Evanston.
"The music of J. S. Bach and others will be matched with specially selected bottles of the beverage beloved by Bacchus, Roman god of wine," says Richard Webster, Bach Week's longtime music director and emcee for the fundraiser. "It'll be a high-spirited event."
Chicago wine expert Mike Baker, an Advanced Sommelier in the Court of Master Sommeliers and lead buyer for retailer Vin Chicago, will select regional wines that guests can consume with hors d'oeuvres before hearing music from the corresponding countries.
The program will unfold in segments devoted to each nationality. The musicians will briefly discuss the music and Baker will talk about the wine, followed by a performance.
Harpsichord and brass
Chicago keyboard artists Jason Moy and Andrew Rosenblum will perform works for two harpsichords, including Francois Couperin's Allemande à deux clavecins from his Pièces de clavecin Livre II, 9e ordre; J. S. Bach's Concerto in C Major for Two Harpsichords, BWV 1061; and Venice-born, Spanish-based Classical composer Luigi Boccherini's Fandango, arranged from his Guitar Quintet in D Major, G. 448.
The Axiom Brass quintet will perform Italian Baroque composer Giovanni Gabrieli's Canzona per Sonare No. 3 and modern French composer Patrice Caratini's "Passages," from 1996.
Moy is principal keyboardist with the Bach Week Festival Orchestra and a frequent guest artist with Music of the Baroque, Newberry Consort, Baroque Band, and other ensembles. He has performed at the Boston Early Music Festival and York Early Music Festival in the United Kingdom. He is a member of the period instrument ensemble Trio Speranza and also serves on the faculty of the DePaul University School of Music, where he teaches harpsichord and directs the Baroque Ensemble.
Rosenblum has performed as harpsichord soloist with Yo-Yo Ma and the Civic Orchestra of Chicago. He was pianist for the Lyric Opera of Chicago's "Opera in the Neighborhoods" production of "Second Nature" by Matthew Aucoin. He is on the collaborative piano faculty of the Heifetz International Music Institute and works as a pianist for vocal and instrumental studios at DePaul University. Rosenblum served as a staff pianist at the Cleveland Institute of Music, where he received his master's degree in collaborative piano and harpsichord.
Chicago-based Axiom Brass quintet won the Passau International Competition for Brass Instruments (2012), the Chamber Music Yellow Springs Competition (2012), the International Brass Chamber Music Competition (2008), and the Fischoff Educator Award (2010). Axiom Brass is an ensemble-in-residence at the Boston University Tanglewood Institute and Rush Hour Concerts' "Back of the Yards" program in Chicago.
Axiom Brass
Tickets for the "Bachtoberfest Bachanalia" benefit, which will also offer a silent auction, are $50 per person and are available online at bachweek.org. For additional information, phone the festival's office at 847-269-9050.
Event planning committee members include Evanston residents Michael Coleman, Melissa Trier Kirk, Judith Kulb, Naida Lodgaard, Mary Mumbrue, and Dorothy Scott.
All proceeds will support the spring 2017 Bach Week Festival, which will be its 44th annual installment.
Bach Week Festival concerts will take place April 28 and May 5 at Nichols Concert Hall in Evanston, and May 7 at Anderson Chapel at North Park University, Chicago. The festival is a collaboration between Bach Week and North Park's School of Music.
Marathon run for Bach Week
On the morning of the benefit, Bach Week's Webster will run in the Chicago Marathon as a costumed character, Cash Cow, to raise funds for the annual spring music festival. Webster has led Bach Week since 1975 and performed in and helped organize the 1974 inaugural festival in Evanston. He is currently director of music and organist at Boston's historic Trinity Church on Copley Square.
Bach Week Festival announces cast update for April 22 concert in Evanston
Tenor Klaus Georg to replace Hoss Brock
as soloist in J. S. Bach cantatas
Tenor Klaus Georg has appeared as soloist with the Chicago Symphony
Orchestra and Music of the Baroque in major works by J.S. Bach.
The Bach Week Festival today announced a cast change for the 43rd annual festival's opening concert at 7:30 p.m. on Friday, April 22, at Nichols Concert Hall in Evanston. Tenor Klaus Georg, making his Bach Week debut, will join the roster of soloists for J. S. Bach's Cantata BWV 66 and Cantata BWV 106, replacing Hoss Brock, who has withdrawn from the concert.
"We regret to announce that Hoss Brock, who has sung marvelously with us in the past, will be unable to participate in the concert because of scheduling conflicts related to his work with the Lyric Opera of Chicago," said Richard Webster, Bach Week Festival music director. "At the same time, we're looking forward to welcoming Klaus Georg to the Bach Week family.
"He will be singing a short but wonderful aria in Cantata 106 and two duets with mezzo-soprano Nina Heebink in Cantata 66," Webster said.
Also performing in the cantatas are David Govertson, bass; guest choir Bella Voce, making its Bach Week debut; and the Bach Week Festival Chorus and Orchestra.
Born in Bonn, Germany, Georg (pronounced GAY-org) is fluent in German and Italian.
Georg has appeared as soloist with the Chicago Symphony Orchestra and Music of the Baroque as Servus in J.S. Bach's St. John Passion and as soloist with Music of the Baroque in Handel's Israel in Egypt and Dixit Dominus and Monteverdi's Mentre vaga angioletta. He recently performed Bach's Cantata 147 with the Rockford Symphony Orchestra.
He has sung the Evangelist part in Bach's St. Matthew Passion under Don H. Horisberger at The Church of the Holy Spirit in Lake Forest, Ill., and in Bach's St. John Passion with the Ars Voce ensemble under Mark Wells in Battle Creek, Mich.
Georg is a member of the Chicago Symphony Orchestra, Music of the Baroque, and Grant Park choruses.
He holds a doctor of musical arts degree in voice performance from Northwestern University and is chorus director at Beth Emet Synagogue in Evanston.
Bach Week Festival concert tickets are available at www.bachweek.org or by calling 800-838-3006.
Bach Week is one of the Midwest's premiere Baroque music festivals. The event enlists musicians from the Chicago Symphony Orchestra, Lyric Opera of Chicago Orchestra, and other top-tier ensembles on the same stage, while featuring some of the Chicago area's finest instrumental and vocal soloists and distinguished guest artists from out of town.
Bach Week Festival opens April 22
A scene from the 2015 Bach Week Festival's opening concert.
Photo copyright 2015 by Elliot Mandel.
Guest choir Bella Voce to perform in two cantatas
Well-known works will include 'The Musical Offering,'
'Art of Fugue,' and selections from 'The Well-Tempered Clavier'
WFMT radio's Carl Grapentine to present pre-concert talks in Evanston
The 43nd annual edition of the Chicago area's Bach Week Festival will welcome first-time guest choir Bella Voce, an acclaimed Chicago vocal ensemble, when the spring festival celebrating the rich variety of J.S. Bach's music opens April 22 at Nichols Concert Hall in Evanston.
Festival concerts will also take place on April 24 at Nichols Hall and May 6 at Anderson Chapel at North Park University on Chicago's North Side. The festival is a collaboration between Bach Week and North Park's School of Music.
An intimate, late-evening Candlelight Concert in Evanston on April 22 will offer music for recorder and viola da gamba.
Bach Week music director and conductor Richard Webster says concertgoers can expect some festival firsts, including Bach's Cantata BWV 66 and a piano performance of selections from Bach's "The Well-Tempered Clavier," a work heard only once before at the festival, in the 1990s, on harpsichord. In fact, this will be just the second solo piano performance in Bach Week history.
"This year's typically varied program will have variations in abundance," Webster adds, pointing to a pair of well-known Bach works, "The Musical Offering" and the "Art of Fugue," each comprising multiple compositions based on a single melodic idea.
Webster, who performed in and helped organize Evanston's inaugural Bach Week Festival in 1974, has been music director since 1975.
Evanston Concerts April 22 & 24
Bella Voce makes its Bach Week debut
on April 22
The festival gets underway at 7:30 p.m. on Friday, April 22, at Nichols Concert Hall, 1490 Chicago Ave.,Evanston. The program, conducted by Webster, will include Bach's Concerto in A Minor, BWV 1041, forviolin and orchestra, featuring violinist Desirée Ruhstrat of the Lincoln Trio. Guest choir Bella Voce will join the Bach Week Festival Chorus, Orchestra, and guest soloists for Bach's cantatas "Gottes Zeit ist dieallerbeste Zeit" (God's time is the best of times), BWV 106; and "Erfreut euch, ihr Herzen" (Rejoice, you hearts), BWV 66. Soloists will be Nina Heebink, mezzo-soprano; Klaus Georg, tenor, making his Bach Week debut; and David Govertsen, bass.
WFMT radio's morning host Carl Grapentine will present a pre-concert talk at 6:30 p.m.
At 10 p.m., following the season-opener concert, recorder player Lisette Kielson and violist da gamba Phillip Serna from the group L'Ensemble Portique will perform a Candlelight Concert titled "Canons, Imitation, and Flights of Fancy" in the Nichols Hall lobby. The viola da gamba is a cello-sized Baroque string instrument. Guests can partake of complimentary champagne and fine chocolates.
The program will encompass works from the late Middle Ages, Renaissance, Baroque, and 20th century. The earliest composer, known today by a single name, Piero, was active in the mid-1300s. Others represented on the program are 16th-century Renaissance figures Pierre Certon, Thomas Morley, and Georg Forster; and Baroque composers George Frideric Handel and Marin Marais; and contemporary composers Frederic Palmer and Laurie G. Alberts.
Pianist Matthew Hagle will play works
by Bach and Busoni.
At 7:30 p.m. on Sunday, April 24, at Nichols Hall, piano will take center stage when Matthew Hagle performs Bach's Preludes and Fugues in C Minor and A-flat Major from "Das Wohltemperierte Klavier" (The Well-Tempered Clavier), Book II. Hagel will also give the Bach Week premiere of turn-of-the-century Italian composer Ferruccio Busoni's piano edition of Bach's Chaconne in D Minor, BWV 1004.
The Sunday concert will see Webster conducting Bach's cantata "Tritt auf die Glaubensbahn" (Step upon the path of faith), BWV 152, with the Bach Week Festival Orchestra, soprano Chelsea Morris, and bass-baritone David Govertsen; and Bach's "Das musikalische Opfer" (The Musical Offering), BWV 1079, consisting of 13 pieces, including a trio sonata featuring flute, all based on a musical theme given to Bach by the King of Prussia.
WFMT's Grapentine will give a pre-concert talk at 6:30 p.m.
Chicago Concert May 6
The festival will head to Chicago on Friday, May 6, for a 7:30 p.m. season-finale concert at North Park University's Anderson Chapel, 5149 N. Spaulding Ave.
The program will offer Bach's "Die Kunst der Fuge" (The Art of Fugue), BWV 1080, in a surround-sound experience with instrumentalists placed in different locations around the hall.
Julia Davids conducts the North Park
University Chamber Singers
Soprano Rosalind Lee, tenor William Watson, and bass Will Liverman will join the Bach Week Festival Chorus and Orchestra and North Park University Chamber Singers for the cantata "Ich hatte viel Bekümmernis" (I had much trouble), BWV 21, conducted by Julia Davids, associate professor of music and director of choral activities at North Park University School of Music.
Single tickets for each of the festival's three main concerts are $30 for adults, $20 for seniors, and $10 for students with ID. All tickets for the April 22 Candlelight Concert are $20. Festival subscriptions for the three main concerts are $80 for adults, $50 for seniors, and $20 for students. Tickets are available at bachweek.org or by calling 800-838-3006.
The 2016 Bach Week Festival is partially supported by the Richard H. Driehaus and Elizabeth F. Cheney foundations. The debut collaboration with Bella Voce is sponsored by Advent Press.
Posted by Nat Silverman at 9:34 AM No comments:
WFMT radio's Carl Grapentine reflects on Bach Week: "I love it!"
WFMT radio's popular morning host Carl Grapentine is known as a J. S. Bach super-fan. Grapentine, who will give pre-concert talks at Bach Week on April 22 and 24, reflected on the festival and the composer it celebrates in a brief email interview today. Below is an edited transcript.
Q: Unlike in 1974, when Bach Week started, the Chicago area has many more offerings in early and Baroque music. Why is Bach Week still essential?
A: As important as the music is, I think what makes it extra special is the sense of occasion. A whole gathering of people who love J.S. Bach! It's like a pilgrimage each spring: heading to Evanston with like-minded souls--and reveling in Bach. I love it!
Q: Can you talk about your long relationship with Bach's music and why your enthusiasm never wanes?
A: The older I get—and I'm getting pretty old!—the more I love Bach. He speaks to me in a more complete way than any other composer. Bach's music appeals to me because it's beautiful, of course. But it also appeals to me on a logical level—the sheer genius of the construction. And Bach's music appeals to me on a spiritual level. I think those four-line German/Lutheran/Bach chorales are hard-wired in my soul. They were used in some of his most complex works as "anchors"—points of familiarity for the congregation. And they have that effect on me to this day.
Q: What excites you about this year's Bach Week programs?
A: There are several cantatas in all of the concerts. The 200 religious cantatas of Bach contain such musical and spiritual riches! Beautiful arias and duets for the soloists. The exciting opening choruses and those sturdy chorales. They're the best.The very first work on the first concert, Cantata 106, is one of my favorites. I'm really looking forward to hearing the Bach Festival Chorus plus Bella Voce! Great soloists, too. Then, to hear violinist Desirée Ruhstrat and pianist Matthew Hagle as soloists—they are the cherries atop the sundae! I can't wait for the festival to start—except for the fact that my talks aren't finished yet!
Press Release: Bach Week 'Bachanalia' benefit Octo...
Bach Week Festival announces cast update for April...
WFMT radio's Carl Grapentine reflects on Bach Week...


The participants of the study tour were selected from among those participating in capacity building trainings for CSOs, LGBTI organizations, activists and initiative groups conducted by PINK Armenia and Society Without Violence.
During the three-day tour, which was held within the framework of the EU-funded initiative Solidarity Network for LGBTI in Armenia and Georgia, the Armenian stakeholders met with the implementing partners of the project in Georgia, the Women's Initiatives Supporting Group (WISG) and the Human Rights Education and Monitoring Center (EMC), who shared their experiences working in the field, including work on hate crime monitoring, labor rights, drug policy, ethnic minority rights, LGBTI rights, academic policy paper work, working directly with and supporting the community, LBT women's empowerment, lobbying, advocacy, community mobilization, research work and publications, shadow reporting, legal assistance and strategic litigation.
The current situation in terms of LGBT rights in the country was also discussed, including the recent initiative on constitutional amendments to introduce a gender-specific definition of marriage in Georgia, the politicization of LGBT issues, especially in the pre-election period.
The participants of the tour also took part in a joint experience-sharing session, where they discussed cross-cutting issues and drew parallels between similar situations in the two countries. Topics covered included major achievements related to LGBTI rights in each country over the last 10-15 years and current priority challenges, the level of LGBTI community engagement in activism, and the most frequently applied strategies to influence the media and public opinion.
Within the frameworks of the tour, the screening of the documentary film Listen to Me: Untold Stories Beyond Hatred produced by PINK Armenia with financial support of the US Embassy in Yerevan was also held. Opening remarks were delivered by the USAID Program and Project Support Office Director and LGBT Liaison, Mr. Mark Mitchell. The screening was followed by a thematic discussion led by Anne Nemsitsveridze-Daniels, EU Project Coordinator, together with Armen Aghajanov, Project Coordinator with PINK and one of the main characters of the film, and Lika Jalagania, Project Coordinator with EMC.
The tour also included a comprehensive session with representatives of the Public Defender's Office of Georgia, including First Deputy Public Defender, Natia Katsitadze, who introduced the mandate of the Public Defender, the history of the institution, the tenure of the current Public Defender, and the various functions of the Office. Ketevan Shubashvili, Head of the Department of Equality, expounded on the Georgian anti-discrimination legislation and hate crimes, reviewed several case studies and referred to the proposed amendments to the anti-discrimination law. Nika Kvaratskhelia, Head of the Department of Prevention and Monitoring, spoke about the mandate of the National Preventive Mechanism of Georgia under the PDO, including regular monitoring visits to closed institutions. Ann Lobzhanidze from the Gender Equality Department of the PDO delivered a presentation about the history and mandate of the Gender Equality Department, key achievements (National Human Rights Strategy and Action Plan, Internal Response Mechanisms against sexual harassment in the workplace, and trainings on Gender Equality issues for PDO staff), and principal areas of work for the Department, including, for instance, gender sensitive reporting trainings, as well as special reports, UPR/CEDAW recommendations and contributions. Ultimately, Tatuli Todua of the Department of the Protection of Civil, Political, Economic, Social and Cultural Rights spoke about progressive legislation in Georgia in terms of the protection of freedom of manifestation and assembly, referring to the infamous large-scale violence that erupted as a result of an attempt to celebrate IDAHOT in 2013.
As a concluding segment of the capacity-building tour, the participants met with representatives of LGBT Georgia, a local community-based organization, and the Center for Information and Counseling on Reproductive Health – Tanadgoma. They were introduced to the history of the activist and LGBT movement in Georgia, the recently initiated queer event series, HORŌŌM, organized in cooperation with the local venue Bassiani, which aims to establish a safe space outside of the NGO framework and promote community-building, Tanadgoma's work on sexual and reproductive human rights, HIV/AIDS and other STI prevention and management, as well as work with the MSM population and persons living with HIV, psychological counseling services, community mobilization and empowerment, and also in the regions of Georgia, outreach and educational activities, including awareness-raising to promote risk reduction, peer education trainings, distribution of materials and information on STI prevention and testing, and using social media platforms to conduct outreach work in the community. The Armenian partners also shared information on STI prevention and MSM in Armenia.
Before departing, the participants of the tour shared their thoughts and ideas about the visit. The participants will be able to apply the information gained during the visit, as well as the skills acquired as a result of the capacity building trainings in the follow-up small and micro grants components planned within the scope of the EU project.


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Gratitude for Bill Rauch and the Oregon Shakespeare Festival
This week on HowlRound, ten rising leaders from TCG's SPARK Leadership Program examine leadership, vision, diversity, inclusion, and equity, as well exciting trends and trend makers in our field. Find the full series here.
In June of 2008, just days after graduation, I was off to set up my new life in the beautiful Pacific Northwest. I didn't know it at the time, but I was about to embark on a transformational journey with a leader who would become a cherished mentor; a brilliant man of the theatre who would teach me many lessons. I still remember receiving that initial email from Bill Rauch, wondering if I would be interested in joining him and his new artistic team in Ashland for what would be an exciting time at the Oregon Shakespeare Festival. I was completely floored. He said, "I hope we'll rock the American theatre and I'd love for you to be a part of it." It was an opportunity too good to pass up. So off I went, entering the crucible of the unknown as I welcomed this new chapter with equal parts wonder and intimidation.
When I first interviewed for the associate producer position with Bill in Los Angeles, he and I bonded over the larger purposes of what storytelling could do. We both understood how theatre could be a catalyzing force to make a difference in the world. I also shared my belief that theatre could be a radical act of social engagement and bridge-building. With my own deep ties to a company birthed in a call for social justice (El Teatro Campesino) similar to the company he co-founded (Cornerstone Theater), I felt an instant connection to Bill.
I'm a firm believer in the best idea in the room wins. [A]s a director and artistic director I am the editor of other people's good ideas, and my job is to have good taste, and to be curious and interested in listening to everyone around me so I can hone in on the best ideas.
As Bill's associate producer, I was charged with leading a number of initiatives, including having a major hand in the artistic production of all eleven mainstage shows. It was glorious. But it was daunting too. I didn't sleep much during the first six months. The first year was a dizzying combination of highs and lows, and, to be honest, I made a lot of mistakes. But Bill was never fazed. I was able to "fail forward" because of his unwavering belief that I belonged at his table.
Bill was passionate about bringing this vision and values to Ashland and the Oregon Shakespeare Festival. We were indeed standing on the shoulders of giants while carving out a fertile new path for the organization. But change is hard and in some ways it was a painful time, too. We spent hours as an artistic staff working to articulate how Bill's values could guide our efforts and inspire us all. It wasn't long before the values of company, and its new ethos of inclusion and generosity, began to play an important role in my life as an artistic leader.
For a long time I thought to myself, "Why me?" Why had Bill taken a chance on me? My hope is that maybe he saw something in me I'm only now beginning to fully discover. Remember that crucible I mentioned? I came out renewed and I carry Bill's influence and mentorship with me every day.
It's been almost four years since I packed up my bags in Ashland and headed east for the Windy City. I remember my final stop was at a gas station right off Interstate 5. I filled up the tank of my Jeep Liberty and made one final post on Facebook as an Oregon resident. It said, cliché as it was: "It's not goodbye but see you later OSF." And, with the Siskiyou Mountains in the distance, off I went. But Bill Rauch and the Oregon Shakespeare Festival have never left me. Now, in a week dedicated to leadership on HowlRound, I want to express my gratitude for this chapter of my life and career.
Bill Rauch and members of the OSF artistic staff. Photo courtesy of Jacob Padrón.
At my current artistic home of The Public Theater, I still carry with me all the lessons, challenges, stories, and joys, encapsulated in the truly vivifying experience of my time with Bill Rauch and the Oregon Shakespeare Festival. I was able to speak with Bill on the phone recently and we reflected together about his time so far at OSF. We spoke about his vision, the mentors in his life, and how individual values guide the work we put on stage. Here's an excerpt of our conversation:
Jacob Padrón: Do you think your vision for what theatre can do in the world changes as you grow and evolve as a leader and artist?
Bill Rauch: I think my great love and faith in the theatre's ability to build community and to transform individual human hearts has been a constant in my life and has been unwavering. But the different ways to achieve community transformation, and different ways stories can land in audience members' hearts, the different ways by which you can capture the impact of the work— those have shifted for me a lot over the years. And they shift every day. We closed a play last night, Fingersmith, and I was reminded that my ability to understand what art can do continues to mature and deepen. But I think there's an absolute through line that remains unchanged.
JP: I imagine that your time with Cornerstone Theatre, the community-based company you co-founded in 1986, largely shaped your love and faith in theatre. How did your vision for Cornerstone, which feels very much rooted in a democratic impulse, influence the transformation that's happened at OSF?
BR: In many ways, Cornerstone and OSF could not be more different: financially there is a big difference, with Cornerstone being largely driven by contributed income and OSF being largely driven by earned income; Cornerstone was about performing for and with low-income communities, whereas OSF is performing for mainly a tourist audience base; and then, in terms of scale and operation, and the number of people working at both companies is quite different. So there are many dramatic differences, but the things that link both organizations are my values— certainly company, with artists and artisans being at the center of the work. The commitment to classic work and new work being in dialogue is something that both organizations share. Also, the ownership of the art. With Cornerstone we made the art with the community so there was an immediate investment. And with OSF, as you know, the audience has a tremendous sense of ownership of the organization and the work itself. For so many theatres around the country, their identity is largely shaped by the artists they are serving. They'll say, "we're an actors' theatre" or "we're a directors' theatre." At OSF, as our brilliant founder Angus Bowmer once said, "We're an audiences' theatre." Everything we do is in the service of our fiercely loyal audience.
JP: The OSF audience's deep sense of ownership points to the fact that OSF has always had a strong organizational culture. It's something to celebrate, but I think it also made change that much harder. We were really in the trenches together during the beginning of your tenure and I'm curious to know what advice you'd give yourself then, knowing what you know now?
BR: I was attracted to the job at Oregon Shakespeare Festival because I loved the legacy and everything the organization had been, and the history of innovation the company was founded on. The way the company continued to redefine and transform itself in stunning ways over the years despite really difficult circumstances was very inspiring. As a founder I was very moved by that, and to be entrusted to build on the history and legacy of another founder's vision really moved me. With that said, I think I spoke about change as an absolutely uncomplicated good. I don't think I realized that every time I used the word "change" it could be perceived as a dagger in the hearts of the people who had been with the company for decades. I think I was sloppy in my language in relation to how I talked about change—because in many ways all of the new things I wanted to do were building on all the work and all the innovation that had come before. I had deep respect for what had come before, I just didn't acknowledge that history well enough. As a result we experienced much more heartache and resistance from within. To be honest, I expected resistance from the audience and for the staff to be on board with the changes, but it was flipped. The audience went on the ride and it was the company that had a harder time.
JP: Something I've always admired about you is your commitment to opening doors to emerging artists and being a mentor to so many in the field. Where does that come from, and who are your mentors?
BR: Oh my goodness. I feel I have been mentored by so many people in my life who have been so generous to me. First of all, like many of us who fell in love with theatre at a young age, I had great drama teachers: A woman by the name of Jeanette Koelewyn who was my middle school drama teacher; Jack Shaw who was my high school drama teacher; and most especially, Joann Green Breuer, who ran the experimental theatre at Harvard and was a wonderful acting teacher. So many of my values are reflective of Joann's values. I could go on for hours reflecting on the influence Joann has had on my life. Jack Shaw came to see my production of All the Way on Broadway, and Joann comes to Ashland almost every year to see the work—so they're actively in my life. Another mentor that comes to mind immediately is Peter Sellers, an opera and theatre director. I worked as his assistant for a year at the very beginning of my career when he was working at the Kennedy Center. He was incredibly generous. On several occasions he let me rehearse with the actors on my own, which is very rare for an assistant to do. Here at OSF my predecessor, Libby Appel, was extremely good to me and really set me up for success, having me direct in all three theatre spaces and doing both classic and new work. Also, Paul Nicholson, who was the executive director when I took over in 2007. All of these people have just been so extraordinary and extremely generous to me over the years. I could go on and on, but those are the biggies.
JP: You talk about how generous these mentors were, and I think the value of generosity is one of your pillars of your vision for OSF. Connected to that is your deep belief in company and the power of repeated artistic relationships, as well as the importance of making room for everyone to be at the table. Can you talk more about that?
BR: I co-founded Cornerstone with Alison Carey—and boy, when I talk about people I've learned from, Alison Carey is a big one. She and I have worked together for 35 years, since my freshman year of college, and she's someone I just learn from again and again. When Alison and I started the company, most of the founding company members were our college friends, including my husband Christopher Liam Moore, who I've been with for 31 years, and there was a lot of built-in history. I think there has been a lot of blurring in my life of working with people I know personally and have history with. The danger in that is theatre can then be perceived as a closed club in terms of who people work with. So I try to strike a balance between the deep joy of working with old friends, with all the shorthand and shared trust and just the love of being with them in a creative process—because what we do is really hard—and pushing myself to work with new collaborators. Libby is a generation older than I am and the directors she was hiring were her age, her peers. In my early years here the directors I was hiring were my age, my peers, and I realized I had to look not just to my own generation but to the masters, the generation older than me, as well as the generation younger than me. So I'm now deliberately trying to find the right mix and strike a balance. On average, first time OSF directors direct five of the eleven shows. That has created a lot more stress in process; it's much harder on everyone, including those directors. It's also harder on the staff. But at the same time I think real artistic vibrancy comes from that—from a mixture of old relationships and first time collaborators.
JP: That reminds me of another value I'd love for you to talk about—about how the best idea in the room wins no matter where it comes from. That, too, takes real generosity as a leader.
BR: I'm a firm believer in the best idea in the room wins. I think as a director and artistic director I am the editor of other people's good ideas, and my job is to have good taste, and to be curious and interested in listening to everyone around me so I can hone in on the best ideas. You know, even if someone doesn't have a particular expertise in something, if they have a great idea it should win. There's no two ways about it. And when I think about where that value comes from, it's certainly from Cornerstone, where we were creating work together and it was about deep listening, always.
JP: I think the idea that everyone can have a voice is something that the field struggles with, and that many leaders struggle with. I wonder, why do you think it's so difficult, as leaders, to be generous?
BR: I think leadership is lonely and leadership is frightening, and just the nature of the nonprofit structure is hard, so there is going to be a lot of struggle. And I think that does make it difficult for leaders to be open and be generous. But I do think all art is rooted in love and if you're not leading from a place of love and generosity than you're not actually modeling in your process, and what we all need to model in the art.
JP: Yes! This makes think about something I cared a lot about during my time at OSF, which was how to make the entire staff feel more deeply connected to the work on stage. Because by doing so, the work could actually be richer. There continues to be such a firewall between the creative engines of our theatres (the artistic office) and the rest of the organization. I wonder if that needs to change. And often times the staff just wants to feel more connected to how decisions get made.
BR: I think that's true. And because the work in a nonprofit arts organization is so challenging and we're so often under-resourced relative to the vision of what we're trying to do, it makes sense that people get confused about how decisions get made. We try so hard to be transparent in our community and yet the company feels out of the loop or mystified by how the decisions are getting made. One small thing that has been really profound, that Cynthia Rider (executive director of OSF) and I have been doing, is sending weekly updates to the entire company—some weeks there are big things, some weeks there are small things. But this has made a huge positive impact on our culture.
JP: At OSF there is a big commitment to diversity and inclusion and I wonder what your thoughts are about the misconception in the field that there are not qualified leaders of color ready to take on executive leadership positions.
BR: That misconception is false and it needs to change soon. Period.
JP: One final question. What are you most proud of right now as an artistic leader?
BR: I think it's a really exciting moment for the American theatre. With Hamilton opening on Broadway and Fun Home winning the Tony, both of those items make me really happy in terms of future directions of the field. I'm proud of the success of American Revolutions here at OSF, in regard to looking at moments of change, and that six of the plays we've produced so far in the cycle have gone on to be produced by major arts organizations throughout the country. And the fact that there is a hunger to look at who we are as a nation and where we came from and where we might head also makes me so proud.
Snehal
In this series, ten rising leaders from TCG's SPARK Leadership Program examine leadership, vision, diversity, inclusion, and equity, as well exciting trends and trend makers in our field.
Patty Parks
I remember Bill when he started Cornerstone. He was just the same in 1986, he was thoughtful, kind and generous with everyone. What a treat to hear that he has not changed in his core values. Patty Parks
Bernardo Solano
Bill is one of the giants of contemporary American theatre. I'm hoping this conversation is just one of many more to come that analyze and celebrate his ethos, his humility, talent and vision. Thanks, Jacob and HowlRound.
Michael Rohd
as one of the many Bill has mentored and been generous with, i am happy to see his thoughts here in conversation with you, Jacob. Thanks, HR, for the interview amidst this strong series on leadership.


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Inside Digital (Eigenschreibung: inside digital) ist ein Online-Fachmagazin für technische Themen im deutschsprachigen Raum. Dessen Website inside-digital.de geht aus dem 2003 gegründeten Mobilfunk-Fachmagazin inside-handy.de hervor. Der Online-Verlag inside digital GmbH sitzt in Brühl bei Köln.

Angebot
Das Online-Fachmagazin bietet täglich neue Artikel zu verschiedenen Themen aus dem Technikbereich. Dabei behandelt die Redaktion unter anderem die Themen Smartphones, Tablets, Laptops, Gaming, Streaming, E-Mobilität, Wearables, Smart Home oder Breitband. Diese Themengebiete werden in den Kategorien News, Hintergrundartikeln, Ratgebern, Deals oder Testberichten aufgearbeitet.

Laut eigenen Angaben führt Inside Digital die größte Datenbank für Smartphones im deutschsprachigen Raum. Diese umfasst unzählige Smartphones und ihre Spezifikationen, sowie Testberichte und Kosten. Ein Teil dieser Datenbank sind außerdem diverse Online-Services für Nutzerinnen und Nutzer. Über einen Handy-Vergleich lassen sich die Eigenschaften verschiedener Smartphone-Modelle gegenüberstellen. Darüber hinaus bietet ein Tarifrechner für Handy-Tarife den Nutzerinnen und Nutzern Hilfe bei der Suche eines geeigneten Handy-Tarifs. Zusätzlich ist auf der Seite ein Tarifrechner für mobiles Internet zu finden.

Geschichte
Die erste Version von inside-handy.de wurde in Form einer Datenblatt-Sammlung für Handy-Spezifikationen ins Internet gestellt.  Am 7. August 2003 ging schließlich eine überarbeitete Version von inside handy online. Mit der Zeit bauten die beiden Gründer Jan Freynick und Sven Schulze das Online-Portal weiter aus und ergänzten es durch News aus der Technikwelt. Das erste Mal stellten Schulze und Freynick ihre Idee eines Online-Magazins bei der Cebit in Hannover vor. Die beiden Elektromärkte Mediamarkt und Saturn stellten die inside handy Datenbank anschließend für ihre Mitarbeiter im Intranet zur Verfügung. Als das Online-Magazin wuchs, konnten die beiden Gründer erste Redakteure einstellen. Darunter war Christian Koch, der später Chefredakteur und schließlich Geschäftsführer wurde – und heute noch ist.

2019 wurde das Magazin zu inside digital umbenannt, das Logo neu gestaltet und die redaktionellen Inhalte neu geplant. Diese wurden um die Themenschwerpunkte Entertainment, Zuhause und unterwegs erweitert. Die Themen Smartphones und Mobilfunk spielen jedoch weiterhin eine zentrale Rolle.

Reichweite
Im August 2020 erreichte die Website inside-digital.de laut der Analyseplattform SimilarWeb 5,25 Millionen Visits – eigenen Angaben zur Folge kam die Seite in demselben Monat auf 8,4 Millionen Visits. Im Dezember 2020 gab der Verlag hinter dem Online-Magazin eine Besucherzahl von 100 Millionen Visits für das gesamte Jahr bekannt.

Weblinks
 Website von Inside Digital

Einzelnachweise

Deutschsprachige Zeitschrift
Computerzeitschrift (Deutschland)
Online-Datenbank
Onlinemagazin


Nicolas de Marle was a French composer active during the 1540's through 1560's . According to a book of polyphonic Masses published by Du Chemin in 1568, Nicolas De Marle was choirmaster at the Cathedral of Noyon. A dozen chansons are ascribed to him in various publications of Du Chemin and of Pierre Attaingnant. His 12 chansons reveal his familiarity with both serious courtly huitains and the grivoise narratives. For a bibliographical description of De Marle's Mass settings, see Lesure and, "Bibliographie des éditions musicales publiées par Nicolas du Chemin," p. 338. One of these Masses was based on a chanson by Mithou (Thomas Champion), whose chansons were also published in Du Chemin's chansons nouvelles series. Frank Dobbins, "Marle, Nicolas de," New Grove 2, XV, 874.


Hellooooooo friends! It has been a hot minute since I've been on here, but I'm back. Promise. Life is somewhat in order and I have time to create content for all you amazing people! That being said, today is a great day to come back to the blogging world and share a spring look for National Women's History Month with Ann Taylor – more specifically International Women's Day! During National Women's History Month, Ann Taylor will launch a video campaign that pays tribute to the powerful women in the workplace and the women who fought for their right to wear pants. The video captures the story between women and pants dating back to 1940 – a great pair of pants is a wardrobe staple for us all, but they stand for so much more than that.
Crossover Sweater c/o // LOVE how this sweater can be taken from day to night so easily. The opening in the front can be pinned for something more conservative or left open to show a lace cami or more!
Floral Wide Leg Pants c/o // Who is ready for spring? ME!!! These pants are certainly getting me in the mood with this floral print!
Pointed Toe White Leather Mules // I'm loving the white shoe trend that is back in full swing! These are great for work or for everyday!
Cat Eye Sunglasses // One of the hottest trends right now are these cat eye sunglasses! Love these pair from Zara!
To highlight National Women's History Month with Ann Taylor, HERlead is a fellowship program that they are supporting and encouraging those to learn more and support. HERlead is program open to high school women to help nurture their leadership skills in the workplace and community. Ann Taylor has helped connect many of these young ladies with inspiring mentors. To learn more about the program, CLICK HERE.
A few weeks ago I was in Manchester, England visiting a few friends and was able to bring this pant look along! The versatility of this full Ann Taylor look is what has me smiling! I love that you could wear this to work and then to event / drinks / etc post work. Each piece has the flexibility to worn on it's own and styled through several seasons too!


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Not Ready for Primetime
Taran Killam: Trump Is a "Moron" Who "Didn't Get the Jokes" as S.N.L. Host
Laura Bradley
Melissa McCarthy Was Actually Live from L.A. on S.N.L. This Weekend
Watch Harry Styles Help Jimmy Fallon Kick off S.N.L. With a David Bowie Tribute
Joanna Robinson
A Frog, a Banjo, and an Indelible Message: Making "The Rainbow Connection"
Donald Liebenson
S.N.L.: How Conan O'Brien Saved Melissa McCarthy's Sean Spicer Easter Skit
A small but crucial detail could have been amiss last Saturday night.
Left, courtesy of TBS; Right, by Chris Haston/NBC/Getty Images.
There are two reasons that Eugene Lee, Saturday Night Live's longtime production designer, could not personally oversee preparations for Melissa McCarthy's hilarious return to the sketch show this past weekend. First of all, she was filming all the way across the country in Los Angeles. And secondly?
"I was kind of distracted, because I was painting the hallway black," the 77-year-old production guru told Vanity Fair in a phone interview.
The makeover, done to accent host Jimmy Fallon's musical David Bowie tribute, was Lorne Michaels's idea, Lee explained. "He said to me, 'I don't like the hallway; I'd like it to be different.' I said to the producer, 'I want to paint the hallway black.' Anyone else, on any other show I do would say, 'Are you kidding?!' " But this is S.N.L., and so the hallways went dark.
It's exactly this kind of thinking that has helped the late-night institution stay relevant and fresh for more than 40 years—and it's also the thought process that leads the show to keep trying to one-up itself, as seen most recently with Melissa McCarthy's latest Sean Spicer impression. On Saturday's installment, "Spicer" traded in his ever-evolving mobile lectern for an Easter egg car, which she used to mow down a stationary model. Each of McCarthy's three in-character appearances on S.N.L. have included a podium gimmick—but as Lee notes, the show is consistently upping the ante.
For the first podium, the request was simple, Lee said: make an authentic-looking lectern that was light enough for McCarthy to lift. "We said, 'We'll do our best,' " Lee said with a chuckle. The result was made from balsa wood, with a foam core. "It was pretty good," Lee said. "She could pick it up and charge the audience." Then came the second request: "Can it be motorized?"
And then there was the third idea: " 'Could the podium be kind of like Wicked'—a show that I did—'could it kind of fly up over the audience? '"
So far, it appears the show hasn't gone that far—but hey, hope springs eternal.
Saturday's episode might not have been the first time the comedy behemoth has pulled off a remote segment, but it's still a relatively rare occurrence—one made much simpler by technology, Lee noted. "When we first started Saturday Night Live, [there was] no fax machine," Lee recalled. "No cell phones. It's amazing how things have changed in the years."
But still, the whole process couldn't go down without even just one tiny hiccup. As Lee recalled, he and his fellow designers discovered one little flaw as they examined the set for McCarthy's upcoming skit from afar: two American flags flanked the lectern, instead of an American flag and the presidential flag. And naturally, when Lee and his crew asked, it turned out that the studio did not have the correct flag on hand. Luckily, an unlikely red-headed hero saved the day.
"My set designer called around," Lee said. "Conan O'Brien had one. We borrowed it from him."
Exclusive Backstage Photos From 40 Years of Saturday Night Live
By Edie Baskin/Courtesy of S.N.L.
Portraits of Gilda Radner as Baba Wawa and John Belushi as Samurai Futaba, hand tinted by S.N.L.'s longtime photographer, Edie Baskin.


What is the most expensive car in the world? I guess whatever anyone is willing to pay for it. Admittedly, that's an amibiguous concept, I mean some guy sold Obama's 2005 Chrysler 300c on eBay for $100,000. Doesn't mean everyone's Chrysler is worth that much. And somehow I'm reminded of the car Homer designed for his brother in The Simpsons. But we'll ignore all that and instead focus on MSRPs and actual costs to buy from a dealer. Granted, not all of these cars are currently in production. But most of them were recently on the market, giving one a fair idea of price.
Now, I'm going to go out on a limb here and guess none of our readers actually own any of these ten cars. Hell, with this economy you might not be able to afford your current car. But a man can dream, and most men dream about owning a car with some flash. And let's face it, if you had the money and the opportunity, you will definitely spend a small fraction of your cash on a nice car. It's just that the super wealthy can own the flashiest supercars without much of a dent in their wallet. So with that in mind, here are ten of the most ridiculously expensive cars out there. Maybe one day you'll have one or two in your garage.
Dubbed the fastest production car in the world (although that title is debated), it's also the most expensive. It's named after French racing driver Pierre Veyron, who won the twenty four hours of Le Mans in 1939. Handcrafted in Molsheim, France by Bugatti, a Volkswagen subsidiary, the car is powered by an awesome 8.0-liter, sixteen-cylinder, quad-turbo engine that puts out 736-kilowatt (1,001 PS; 987 hp) and can reach 408.47 km/h (253.81 mph). Production started in 2005 and continues to this day, with about 300 Coupes and 150 Grand Sport Targas (450 units total) made so far.
Ferrari stopped producing the the Enzo in 2004, but until the Millechili is released, it's Ferrari's most expensive model. And the name Ferrari brings to mind Formula One racing, so we couldn't ignore it on this rundown. Named after the company's late founder, the car remains one of the most powerful production cars in the world. Fewer than 400 were made, and prospective owners had to apply to Ferrari for the privilege of buying one. It was built using Formula One technology, such as a carbon-fiber body, and also used technologies not allowed in F1, such as active aerodynamics and traction control. The Enzo's V12 engine is the first of a new generation for Ferrari and the car can accelerate to 60 mph (97 km/h) in 3.14 seconds with a top speed of around 368 kilometers per hour (227 mph).
Like the Enzo, another car long out of production, but it's a classic. Made from 1992–1998, 107 were produced in a variety of body styles. And it was the fastest production car ever built, at least until it was surpassed in 2005 by the Koenigsegg CCR (and then the Bugatti Veyron a few months later). It sports a 6.0 liter BMW engine that can reach 60 mph (97km/h) in 3.1 seconds and reportedly has achieved a top speed of 240.14 mph (386.5 km/h). The car incorporated many world firsts for a road car: a fully carbon fiber monocoque structure, fully active fan-assisted ground effect aerodynamics, and a central driving position with two offset rear passenger seats.
Back to realm of currently produced models is the Koenigsegg CCX. The Swedish car manufacturer makes this supercar, with the CCX an abbreviation for Competition Coupe X. The X (being the Roman numeral for ten) commemorates the 10th anniversary of the first CC vehicle. Koenigsegg spent a lot of development time to cast their own V8 that could drink US-grade, 91 octane fuel, yet still run at a high compression ratio. Despite all the regulatory changes, the CCX is still one of the world's fastest supercars. It can accelerate from 0–62 mph (100 km/h) in 3.2 seconds with a top speed of 259 mph (417 km/h).
The new Lamborghini Reventón is latest supercar for the super rich. Based on the Murciélago, the exterior of the Reventón is said to be inspired by the F-22 Raptor fighter jet and other fast airplanes. The official press release states that only 20 cars will be released to the public, eleven of which will be U.S. bound (further reports indicate the total number will eventually reach 100). The engine hood is made of glass laminate with open ventilation slits offering a glimpse at the large 6.5-liter V12 engine. The Reventón delivers 650 horsepower and 487 pound-feet of torque. It accelerates to 100 km/h (62 mph) in the same time as the Murciélago LP640 (3.4 seconds) and is capable of reaching a maximum speed of over 340 km/h (210 mph).
As Porsche cotinues in its quest to develop a "Bugatti Veyron killer", the Carrera GT remains the company's top released supercar. With its V10 engine providing more than 600 horsepower, and withan array of cutting edge technologies including a ceramic composite clutch and brakes beneath its carbon-reinforced body, the Porsche Carrera GT utilizes the undiluted qualities of a genuine race car in a production car. Reaching top speeds of up to 205 mph (330 km/h), the car can also accelerate from a standing start to 62 mph (100 km/h) in only 3.9 seconds. Production halted in 2006, with only 1,270 units produced making the car unique for any owner. To comprehend how much development goes into these vehicles, Porsche claims that over 75 technology patents have been filed as a result of the Carrera GT.
The Zonda C12 F debuted at the 2005 Geneva Motor Show as the latest version of the Pagani Zonda and was built as a tribute to five-time world champion Juan Manuel Fangio. With production proceeding at roughly 10 cars per year, the Zonda remains a rare vehicle, with only 95 built as of September 2008. It is one of the fastest supercars ever made, built using Pagani's extensive experience in carbon fiber construction. The C12 F model is the most extensive re-engineering of the Pagani car yet, though it shares much with its predecessors including the 7.3 L V12. Power is increased to 602 PS (594 hp/443 kW) with a special club sport model. The company promises a 3.5 second sprint to 62 mph (100 km/h), a top speed over 215 mph (346 km/h). The top speed can be further tweaked by adjusting the aerodynamic settings.
Lest we forget about American produced supercars, we present you the Saleen S7 Twin Turbo. If you are a true American patriot, you can be proud to show off this car. Hand-built in limited-productions, the high-performance automobile was jointly developed by Saleen and several others. The S7 debuted on August 19, 2000 at the Monterey Historic Races, and was replaced in 2005 by the S7 Twin Turbo. The Twin Turbo features a more powerful engine system featuring 750 horsepower (760 PS/559 kW) and the top speed to an estimated 250 mph (402 km/h), reaching 0-60 in 3.2 seconds.
Staying with the theme of American-built cars, the SSC Aero TT is the brainchild of Jerod Shelby and a supercar built by Shelby Super Cars in order to rival the Bugatti Veyron. Designed over a period of seven years, the styling includes the use of flip doors similar to the ones found on the Ferrari Enzo among others. The design uses carbon fiber and titanium extensively throughout the car, keeping the weight down and allowing top speeds of over 250 mph (400 km/h). On September 13, 2007 in West Richland, Washington the car reached 255.83 mph (411.707 km/h), and was subsequently verified by Guinness World Records as the world's fastest production car. If top speed isn't enough, it can go from 0-60 mph time of just 2.78 seconds.
The Leblanc Mirabeau, from Swiss manufacturer Wysstec GmbH and Leblanc cars, is the closest you'll ever get to a race car for the street. The fact that it is street legal is almost unbelievable. To reach that race car feeling the car interior is optimized for maximum speed and acceleration, and the exterior is extremely lightweight. It is constructed of Kevlar, carbon fiber, and assorted unobtanium. The engine outputs about 700 horsepower from a 4700cc supercharged engine, which comes from Koenigsegg's V8, the same engine found in the CCR. The Mirabeau has a top speed of 370 km/h (229.9 mph).


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Alibaba Group halts bitcoin sellers on Taobao mark...
Alibaba Group halts bitcoin sellers on Taobao marketplace
The ban follows stricter rules by China's financial regulators
Jeremy Kirk (IDG News Service) on 09 January, 2014 04:27
Alibaba Group said in the interest of "consumer protection" it will no longer allow the sale of bitcoins on its Taobao marketplace, the largest in China.
Vendors on Taobao, China's largest e-commerce marketplace, will no longer be able to sell bitcoins following a ban by owner Alibaba Group, following stricter rules the country imposed last month around the virtual currency.
The ban is "in the interest of consumer protection," according to an Alibaba Group spokeswoman.
Bitcoin's price surged in late November on interest from China, going from around US$100 per bitcoin to more than $1,000. It promptly fell after China's financial regulators banned banks from dealing in bitcoin, saying it does not have the same legal status as currency.
The regulators also said the bitcoin is not issued by a central monetary authority and that transactions could be performed anonymously. The country has not, however, banned people from holding bitcoins.
No country has banned bitcoin, but many are studying how it fits into existing financial regulations with an eye to prevent money laundering or tax evasion
A search of Taobao showed a range of bitcoin-related items, from small quantities of the virtual currency to guides for how to "mine" bitcoins, or configure computers to become part of its peer-to-peer transaction network.
U.S. auction giant Ebay doesn't let buyers pay for goods in bitcoin, but people do sell bitcoins on its site. Ebay appeared to be investigating bitcoin, however, as it posted a video around September asking users their views.
Earlier this week, game developer Zynga said it is testing bitcoin for in-application purchases of virtual goods for seven games offered through its portal.
Send news tips and comments to jeremy_kirk@idg.com. Follow me on Twitter: @jeremy_kirk
Tags internete-commerceInternet-based applications and servicesAlibaba Group
Jeremy Kirk


Get inspired to try something new … I've rounded up 10 Things to Try this June!
I love learning and trying different things. It keeps everyday life from being boring, know what I mean?
The theme of this month's 10 Things to Try post just might be random holidays, but if you can't celebrate the little things in life, what can you celebrate? Ha!
Here are 10 things to try this June!
Personally, I say why confine your donut consumption to just one day? Go ahead and celebrate all month long.
It's actually been a while since I've had a donut, so it looks like I have my plan for the weekend.
Need a little donut inspiration? Check out my roundup of 20 adorable DIY Donut Crafts here.
And here are some cookbooks to tempt your tastebuds!
Me and my sister back in the day!
Summer is unofficially here! Woo hoo!
Texas summers are hot, and you can usually find me by the pool most weekends. What is your favorite summer activity?
I listened to a really interesting podcast from Gretchen Ruben, author of The Happiness Project and quite a few other books. She talked about designing your summer, and the basic idea is that you should make a focused plan for your summer rather than just letting it happen.
For example, one summer she tried to have lunch with friends multiple times a week. It was a great way to catch up. Another summer she worked on a book.
How would you design your summer?
Father's Day is June 18 this year … don't forget to plan something special for your dad.
I have a really cute Father's Day gift idea planned for next week that I can't wait to share with you. It's easy and delicious! What are you planning for your dad?
Need some gift ideas? I've got two Father's Day gift guides for you to check out (one and two), and I've got a last minute Father's Day Gift Guide, too.
Warmer weather means bare arms, legs, and more. If you've got beautiful, naturally dark skin, I am jealous!
My skin color is a little ghostly, so it needs help to get glowing. If you're in the same boat, check out my Pale Girl's Guide to a Natural Summer Glow for tips on working with my go to self tanner.
Celebrate warmer weather with an ice cold sweet treat!
Now here's a holiday I can get behind … National Rosé Day on June 10!
Rosé is my favorite summer wine. It's just perfect for kicking back with friends and relaxing.
Grab a few bottles and plan a casual get together. What could be better at the start of summer?
Before your friends arrive, download my popular free On Cloud Wine Printable. Want to try something different? Make my Frozen Strawberry Rose Slushies … yum!
Are you moving this summer? I am, and I'm not looking forward to it at all.
Do you need a little motivation to get going on your own move? I've moved a lot (too much), and I've got a whole post dedicated to How to Plan a Big Move. There's a free printable moving checklist, too!
With warmer weather and sunny skies, the lines between outside and inside get a little blurry at this time of year. Make the most of summer by bringing a little bit inside!
Check out my 6 Easy Tips for Bringing the Outdoors Inside to get started. I've got 3 Easy Ideas for Decorating with Natural Elements that I think you'll love, too!
Want a quick way to bring a little nature into your home? Get a plant!
I've had that snake plant pictured above for over two years now, and it is impossible to kill! Seriously, I've forgotten to water it for a month (or more), and yet it lives on and even sprouts new leaves.
Get one for your home … it's black thumb approved!
Another simple idea is to pick up a cheap supermarket bouquet. It will instantly brighten your home. Check out my easy and inexpensive flower arrangement for a fun display idea.
June is the perfect time to update your wardrobe for summer. And the best thing about summer clothes is that they don't have to be expensive.
Shop for summer clothes now, before the best stuff sells out. There's nothing worse than shopping for a swimming suit in July, when everything is picked over.
Do you already have all the basics? Check out my Faves Under $50: Summer Accessories post. Everything is super affordable (most well under $50), and accessories are the perfect way to make your style stand out.
June is National Iced Tea Month … who knew? This is another holiday I can get behind!
Iced Tea is my go to summer drink. It's just so refreshing.
What is something new that you are inspired to try this June?


LEDGlow's 4pc 7 Color LED Interior Kit uses (4) 9" tubes with 6 ultra-bright SMD LEDs (18 LEDs total) per tube to create a custom 7 color interior glow to your vehicle with multiple color lighting effects, as well as a sound activation mode.
LEDGlow's 4pc 7 Color Interior Kit fits universally in any car or truck, features 24 super bright, wide angle SMD LEDs (72 LEDs total) in 4 tubes with 3 unique operating modes. Using the included mounting hardware, a near-limitless variety of mounting options are possible to illuminate footwells, under seats, or even under the dash. The included control box features 7 solid color modes, 4 fading modes, 3 strobing modes, and 1 sound activation mode. The sound activation mode flashes the lights to the beat of the music playing inside of the car using the control box's built-in microphone. Sound activation mode sensitivity is adjusted with a wheel located on the side of the control box. This LED interior car light kit features 7 solid color modes in blue, red, green, purple, teal, white and yellow. Each of the four 9" tubes features 6 ultra-bright SMD LED chips and 5' of wire allowing for maximum mounting flexibility.
At first I was a bit scepticle with it, I don't know why but after I installed it and got power to it , it looked amazing. not only does it make my truck look good but it also increases the value when I sell it.
The LEDs are really bright which is a good thing. They use SMD LEDs. They also change 7 different colors and change with audio. The only issue I had with this product is that the wires aren't long enough for the tubes to reach each footwell.
Easy to install has good lux levels for the designed use - vehicle floor lighting would recommend purchasing this product !
This kit is made to light up the foot positions for all four passenger spots in the vehicle. The wires do not unplug from the control box, making it difficult to run/hide wires well. If placing the control box somewhere convenient for the driver to use, the wires are not quite long enough to reach all positions of the car. I would recommend getting the expandable kit instead. Still a high quality product regardless.


How to use the Source List in Philips TV?
Press the 'AV+' button on the remote control to show the SOURCE list menu.
Press the cursor up/down to select the desired mode (such as TV, AV, SIDE/SVHS, CVI-1[SD/HD], CVI-2[SD/HD], HDMI, PC-VGA or PC-D) is highlighted.
After you have highlighted the desired mode, press the cursor right to activate the selected mode.
The Source will allow you to use the TV in the TV, HD or PC modes. Depending on how the TV will be used, these modes may have their own onscreen menu controls to optimize capability when used with computers or high-definition receivers.