The Seattle Mariners have been playing at Safeco Field for a number of years. Mariners ticket holders have long forgotten the spare amenities of the Kingdome, focusing instead on the comforts of Safeco Field. The namesake for the Mariners home park is Safeco Corporation, an insurance and investment firm based in Seattle, Washington. Safeco Field is a hitter's ballpark down the lines with 327 feet to right field and 331 feet to left field but discourages homers to straightaway center, which is 405 feet from home plate.
The inclusion of traditional and advanced scoreboards allows fans to keep track of scores no matter which Mariners tickets they have purchased. The hand-operated scoreboard in left field keeps track of out-of-town games the same way as preceding generations. The centerfield scoreboard is an LED video screen that allows all 47,116 Mariners ticket holders to see animations, player videos, and replays. Digital scoreboards running along the first and third baselines stream batter, pitcher, and inning-by-inning information for avid Mariners fans.
The distinguishing feature of Safeco Field compared to MLB parks like Miller Park and the Rogers Centre is its retractable roof. Safeco Field does not have a traditional domed roof that sweeps across the stadium in case of rain, snow, and strong winds. The Safeco Field roof is actually three panels that stack up once the decision is made to cover the field. The Mariners say that the roof takes about 20 minutes to open and close, allowing for a quick turnaround if rain comes through in the middle of a game. Mariners ticket holders will still feel fresh air come into the stadium since the roof does not seal completely.
Safeco Field offers great value for the price of Seattle Mariner tickets including art, interactive experiences and meeting places. The Mariners commissioned art pieces like "The Defining Moment," a mural of the Mariners defeating the Yankees in the 1995 ALDS located at the left field gate, to spruce up the park. The Les Schwab Speed Pitch area gives kids and adults the chance to match up against Mariners greats like Randy Johnson by throwing three pitches past a pitching meter. The Hit It Here Café located in right field is a dining area open two hours before the first pitch that offers snacks and appetizers along with a great view of Safeco Field.
Families can purchase Seattle Mariners tickets and keep the little ones entertained throughout the spring and summer. A set of Mariners tickets is available in the Family Section (Section 103), allowing parents, and kids to enjoy a game without worrying about rowdy fans. Kids can meet team mascot Mariner the Moose in The Moose Den located in the main concourse. The Moose Den is a baseball-themed space where Mariner the Moose signs autographs, shakes hands with kids and entertains all ages during games. Aspiring pitchers and home run hitters can play with other kids in the Children's Hospital Playfield, a playground located in the northeast corner of the stadium.
Seattle Mariners ticket holders can learn about the team by reading Mariners Magazine, a publication produced every other month by the club. Mariners Magazine features player profiles, team rosters, and features about different aspects of the Mariners organization. Souvenir stands throughout Safeco Field sell Mariners Magazine as well as Mariners scorecards for diehard fans.
The centerfield scoreboard in Safeco Field can be used for birthday, anniversary and just-because messages from Mariners ticket holders. The club has a FanGrams program that allows fans to reserve scoreboard space for special messages. Seattle Mariners ticket holders can order FanGrams by noon the day before weekday games or Friday afternoon for weekend home games.


Ser de River y caer desde la cima de una escalera.
Cine: seminario inicial. Disertante: Roberto Camarra, en la Sociedad Central de Arquitectos.
Charla Introductoria: 17 de mayo, 10.30 horas. Disertantes: Dictado por Roberto Camarra con la colaboración de Lucía Luna.
Fotografía. Disertante: Roberto Camarra en la Sociedad Central de Arquitectos.
Charla Introductoria: 17 de mayo, 12.30 horas.
This is a production workshop for the realization of a series of photographs and the use of sound tracks. The workshop includes theoretical and practical classes, and uses the camera as a basic tool.
Friday 19:30 hours. Duration ten classes. Enrollment in University City, flag III, City of Buenos Aires.
Integral basic photo course in the faculty of Architecture, design and Town planning of the University of Buenos Aires. Coordinated by Roberto Camarra.
The integral basic course is destined at the initial level both for digital and analogical teams(equipments). On Monday course: 19 at 22 hours. On Saturday course: 19 at 22 hours. On Thursday course: 19 at 22 hours. Night stripe dictated by Roberto Camarra. Producing assistant: Maria Mohorade Cardús.
Enrollment in University City, flag III, City of Buenos Aires.


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text:
Q: How is the data argument passed through ggplot? I'm trying to include subsets directly in the geom argument in ggplot, and am trying to understand what seems to be inconsistent behavior.
If I use data = . %>% filter() it works, but if I try to use data = filter(.) I get an error message. Outside of a ggplot flow those two syntaxes are normally interchangeable, so what's going on here?
library(tidyverse)

# piping in, works
ggplot(data = cars, aes(x = speed, y = dist)) +
  geom_point(data = . %>% filter(speed > 10))

# '.' in function, error: "object '.' not found"
ggplot(data = cars, aes(x = speed, y = dist)) +
  geom_point(data = filter(. , speed > 10))

A: Here's how I understand what's going on under the hood.
Generally and according to magrittr syntax
. %>% some_function(...)

is short for
function(x) some_function(x, ...)

So in your case,
. %>% filter(speed > 10)

can be expanded to
function(x) filter(x, speed > 10)

We can confirm that indeed
ggplot(data = cars, aes(speed, dist)) + geom_point(data = function(x) filter(x, speed > 10))

works and gives the same results as for your "piping in, work" example.
So they key here is to recognise that data (inside geom_point) can take a function as an argument. The function is an anonymous function that is applied to the data argument from your main ggplot2 call.
To quote from ggplot2 issue #1486

This PR will make it possible to supply a function as the data argument to the layer function. The function will be applied to the global data of the plot and the result will be used in the layer.

With all of this in mind it then becomes clear why
... + geom_point(data = filter(. , speed > 10))

doesn't work. data in geom_* needs to be either a data.frame or a function returning a data.frame that is applied to the data argument of the main ggplot2 call.

redpajama_set_name: RedPajamaStackExchange


text:
Universal talking to YouTube about new video service
Rihanna drops charges, as she and Brown marry?
Jackson announcement today
Oasis deny rumours about China gigs
Drugs charges against Lil Wayne dropped
Fatboy Slim enters rehab
Jape win Choice Music Prize
Full Blur reunion may not last long
Dammers denies Specials' reunion claims
Phish to offer live set downloads
New Super Furry album
Ting Tings cause painty chaos
Macca and Ringo to join up for charity?
Festival line up update
Single review: Air France - No Excuses (Something In Construction)
Scruffy Bird rejig and rebrand
New man at Motion
Motion girl launches Sure Shot
Edel go the Absolute route
RSK take logistics to Trilogy
Confidential man joins Mission Control Group
Liverpool Sound City announce conference speakers
Peebles goes Smooth nationally
Bauer want less talk at City
Arena to close
Heat launch new c'leb-free spin off
Martin says Imbruglia track is his best ever
Winehouse gets fitness help from Mel B
Miley Cyrus confirms speculation about bitter single
THURSDAY 5TH MARCH
MILKE
Electro-indie duo Milke are inspired by a mix of French Kitsune artists and musical stalwarts such as The Cure, Talking Heads and The Eurythmics. Andrew 'Friendly' Kornweibel has honed his art as a DJ, producer and remixer, while Ra has worked hard on perfecting his vocals, having grown up in a hippy commune in Australia. Milke have played with many darlings of the electro world, including The Faint, Fugiya & Miyagi and Hadouken, and are receiving much love from The Guardian, BBC 6Music, Popjustice and many more. The duo's debut single 'Love Get Out Of My Way' is out on 16 Mar, with an album due later in the year. Andrew Friendly has taken a moment to answer our Same Six Questions.
Originally, it was because as a kid I would bang away at the piano, so my parents decided to give me lessons, at least then my banging away would be harmonic. Then I bought a Yamaha DX7, a tiny sampler and a Boss DR Rhythm. They all sounded terrible, but I'd spend hours looping things, or making my DX7 freak out. I then moved onto DJing, and expanding my studio, unlearning my classical piano training, and learning programming and production.
We're very inspired by the things around us, other humans, relationships, interactions. A lot of the album is observations. Sometimes I feel like I'm an astronaut reporting back to the mother ship, where Ra digests the data and turns it into beautiful poetic lyrics. Sometimes we feel like we're explorers in human emotions, adventurers, or even deep sea divers, stuck in an alien environment, feeling disconnected from our usual world, and from those around us. We're reporting back our observations through the lyrics. I think a lot of people feel this disconnected aspect in their lives.
We start in a few ways, either a melodic hook and some sketchy lyrics from Ra, or maybe I'll come up with some beats and some bassline melodic ideas. Or sometimes we'll have a concept for a song, a situation or observation, which steers its musicality. Then we bounce it backwards and forwards between us, lock down the lyrics and structure, and finish off the production.
It's split into two broad categories - song writing and production. For production we love people like Soulwax, Daft Punk, a lot of current electro and indie-dance stuff, MGMT, Does It Offend You Yeah, Roisin Murphy, Ladyhawke, and then more club stuff like Danger, Lifelike, Kitsune artists. But to be honest, a lot of the undergroundy peeps can't write a song, and they're fun, but pretty forgettable. For the song writing and musicality side we much prefer looking to Stevie Wonder, The Cure, Talking Heads, Eurythmics, Motown, Bowie and early Prince. People who were amazing song writers, who are still getting played and influencing creativity.
If we wanted to say something, we'd put it in the music. If we could convey everything that we are trying to say in one sentence, we wouldn't bother writing the music, we'd just write that sentence down.
Q6 What are your ambitions for your debut album, and for the future?
Our ambition is quite simple, and it's a paraphrase from Bill Drummond. We want to shift popular culture. We're not saying we want to be Prince, but we want to impact culture, to be referenced in some way, to move things about, shake things up, to influence. We want to have people remember us as the soundtrack to them falling in love for the first time, or their best road trip, or a club night out, or a particular time in their lives. To leave some legacy, and then continue on our way.
MORE>> www.myspace.com/milketheband
KING CANNIBAL
Recent Ninja Tune signee King Cannibal (aka Dylan Richards aka Zilla) returns with 'Virgo', his second single for the label, this month. Featuring vocals from French crew Face-A-Face it sees him exploring the darkest depths of electronic music yet further with his mouth-watering mix of dubstep, dancehall and drum n bass. As with each of his singles so far, it takes a sharp turn away from previous releases whilst still holding on to something that makes it instantly recognisable. And he's not just casting this magic on his own originals, any introduction to King Cannibal should include a blast of his stunning remix of The Qemists' collaboration with Wiley, 'Dem Na Like Me'. The album is still at least six months away and already I'm boiling over with excitement, check out the MySpace and join me.
www.myspace.com/kingcannibal
Leyline Promotions has two desk suites available in a well-appointed courtyard studio in Westbourne Studios, W10. Ideal for a small creative agency in a very friendly and professional environment. Rent includes: storage, broadband connections, business rates, insurance, 24 hr access, restaurant and bar, conference facilities, natural sunlight. 4 mins walk from Westbourne Park tube station. Call Adrian for more info on 07971 555 020 / [email protected]
ADVERTISE WITH CMU - classifieds £120 per week, job ads £100 per week, banner ads £150 per week, leader box £200 per week - call 020 7099 9050 or email [email protected] for information or to book.
LEYLINE INTERNSHIP
Leyline Promotions are looking for an enthusiastic, web-savvy intern to work alongside the events and PR teams in Westbourne Studios. The internship is 3-5 days per week, 6 weeks long, with the possibility of a long term position. Leyline runs several indie/electro/alt-rock/dance nights in London as well as a PR department who represent various artists and festivals. Applicants should be very passionate about music, active on forums/online, willing to learn and able to hit the ground running! Applicants must be prepared to work occasional evening shifts and will be reimbursed for travel. Contact Tamsin for more info on [email protected]
Word has it Universal Music is close to negotiating a deal with YouTube regarding the two companies collaborating on a premium music video service.
The new service, working title Vevo, would be a video-based website featuring pop promos from across the Universal catalogue, plus other content made bespoke for the site featuring artists signed to the major's labels. In essence it would be an extension of Universal's channel on YouTube, already the most watched channel on the video site, though it would be a Universal-owned platform powered by YouTube technology, rather than just a Universal channel on the YouTube-owned platform.
Crucially, Universal would control advertising sales on the new service, which would presumably give them a much bigger cut of ad revenues generated by their content than their current YouTube deal, although they take more risk in return in terms of developing, marketing and selling the platform. It's also thought Universal execs reckon they could command higher advertising fees because of the official nature of their service over videos uploaded to video sharing sites like YouTube.
Universal insiders talk about Vevo as being their version of Hulu, the US-based online ad-funded video service provided by American TV giants NBC and Fox. It's thought that means Vevo will be available both via its own website and also via other web partners - Hulu is syndicated by web portals like AOL, Yahoo!, MSN and MySpace.
YouTube's involvement is both logical and interesting. Universal would probably initially run its existing YouTube channel in tandem with its own Vevo service, though if the major wants to secure premium advertising rates on its new service it will have to make sure consumers get more from its own platform than from its channel on YouTube's website or, in other words, ensure that consumers get less from the latter than the former.
YouTube are, therefore, involved in a new venture that will compete with and probably reduce the attractiveness of the biggest channel on its own website. But as Universal are aiming to do that anyway, it's better for YouTube to be involved in its new competitor than not to be. Moreover, given rumours that YouTube owners Google are struggling to secure sufficient advertising sales to make their video platform pay for itself, letting someone else run the front end - and the ad sales that go with it - and just taking a cut of someone else's revenues for providing the technical delivery of content is probably a business model that sounds good to the execs heading up YouTube.
Also interesting is reports Universal are - as they have been with most of their digital music ventures - interested in getting some or all of the other majors involved in Vevo.
Of course all the major record companies have dabbled in setting up and running their own digital music services ever since the early days of the internet - both individually and together - though not with much success. That said, all of the majors have been adding more multi-media to their label and group websites in recent years, which they may see as the forerunner for launching their own Vevo style services. EMI, of course, are currently experimenting with their own new multi-media service at EMI.com.
The challenge for the record companies is to balance their ambitions of owning their own direct-to-consumer digital media platforms with the more lucrative - in the short term certainly - licensing deals they can do with media giants and start ups also dabbling in that space. The record companies would ultimately prefer to control the consumer and advertiser relationships rather than just licence their content to other brands with consumer/advertiser relationships, though doing so assumes record companies are any good at servicing consumers as a media and selling advertising to brands, neither of which should be taken as read.
Well, given that there's been almost no official information released on this story, it's been gliding along on rumour and idle speculation for some time now. But who are we to stop the flow of rumour and idle speculation?
The latest twist in the Rihanna/Chris Brown affair, following the claim that the couple are back together, is that Rihanna has dropped all charges against her ex-ex and that they have got married. According to a 'friend' of the couple: "[Rihanna] believes in fairy tales, and she wants to live hers with Chris". Well, I guess fairytales like those of the Brothers Grimm and Hans Christian Andersen do tend to have a dark side.
Married or not, it does sound like Rihanna won't be all that much help to the prosecution who could, of course, continue to press charges against Brown without the singer's support, given that it's quite common for the victims of domestic violence to make up with their beaters once they've come round, and subsequently drop any charges they previously made. That said, with no witnesses to this altercation, Rihanna not cooperating could seriously hinder the prosecution's case.
On that side of the story, a police source apparently told The Sun: "Rihanna says she doesn't want to testify against him. She has had a change of heart and doesn't want the case to proceed. However detectives are still building their case based on what she originally told them and accounts of witnesses. If the DA decides they have enough evidence, they can proceed without Rihanna's testimony".
As far as we are aware, police continue with their investigation into the altercation with the intent of providing the District Attorney with the evidence he needs to make a decision regarding prosecution. In the mean time Brown is reportedly due in court later today, I think for a routine hearing relating to his $50,000 bail.
It's thought that Michael Jackson will this afternoon announce an open-ended residency at The O2 in East London to kick off on 9 Jul. Basically he'll continue to perform at the Dome until demand for tickets stops or he drops down dead, whichever comes first I guess. There will a minimum of ten dates from what we gather. All this should be confirmed at a press conference at 4pm this afternoon.
The deal between Jacko and Dome owners AEG has reportedly been in development for two years, which would explain all the past Jackson comeback show rumours that have done the rounds. AEG have a record for putting on successful residencies at The O2, of course, it having hosted multiple night runs by The Spice Girls, Take That, Kylie and Prince's 21 night run since opening in 2007.
The residency will see Jackson's first proper shows since 2001 taking place, and presumably Jacko and AEG hope they will bring out the Jackson faithful in their hordes, helping put a few million quid into the singer's bank account to help tackle those much previously reported debts. That said, some say that while Jackson's megafans remain insanely dedicated, there's a lot less of them now than a few years back - though the shows would still have a certain curiosity factor that could boost ticket sales.
There's already speculation as to whether Jackson would be fit enough to do a multiple night run, given all the recent reports of his ill-health, though a residency is a lot less gruelling than a proper tour and Fox News gossip man Roger Friedman wrote this week that the singer had undergone and passed medical tests that gave him the all-clear to do the London shows. Nevertheless, William Hill are already taking bets on whether Jackson will show up for the first O2 gig - they are offering 5/1 odds he won't.
Elsewhere in Jacko news, the singer has reportedly begun legal action to try and stop an auction of his belongings at the LA-based auction house run by Darren Julien. Jackson's people had been involved in planning the auction, but it seems Jacko had asked to see an inventory of the proposed goods for sale before it was published, and he claims the auction house announced what was under the hammer without doing so. Julien is yet to respond to the lawsuit.
Oasis have denied reports that suggested that it was financial considerations that forced them to cancel two planned concerts in China, which the band claimed had been called off, as previously reported, because of Chinese objections over Noel Gallagher's appearance at a Free Tibet gig back in 1997.
Following the group's initial statement that the authorities in China had revoked their licences, a subsequent report appeared on Reuters quoting promoters Beijing All Culture Communication Co Ltd as saying the cancellations had come about as a result of cash flow problems. Oasis insist that this is not the case, a spokesperson telling NME.com: "We don't want to dignify this nonsense with a response", but then responding: "Our promoter, as already documented, was Ticketmaster China and the shows had each already sold in excess of 3,500 tickets and were on course to sell out. End of story".
A show in Hong Kong on 7 Apr, as well as the band's other world tour dates, will go ahead as planned.
Drugs charges brought against US rap star Lil Wayne have been dropped after a judge in Atlanta agreed to disregard evidence which had been discovered as a result of an illegal search. The case relates to an incident which took place in Aug 2006 in Atlanta, when Wayne, real name Dwayne Carter Jr, was arrested after police found marijuana, hydrocodone and Xanax in a hotel room. His attorney told the court that Wayne wasn't actually staying in that room, in any case. Carter is, however, still facing those previously reported drugs charges in Arizona and a weapons charge in New York.
Fatboy Slim, or Norman Cook if you prefer, has gone into rehab to be treated for a drinking problem.
The DJ and producer's manager Garry Blackburn said: "Norman's gone in voluntarily to sort out his drinking problem". But given that I just told you that, he probably needn't have bothered.
A more cynical journalist might say something here about the fact that Cook's new album, recorded under the moniker The Brighton Port Authority, was released this week.
Electronic rock band Jape have won the Choice Music Prize for Irish Album of The Year for their latest LP 'Ritual'. The Choice Prize, if you weren't aware of it, is like the Mercury Prize, but Irish. The winning album was selected by twelve judges from the following shortlist:
Fight Like Apes - Fight Like Apes and the Mystery of the Golden Medallion
(Model Citizen)
Mick Flannery - White Lies (EMI)
Halfset - Another Way of Being There (Casino Gravity Records)
Lisa Hannigan - Sea Sew (Own label)
David Holmes - The Holy Pictures (Canderblinks)
Jape - Ritual (Co-Op)
Messiah J & The Expert - From The Word Go (Inaudible)
Oppenheimer - Take The Whole Mid-Range And Boost It (Fantastic Plastic)
R.S.A.G. - Organic Sampler (Psychonavigation)
The Script - The Script (Sony Music)
Although Blur are apparently planning to continue touring after their previously announced shows in June and July, it seems unlikely that drummer Dave Rowntree will be involved. He told The Independent in an interview that he is hoping to concentrate on his law career following the reunion shows.
Rowntree revealed that his currently doing part-time work experience with a London law firm whilst training as a barrister and hopes to find a full-time job as soon as his commitments with Blur have passed.
He said: "I only went along for a day but then they said I could go in once a week as work experience. Now I go in three times a week. Hopefully I can go and work there when I'm finished with the Blur tour".
The Specials' Jerry Dammers, who, as previously reported, claimed that he has been excluded from the band's upcoming reunion despite being a founder member and main songwriter, has responded to counter-claims by the group's Terry Hall that it was Dammers' own decision not to get involved.
Last month Hall told reporters: "I've read Jerry's statement and I just don't get it. 'They're trying to kick me out of the band' - not at all mate, not at all. I spoke to Jerry night after night all through 2008. He wanted to do one date, in Coventry, in front of 30,000 people, at the football stadium. I thought that was a bit of a Take That thing. We wanted to play 2,000 to 3,000-sized venues. I don't think he likes the idea of touring, to be honest. I think he hid that a bit in his statement. But apart from that, I have no idea why Jerry isn't doing it. Hand on my heart, this is what I feel is a bit sad for Jerry. He's fucking missing out. He's missing out on being in this incredible band. We haven't changed that much, we still take the piss out of each other, there's an understanding that hasn't gone away. And he's missing out on that, and it's sad for him, to be honest".
Now Dammers has written a response in a letter to The Guardian. Dammers said: "The fact is that I would not have been invited to the first 'reunion' meeting at all had John Bradbury not told me about it. Terry's manager circulated emails from which I was excluded. Rehearsals were held without me, and I only managed to attend two - one of which was attended by only four people".
On Hall's claim that he was "missing out", Dammers added: "Whether that is supposed to be his way of trying to say I'm still welcome in the band would be hard enough to work out if, at our meeting, he had not also said to me of the reunion: 'I promise I won't do it without you, hand on heart.' Despite all this I never give up hope of some sort of reconciliation".
Phish have announced that they will offer free downloads of their upcoming live gigs in Virginia soon after the events take place. The band play their first concerts in four years on 6, 7 and 8 Mar at Hampton Coliseum, and will offer the high quality MP3s for a limited time 24 hours after each gig takes place. The downloads will be available from www.livephish.com. Fans will also be able to buy CD-quality FLAC downloads or custom 3-CD sets.
Super Furry Animals have announced details of their new LP. 'Dark Days/Light Years', the band's ninth studio album, will be out on 13 Apr, and the tracklisting is as follows:
Crazy Naked Girls
The Very Best Of Neil Diamond
Moped Eyes
Inagural Trams
Inconvenience
Cardiff In The Sun
Helium Hearts'
White Socks/Flip Flops
Where Do You Wanna Go
Lliwiau Llachar
Pric
A 'secret' Ting Tings gig in Manchester on Friday became something of a chaotic affair when the band and fans covered the completely white venue in paint. Fans attending the 'paint party' had been advised to take advantage of free Adidas tracksuits on offer at the concert, and were armed with paint-guns and pens and encouraged to colour in the walls as well as the performers. The band's Jules De Martino explained beforehand: "It's really simple. We just wanna paint on walls and throw paint around!"
Not sure if it's supposed to be 'art' or not.
Paul McCartney and Ringo Starr are to appear at a charity concert in New York next month but it's not clear whether they will play together or not. McCartney has been named headliner of the event at Radio City Music Hall on 4 Apr in aid of The David Lynch Foundation, and Starr has been named as one of a number of special guests. The foundation's UK HQ initially said that the two former Beatles would perform together, but a spokesman for McCartney would only confirm that he is set to perform "a few songs on his own".
The David Lynch Foundation, set up by the film director, promotes meditation through schools, and the show is being held with the aim of raising enough cash to teach one million at-risk children how to meditate. McCartney said in a statement that he's been meditating for forty years. "In moments of madness, it has helped me find moments of serenity", he said, adding, in reference to the children he hopes to help: "I would like to think that it would help provide them a quiet haven in a not-so-quiet world".
McCartney and Starr last performed together at a George Harrison tribute in 2002. The likes of Sheryl Crow, Moby and Donovan are also on the bill for next month's gig.
ISLE OF WIGHT FESTIVAL, Newport, Isle Of Wight, 12-14 Jun: Neil Young just announced as headliner (so, does that mean he's not headlining Glastonbury, as widely rumoured?). www.isleofwightfestival.com
UNDERAGE FESTIVAL, Victoria Park, London, 2 Aug: The Pigeon Detectives, LadyHawke, Hadouken!, Metronomy, Rolo Tomassi, Esser, Tinchy Stryder, Kissy Sell Out, First Aid Kit and The Whip all announced for the line up of this under 19s only festival. www.underagefestivals.com
HARTERA FESTIVAL, Rijeka, Croatia, 12-13 Jun: Klaxons and Sasha added to the bill. www.hartera.com
JERSEY LIVE, Jersey, 5-6 Sep: The Kooks joined Basement Jaxx as co-headliners. www.jerseylive.org.uk
Without an official release, Air France have been piling coal into the hype machine and firing it up to overdrive with forum filling speculation. Why? With the pre-release of their album reaching number 14 in music bible Pitchfork's countdown of '08, avid internet users have already stormed the fortresses and found a gem. As we approach summer the future is looking so bright for this band you can probably expect either avian endorsement or a lawsuit very soon. The hype stems from their effortless originality. 'No Excuses' seats itself silkily in your ears and develops through a crescendo of samples to sheer luxury. An eighties vibe swoons in, but just holds back from the verge of cheesiness by being calm and collected. If you want to be transported from the barren snowed-in lifestyle of Britain's winter '09, Air France will succeed better than any airline - at least in economic terms. GB
Release Date: 9 Mar
Press Contact: Freeman PR [all]
Lots of stories from the world of music PR stacking up for you this week. First up, an update from Scruffy Bird, the London based music PR and artist management firm.
Their PR and management divisions are to become two separate companies, the former to be known as Anorak London and the latter as Scruffy Bird Mgmt. Laura Martin and Emily Cooper, two of the three Scruffy Bird co-founders, will head up Anorak, while their co-founder Duncan Ellis will take over the management business.
Commenting on the rejig, and the rebrand of the PR business, Martin and Cooper told CMU: "Well, we're never ones to turn down the opportunity to talk about ourselves and have a good party. We felt changing our name would mean we would be able to do both! With the split away from the management arm and the start of a new year we decided to live out the old saying; out with the old in with the new. It's important to us that our staff at Anorak London are all part of something new and exciting for 2009".
Although now two separate companies, they add: "Anorak London and Scruffy Bird Mgmt remain working together on various acts and wish each other all the best in the future".
Elsewhere, online music PR specialist Motion have announced the appointment of Mark James, previously of Partisan PR and Hero PR, to co-lead integrated digital, online and print campaigns for their clients.
Confirming his appointment, James told CMU: "I am very excited by the move to Motion PR as this is a great opportunity to combine my existing roster with developing new artists and platforms".
Motion PR MD Stuart Knight added: "Mark is a fantastic addition to the team here and will help us to increase the services we offer not just our artist clients but also lifestyle and brand clients as well".
And in related news, Giovanna Ferin, previously Head Of PR for Motion, has left the company to set up her own online and digital marketing agency Sure Shot PR. She will take most of her clients from Motion with her, so her roster will remain unchanged. There's more at www.myspace.com/sureshotpr.
Into music distribution, and German independent Edel has announced it is entering into a partnership with London-based label services agency Absolute who will manage the UK sales, distribution and marketing of releases from Edel's new international imprint earMUSIC, which will include new albums by Christopher Cross and Ian Gillan.
Absolute, who specialise in providing independent labels or individual artists with the kind of logistical and marketing support traditionally provided by a record company, have appointed former Really Useful Records MD John Waller to handle the earMUSIC account.
Confirming the new partnership, Absolute MD Henry Semmence told reporters: "By taking advantage of our fully managed service, Edel will be able to release product and compete effectively in this market without having to put a large overhead and infrastructure in place in the UK."
earMUSIC director Max Vaccaro added: "We are excited to have found in Absolute a UK partner who shares our philosophy and ambitions, and who is able to offer our artists both the visibility normally associated with a major label and the skill and dedication of an independent label".
More distribution news, and Berkshire-based music distribution firm RSK Entertainment, who represent in the UK, among many of other artists and labels, CMU's favourite favourites of the moment, The Deer Tracks, have announced a new partnership with Trilogy Logistics regarding the physical distribution of product from the labels they represent. The deal sees RSK opting for the Northampton-based independent logistics firm over their previous partner, Bertelsmann-owned Arvato.
Confirming the decision, RSK joint-MD Simon Carver said they had moved from Arvato to Trilogy for "strategic reasons", adding that he felt Trilogy would be better equipped to help them deal with the "new challenges and ever-changing opportunities of the music and wider entertainment industry".
Trilogy, who are probably better known in the gaming and DVD industries, say they hope the RSK deal will be the first of many in the music sector. Billboard quote their MD, Matthew Allen, as saying: "This signing is a clear statement of our intentions within the music market and will give us a strong foothold within this channel".
Harry Cowell has left the publishing and production firm he helped launch back in 2005, Private & Confidential Group, to set up new publishing and production companies for Albert Samuel's Mission Control Group.
The new Mission Control outfits will look to develop new acts, and to provide production and songs for acts represented by both their sister companies (which include management agency ASM Damage and the Mission Control booking agency) and third parties. The first artist to work with the new Mission Control company will be Welsh classical singer Annelies.
Music Week quote Cowell thus: "It is an amazing opportunity to work with Albert and an existing company run by forward thinking people and it gives the acts an amazing set up. I honestly believe there is no UK company that can offer this set up with the level of experience and success that all the Mission Control team can offer artists".
Organisers of Liverpool Sound City have announced details of some of its industry conference programme, which is being staged in association with the MUSExpo team, and which will have the theme of Starmakers, Chameleons, Mavericks and Svengalis.
Lined up to speak will be Steve Schnur, who is Head Of Music & Marketing for EA Games; Aaron Axelsen, who is Programme & Music Director for San Francisco radio station KITS Live 105; and Michael Kramer, who heads up TBWA-owned 'branded entertainment' agency Stream.
As previously reported, the conference part of Liverpool Sound City will also include an event where the music industry is put "on trial" by young music fans inside the old Victorian Law Courts in Liverpool's St George's Hall.
Commenting on their conference programme, Liverpool Sound City Festival Director Dave Pichilingi said: "These are transient times for the music industry. While we are going through a period of unfamiliarity and uncertainty, this doesn't mean it can't be exciting. What we don't want is people talking about the 'future' of the business or exposing the latest 'model'. This is tiresome and more often than not wrong. What we will be encouraging speakers to do is inspire delegates with real stories about their journey through the quagmire and challenges of the music business".
More at www.liverpoolsoundcity.co.uk
Former Radio 1 presenter Andy Peebles, who currently presents a weekday evening show on Smooooooth Radio in the North West, is to be syndicated from the end of the month across the Smooth network, meaning he'll also be heard in London, the Midlands, the North East and Glasgow. Peebles' weekly Soul Show is already broadcast across the Smooth network.
Smooth Radio's Brand Programme Director Steve Collins says this: "Andy has a wealth of radio experience and his show in the North West has grown from strength to strength and become a must listen across the region. Now the rest of the country will be able to experience this great show".
Bauer Radio's Liverpool-based talk station City Talk, the only local all-talk station outside of London since the closure of Edinburgh's Talk 107, is taking advantage of those previously reported changes in OfCom rules in a bid to add music to its off-peak programmes.
As previously reported, OfCom recently dropped rules that stopped radio stations from changing their programming formats within their first two years on air. The rule existed to stop radio stations from proposing regulator-friendly services - say all talk radio - to win a licence, and then immediately switching to a much cheaper or more mainstream service, say pop music programmes, once on air.
Bauer says that, having heard that rule was being dropped, they reviewed the output of City Talk, which went on air in January 2008, and decided that including some music in off-peak programmes would work better for them.
Confirming it was applying to OfCom to make the format change, Bauer Radio's Travis Baxter told reporters: "We believe the proposed changes will keep a significant part of the original character of the station intact while maintaining the current competitive dynamic in Liverpool and increasing listener choice overall. Introducing music and other elements to the format which listeners have clearly said they would like added to the output will secure the future of the station and listener choice in the City for the future".
OfCom is considering the application, and will consult with the station's stakeholders and competitors before making a decision next month.
Bauer Media has announced it is closing down monthly men's mag Arena. The closure of the 22 year old title will put 12 jobs at risk, the magazine firm say they are currently consulting affected staff about redundancies. The magazine's April edition, out next week, will be the last. The closure shouldn't affect Arena's international titles, nor its twice yearly spin-off magazine Homme Plus.
Arena had an ABC last year of just over 17,000, putting it along way behind rivals GQ and Esquire, and a long long way behind sister title FHM which, although traditionally not in Arena's territory, has been moving more upmarket in recent years.
Arena was, of course, created by The Face founder Nick Logan in 1986 as a more mature version of his original magazine. Both titles were somewhat controversially acquired by Bauer predecessors EMAP in 1999. The Face was closed down in 2004.
From Bauer closures to new titles from the publishing firm. C'leb title Heat has launched a new offshoot called Heatworld, which will come as a supplement to its parent title several times a year.
The new supplement will be celebrity free - it's strapline is "because there's more to life than Celebrity (who knew?!)" - though from what I can see the celebs will be replaced with the publishing equivalent of a freak show, so I'm not sure it's going to do any more to the average reader's intellect that the latest embarrassing photos of some Big Brother contestant of old.
Explaining the motivation for the new magazine, Heat Editorial Director Julian Linley told reporters: "Heatworld magazine will be unlike anything else on UK newsstands. The idea came from us realising that the daft and the downright hilarious stuff we find ourselves obsessing about in the office isn't always to do with celebrities. And there's nothing more valuable to our audience than laughing out loud".
The first issue of Heatworld is in the current edition of Heat. Somewhat confusingly, Heatworld is also the name of Heat mag's website, though that is mainly celebrity focused like the main magazine.
These, in case you wondered, are the videos being played on the Sub.tv network of screens in students' unions around the UK this week. New entries marked with a *. More info from [email protected].
Akon feat. Colby O'Donis & Kardinal Offishall - Beautiful*
Comic Relief - (Barry) Islands In The Stream*
Fleet Foxes - Mykonos
Katy Perry - Thinking Of You
The Killers - Spaceman
Lady Gaga - Poker Face*
Ladyhawke - Paris Is Burning
Oasis - Falling Down
The Prodigy - Omen*
The Pussycat Dolls feat Missy Elliott - Whatcha Think About That?*
The Saturdays - Just Can't Get Enough*
Snow Patrol - If There's A Rocket Tie Me To It*
Take That - Up All Night*
TI feat Justin Timberlake - Dead And Gone*
U2 - Get On Your Boots
Asher Roth - I Love College
The BPA - He's Frank
Dan Black - Alone*
Frankmusik - Better Off As Two*
In Case Of Fire - The Cleansing
Karima Francis - Again
Kids In Glass Houses - Dance All Night
La Roux - In For The Kill*
Metro Station - Shake It
Nickelback - I'd Come For You*
Noisettes - Don't Upset The Rhythm
Red Light Company - Arts & Crafts
September - Can't Get Over
VV Brown - LEAVE!
The Wombats - My Circuitboard City
Animal Collective - My Girls
Brakes - Hey Hey*
Casiokids - Fot I Hose*
Doves - Kingdom Of Rust*
Filthy Dukes - This Rhythm
Goldie Lookin Chain - By Any Means Necessary*
Hockey - Too Fake*
The Hot Melts - Edith
Operahouse - Genius Child*
Peter, Bjorn & John - Nothing To Worry About
Steve Angello & Laidback Luke feat Robin S - Show Me Love*
Sneaky Sound System - I Love It
Chris Martin says that the track he gave to Natalie Imbruglia for her upcoming 'Come To Life' album is the best track he's ever written. The Coldplay frontman says: "A bit annoyingly we've given her the best Coldplay song of all time, but because we're off-cycle we can't do it ourselves. Half of me wishes we still had it. But she sounds fucking brilliant on it. I think she has a very unique talent and an incredibly unique voice".
Ah well. They can always do a version of it in a few years time. And then people will say things like "I preferred Natalie Imbruglia's original". Which will no doubt be frustrating.
According to reports, Amy Winehouse is planning to get fit with the help of Spice Girl Mel Brown's new Totally Fit workout DVD. Well, it was apparently amongst bags of shopping delivered to the singer's new home in Barnet this week. How do they find these things out? Honestly.
US singer Miley Cyrus has coughed to the fact that her single '7 Things' was written about her ex-boyfriend Nick Jonas, of the Jonas Brothers, and the end of their two year relationship. The track's often bitter lyrics have prompted much speculation about this, and now Cyrus confirms that it's so in her forthcoming book 'Miley Cyrus: Miles To Go', confirming that she wanted to "punish him, to get him back for hurting me", but ultimately saying that the track is "about forgiving, not forgetting".
Cyrus adds: "It's hard to imagine that our love is a story with an end. But you know, at least I'm getting some really good songs out of it".
Miley Cyrus and Nick Jonas are both sixteen years old.

redpajama_set_name: RedPajamaCommonCrawl


I found this on the couch the other morning.
Couches and tigers and books – oh, my!
Love it! It makes me so happy to see creative book reading! Marissa is missing Alice so much. As I am also finding I am missing Northampton with all it's hidden gems – you being one of them!
Wow, is that what happens when school is out? Foreign bodies with books infiltrate the couch. Careful when you come down in the morning. Love to you, the tiger, the flautist and Al.


Asana is perfect firmness of body, steadiness of intelligence and benevolence of spirit.
ABHIJATA IYENGAR is the grand-daughter of Yogacharya B.K.S Iyengar.
She started seriously studying yoga at the age of 16 under the direct guidance of Guruji, her aunt, Dr. Geeta S. Iyengar and her uncle, Prashant S. Iyengar. She has a Master's degree in Bioinformatics from University of Pune. She is now a Senior Teacher at the Ramamani Iyengar Memorial Yoga Institute (RIMYI), – the cradle of Iyengar yoga – located in Pune, India.
Abhijata travelled with Guruji to Russia and China. She accompanied Geetaji to International Yoga Conventions in the UK, Australia, Germany and the United States. She has also led yoga conventions in the United States, France, Spain, Italy, Switzerland, Poland, the UK and Israel.
Abhijata is gifted teacher. She has great energy, clarity and poise. Her teachings combine precise asana instructions with yoga philosophy. She generously shares delightful anecdotes of her grandfather as well.
Both teachers and students of Iyengar Yoga are welcome to register. The only requirement is a study of Iyengar yoga for three years or more and IYNAUS membership.
Visit the Convention website HERE for more information.


text: return no data

redpajama_set_name: RedPajamaGithub


text:
Montessori Assistant
Important themes of continuity weave themselves in Montessori Assistant Vida Vahdat's life through years lived on two continents and in different cultures. Born and raised in Iran, where her religious identity severely curtailed opportunities to learn and teach, she nevertheless followed a life path dedicated to education. Despite dangers and severe restrictions, she pursued her goals, secretly participating in advanced studies at the Baha'i Institute for Higher Education, and, thanks to her talents, becoming a sought-after "private teacher."
After her family, which by then included a husband and two daughters, emigrated to the United States, Ms. Vahdat spent some years helping establish a family business in this country. Then, after rededicating herself to advanced coursework in business and education, she returned full circle to her life as an educator, finding a philosophical home in the Montessori method.
Ms. Vahdat found in the Montessori method a respectful, affirming attitude toward even the youngest students, a perspective compatible with the world-view that underpins the spiritual tradition in which she was raised. Poetically describing her aspiration as "planting seeds of peace in children's hearts," Ms. Vahdat explains that children, who start life without an inner narrative voice, assemble their internal dialogue, at least in part, from how the important adults in their lives interact with them. The goal is helping children develop through positive interactions and growing competence.
Ms. Vahdat comes to Green Hedges with over ten years of experience in various educational settings, most recently as Assistant Toddler Teacher at Loudoun Montessori School. The proud mother of two young adult daughters following their own advanced studies and career paths, she enjoys spending time hiking, biking, and boating with her husband and their friends.


text:
Cigar Profiles
A Conversation with General Cigar's Dan Carr
By David Savona
| From Joe Mantegna, July/August 2011
David Yellen
Dan Carr took the reins of General Cigar Co. last year just as it celebrated its 50th anniversary of making cigars by hand. As president at 48, he now heads one of the cigar world's biggest companies—the maker of Macanudo, Punch, La Gloria Cubana and Partagas. Carr had joined General in 1996, quickly rising to vice president of sales, at the height of the cigar boom. When Swedish Match AB bought the company's mass market business in 1999, he went to work on the Stockholm firm's White Owl machine-made cigars, Red Man chewing tobacco and other products.
In 2005, Swedish Match acquired General Cigar and returned Carr to that division as its senior vice president of sales and marketing in 2007. Promotions to chief operating officer, in 2009, and then president, in 2010, followed in rapid succession. When Swedish merged last year with the European giant Scandinavian Tobacco Group, Carr was charged with integrating the U.S. operations of both companies, which also added the C.A.O. brand to his portfolio. Today, Carr is responsible for leading the new company's premium cigar business on a global level.
Recently, Carr sat down in New York City at his company's Club Macanudo cigar bar for a lengthy discussion with senior editor David Savona.
Savona: Let's get to know you a little bit. In 1996 you started with General. Was that your first time in the cigar business?
Carr: Well, yes and no. When I first came out of college in 1983, I went to work with a buddy of mine whose dad had a construction company. It was in Saddle River, New Jersey. We ended up building a warehouse. And the warehouse turned out to be Villazon [then the owner of the Punch and Hoyo de Monterrey cigar brands]. It was my first construction job. The most they let me do was mix the cement. And in 1997 we [General Cigar Co.] ended up buying the company.
Q: What a small world. Does that warehouse still stand today?
A: Yes (laughs).
Q: You did a good job. In 1996 it was the height of the cigar boom. What was it like?
A: It was easy to get an order. It was fast-paced. It was a lot of learning for me. It was really my introduction to premium, luxury goods. We had a lot of growth in that period. The reason I went to General is I sat with the president at the time and I asked him, "What are your objectives?" And he said, "If I don't double the company in three years I failed, if I don't go international I failed, if I don't double the employees I failed, and if I don't take the company public I failed." I left the building and I called my wife and said either I'm doing the smartest thing in my life or I'm doing the dumbest. It's been incredible. It's an extremely challenging business, it's not a traditional consumer packaged products environment, we have to face legislative and regulatory issues, and we have to work on ways to build awareness in a very niche business.
Q: You studied business [at Harvard Business School]. When you heard this description from the president of General, what did you think?
A: It was exciting. I loved the ambition. There was a vision of where this business could go.
Q: What was your role in '96?
A: I actually came in as VP of sales. I got the opportunity to work for Edgar [Cullman], both Sr. and Jr., and did that all the way up to '99 when we got acquired by Swedish Match.
Q: Were you machine-made and handmade back then? Because General had both segments in those days.
A: My role was both.
Q: What are some of the differences between mass-market and handmade?
A: Units for one—I believe the machine-made is roughly seven billion cigars in the U.S. while handmade cigars are estimated at 241 million. Mass market is more about efficiencies. The mass-market side is very data driven. It's fact-based. You've got the human factor on the premium side, and on the premium side, we don't have the data. And a lot of times the [individual store] owner is the buyer on the premium side, which you don't see on the mass side. The other thing is the personalities and the characters. Both have pluses and minuses, but the premium cigar business is a passion. We're working all the time because we love it. We hope we're making an impact.
Q: How many employees does General Cigar have at this time?
A: Around 4,500.
Q: Are most in the Dominican Republic?
A: Yes. Obviously most are in the factories.
Q: I know you're big—how big is General Cigar in the handmade world?
A: In what way?
Q: How many cigars do you make?
A: You know we don't share those things.
Q: OK, then who is bigger than you? In the world of handmade, who is bigger than you?
A: Nobody. We're the largest. With the recent joint venture we strengthened our No. 1 position in the U.S. market. We're very small outside the U.S., we see that as an opportunity. We think we have roughly around a 35 share of the market.
Q: So the Scandinavian Tobacco Group, in the U.S., is No. 1?
A: We were pre, and we are post.
Q: What are some of the advantages that you enjoy because of your size?
A: With size comes resources. With resources comes people. We have the best of both worlds. If you want to buy leaf or grow leaf, if you want to test things, if we want to age tobaccos in a different way, create blends, the different factories that we have—it becomes endless, what you can do. It gives us a lot of dexterity toward creating brand boutiques. If you think about ideation, if you think about technologies, research, planning, if you're one brand, and you have one person in charge, it's extremely difficult to meet the demands of the anticipated opportunities, as well as the challenges, that exist in the market.
Another example if you take a look at our legislative affairs we've got a dedicated team at both the state and federal level. We have a whole in-house legal team, and we're the only premium cigar company that does. We do that to fight for the rights of the cigar industry. I sit on all the boards. And we have a larger lobbying team, both at the federal and state level, than anybody else. We see that as our role. It protects the industry. Again, if you're one person, one brand, there's only so much time in the day. I'm fortunate that I have a talented group of folks within General Cigar that can weave all these different pieces. So we think we can lead, having these resources we think enables us to take the position to work to expand the category, bring more consumers in.
Q: How is the market?
A: We did come off a mini boom from '04 to '06. Our best estimation of what we think the market size is, at that time it was around 314 million cigars. In 2010, we see the market around 241, and imports are 259. With inventories, the number feels about right. If you look going forward, a lot of the challenges are behind us. One never knows, given the business we're in, but we're very optimistic about the future. We think the economic environment will continue to improve. And hopefully some of the bans will start to stabilize.
I think what's amazing about this industry is the resiliency of the industry. The creativity. How do we get to enjoy cigars? The consumer is extremely resilient. This is a passion for him, it's a lifestyle, and they're very creative in the way they enjoy a cigar. I think that will continue. The idea is to get people to understand the lifestyle.
I'd say more things have changed in the last three years than in the last 12 before it. We have kind of a trifecta there, if you look at the economy, social trends and the legislative environment. If you put them all together, those three things hurt the most in the cigar industry. This industry is about celebration. It's about taking an hour and sitting with good friends. When those three things happened, it was a major impact. If you look at the political landscape right now, there are 39 states that have a partial or full smoking ban.
Q: In terms of impact on a cigar company, what's worse? Is a smoking ban worse than a dramatic tax increase?
A: Yes. I will tell you, bar none, bans are the worst for the industry, because you're taking away the occasion. It gets to a tipping point. Taxes, the economy, people can adjust. Bans are tough.
Q: How have people's buying habits changed?
A: We've seen the consumer trade down, we've seen them buy less cigars per occasion. But again, we've seen that changing.
Q: How are General's sales doing?
A: We're growing share. And the latest CAA [Cigar Association of America] data show the category was down 11 percent last year. Obviously we've done a lot better than that. And, again, our objective is to continue to make sure we're bringing the right tools and the right products....
Q: If the category was down 11 percent, and you're growing share, then you weren't down 11 percent. But did you grow last year?
A: We grew share.
Q: But that's not the same as growing. So you're doing better than the category?
A: Yes.
Q: Let's talk about specific brands. You have quite a lot.
A: I would say we have 60. It depends on who you talk to—there's been quotes of about 1,500 brands on the marketplace—how do you define a brand. We would say Macanudo the brand, is the parent, and then you have the children.
Q: So counting Macanudo, Macanudo 1968, Macanudo Crü Royale as one brand, you have 60 brands?
A: Yes, and we have a lot of smaller ones. We have seven core brands—Macanudo, Punch, Partagas, La Gloria Cubana, Cohiba, Hoyo de Monterrey, C.A.O. In the marketing mix, that's where we spend most of our time.
Q: Could you rank these brands in terms of sales? I know you don't like giving numbers, but obviously Macanudo is your biggest brand. What's your second biggest—Punch?
Q: Can I get number three out of you?
A: Let's stick with those two. C.A.O. is a very big brand. Partagas, La Gloria, and then you're onto Hoyo. Then Cohiba obviously. They're all big in their own right.
Q: You also have a lot of factories. [See sidebar at end for factory list] Does every factory have its own personality to it?
A: Very much. They've all come into the organization differently. And we have different management. Jhonys Diaz oversees all the different factories, but he has different General managers that run the factories in their own way. What you see the same is, the pride level is very, very high, the commitment to quality is very, very high. When you were in Santiago you saw great energy on both sides, but different energy. You can see the teams, they're wearing their own uniforms. Everybody has their own personality but they know they're all part of one company.
Q: What kind of changes have happened since the merger between Swedish Match and Scandinavian Tobacco?
A: I think when you get to the merger side of it, obviously for us we see enormous opportunity to make an even stronger premium cigar company. This is a very exciting time for us. The merger enables us to be a little more flexible when it comes to our goals, and what we want to achieve. It also enables us to get even more support, and that's both domestically and internationally. The other big thing is, when you look at it, it complements the portfolio. C.A.O. is a wonderful complement to the portfolio, and it's cared for by the largest and most innovative sales group out there. For us, it's exciting. The joint venture as a whole was really more focused on outside the U.S. than inside the U.S., but if you look, inside the U.S. is complemented in many ways. C.A.O. is a different brand profile, and it enables us to build on it.
Q: What has changed since the merger with C.A.O.?
A: For the consumer, nothing. Same cigars, same packaging, same everything. The nice thing about it is both companies have been involved in the cigar industry, so it's not like what took place was new. We shared a lot. We gained a lot of very good insight. Our approach is to really learn everything and realize we understand the brand as best that we can. You got to smoke them, taste the tobaccos, understand how they relate to one another. Obviously on the manufacturing process we're learning there as well.
Q: While the consumer won't see a difference, from a corporate standpoint you've moved the C.A.O. headquarters from Nashville to Richmond, and I saw you were making Flavours by C.A.O. in your factory—
A: In Santiago. Since the merger we've defined the overall organization, we basically centralized the corporate headquarters, as well as all the distribution, we integrated the C.A.O. portfolio, we established all the terms and sales for the combined entity. The nice thing about it is we stuck to our core values and are trying to give it as much respect as we can and did it as fast as we possibly could to have minimal disruption.
Q: The STG factory in Estelí is the first Nicaraguan factory for General Cigar. Any plans to make any other cigars there besides C.A.O.?
A: That's the beauty of the new setup. We kind of have a white piece of paper to figure out what we want to do. It gives us more flexibility to leverage the company. Right now we're integrating and that is complete. If you look at the joint venture activity, you had Scandinavian and Swedish Match coming together, which meant C.A.O. and General Cigar coming
together. And you combine that with our relationship with the Plasencia Family.
Q: Talk about the venture with Plasencia—what does that bring to the table?
A: We've had a very long relationship with the Plasencia family. We've procured leaf from them for many years. This helps secure that for the future. And it gives us the opportunity to work together. It'll happen over time.
Q: Describe what the joint venture does.
A: For the Plasencias nothing changes. It's a minority stake, we have 20 percent of the company. [Note: The deal was announced in March 2010, and closed later that year.] It lets us work together even closer. We do a lot of cultivating seeds, we get to share more with each other. It's all about collaboration.
Q: But you buy from other brokers as well?
A: Absolutely.
Q: How much do you spend on tobacco in
a year?
A: (Laughs.)
Q: It must be sobering.
A: For us it's not just the number. Because of our size, we're the first ones. We go in there, we look at the tobaccos, we taste the tobaccos, we select the tobaccos we pick the tobaccos. We're not just going in there buying a couple of bales. There's times we'll buy crops, there's times when we buy things to experiment. We have flexibility.
Q: And you have deep pockets.
A: Which helps us do that. The benefit to the consumer is we're bringing different things to the market. And again, if I'm one person, one brand, I can't go and travel around and look at things and try things—I have to make sure my business is running. We have some differences.
Q: You grow tobacco in Connecticut.
A: A.J. Thrall [a family of tobacco growers in Connecticut] does most of Connecticut.
Q: You own fields there?
A: We own fields, but we haven't grown in Connecticut in a number of years.
Q: So General still owns fields, but the tobacco is grown by the Thrall family.
A: Yes. Our relationship with them goes way back.
Q: I've seen some of your warehouses. You have tremendous amounts of tobacco. Are there other varieties you haven't used, stuff we haven't seen before?
A: Absolutely. That's the fun part of the business. That's the library.
Q: What is that?
A: We have a library of different tobaccos that come from different regions, different areas. We can select from different parts of the library at different times to create different tastes, different blends. For a blender, they're like kids in a candy store.
Q: So what's your favorite cigar?
A: I get to smoke just about everything. I love anything with Ometepe in it. [General uses some tobacco from the Nicaraguan island of Ometepe in many of its brands, including Punch Upper Cut and Macanudo 1968.] I'm a big Macanudo 1968 fan. It depends on the day. It kind of makes the job fun. This is a funny industry. You do it all the time. It bleeds over into your personal life.
Q: Can you take me through the process of making a new cigar at General Cigar? How does it go from someone's mind to the consumer's hand?
A: I'll give you the short version. We have a whole innovation team. They meet quarterly. You'll have people from sales, marketing, leaf people, you'll have consumers, and we'll come up with ideas and concepts. And we'll put them out to consumers and test them. We've created over the last three years a whole consumer tasting group, which is in the thousands. This is another way for us to not only work internally with people who have been with us 45 years or more, but we also utilize consumers who are extremely passionate. We'll give them the same samples that we smoke. We might ask them how much would you pay for this? And we might go through 200 blends. It's a long process for us. We're only going to market with things that have been tested.
Q: Do all of your cigars go through such a lengthy process?
A: Yes. What we don't want to do is take up valuable shelf space of a customer with stuff that isn't going to work. We want to make sure we do our pre-work ahead of time.
Q: What do people want in a cigar today?
A: We think three things. The first one really is the consumer saying I want a well-balanced, flavorful, extremely well-constructed, high-quality cigar at a great price. The second thing we're seeing is, the consumer today is looking for something new. With Mac Vintage, we put broadleaf on it, we put a metal ring on the cigar. We've been back-ordered on it. Hoyo Reposado is another way we've looked at the aging process, introducing cedar and doing a whole new experience for consumers. If you look at La Gloria Cubana, what's going on with the Serie N line, there's packaging and construction innovation. You take a look at those types of things and you start to try to match it to an occasion.
Q: In 1996, every new cigar seemed to be $10. The bargains were the old established brands. Today you're seeing lots of very interesting, superb cigars at a good price point. That's good for consumers, but not necessarily good for companies.
A: It's harder, because tobacco prices continue to go up. Given the inventory of tobaccos, the library of tobaccos, that we have enables us to make wonderful cigars at great price points, and we're going to match up to where the market is. And we're going to make sure where we see opportunities. We're not filling the market with something we already have. We're coming out with something that doesn't exist.
Q: Where do you find these niches? Cigar shops are crowded. Is it tough to get new cigars into cigar shops now?
A: Yes, at the last IPCPR [International Premium Cigar and Pipe Retailers trade show], if you took extensions and brands, there were a couple of hundred new items. And the average tobacconist carries 600 to 800 boxes. That's one-third new. What we've been trying to do is be very targeted and come in with things that have been tested. We're trying to come in with things that fit the consumer need or void.
Q: Is your portfolio somewhat fluid then? You're putting new things in. Do you have to take things out every year?
A: We look both ways. If something isn't relevant it doesn't make sense to tie up capital and resources on it.
Q: Have you taken things out recently?
A: Yeah. We do it relatively quietly. We will always have the products available to the customer who wants it.
Q: You mean via a catalog?
A: No, we'll ship it to retail. If a retailer has a consumer and that's what they buy, we want to make sure we honor that. But we can.
Q: So what am I missing in the General Cigar story?
A: The one thing that I learned, business-wise, is you can have wonderful assets, but at the end of the day it's all about the people. Through different things that the Cullmans have built, the legacy that they've brought to General Cigar over the 50 years, you complement that with the different acquisitions that we had, El Credito, the UST acquisition, which brought in Don Tomás and Helix, you take it into C.A.O. as well as Plasencia. We really have amassed some of the most talented and most experienced people in the cigar business, which makes my job extremely easy. If you look ahead and you say most of the challenges are behind us, but again we're in a challenging industry. This is where I'd want to place my bet. I'm very optimistic about the future. We can lead upon tobacco, cigar-making, cigar master, technology and research, even on how we plan the business. We want to make sure that we're helping our customers grow, and that we're introducing as many consumers as we can into the industry. Our portfolio competes on every price point, every flavor and every taste. And we think we can do even more with the brands.
General's Cigar Factories
General Cigar Dominicana, Santiago, Dominican Republic
Major brands made there: Macanudo, Partagas, Cohiba, La Gloria Cubana, Bolivar, Havana Honeys (flavored) and Flavours by C.A.O. (flavored)
Honduras American Tabaco S.A. (HATSA), Danlí, Honduras
Major brands made there: Punch, Hoyo de Monterrey, C.A.O. Brazilia, C.A.O. Lx2, C.A.O. Mx2, C.A.O. Italia, Don Tomás, Sancho Panza and Helix
Scandinavian Tobacco Group Estelí, Estelí, Nicaragua
Major brands made there: C.A.O. La Traviata, C.A.O. La Traviata Maduro, C.A.O. Gold and C.A.O. Cx2
More in Cigar Profiles
Q&A: Carson Serino, Serino Cigar Co.
Carson Serino is the vice president of Serino Cigar Co., a company headed by his father Anthony Philip Serino. The father-and-son team launched Serino Cigar Co. in 2016, after meeting Omar …
Q&A: Indiana Ortez, Agrotabacos
Indiana Ortez is a young Nicaraguan cigarmaker with a passion for social media marketing.
Q&A: Tony Gomez, La Flor Dominicana Cigars
We sit down with Antonio "Tony" Gomez, who now works with his father, Litto, helping to bring innovation to the La Flor Dominicana brand while maintaining his father's meticulous standards …


text:
The Journal of Agricultural Science
URL: /core/journals/journal-of-agricultural-science
Effects of sex and gonadectomy on the growth and development of Southdown × Romney cross lambs. Part I. Effects on live–weight growth and components of live weight
G. C. Everitt, K. E. Jury
The influence of sex and gonadectomy on liveweight growth and its components was examined in a comparative slaughter experiment using Southdown – Romney cross lambs run under New Zealand pastoral feeding conditions.
Twenty ram lambs were castrated and 20 ewe lambs spayed at docking, at approximately 4 weeks of age. Ten ram and 10 ewe lambs were killed at this age and 5 lambs from each of the four 'sexes' (entire and gonadectomized, male and female) were killed 4, 8,12 and 24 weeks after docking.
Live-weight gain was higher for males than females and higher for entire than gonadectomized lambs, with some evidence of a greater depression in growth associated with castration than spaying. Effects on carcass weight followed those on live weight; weights for entire rams, wethers, entire and spayed ewes were 16.92, 14.72, 14.02 and 12.46 kg. respectively at approximately 7 months of age.
Effects of sex and gonadectomy on the growth and development of Southdown × Romney cross lambs. Part II. Effects on Carcass grades, Measurements and chemical composition
Published online by Cambridge University Press: 27 March 2009, pp. 15-27
The influence of sex and gonadectomy on carcass grades, measurements and chemical composition is reported from a comparative slaughter experiment involving 100 Romney x Southdown cross lambs.
Grading results, although based on small numbers of carcasses, showed a tendency to down grade entire ram lamb carcasses.
Linear carcass measurements indicated some differences in conformation between the four 'sexes', although these were somewhat inconsistent over the two slaughter ages at which measurements were recorded. Relatively larger eye muscle areas were evident for gonadectomized than for entire lambs and for males than for females. Fat cover over the eye muscle was lower for entire rams than for the other 'sexes'.
The distribution of herbage at different heights in 'grazed' and 'dung patch' areas of a sward under two methods of grazing management
J. C. Tayler, J. E. Rudman
A study of the horizontal and vertical distribution of herbage in grass-dominant swards was made to assess the relative importance of different sources of wastage during grazing. A sward grazed by cattle under two contrasting managements was divided, for the purpose of herbage sampling, into two categories: 'grazed' herbage, on ground with no obvious dung contamination, and 'dung patches', which were of ungrazed or lightly grazed herbage resulting from the effects of faeces dropped at previous grazings. In each category, samples were cut at two successive heights to provide an estimate of the quantity of herbage in the upper region of the sward (over 2½ in. from ground level) and in the lower region (½-2½ in. from ground level).
After grazing, some 35% of the original crop remained in 'grazed' areas, and some 20% in 'dung patches'. In terms of vertical distribution, most of the residue (40% of the original crop) was in the lower region, from ½ to 2½ in. above ground level.
Total production as live-weight gain was not significantly different, but the yield of conserved herbage was greater in treatment R (five rotations) than in treatment RR (nineteen rotations). Frequent grazing reduced herbage production, and this effect was not offset by any less intense defoliation of the frequently grazed sward. The average quantity of herbage residue was no higher in treatment RR than in treatment R, although the time of occupation per plot by the cattle in RR was only a quarter of that of the cattle in treatment R.
Indices of the carcass composition of Dorset Horn top-cross lambs. III. Relationships between chemical composition, specific gravity and weight of carcasses and joints
S. L. Pradhan, W. R. McManus, C. L. Goldstone, R. F. Hart, V. N. Khandekar, G. W. Arnold
The half-carcasses from twelve Dorset Horn x Border Leicester-Merino lambs (3-5 months old) were used to investigate the relationships between the weight of the carcass and its cuts and their chemical composition. The specific gravity of the whole carcass and of the cuts was also measured.
Half-carcass weight and chemical composition were highly correlated. Weight could be used to predict the chemical composition with a reasonable degree of accuracy. The loin, the leg, the leg plus loin and the residual were shown to be highly correlated with the chemical composition of the halfcarcass. The loin and leg plus loin are the most convenient to use.
Studies on the Hyparrhenia Veld of Zambia. VII. The effect of Cattle Grazing Veld and Dambo at different stockinǵ-rates
C. A. Smith
The effect of stocking-rate was measured on growth of indigenous oxen grazing Hyparrhenia veld and dambo. Stocking-rate had a relatively small effect on weight gain per ox in the rainy season when veld was relatively nutritious, but had a significant linear effect and a lesser quadratic effect on weight loss per ox in the dry season. Oxen stocked leniently on veld in the dry season lost less weight than heavily stocked oxen. Oxen fed a protein supplement, maintained or gained weight when grazing veld in the dry season even at high stocking-rates.
In long-term trials, compensatory growth so affected cattle weight gains that heavily stocked oxen which had large weight losses in the dry season compared with leniently stocked oxen, had greater weight gains in the following rainy season. Stocking-rate had a highly significant, linear effect on cumulative weight gain per ox, which was more evident on dambo grazing than on Hyparrhenia veld.
Heat tolerance in dehydrated steers
W. Bianca
Six steers kept in an environment of 15°C. were deprived of water for four consecutive days. This treatment, by depressing appetite, caused a reduction in voluntary hay intake to one-quarter of its normal level and a decrease in body weight by 10%.
In spite of this reduction in feed intake, which must have been accompanied by a fall in metabolic heat production, the animals were less able to tolerate heat than when they were normally watered: during 4 hr. exposures to temperatures of 40.0°C. dry bulb and 32.5°C. wet bulb the waterdepleted animals showed higher values of rectal and skin temperature. This was associated with a slower initial rise and lower final values of respiratory rate (130 versus 155 respirations/min.).
The influence of N and Mg fertilizers and CaCO3 on the absorption of Mg by oats
A. M. Alston
The effects of applying CaCO3, MgSO4, 7H2O, (NH4)2SO4 and Ca(NO3)2 to the soil on the drymatter yield and Mg absorption of oats at the 4-5-leaf stage were studied in a factorial pot experiment with a Mg-deficient acid sandj soil.
Yield of dry matter was increased by all treatments, particularly CaCO3.
Applying CaCO3, MgSO4, 7H2O and Ca(NO3)3 generally increased % Mg and total Mg uptake of oats. Applying (NH4)2SO4, which reduced the % Mg in oats growing in the unlimed soil, generally increased % Mg where CaCO3 was also added. The rate of nitrification of NH4, which was slow in the acid soil, was greatly increased by applying CaCO3.
Variation in growth and efficiency in twin cattle with live weight and food intake controlled
ST C. S. Taylor, G. B. Young
In an experiment to investigate the interrelationships of genetics and nutrition in the growth of cattle up to 2 years of age, five monozygotic and six dizygotic Ayrshire twin heifers were reared under close nutritional control on an all cubed diet.
Two control systems were used. Some animals were fed similar amounts of food, and differences in growth rate and efficiency examined while others were made to grow alike and differences in food consumption and efficiency examined. Overall, similarly fed animals had similar growth rates and efficiencies and similarly grown animals similar food intakes and efficiencies. Variation in growth, food consumption and efficiency was much less than in an ad lib. feeding system.
Factors affecting production records of lambs from a flock of East African Blackheaded sheep
J. C. M. Trail, G. D. Sacker
1. The effects of age of ewe, and year, sex and type of birth of lambs on lamb weights between birth and weaning were measured and appropriate correction factors estimated in a flock of East African Blackheaded sheep maintained over an 11-year period in Western Uganda. These correction factors were then used to examine the effects of a long dry season at different stages of lamb growth.
2. On birth weights the effects of sex ranged from 0-25 lb. to 0-40 lb.; twinning 1-0 lb.; gimmer's lamb 0-5 lb. On 2-month weights the corresponding adjustments were 0-2 lb.-l-4 lb.; 5-1 lb.; 1-7 lb. On weaning weights 0-3 lb.-2-9 lb.; 6-0 lb.; 2-6 lb.
3. A long dry season during late pregnancy did not appear to affect lamb birth-weights and a dry season between 2 months and 5 months of age did not affect lamb weaning weights. However a dry season during the main suckling period from birth to 2 months of age significantly lowered lamb weights at 2 months of age.
The effect of year, suckling, dry season and type of dam (ewe or gimmer) on milk production in East African Blackheaded sheep as measured by lamb growth
G. D. Sacker, J. C. M. Trail
1. The mean daily live weight gains of lambs were used to estimate the milk production of ewes and gimmers during the first 8 weeks of lactation. Records of 1178 lambings of East African Blackheaded sheep between the years 1952 and 1962 were available.
2. Gimmers had significantly lower production than second and subsequent lamb ewes. Ewes rearing twins had a significantly higher yield than ewes rearing singles. There appeared to be no difference in yield between ewes producing twins but rearing singles, and ewes rearing natural singles.
3. A long dry season with resultant lowered plane of nutrition significantly reduced the live-weight gain of lambs.
Lamb mortality in a flock of East African Blackheaded sheep
Published online by Cambridge University Press: 27 March 2009, pp. 97-100
1. The effects of birth weight, sex, twinning, parity of dam and dry season on mortality rates of lambs were studied between birth and weaning at 20 weeks in a flock of East African Blackheaded sheep.
2. The mean birth weights of non-surviving lambs were lower than those of surviving lambs. Singles from gimmers and twins from ewes were 0.5 and 1.0 lb., respectively, lighter at birth, and had higher mortality rates than singles from ewes. The overall mortality rate of singles from ewes was 16%, singles from gimmers 20% and twins from ewes 28%. Male and female lambs born alive had similar mortality rates (18%).
Studies on the cutting management of grass-clover swards. IV. The effects of close and lax cutting on the yield of herbage from swards cut at different frequencies
D. Reid
1. The effects of cutting herbage to either 1 in. or 2½ in. from ground level were studied at varying cutting frequencies in two experiments on a perennial rye-grass/white-clover sward. In one of the experiments the frequency of cutting was decided by the stage of growth of the herbage, and in the other it was decided on a time basis where cutting was carried out at intervals of 2, 4 or 6 weeks throughout the growing season.
2. Greater yields of herbage dry matter were obtained by cutting to 1 in. rather than to 2½ in. at all cutting frequencies in both experiments. This effect did not vary significantly with frequency of cutting where cutting dates were decided by the stage of growth of the herbage. However, where the cutting frequency was decided on a time basis, close cutting gave a relatively greater yield increase compared with lax cutting where the herbage was cut every 2 weeks instead of every 4 or 6 weeks.
3. The results suggest that the practice of cutting at an average stage of growth in previous experiments probably had little or no influence on the effects recorded for the contrasting closeness of cutting treatments.
An evaluation of pasture quality with young grazing sheep. I. Live-weight growth and clean wool production
J. R. Gallagher, B. R. Watkin, R. C. Grimes
1. In a grazing trial with sheep, cocksfoot, ryegrass and tall fescue were grown with and without white clover, under 'short' and 'long' management systems, and also white clover.
2. Live weights were recorded every 2-3 weeks, and wool production was estimated by clipping midside patches every month.
3. Sheep on grass plus clover plots were significantly superior to sheep on grass plots in terms of live-weight gain, final live weight and clean-wool production.
4. Sheep on 'long' pastures were significantly heavier than sheep on 'short' pastures for a month in the early part of the trial. Thereafter, differences in live weight were not significant.
An evaluation of pasture quality with young grazing sheep. II. Chemical composition, botanical composition and in vitro digestibility of herbage selected by oesophageal-fistulated sheep
R. C. Grimes, B. R. Watkin, J. R. Gallagher
1. In a grazing experiment with sheep, cocksfoot, rye-grass and tall fescue were grown with and without white clover, under 'short' and 'long' management systems.
2. One sheep on each plot was fitted with an oesophageal fistula, from which herbage samples were collected at fortnightly intervals. The botanical composition of samples from the mixed swards was estimated by an optical point quadrat method. Samples were analysed for crude protein and cellulose, and digestibility was estimated in vitro.
3. Treatment difference within the mixed swards were not significant in terms of botanical composition. The mean proportions selected were 73% grass, 9% clover and 18% dead matter. The proportion of clover selected did not differ significantly between sample collections.
A yield-tenderometer relationship in shelled peas for adjusting yields to a given maturity
G. Berry
A model relating the yield of shelled peas to maturity, as measured by the tenderomoter, has been given. The model has been fitted satisfactorily to data from pea experiments carried out over a period of 4 years and covering a range of plant densities and irrigation treatments. Comparison with other published work suggested that the model may be generally applicable to wrinkled-seeded varieties. A formula is given for interpolation of pea yields to a given maturity, although it was shown that linear interpolation is generally adequate.
Effects of varying static and changing moisture contents during incubation on ammonia and nitrate levels in soil
D. M. Ekpete, A. H. Cornfield
The effects of varying static and changing moisture contents on mineralization of nitrogen after incubation (28° C.) for 3, 6 and 12 weeks were studied.
Mineral-nitrogen, accounted for entirely by nitrate, increased with increasing static moisture content up to 40-50% water-holding capacity (W.H.C). With further increasing moisture up to waterlogging, both mineral-nitrogen and nitrate decreased, the latter to negative values, indicating disappearance of nitrate originally present in the soil. Ammonia accumulated only at moisture contents above 50 % W.H.C. and its extent of accumulation increased with moisture content.
When soils with moisture contents of 10-50% W.H.C. during an initial 6-week period were changed to waterlogging for a second 6-week period, mineralnitrogen and nitrate accumulation decreased with increasing initial moisture in comparison with soils left at initial moisture contents for the second period.
The nutritive value of ground and pelleted barley straw. I. Ground and pelleted v. long straw for growing Ayrshire heifers
A. W. A. Burt
1. Twenty-four individually fed yearling Ayrshire heifers were used to compare diets consisting of (1) long barley straw and concentrates; (2) the same quantities of similar foods as in (1) but with most of the barley straw ground and pelleted with a proportion of the concentrates in a ratio of 70:30; (3) replacement of the whole of diet (1) by the pelleted 70:30 mixture to provide a similar theoretical starch-equivalent intake.
2. Live-weight gains over an experimental period of 10 weeks were: treatment 1, 0.55 lb./day; treatment 2,0.99 lb./day; treatment 3,1.23 lb./day. These differences were statistically significant and indicated a marked response in energy value due to processing the straw.
Seasonal changes in the amounts of phosphorus and potassium dissolved from soils by dilute calcium chloride solutions
M. Blakemore
Variations during 12 months in the concentrations of soil P and K soluble in 0-01M CaCl2 solution were measured on several sites with contrasted histories at both Rothamsted and Woburn. Concentrations were always less in fresh than in airdried soils.
P concentrations in the heavy soils at Rothamsted were remarkably constant, seasonal variation only occurring where FYM or phosphate fertilizers had been applied during the year. At Woburn P concentrations were also constant in the poorer soils, but varied during the year in rich soils.
On Barnfield at Rothamsted the plots receiving FYM each year contained more soluble P than those treated with superphosphate. Where both FYM and superphosphate were applied, P concentrations were greater than the sum of values on plots receiving FYM and superphosphate separately because a given amount of P remained more soluble when FYM was regularly applied. P also remained more soluble on plots given ammonium sulphate.
The evaluation of grasses in micro plots
H. H. Rogers, A. Lazenby
1. Two experiments were conducted in a lowtemperature cabinet. In the first experiment three grass varieties (two North African fescues and S 22 Italian rye-grass) were subjected to two cutting treatments (herbage cut from 8 in. to 2 in. and from 4 in. to 1 in.). Dry-matter production, dry-matter content and tiller number were recorded from plots of 9, 16 or 25 plants. The second experiment, a uniformity trial, was planted with a uniform population of a North African fescue. The optimum plot size and shape within the cabinet, and the optimum arrangement of blocks, was determined using a Titan autocode programme.
2. Treatment and variety differences could be detected using very small plots. For the material and apparatus used, an 18-plant plot was the optimum size.
AGS volume 66 issue 1 Cover and Front matter
Published online by Cambridge University Press: 27 March 2009, pp. f1-f2


 Now the king, being desirous to get this plotter against him into his hands, and being also afraid lest he should some way come to the knowledge how his affairs stood, and be upon his guard, he dissembled his anger in his epistle to him, as in other points he wrote kindly to him, and desired him to make haste, because if he came quickly, he would then lay aside the complaints he had against his mother; for Antipater was not ignorant that his mother had been expelled out of the palace. However, he had before received a letter, which contained an account of the death of Pheroras, at Tarentum, 1 and made great lamentations at it; for which some commended him, as being for his own uncle; though probably this confusion arose on account of his having thereby failed in his plot [on his father's life]; and his tears were more for the loss of him that was to have been subservient therein, than for [an uncle] Pheroras: moreover, a sort of fear came upon him as to his designs, lest the poison should have been discovered. However, when he was in Cilicia, he received the forementioned epistle from his father, and made great haste accordingly. But when he had sailed to Celenderis, a suspicion came into his mind relating to his mother's misfortunes; as if his soul foreboded some mischief to itself. Those therefore of his friends which were the most considerate advised him not rashly to go to his father, till he had learned what were the occasions why his mother had been ejected, because they were afraid that he might be involved in the calumnies that had been cast upon his mother: but those that were less considerate, and had more regard to their own desires of seeing their native country, than to Antipater's safety, persuaded him to make haste home, and not, by delaying his journey, afford his father ground for an ill suspicion, and give a handle to those that raised stories against him; for that in case any thing had been moved to his disadvantage, it was owing to his absence, which durst not have been done had he been present. And they said it was absurd to deprive himself of certain happiness, for the sake of an uncertain suspicion, and not rather to return to his father, and take the royal authority upon him, which was in a state of fluctuation on his account only. Antipater complied with this last advice, for Providence hurried him on [to his destruction]. So he passed over the sea, and landed at Sebastus, the haven of Cesarea.
1 This Tarentum has coins still extant, as Reland informs us here in his note.


text:
Giacomo Basadonna, MD, PhDChief Medical Officer
Giacomo Basadonna, MD, PhD
giacomo.basadonna@alirahealth.com
Giacomo Basadonna, MD, heads the Global Medical Affairs advisory at Alira Health. Giacomo is currently a Professor of Surgery at the University of Massachusetts Medical School. He is a member of 23 national committees, 3 hospital committees and 14 professional societies. Having held offices in these committees throughout his career; Dr. Basadonna has designed and obtained 16 grants, including those from large companies and government departments. His previous hospital appointments include UC Davis Medical Center, Yale New Haven Hospital, and UMass Memorial Hospital.
Additionally, Giacomo has held Chief Medical Officer positions for companies, including Z-Medica. Giacomo holds an MD and PhD from the University of Milan and has presented at over 80 major conferences and TV appearances during the course of his career. His publications include over 80 abstracts, 13 limited dissertations, and over 80 publications in peer review journals.
Mitchell Sanders, PhD
Margaret K. Carlson


text:
Křovinář ostnitý (Bothriechis schlegeli) patří k nejpestřejším jedovatým hadům Jižní Ameriky. Je zástupcem podčeledi chřestýšovitých. Tento had je zajímavým příkladem biologické konvergence. Svým vzhledem i chováním je téměř dokonalou kopií asijských chřestýšovců rodu Trimereserus a afrických stromových zmijí rodu Ateris. Všichni tito hadi jsou přizpůsobeni k životu v korunách stromů tropického pralesa a jsou si proto tak podobní, že je, např. na fotografii, od sebe těžko rozliší i odborník.

Výskyt
Tento had se vyskytuje ve deštných pralesích Střední a severní poloviny Jižní Ameriky, od jižního Mexika po Ekvádor a Peru. Jeho biotopem jsou deštné pralesy a mlžné lesy, zvláště na svazích hor. Vyskytuje se především na území těchto států: Kostarika, Panama,Peru, Ekvádor, Venezuela.

Popis
Je to malý had, který dorůstá délky maximálně 70 cm. Jeho zbarvení je velmi proměnlivé, může být v závislosti na lokalitě a poddruhu trávově zelené, tyrkysové, jasně žluté, světle hnědé či olivové, zpravidla s tmavšími skvrnami na hřbetě. Toto zbarvení hada maskuje ve větvích pralesních stromů či na jejich kůře pokryté lišejníkem. Nad očima má zvětšené šupiny, které tvoří jakési růžky či ostny, podle nichž dostal jméno.

Chování
Je to noční druh, přizpůsobený životu v korunách stromů. Má chápavý ocas, s jehož pomocí se dokáže udržet ve větvích a ochranné zbarvení. Živí se ptáky, stromovými žábami, zřídkakdy plazy a savci, hlavně drobnými vačicemi. Tento druh je vejcoživorodý. Samice klade 10 - 12 vajec, z nichž se ihned po opuštění jejího těla líhnou mláďata.

Jed
Jeho jed je hemotoxický, což znamená, že způsobuje rozklad krve. Není však tak silný jako u jiných druhů křovinářů a smrtelná uštknutí nejsou častá. Navíc je tento had poměrně vzácný a neútočný.

Reference

Související články
 Chřestýšovití
 Křovinář
 Křovinář němý
 Křovinář sametový

Externí odkazy

Chřestýšovití
Jedovatí hadi

redpajama_set_name: RedPajamaWikipedia


Rationale: I couldn't put it better than comment 35.
Yes, for individual events, there are particular browsers that get it wrong.
But those are bugs, that's all. A legacy of a poorly-specified age.
Previous message: bugzilla@jessica.w3.org: "[Bug 12943] Drop progress.position IDL or make it settable"