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Home » Blog » The Cartography of Racism
The Cartography of Racism
June 3, 2021 • Urban3 • News, Urban Renewal
Redlining is a discriminatory practice that puts services (financial and otherwise) out of reach for residents of certain areas based on race or ethnicity. It created maps that reinforced systematic denial of mortgages, insurance, loans, and other financial services based on location (and that area's default history) rather than on an individual's qualifications and creditworthiness. Notably, the policy of redlining is felt the most by residents of minority neighborhoods.
This definition of redlining is from Investopedia.com with the emphasis on the last line added. In America's recent history, redlining is one of the most galling and visceral examples of systemic prejudice. It showed up on literal maps in which the desirability — and long-term prosperity — of various neighborhoods were color-coded according to how "hazardous" they were deemed to be.
The single factor that made a neighborhood hazardous? The percentage of Black families in its population (with the presence of first-generation immigrants being only slightly better according to this spectrum of hazard.)
Most American cities of any size have a map where some neighborhoods are clearly shown to be unworthy of lending and other kinds of investment. In aggregate, they form a shameful cartography of racism and an easily navigable travelogue of disinvestment. The maps themselves were created by federal bureaucrats in the post-war era as a response to the advent of the 30-year mortgage. This brought the dream of home ownership within reach for a generation of Americans… but not all of them.
Buncombe County, NC & Reparations
Officially, redlining came to an end after about 30 years with the passage of the Civil Rights Act in 1968. Title VIII, commonly known as the Fair Housing Act, was meant to end discriminatory practices in housing. Fifty-two years later, the country finds itself in the midst of a continuing racial reckoning, one which reached a boiling point after the murder of George Floyd in May 2020. Later that year, Buncombe County, North Carolina and the City of Asheville passed a series of resolutions calling for "reparations" as a means to address their communities' legacies of racism and prejudice.
An analysis of property assessments and tax burdens by Urban3 shows that simply because a government has stopped actively engaging in racist practices doesn't mean they have halted racism's ongoing harm.
A case in point is the wildly uneven and inequitable valuations being assessed to properties in various parts of Buncombe County. Urban3 principal Joe Minicozzi led a webinar comparing three parcels in his hometown of Asheville — his Black next door neighbor's modest bungalow, a larger home on the ninth hole of the Grove Park Country Club, and a much larger mansion (with a tennis court, natch) on mountainous Sunset Drive. After the most recent assessment, Joe's neighbor will pay more than $10,000 in property taxes/acre on his home, valued at $388,000, compared to less than half that paid per acre by the owners of the more expensive homes in predominantly white enclaves.
This is a problem, but it's not a new one. Assessment cycles occur once every four years in Buncombe County. A look at the data reveals a long-standing pattern of assessments that come in higher than the purchase price for lower-valued homes, yet higher valued homes are assessed lower than their purchase price.
That means bigger property tax burdens are placed on the lowest-valued homes and the families that live in them. This is particularly troubling given that wages in the region have largely remained flat for decades.
It should come as no surprise that the vast majority of these more heavily burdened property owners are people of color, residing in neighborhoods that were redlined decades ago. The Assessor's response, "it's just the math, and there's nothing we can do" is no longer acceptable. People with fewer assets are shouldering a greater share of the community's tax burden.
Residents in cities like Asheville who are hoping to get on the path to building wealth through property ownership are finding their way blocked by a continuing mismatch between what many lower-income households can afford and the available inventory of homes. The high preponderance of non-local owners snapping up residences at all price points complicates this situation for all Ashevillians, particularly those who begin with the fewest options because of their low earnings.
Racist History & the Real Estate Market
"Local governments are playing checkers," Joe commented on the vicious cycle of depleting assets and dwindling choices. "Meanwhile, the market is playing chess." Many working class people can't even get to the gaming table.
This matters to cities. Even wealthy white residents of metro areas who may feel that their status shields them from these problems end up feeling the strain, especially in the low-tax, low-services states of the American south. Municipal governments in these states often find themselves with little or no assistance from their state governments. City Hall needs every local tax dollar it can get to fund fire departments, parks, solid waste pickup, or any number of essential services. When wealthier properties aren't adequately assessed, they won't pay their fair share. Aside from its obviously perilous moral implications, racism is just bad fiscal sense.
Structural racism may be defined as literally building structures that advantage one race over another. Before the Civil Rights Act, that may look like the construction of separate and unequal public education, public health, and public recreation facilities for Black and white families. Today, it looks like policies that reinforce doctrine which no longer has any official standing, but which remains as inflexible and damaging as ever.
As Urban3's Ori Baber puts it, when looking at the wildly disparate valuations of Asheville parcels that quite literally neighbor each other — but for a decades-old, officially invisible redline: "Inequity still has a geographic boundary to it."
Can Property Reassessments Repair Inequities?
Who decides the boundaries of neighborhoods? In many cases, anonymous officials deep in bureaucracies who were only doing the job they were given. More to the point, though, how long must we live inside the boundaries others have set for us? And are we aware of the economic effects imposed by these geographies?
The individual assessors themselves aren't even necessarily to blame. As the International Association of Assessing Officers state, assessors tend to be understaffed and underinvested. In the case of Buncombe County, each real estate assessor is responsible for an average of evaluating up to 10,000 individual parcels — a workload that encourages 'rules of thumb', not nuance, and certainly not urgent systemic reforms.
Urban3's point is exactly that: this is a problem with our systems that calls for a fix to our systems. Our country may never have the political will or fiscal capacity to write a big enough check to make meaningful reparations to all Black families who have been the victims of racial prejudice in America. That doesn't mean we have to continue inflicting unnecessary economic damage when we could change it today. Achieving racial equity now is a worthy and wise objective, from both a moral and economic perspective. The reparations resolutions that Buncombe County and Asheville officials passed are well-intentioned but ultimately hollow if the very values they castigate are reaffirmed through routine processes and policies.
As always, we must begin with the data to see what insights the math can offer. That must be followed, however, by the courage to do something different — not simply the easy choice of not doing the most obviously harmful thing.
Watch Urban3's recent LAB video focused on the inequities in Buncombe County's Reassessment process:


Interview with Rocky Pipkin and ABC30 reporter Vanessa Vasconcelos regarding Kavanaugh FBI investigation. Just days after Dr. Christine Blasey Ford and Judge Brett Kavanaugh delivered critical testimony before a Senate Judiciary Committee.
PDA would like to share a successful story of business partner, Los Angeles Criminal Defense Lawyer Todd Melnik. "Long Shot" is a Netflix production featuring Todd Melnik. PDA has worked with Todd several times and he is the best appellate lawyer on the West Coast. He responds to all telephone calls and takes ALL cases very seriously. If you have a case that is hopeless call Todd and if there is some way of exonerating you, he will find it and fight for your freedom relentlessly. The Pipkin family has been in the business since 1917 and we can tell you Todd is the only Appellate Lawyer we would recommend.
FRESNO, Calif. (KFSN) — Visalia Police arrested a burglary suspect this weekend.
34-year-old Andrew Langley is accused of stealing from the same downtown boutique multiple times.
On Saturday, Visalia's Pipkin Detective Agency made a citizen's arrest on Langley at Visalia's Oval Park before police arrived.
The International Agri-Center was host to President George W. Bush as a featured guest at the Ag Warriors Gala on February 15, 2012 during World Ag Expo in Tulare, California. The event benefited returning veterans by placing them in long-term professions in the agriculture industry. The Gala Banquet was a total success.
This was the second time PDA assisted the United States Secret Service Presidential Protection Unit when Bush has visited the Central Valley.
Download press release for more information.


A practical "how-to" guide for persons who want to learn how to meditate or practice yoga in a way that is consistent with their Christian faith.
An experienced Jesuit retreat giver offers an antidote to a world that's overfilled with noise, ceaseless activity, too many words: a simple and sympathetic guide to quiet contemplative prayer.
Fresh, new themes of reflection in the areas of prayer, Jesus, and God, by a prominent theologian and speaker.
A collection of short prayers using the prayer form "prayer of the heart" or mantra.
This book provides accessible and manageable lines of thought for busy people wishing to reflect on the deeper realities of their lives.
Offers a forty-day reflection on The Breastplate of St. Fursa, an ancient Celtic Christian prayer invoking God's blessing and protection on the life of the one who prayed it.
Based on solid scholarship, this small book will help ordinary people believe that mystical prayer is a possibility for them.
A short, accessible, thorough introduction to and overview of Christian teaching about and practice of prayer, with references to prayer in other religious traditions.
Lectio Divina develops this ancient prayer practice as a spirituality that cultivates the ability to listen for God in the whole of life.


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World's largest sapphire cluster unearthed in SL enters Guinness Book www.lokmattimes.com
World's largest sapphire cluster unearthed in SL enters Guinness Book
By IANS | Published: January 15, 2022 09:15 AM2022-01-15T09:15:02+5:302022-01-15T09:30:13+5:30
Colombo, Jan 15 The Sri Lankan government said that the massive star sapphire cluster found in the country ...
Colombo, Jan 15 The Sri Lankan government said that the massive star sapphire cluster found in the country last year has been registered in the Guinness Book of World Records as the world's largest ever.
State Minister of Gem and Jewelry Related Industries Lohan Ratwatte told the local media on Friday said the stone, weighing over 500 kg, had entered the Guinness Book after it was certified as the largest star sapphire cluster by the Gubelin Gem Lab in Switzerland, reports Xinhua news agency.
The star sapphire cluster was found in Ratnapura, a traditional centre for the Sri Lankan gem trade, located 100 km southeast of the country's capital Colombo.
Sri Lankan officials said the cluster weighs around 510 kg or 2.5 million carats and has been named the "Serendipity Sapphire".
The Minister said that the cluster which is currently in Switzerland will be taken to Britain for auction.
Tags :colomboRatnapuraGuinness book of world recordsXinhua
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redpajama_set_name: RedPajamaCommonCrawl


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"Thanks for the ride." Irvine said as he jumped off from Kenan's jetpack. He was the last to be airlifted down from the second floor. Kenan threw off the jetpack and joined up with a crowd of students in the main hall. "Calm down." Quistis told the students. "I'm sure it's only temporarily." Irvine peered over the pack of students. He saw Quistis and Selphie standing in the center of them. "What's wrong here?" Kenan asked, gently pushing his way towards Quistis. She shook her head. "There seem to be power malfunctions on this floor as well." -"At least the lights are still on." Irvine said, looking around. A young student, probably no older than ten, pulled Kenan's cape. "Uhm…Commander?" The boy called. Kenan smiled and got down on one knee. "What can I help you with?" The boy's eyes started tearing a bit. He quickly wiped them. "Me, and my friends were just at the Training Center…" -"Go on." Kenan assured him. "Well, we decided to go to the Cafeteria, but when I got out, the door closed up behind me!" The boy told him. He was clearly not joking around. "So, your friends trapped?" Irvine asked, having also listened to the young student. -"Yes Sir." He replied with a sad tone of voice. Kenan turned to Irvine. "We don't have time for this." He whispered. -"True, but we gotta help 'em." Irvine replied, also whispering. Upon jumping on a bench, Kenan could overlook the whole crowd. "Listen up," He practically shouted. The students quieted down. "I have a mission for five strong students…" Five people were probably too many just to open one door, but Kenan figured it couldn't hurt to get more muscle into it. Those young students' lives could be at stake. At least ten students stepped up to volunteer. "Okay, you five," Kenan said, pointing to the first row of five students from left to right. "Go to the Training Center. This young student here will tell you what needs to be done." The boy beamed. He felt honored to be put in command of five older students by the Commander himself. -"Sir." The five students saluted and ran to the Training Center with the young student. "What was that about?" Selphie asked Kenan as he got off the bench. He replied with a never-mind gesture. "Just come on…" Selphie patted Quistis on her shoulder. "Let's go." She quickly said goodbye to the students she was conversing with and followed Selphie. The students all turned to complain to Doctor Kadowaki as she approached. Quistis met up with Kenan and Irvine in front of the Balamb Garden map, in the middle of the main hall. "Where's Zell?" Irvine wondered, scanning around. -"Hey!" Selphie sarcastically pouted. "You didn't forget to fly him down, did ya Kenan?" She smiled. "Kudos if you did." -"I heard that!" A voice yelled from the gates. The SeeDs looked up ahead and noticed Zell was waiting for them. "Wow." Irvine gasped. "Don't normally see that." -"Welcome to the zone where normal things don't happen…very often." Kenan grinned, approaching Zell. Zell leaned against the booth at the gates. "About time you guys got here." Walking right past Zell, Kenan got a better view of Fisherman's Horizon. As before, the big crane served as an excellent docking platform, connected to the 2nd floor deck. But from down at the front gate, it was a bit harder to reach FH. "Oh no!" Selphie exclaimed, staring at the nearest dock that would lead up to the main street. -"What? What?!" Zell wondered. He caught up with Kenan. "We'll have to cross some water." Kenan told the others, noticing there wasn't any direct connection to the town. -"In other words…swim." Zell uttered, scratching the back of his head. "Not necessarily." Quistis said, not feeling much for getting wet either. "Balamb Garden has rafts." -"Right. Zell, Quistis, get one over here." Kenan ordered them. "And fast, we've wasted enough time already." Quistis nodded and ran off. Zell followed, heavily moaning. Why did he always have to do all the work? "Hey Kenan." Irvine called, doing a few stretching exercises next to him. -"Yeah?" "How's Tia?" Irvine asked with a sincere face of concern. "Has she recovered yet?" -"Yeah!" Selphie exclaimed. "I haven't seen your sis in a while. Is she okay?" Kenan shrugged. "Yesterday she was still resting. I don't know how she is now." -"But I'll see her later." He quickly added. "Now we've got another Sorceress to worry about." "Why don't ya check that tracking thing?" Irvine suggested. "Maybe she has left FH already, it's possible." Reaching for the tracking device in his pocket, Kenan grew a worried look. Irvine was right, the Sorceress could have gotten away in the mean time. Those transports are wicked fast… Upon carefully inspecting the display on the device, Kenan smirked. "She's close by, still here in FH." Selphie leaned over Kenan's shoulder. She could clearly see the device, but couldn't make much of the display. There where several dots, lines, circles and stuff. It was way too technical for her to understand. "Great!" Irvine said, clapping his hands together. "We'll have her in no time."
<<------------------------------------------>> "Squall." …. "Squall!" Skye called again, more forcefully this time. It took Squall a few seconds to realize where he was as he opened his eyes. He got up and swung his feet over the side of the bed. Still feeling sleepy, he gathered his stuff from under the bed. Skye sat down next to him. "Sorry I had to wake you so soon, but I have a feeling we'd better go now." Squall put on his boots, and looked at Skye. "Are the Galbadians here?" She shook her head. "…Balamb Garden…" He noticed the room's door was wide open. Balamb Garden…here? Docked in FH? Putting on his jacket, Squall stood up. "Okay, we'd best hurry." "Right." Skye agreed, moving to the doorway. She had already grabbed her backpack and seemed ready to go. -"Did you even sleep?" Squall asked, quickly grabbing his gunblade and backpack. She smiled. "Not really, but it's okay. Someone has gotta stand watch." Squall looked around the room, making sure he hadn't forgotten anything. As he walked to the hotel hall, Skye shut the room's door, handing the key to Squall. "The Garden arrived a few minutes ago." She explained. "I haven't seen anyone come out though." -"They're probably after us." Squall said as they walked down the hall. She looked thoughtful for a second, then shook her head. "No, after me."
The hotel manager politely smiled as the two young ones walked by. Squall threw the room key in the manager's hands. "We're checking out." "Of course." He replied, grabbing a small book from behind his counter. He looked at the clock hanging on the wall behind him and made a note in the book. The manger looked up and smiled. "Have a nice day, and please, come again." Squall and Skye walked outside. Almost everyone in the town seemed gathered up ahead. They were waiting expectantly. Balamb Garden was docked a bit further away. At the usual place, beside the huge crane. "So, you didn't see any come out there?" Squall asked, pointing to the 2nd floor deck of Balamb Garden. -"No. Not anywhere else either." She stated, intensively staring at the Garden. Squall patted her on the shoulder, she nodded and they both ran in the opposite direction. "This way." Squall told her, choosing the road leading up. He looked back. Nobody was following them. Climbing up the old railway bridge, they had a great view of Fisherman's Horizon. "Uhm…" Skye mumbled, glaring up ahead and back. "Where is the train?" The tracks seemed to go on forever. She couldn't see any mainland in either direction. Just the railway bridge suspended above the ocean. -"There is no train." Squall said, wondering whether or not he had told her this before. "We have to walk." Skye sighed, looking down at her shoes. It wouldn't be comfortable walking with those old discarded student shoes. "I've done it before. It's far, but I don't see any other way." Squall said, eyeing Balamb Garden. "We can't go back now, they'd jump us before we could get to the transport." Skye reluctantly put on a smile and started walking towards the horizon. She stopped as she realized Squall was moving in the other direction. "Hey, wait for me!" He kept walking, knowing there was no time to waste. They'd have to reach Esthar before getting caught up by whoever was after them this time. "Hey, is this the only way to Esthar?" Skye asked as soon as she caught up with Squall. -"Either this way, or by air." He replied. "Although the Garden can't fly high enough." The sun was beginning to set. An orange glow spread across the skies. It was reflected in the ocean. "It'll be dark soon." Skye concluded. -"Yeah, seems so. But that will make us harder to spot for them." Squall assured her, still eyeing Balamb Garden. It got smaller and smaller as they proceeded towards Esthar. Eventually it disappeared out of sight completely, along with FH. In both directions, all they could see were the train tracks. "I must be really important to them, huh?" Skye pondered, breaking the silence. She had heard about Sorceress Ultimecia from Squall. If Ultimecia were really that dangerous, SeeD would go after her instead of Skye. But now that they'd moved the whole Garden to follow her, she was proven wrong. -"I don't understand it." Squall said, thinking out loud. "You are not an evil Sorceress, what do they want with you?" "I've lost my memory Squall," She reminded him. "I could have done terrible things, but just not recall them." He looked aside. "I doubt it. You don't seem that kind of person." She studied him. Squall was actually a lot friendlier than he would let people believe, at least, that was her theory. Rolling her eyes, she wondered why she always had to analyze people. Is that her power? She grinned. The power to analyze people, whoo-hoo, what a dangerous Sorceress she was. Squall silently watched the setting sun as they trudged further towards Esthar. It was going to be a long night…
"YOU again!" The mayor scolded as a team of five SeeDs arrived with a raft on the docks of his town. He recognized Commander Gantt, as they had spoken before. The SeeDs carefully stepped off the raft one by one, and tied up the raft to a nearby pole with a sturdy piece of rope. Kenan raised an eyebrow in surprise by the amount of people standing around them. He had always thought FH was a quiet town with not many inhabitants. There were so many people, they blocked the path to the main street. Zell stepped up to the crowd. "SeeD business, let us through!" Irvine walked up next to Zell. "Uhm…buddy, I think you should let Kenan handle this." The mayor stood triumphantly in front of his townsmen. "Commander," He called, trying to keep his voice down. Respectable people like him didn't need to yell to prove their point. "I thought you agreed to stay away from Fisherman's Horizon?" Kenan sighed. The last thing he needed right now was to get into a debate with this peace-loving guy. -"Our Garden needs more repairs." Kenan explained. "And me and my team are on a mission." "Oi!" A man, wearing a technician's uniform yelled. "We already repaired it." Quistis crossed her arms. "You didn't do a good job last time. The damage from the battle with Galbadia Garden still clearly shows." The man scratched the back of his head. "Well,…uh, we focused mainly on getting it operational again. All the structural damage wasn't the main concern. But we DID repair half of it!" "Now now," The mayor said, trying to calm down the technician. "You and your team did an excellent job, don't be bothered by these barbarians." Quistis and Kenan looked at each other and shook their heads. It was pointless trying to convince the mayor otherwise. According to him, Garden just was a purely aggressive military unit. One that would cause more harm than resolve it. "Listen chum, we're gonna save the world, so don't stand in our way." Selphie exclaimed, slightly dancing around. -"Yeah!" Zell backed her up, taking a fighting stance. "Boo!--yaka." "SELPHIE, ZELL!" Kenan called furiously. They were just going to get themselves into trouble with that attitude. He turned to the mayor again. "I'm sorry for the inconvenience, but we would appreciate it if you could assist our Garden's repair teams again." The crowd looked questioningly at the mayor as he paced back and forth in front of them. "Very well," He finally said. "But I want you to leave here as soon as the repairs are complete." After all, he wasn't a fool. He may not like their methods, but they might just save the world from that evil Sorceress. Commander Gantt saluted the mayor, and the other SeeDs followed his example. Quistis motioned Zell, Irvine and Selphie to walk up ahead as Kenan remained behind to discuss a few other issues with the mayor of FH. They waited for him in front of a hotel called 'The Golden Pavilion'. From what they could see, it appeared to be a nice hotel, although nothing really fancy. "Hey…" Zell yawned. "Maybe we could go for a little nap." Irvine shook his head. "Don't have the time…" He turned to Kenan. "Right, so just talk to the Headmaster." He said, trying to end his conversation with the mayor. The mayor and the townsmen still didn't like the idea of the Garden being parked beside their town, but they agreed to help them once more. In the end, everyone hoped the SeeDs would soon stop the Sorceress, and restore peace to the land, so to speak. Kenan joined up with his team. "Gawd, that mayor's a major pain in the--" Quistis coughed. "Let's just get on with the mission, shall we?" Resting her nunchakus on her shoulder, Selphie scanned around. "Don't see any Sorceress here." -"Well DUH." Zell exclaimed. "I doubt she'd just be walking in plain sight dummy." Selphie scowled at him and he quickly hid behind Irvine. "Don't hurt me, again." Kenan and Quistis briefly exchanged looks. Kids, that's what those two they were sometimes. So immature… "I'll just use the tracking device." Kenan stated, grabbing it from his pocket. As he switched it on, his eyes widened. Selphie and Zell peered over the Commander's shoulders at the screen. The blinking light was moving! "What does this mean?" Irvine wondered, even though he could guess. Staring ahead, then back at the screen again, Kenan began to move forward. "She's getting away." He started to run, the others followed. "Where's she now?" Selphie asked, already starting to sweat. She could never maintain this speed for long. Swiftly, the SeeDs climbed up to the railway bridge. Like Kenan had guessed, the Sorceress must be headed for Esthar. "Dead ahead." Kenan informed them. "But she has quite a lead on us." Irvine squinted. "Are you sure? I don't see anyone." By now, the entire sky was colored dark-purple. In a few moments, night would fall. Visibility would drop even more. Body sagging, Zell was about to complain, when Selphie jumped up in stead. "We're not going to walk that whole stretch AGAIN, are we?!" Quistis ran her hand through her hair. "Do we have another choice?" -"Go back to the Garden and get a vehicle up here?" Irvine suggested, somehow proud he came up with a solid idea before Mr. Leader could. "That could waste even more precious time. What if the Parking Lot doors won't open." Kenan argued, seeing no other choice but to pursue, on foot. Everyone sighed heavily, but followed their Commander as he walked off. "I should have brought my hoverboard." Zell mumbled, kicking nearly every small stone that lay in his path. He made up the rear of the team. Selphie and Irvine walked in front of him, probably getting all mushy seeing as how they were both giggling about something. Kenan and Quistis took point. Again, they walked side by side ahead of them. Could there be something between those two? Zell pondered about this shortly, but eventually concluded this wasn't very likely. It wasn't a secret that Kenan liked Rinoa. Zell sighed. One day, he really had to gather up the nerve to talk to that girl in the library.
"So," Kenan said, casually trying to start a conversation with Quistis. "Read any good books lately?" She smiled. "Actually, no. Not since the whole thing with Ultimecia started." "Uh-oh." He uttered, seeing the sun set completely. "I forgot to bring a flashlight." Some seconds later, a row of light on both sides of the railway switched on. Chuckling, Quistis watched Kenan gasp in surprise. "I guess someone must have heard you." The lights enabled them to look further ahead than before, but still there was no sign of the Sorceress. Or Leonhart for that matter. "Whoo-hoo!" Zell called from behind. "Go Irvine!" Both Quistis and Kenan turned around. Selphie and Irvine had stopped just under a lamppost and were…kissing? Wow. They knew there could be something starting between the two, but still this came as sort of a surprise. Actually all they could see was Irvine and his hat, which he cleverly used to cover his and Selphie's face. Kenan looked at his watch. "Uhm, Pineapple," He called. "How long is this gonna take?" Irvine put his hat on again and turned to Kenan, smiling widely. "Sorry. Heat of the moment thing…you know?" Selphie's cheeks glowed red. "Hey..what? Never seen two people kiss before?" Quistis laughed. "Not recently." Beaming, Irvine jogged up to Kenan as they moved on. "Stick around me and you might just learn a thing or two…" Selphie joined up with Quistis. Zell trudged behind, solo, as before. Glancing over at Selphie and Irvine, Kenan grinned. "So, it's official now. You're in a relationship Pineapple." -"Would you stop calling me that? It's Kinneas!" Irvine reminded him with an annoyed look. "Kinneas and Pineapple are two totally different names! How on earth did you…ah…forget it!" Kenan threw his hands on his back. "You know what this means though, right?" -"Uh..w-what?" Irvine hesitantly asked. He smirked. "Now she owns you Pine-uh, Irv. It's over. No more flirting, heck, even looking at other girls is a no-no." Silently Irvine whimpered, wondering what he'd gotten himself into. "Yup. You've just given up the things you are best at." Kenan stated again. "Did you know you can't even burp anymore without being whacked or yelled at now?" His eyes widened. "No, she can't take that away from me. I live to burp!" -"Afraid so buddy. You aint single no more. Hmm, there's a song in that, I'm sure." Irvine remained strangely silent for a while. "Too bad about that world record attempt though," Kenan grinned. "Never seen anyone burp the entire alphabet before, I was so sure you could do it with a little more practice." He sighed. "Thanks for the pep-talk there Commander." Kenan rubbed his chin and looked over his shoulder. "Perhaps Zell could do it in stead, he has great talent you know." -"ZELL? Oh no, that record attempt is mine, mine!" Irvine exclaimed, tapping himself on the chest. "What was that about me?" Zell asked from a few feet behind. Kenan supportively patted Irvine on the back. "Too bad, I doubt Selphie would allow such things." "You see, women don't understand the delicate art of burping like we men do. They think it's vulgar, obnoxious and sorts. We KNOW it is." -"And that's why we love it…" Irvine whimpered, pretending to wipe a tear away. Casually, he looked over his shoulder at smiled at his girlfriend, Selphie. Wow…girlfriend. He DID like the sound of that. "C'mon man," Irvine reasoned, eyes on the railway ahead. "It's not like she'll be around me 24/7." -"Oh really?" Kenan smirked, knowingly. "She'll be all over ya. Wanting to know about everything you do." Irvine shivered. "No, you're just saying that. Ha, you're jealous man!" He shook his head and pointed Irvine towards Zell. "See him? Now THAT's a free man. He can do practically whatever he wants. You can not buddy. Your life as you knew it…" "Noooo…" Irvine whimpered. "It's over, all over?" -"Hey, but good going Pineapple!" Kenan exclaimed cheerfully, loud enough for everyone to hear. He shook his head, smiling widely again. "Kay Commander, let's drop the act already. You're jealous I got me a girl." Throwing an arm around Irvine in a best bud kinda way, Kenan laughed out loud. "Yeah. Who knows?" Smiling mischievously, Irvine glanced over at Quistis, then turned to Kenan. "Don't worry my good man, I can help…" Kenan raised an eyebrow. "Hey, don't you even dare setting ME up. I don't need your help." "Right!" Irvine responded sarcastically. "Girls are just waiting in a line for you." He frowned and supported the back of his head with his hands. "Well, no, they're not waiting in a line." "Actually in three lines." He added with a serious look. -"Sure…whatever ya say Sir."
Just a few feet behind, Selphie was really beginning to get tired. She found it extremely hard to even keep her eyes open. Having Quistis walk next to her was actually quite comfortable, if she'd get too tired, Selphie would just lean against her. On the other hand, Quistis did have a way of boring her like every teacher is able to do to her. Then again, she isn't an Instructor anymore of course. Woo-hoo though! Irvine is her boyfriend! She just couldn't wait to tell all her friends at Trabia Garden. He's so cute! Like a teddy bear, only slightly less hairy! Tee-hee! Quistis chuckled, closely observing Selphie. "Don't let it get to your head Selphie." She beamed. "You're just jealous Quisty." Quistis shook her head. "No, I'm happy for you. But don't think too much of it, after all, Irvine is quite a--" Selphie's eyebrows furrowed, turning to Quistis. "Oh..never mind." She quickly said. "But, please, don't call me Quisty." -"AH, come ON." Selphie pouted. "It's such a cute name! What else am I gonna call you for short, Q?" "How about just plain Quistis?" She offered with a slightly annoyed look on her face. Selphie considered it, but couldn't see the cuteness in just her normal name. Everyone should have a short, cute name. Like, Irvine is Irvy, Kenan is..uh..Ken? Yeah, and Zell would be... She shrugged. Ah, who cares about Zell anyway? Nobody ever calls his name unless he's getting into trouble. But Quisty, oh, that is a great name!
Quistis stared back at FH. Well, there wasn't any FH to see anymore. Perhaps they'd traveled a considerable distance already. Or, it could just be the overall darkness that prevented her from seeing the town. She sighed. The journey has just begun. Surely they would have to walk all night to reach Esthar. Fatigue would soon set in, Zell and Selphie would really have a hard time. At least it would all be worth it. That Squall, he would help them defeat Ultimecia, and then all this hardship would be over. A happy ending, definitely.
"It's getting really dark, not to mention cold, we'd best get back inside now." -"Oh, you worry too much Uncle." She grinned. But she quieted down as she saw the part of the city where the battles had taken place. Even though most fires were extinguished days -if not some weeks- ago, smoke still covered up a great amount of the sky above Esthar. Everyone fought so bravely…all for her? So many young men had sacrificed their lives. People, whom never even met her, but were willing to pay the ultimate price. And for what? Just to make sure the Sorceress wouldn't capture her? Her uncle threw his arm around her, comfortingly. He knew exactly what she was thinking about. "It's not because of you Ellone. They all fought for their loved ones, for freedom. They will not soon be forgotten." A tear rolled down Ellone's cheek. "But it was all for nothing. All they did was force Ultimecia to retreat. She will back Uncle, I know it. Soon…" "Everything is going to be fine. Trust me." Laguna told her. "I won't let anything happen to you." She rested her head against his shoulder. Uncle Laguna…she could always trust him. Never did she doubt this, even when Sorceress Adel had captured her those many years ago. He would never let her down. They overlooked most of Esthar from the presidential balcony. Despite the damage from the battle with the Lunatic Pandora, the city looked as beautiful and majestic as ever. It could always give Laguna a lump in his throat just by looking at it. And to think he was even President of such a city. Ellone closed her eyes, just as a cold breeze passed by her face. "Is something wrong?" Laguna asked, releasing Ellone from his hug. He knew that she would only close her eyes either to sleep…or to use her powers. -"A Sorceress is approaching." She stated, opening her eyes. "It's neither Ultimecia nor Adel." His eyes widened. "Is she…evil?" Ellone shook her head and walked back inside. Laguna followed, closing the balcony doors behind him. "I can't sense any evil." She said. "But these sense are still new to me. I could be wrong." Putting his hands in his pockets, he nervously paced back and forth in his office. "So, where is she coming from?" Ellone shrugged. "I think the same way the SeeDs entered earlier. The rail bridge." "Okay." Laguna said, moving to his intercom. "Kiros and Ward, please report to my office." Giggling, Ellone walked over to her Uncle and actually pushed the 'on' button of the intercom system. Laguna scratched the back of his head. "Kiros and Ward, please report to my office." "Great goobish goo, I'm no good with modern technology. Never even figured out how to flush the toilets here." He mumbled, smiling at his young niece. Ellone giggled again, and switched the intercom off. "The whole Presidential Palace heard that Uncle." He sighed heavily. He could still make a bigger fool out of himself than anyone else could ever do for him. The door to Laguna's office creaked open. His aid Kiros, walked in. "What is it now," He sighed. "Your highness?" Laguna beamed. "Ah, just call me Laguna will ya? And hey, how did you get here so fast?" Kiros smiled politely towards Ellone and crossed his arms. "My office is next to yours Laguna, remember?" "Oh. I thought that was the janitor's closet." Laguna laughed, turning to Ellone. "Kiros might looked like a neat guy, but man! Can he make a mess out of his office…" -"Actually, that was because Ward needed to see the dentist." He explained. "I chased him all around the room before I caught the big guy. That's probably the only thing Ward fears, seeing the dentist." Nervously grinning, Laguna took a seat behind his desk. Kiros leaned against the edge. "Oh, and you were practically crying when you had to go Laguna…" -"With the way I eat, I'm bound to have a million cavities." He admitted. "But you know what the old folks say, it's better to have ten cavities in your teeth, than one in your head." Both Ellone and Kiros stared questioningly at Laguna. "Better have ten cavities in your teeth…than one in your head?" "What? Is it something I said?" He asked. The doors to the office closed. Ward walked up and said something with the expression on his face. -"You're an idiot Laguna. But we wouldn't have it any other way." Kiros translated Ward's expression. "Heeey!" Laguna pouted. Ward chuckled, stomach bobbing up and down. But then his face grew serious, wondering why Laguna had called him. Noticing the look, Laguna stopped clowning around…for now… "Ellone just informed me that a Sorceress is heading towards us." He told his aids. "She doesn't know if the Sorceress is an evil or good one, so I want you to meet her. But be careful." Kiros nodded. "No problem. Anything else?" "Any news from Balamb Garden?" He asked. -"No." Kiros replied. "But we know they're docked in Fisherman's Horizon now." Ellone smiled. "Maybe they're bringing Tia then?" "Isn't that the girl that freed Adel?" Laguna asked. "I didn't know she was a Sorceress." -"Yes, that is her. She received Edea's powers." Ellone smiled sadly. Ward looked down. "Yeah, that's really sad." Kiros said. "But at least she's no longer under Ultimecia's control." -"Anyhoo, get down to the entrance and see who it is." Laguna told them, standing up. He tried his best to make it sound like a request instead of an order. Kiros and Ward walked out of his office. Ellone gazed outside through one of the big windows in Laguna's office. She wondered what lay waiting for them just beyond the horizon. Whistling cheerfully, Laguna peered over at the antique clock. "Whoa, time flies!" He exclaimed, surprised it was already that late. He stretched and yawned. "I think I'll be going to bed now." -"So will I, Uncle." Ellone said, giving Laguna a goodnight kiss.
"Uhm…Seifer…y-ya know?" His eyes popped open. Raijin was backing up towards him, away from a purple colored fog. Seifer stood up and halted him by taking hold of his shoulders. "Stop being such a chicken. It's only the Sorceress…" A cold sweat drop formed on Raijin's forehead. The Sorceress was exactly the person he feared the most. Even Fujin glared nervously at the purple fog as it thickened in the middle of the small deck. Only one lamp in the cabin provided a bit of light on the boat, but it was clear this was the Sorceress' doing. Seifer had seen this before in Timber. "Fujin," He called to the other side of fog. "Are we near FH yet?" -"AFFIRMATIVE." She replied, even though the town itself wasn't visible.


QUIET Corner 2BR+DEN/2Bath PENTHOUSE with 2 PARKING in a well-maintained RAINSCREENED building at THE TENTH AVE in desirable Arbutus Walk. With soaring 12' ceilings and skylights, this quiet NE corner unit is sheltered from traffic, yet offers an ultra convenient location with parks, newly re-developed Broadway corridor &10th Ave bike route & B-LIne all right at your doorstep. Numerous updates incl. new laminate & tile floors, 2 renovated bathrooms, newly updated kitchen & all new stainless appliances (incl. Bosch SuperSilence dishwasher & GE Profile gas range & double-door fridge) & much more. BONUS: 2 PARKING, in-suite storage+1 LOCKER. 1 Dogs or Cat OK & Rentals are unlimited. More pics, video tour & 2D/3D floorplans on Realtor's site.


Dr. Kristiina Kumpulainen is Professor of Education at Department of Teacher education, Faculty of Behavioural Sciences, University of Helsinki. She is also the founding member and the scientific director of the Playful Learning Center.
She received her PhD in Education from the University of Exeter in the year 1994 focusing on children's collaborative writing with computers. She has held two distinguished scholarly positions awarded by the Academy of Finland. In the years 2006-9 she directed the national interdisciplinary research network on learning, CICERO Learning at the University of Helsinki. She has also served as the Director of the Information and Evaluation Services Unit at the Finnish National Board of Education before her present position. Prof. Kumpulainen has been a visiting professor at the University of Warwick, Institute of Education, and at the University of California, Santa Barbara.
Prof. Kumpulainen's research focuses on examining tool-mediated learning and communication in various settings, including early childhood centers, schools, museums and teacher education settings. She has also addressed methodological questions in the analysis of social interaction in collaborative and creative learning in online and offline spaces. Her current research centers on learning across contexts, technology-mediated creative learning, learner agency and identity, resilience, as well as visual participatory research.


Launch of "Shangri Lounge" soirées at the Shangri-La Hotel Paris.
Now, every Wednesday, one can enjoy the refurbished parts of the Shangri-La Paris' hotel lounges for a cocktail or a glass of champagne, to the mellow sounds of a DJ. In a setting specially designed and tailor-made by visual scenography agency Your Tailor is a Punk !!! the hotel is transformed through light projections on the walls and ceilings, with bamboo, orchids and elegant mirror balls creating a quirky-cool kind of atmosphere. For the occasion, Christophe Léger –Chef Barman of the Shangri-La Paris – has designed a special drinks menu for the soirées. And for those with a little appetite, a dim sum menu is also available to mix gourmand notes with an array of exotic flavors.


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Corey Deitz characterizes himself as a "recovering Democrat" and even offers a 6 Step Program for liberals. "I'm not a right-wing nut job," says Deitz, speaking from his underground shelter while stocking ammo and canned food. "I'm just a middle-to-right American who set out to expose the differences between reasonable conservatives and unreasonable liberals."
To be fair, Deitz actually takes shots at both liberals and conservatives, Democrats and Republicans. "But, I did it tongue-in-cheek," says Deitz. "I think conservatives will feast on how I turn up the heat and grill a lot of folks on my barbecue spit."
Humorous, satirical, self-deprecating, and witty - Vilified! will make you wish you could cast a vote everyday!


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Exploring the triggers of psychological distress among Jordanian patients with heart failure: a phenomenological study
Yasmeen Abu Sumaqa (Faculty of Nursing, Al al-Bayt University, Mafraq, Jordan)
Ferial A. Hayajneh (Faculty of Nursing, The University of Jordan, Amman, Jordan)
Mohammad Alnaeem (Al-zaytoonah University of Jordan/School of Nursing, Amman, Jordan)
Sajeda Alhamory (Faculty of Nursing, Irbid National University, Irbid, Jordan)
Ibrahim R. Ayasreh (Jerash University, Jerash, Jordan)
Manar Abu-Abbas (Faculty of Nursing, Irbid National University, Irbid, Jordan)
Working with Older People
Article publication date: 28 October 2022
This study aims to gain a deeper understanding of triggers of psychological distress among Jordanian patients with heart failure (HF).
Design/methodology/approach
A phenomenological study was adopted. In-depth, semi-structured, audio-taped interviews were conducted for 25 patients with HF. The analysis was done using interpretative phenomenological analysis.
The main theme of the findings can be expressed as "faced with stressors that are unable to cope with", which encompasses circumstances and contexts associated with the psychological distress they faced. The following four sub-themes emerged from the data: being endorsed in significant life changes, feeling guilty about being a burden, financial burden aggravating stress and feeling overwhelmed by the fear of death.
The findings revealed that psychological distress is affected directly by many triggers. The findings indicate the need for informing health-care providers to support these patients and address the challenges and develop clinical guidelines to assess psychological distress among these patients.
The authors would like to thank the participants who kindly agreed to participate in this study and be interviewed.
Funding: This research received no specific grant from any funding agency or commercial sectors.
Ethical statement: This study conforms with the principles outlined in the declaration of Helsinki.
Declaration of competing interest: The authors declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper.
Abu Sumaqa, Y., Hayajneh, F.A., Alnaeem, M., Alhamory, S., Ayasreh, I.R. and Abu-Abbas, M. (2022), "Exploring the triggers of psychological distress among Jordanian patients with heart failure: a phenomenological study", Working with Older People, Vol. ahead-of-print No. ahead-of-print. https://doi.org/10.1108/WWOP-09-2022-0042
Copyright © 2022, Emerald Publishing Limited


Microsoft Internet Explorer is prone to a remote code-execution vulnerability. An attacker may exploit this issue by enticing victims into viewing maliciously crafted HTML content. Successfully exploiting this issue allows arbitrary machine code to execute in the context of the affected application. This facilitates the remote compromise of affected computers.
Disable support for script code and active content within a client browser. Note that this mitigation tactic might adversely affect legitimate websites that rely on the execution of browser-based script code.
To limit the possibility of remote exploits through email, configure email client applications to view messages as plain text.
Microsoft has released a security bulletin and fixes to address this issue. Please see the references for more information.


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Films > Porgy and Bess
7.00 out of 10 stars from
Porgy and Bess (1959)
Director(s) Otto Preminger, Rouben Mamoulian (uncredited)
Producer(s) Samuel Goldwyn
Top Genres Drama, Film Adaptation, Musical, Romance
Top Topics Book-Based
Featured Cast:
See Full Cast
(as Porgy)
Dorothy Dandridge
(as Bess)
(as Sportin' Life)
Porgy and Bess Overview:
Porgy and Bess (1959) was a Musical - Drama Film directed by Rouben Mamoulian and Otto Preminger and produced by Samuel Goldwyn.
Porgy and Bess was inducted into the National Film Registry in 2011.
Academy Awards 1959 --- Ceremony Number 32 (source: AMPAS)
Award Recipient Result
Best Cinematography Leon Shamroy Nominated
Best Costume Design Irene Sharaff Nominated
Best Music - Scoring Andre Previn, Ken Darby Won
BlogHub Articles:
Musical Monday: Porgy and Bess (1959)
on Feb 25, 2019 From Comet Over Hollywood
It?s no secret that the Hollywood Comet loves musicals. In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 500. To celebrate and share this musical love, here is my weekly feature about musicals. This week?s musical: Porgy and Bess (1959) ? Musi... Read full article
See all Porgy and Bess articles
Quotes from
No Quote for this film.
Facts about
The Gershwin family strongly disapproved of this version; they felt that producer Samuel Goldwyn had glamorized and "Hollywoodized" it too much, and that he had made a mistake in firing the film's original director, Rouben Mamoulian (director of the original stage version in 1935). The film was withdrawn from release in 1974. The only place it can be seen now is in film archives.
According to the 7 November 1957 issue of Jet magazine, the film's producers were interested in R&B singer Clyde McPhatter for the role of Sportin' Life
Originally bought as a film property by Columbia Pictures in 1942 to star an all-white cast in blackface: Al Jolson as Porgy, Rita Hayworth as Bess, and Fred Astaire as Sportin' Life. When that proved unrealistic, the property was sold to 20th Century Fox, where it was hoped to have been a follow-up to Stormy Weather. Rouben Mamoulian (who directed the original Broadway play) was announced as director and the following cast was announced: Paul Robeson as Porgy, Lena Horne as Bess, Hattie McDaniel as Maria, Canada Lee as Crown, Cab Calloway as Sportin' Life and Fredi Washington as Clara. When Horne proved to be unavailable after 'Stormy Weather' and Robeson clashed with 'Daryl Zanuck' due to his political beliefs, the film was shelved until 1957 when it was bought by Samuel Goldwyn.
read more facts about Porgy and Bess...
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Best Music - Scoring Oscar 1959
The Five Pennies
Li'l Abner
Say One for Me
See more Academy Awards>>
Inducted 2011
(Sound)
Knute Rockne All American
See All Films in National Registry >>
Also directed by Otto Preminger
Director (Credited)
Genre(s): Crime, Film Noir, Mystery, Romance
Genre(s): Crime, Drama, Mystery
More about Otto Preminger >>
Also produced by Samuel Goldwyn
The Cowboy and the Lady
Producer (Credited)
Genre(s) Comedy, Drama, Romance, Western
Genre(s) Drama, Film Adaptation, Romance
Ball of Fire
Genre(s) Comedy, Crime, Romance
More about Samuel Goldwyn >>
Also released in 1959
Director(s): Michael Gordon
Genre(s): Comedy, Romance
A Hole in the Head
Director(s): Frank Capra
Genre(s): Comedy, Drama
Director(s): Billy Wilder
See All 1959 films >>
More "Book-Based" films
Meet John Doe
Year Release: 1941
It Happened One Night
See All "Book-Based" films >>


Since the band was formed in the summer of 2010, the High Bar Gang has been bringing its unique take on old time bluegrass to the people of Western Canada.
Vocal harmony is key to the band's sound, and the blend of Shari Ulrich, Wendy Bird and Kirby Barber along with guitarist Tom Taylor (sitting in for Barney Bentall) and banjo player Dave Barber is simply stunning. Supported by Rob Becker on bass, and Colin Nairne on guitar and mandolin, the band's repertoire stays firmly rooted in the golden age of bluegrass music with songs by the likes of Bill Monroe, The Stanley Brothers and Del McCoury.
For more information or to purchase tickets visit Bez Arts Hub.


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Classical music: New faculty conductor Chad Hutchinson makes an impressive and promising debut with the UW Symphony Orchestra
Last Saturday night, Chad Hutchinson (below), the new faculty conductor at the University of Wisconsin-Madison's Mead Witter School of Music, made an impressive and promising debut with the UW Symphony Orchestra.
The ambitious program that Hutchinson put together says a lot about his priorities and instincts, and about his confidence in himself and the abilities of his student players, who performed superbly.
The varied works came from the early 19th century, the mid-19th century, the early 20th century and the 21st century. And it seemed that each piece in the ambitious program was chosen to put the spotlight on a different section – percussion, brass, strings and winds.
Curiously, The Ear found the most successful pieces were the most traditional ones.
The Prelude to the opera "Die Meistersinger von Nürnberg" by Richard Wagner received the right mix of horn pomp and string zest. It made The Ear realize again how much more he prefers Wagner's instrumental music to his vocal music. Let's hear more Wagner preludes, since we are unlikely to hear more Wagner operas.
The orchestral transcription by Leopold Stokowski (below) of the piano prelude "The Sunken Cathedral" by Claude Debussy was the least successful work of the night. This is the second overblown and bombastic Stokowski transcription that The Ear has heard performed live in a month.
Clearly, Stokowski's aesthetic was Bigger is Better. This particular transcription strips away the mystery, sensuality and subtlety, the watery softness, of the original. It works more as an etude for orchestra than as an authentic expression of Impressionism. The Ear's objections are to the transcription, not to the performance, which was well voiced, precise and tightly controlled.
"Mothership" by the popular American composer Mason Bates (below), who wrote the recent successful opera based on the life of the late Apple guru Steve Jobs, proved an interesting foray into contemporary music culture. It was also the Madison premiere of the 2011 work.
The electronic music in the pulsating and highly atmospheric score, including the computer-generated disco dance beat, highlighted the percussion section and the UW's new Electro-Acoustic Research Space (EARS), which collaborated with the symphony orchestra.
The dramatic work, a novelty that is pop-infused and resembles music by John Adams a little too closely, has its pleasing and engaging moments. But overall it seems a triumph of style over substance. (You can judge for yourself from the performance with Michael Tilson Thomas in the YouTube video at the bottom.)
That said, Hutchinson nonetheless held the complex and coordinated score together, and the young audience seemed to take to the new music — a major achievement in itself.
Expect to hear many more contemporary works from Hutchinson, who says he is an unabashed champion of new music. He will include other living composers in many other concerts, including the next one on Nov. 4 and then again on Feb. 22.
To these ears, the most impressive performance came in the Symphony No. 3 "Eroica" by Ludwig van Beethoven. In its day, the difficult and long work proved revolutionary and perplexing. More recently, more than 100 conductors named it the best symphony ever written. You can't get more establishment than that.
Yet despite being so mainstream, the "Eroica" remains a difficult and challenging work, both technically and interpretively. And this performance succeeded on both counts. That is no small feat for a new conductor and his young students to pull off in the first six weeks of school.
Especially impressive was Hutchinson's choice to skip any pause between the third movement and the finale. It worked dramatically to maintain momentum. Such exciting attacks should be a more common practice in performing symphonies and concertos as well as chamber music.
Hutchinson seems a congenial and humorous concert hall host. His pre-concert talk (below), which he is slated to do at all performances, was helpful and informative, even if he repeated some major points when he introduced the actual performances. Hutchinson, intent on expanding the audience for classical music, is worth listening to.
Hutchinson may not possess an especially graceful or fluid podium presence that is pleasing to watch, but he gets results. Certainly both the student players and the large audience (below) seemed pleased and excited by these performances.
In the end, the concert provided plenty of reasons to look forward to hearing more from Chad Hutchinson and seeing how he develops and leaves his mark on programming and performing at the UW.
Were you there as either a performer or an audience member?
What did you think of the concert and of Chad Hutchinson's debut?
Tags: 19th century, 20th-century, 21st century, aesthetic, African American, air, Apple, arrangament, Arts, attack, audience, Beat, Beethoven, brass, Cello, century, Chamber music, champion, Classical music, composer, computer, concert hall, concerto, conduct, conductor, contemporary, control, culture, Debussy, debut, Die Meistersinger von Nürnberg, disco, egg, electronic, Electronic music, Eroica Symphony, esthetic, etude, excitement, exciting, expression, faculty, fance, finale, guru, hi tech, Horn, host, Impressionism, Impressionist, impressive, instrument, instrumental, interpretation, Jacob Stockinger, lecture, live, living, Ludwig van Beethoven, Madison, Mason Bates, Mead Witter School of Music, Michael Tilson Thomas, Mothership, movement, Music, musical, mystery, New Music, novel, opera, operatic, Orchestra, original, percussion, performer, Piano, podium, pomp, Prelude, premiere, professor, program, programming, promising, revolution, revolutionary, Richard Wagner, school, soufflé, Steve Jobs, Stokowski, string, strings, subtlety, symphony, talk, technology, The Sunken Cathedral, transcription, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW Symphony Orchestra, Viola, Violin, vocal, vocal music, water, winds, YouTube, zest
Classical music: A busy week at the UW-Madison brings the debut of a new conducting professor with the UW Symphony Orchestra plus a major voice recital, a string quintet and two master classes.
It will be a busy week for classical music in Madison, especially at the University of Wisconsin-Madison Mead Witter School of Music.
Certainly the standout event is the debut of Chad Hutchinson (below). He is the new conducting teacher and succeeds James Smith.
The FREE concert by the UW Symphony Orchestra will take place on Saturday night at 8 p.m. in Mills Hall.
The intriguing program features the Prelude to the opera "Die Meistersinger" by Richard Wagner (you can hear George Solti perform it with the Vienna Philharmonic the YouTube video at the bottom); the orchestral arrangement by Leopold Stokowski of the piano prelude "The Sunken Cathedral" by Claude Debussy; the "Mothership," with electronics, by the American composer Mason Bates; and the Symphony No. 3 "Eroica" by Ludwig van Beethoven, a work that was recently voted the best symphony ever written by more than a hundred conductors.
Here is a link to more about Hutchinson's impressive background:
http://www.music.wisc.edu/chad-hutchinson/
And here is a schedule of other events at the UW:
At 7:30 p.m. in Mills Hall conductor Scott Teeple leads the UW Wind Ensemble (below top) in its FREE season opener featuring music by Percy Grainger, Aaron Copland, Roger Zare and Jennifer Higdon. Also featured is guest oboist, faculty member Aaron Hill (below bottom).
Here is a link to program notes:
http://www.music.wisc.edu/event/wind-ensemble/
Also at 7:30 p.m. in nearby Morphy Recital Hall, the internationally renowned guest violist Nobuko Imai (below), from Japan, will give a free public master class in strings and chamber music.
At noon in Mills Hall, guest violist Nobuko Imai (see above) will perform a FREE one-hour lunchtime concert with the Pro Arte Quartet, which has San Francisco cellist guest Jean-Michel Fonteneau substituting for the quartet's usual cellist, Parry Karp, who is sidelined temporarily with a finger injury.
The ensemble will perform just one work: a driving and glorious masterpiece, the String Quintet No. 2 in G Major, Op. 111, by Johannes Brahms.
At 1 p.m. in Old Music Hall, Demondrae Thurman (below), a UW alumnus who is distinguished for playing the euphonium, will give a free public master class in brass.
For more information, go to:
http://www.music.wisc.edu/event/master-class-demondrae-thurman-euphonium/
NOTE: The 3:30 master class for singers by Melanie Helton has been CANCELLED. The UW hopes to reschedule it for late fall or spring.
At 8 p.m. in Mills Hall, UW baritone Paul Rowe (below top, in a photo by Michael R. Anderson) and UW collaborative pianist Martha Fischer (below middle) will give a FREE concert of three songs cycles by Robert Schumann (the famed "Liederkreis); Maurice Ravel; and UW alumnus composer Scott Gendel (below bottom).
For the complete program, go to:
http://www.music.wisc.edu/event/faculty-recital-paul-rowe-voice-martha-fischer-piano-2/
At 8 p.m. in Mills Hall, the UW Symphony Orchestra (below) will perform under its new conductor Chad Hutchinson. See above.
At 3 p.m. the afternoon concerts by Lyle Anderson at the UW Carillon (below) on Observatory Drive will resume.
Here is a link with a schedule and more information:
http://www.music.wisc.edu/event/carillon-concert/2017-10-08/
Tags: Aaron Copland, alumnus, America, American, arrangement, Arts, Asia, baritone, Beethoven, Brahms, brass, Campus, carillon, Cello, Chad Hutchinson, class, Classical music, composer, conductor, Debussy, Demondrae Thurman, Die Meistersinger von Nürnberg, Don Quixote, electronic, Electronic music, ensemble, Eroica, Eroica Symphony, Euphonium, faculty, Finger, free, guest, hour, injury, international, Jacob Stockinger, Japan, Jennifer Higdon, Johannes Brahms, Ludwig van Beethoven, lunch, Madison Symphony Orchestra, Mason Bates, Master, master class, masterpiece, Mead Witter School of Music, Mothership, Music, Nobuko Imai, Oboe, oboist, opera, Orchestra, Paul Rowe, Percy Grainger, Piano, Prelude, Pro Arte Quartet, program, public, quintet, Ravel, Roger Zare, San Francisco, schedule, Schumann, Season, Solti, song cycle, Stokowski, strings, Teacher, The Sunken Cathedral, time, U.S., United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, US, Vienna, Vienna Philharmonic, Viola, Violin, vocal music, Wagner, winds, Wisconsin, YouTube
Classical music: The seventh annual FREE Concert in the Park by the Wisconsin Youth Symphony Orchestras (WYSO) is this coming Wednesday night in Old Sauk Trails Park.
The Ear's friends at the Wisconsin Youth Symphony Orchestras (WYSO) write:
The Wisconsin Youth Symphony Orchestras is proud to be a part of Concert in the Park, hosted by The Gialamas Co. for yet another season.
For seven consecutive years, WYSO has been invited by The Gialamas Company to be a part of this spectacular event. This special FREE concert has recently become a highlight of the summer.
The Youth Orchestra, consisting of members ages 14–18, will perform this coming Wednesday night, Aug. 12 (NOT Aug. 9 as was first stated in error), in Madison's far west side in Old Sauk Trails Park, 1200 John Q. Hammons Drive, from 5 to 10 p.m. The music starts at 7 and runs to about 9 p.m.
The Youth Orchestra, under the direction of WYSO Music Director James Smith, will perform six works: "Festive Overture" by Dmitri Shostakovich; Movements 1 and 4 from Symphony No. 1 by Sergei Rachmaninoff; excerpts from "Die Meistersinger" by Richard Wagner; the first movement from Symphony No. 8 "Unfinished" by Franz Schubert; Suite from "The Incredible Flutist" by Walter Piston (at bottom in a YouTube video); and "Over the Rainbow."
The evening is capped off with a marvelous fireworks display.
Before the event there will be an instrument petting zoo, face painting and Ice Cream Social. Tables, food and drinks are available for purchase. For more information, visit www.gialamas.com.
Make sure to stay after the event for a spectacular fireworks show. Set up lawn chairs, lay out blankets and put out your picnic baskets as you enjoy all of the music and activities this FREE event has to offer.
For additional information, please contact WYSO at (608) 263-3320 or e-mail at wyso@wyso.music.wisc.edu.
Tags: Arts, Chamber music, Classical music, Concert in the Park, Die Meistersinger von Nürnberg, Dmitri Shostakovich, Festive Overture, Fireworks, Franz Schubert, Gialamas Company, ice cream, Music, Music director, Orchestra, Overture, petting zoo, Richard Wagner, Sergei Rachmaninoff, Sergei Rachmaninov, Shostakovich, symphony, Unfinished Symphony, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, Walter Piston, Wisconsin Youth Symhony Orchestras, WYSO, YouTube, zoo
Classical music: The Mosaic Chamber Players end the season with memorable performances of piano quintets by Faure and Brahms.
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker, who also provided performance photos. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who for 12 years hosted an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
For its final concert of the season, the Mosaic Chamber Players (below) gave a program Saturday night at the First Unitarian Society of Madison. It combined two of the great quintets for piano and strings: the second of that type, in C minor, Op. 115, by Gabriel Fauré (1847-1924); and the only one if its kind, in F minor, Op. 34, by Johannes Brahms (1833-1897).
So close together, one would think, and yet, so far apart. Contrasts result from distinct differences between the two composers in both nationality and personality — between Gallic eloquence and German burliness.
The work by Fauré (below) was completed in 1921, by which time Debussy was dead and Ravel, who was Faure's student, was in his prime. It is one of a half-dozen chamber pieces with which the composer rounded out his final years — almost, one might think, as an extension of his long output of piano writing.
Its expansive four-movement format is conventional in scope and with a range of expression. But its heart is a long and rapturous slow movement that flows with the unfolding elegance of one of Fauré's piano nocturnes. (You can hear the slow movement in a YouTube video at the bottom.)
By contrast, the quintet by Brahms (below) is one of the masterpieces of his early chamber-music writing. It dates from 1862, when Richard Wagner was between the composition of "Tristan und Isolde" and "Die Meistersinger von Nürnberg."
Starting as some ideas for a symphony, it exists also in Brahms's own adaptation of it as a sonata for two pianos. Its four movements are more conventionally conceived than Fauré's, combining masterful Classical craftsmanship with powerful Romantic urgency.
The performances involved five players from the group. The two violinists alternated in the first chair: Laura Burns for the Fauré, Wes Luke for the Brahms. Micah Behr and Michael Allen played viola and cello, respectively, while pianist Jess Salek (below) was the anchor as pianist, just as he is as the group's guiding spirit.
These players have worked together before, but not as a consistent ensemble, although they suggested a close collegiality that more established groups might envy. They fully captured the moods, nuances and strengths of the two works.
If there were problems, it had to do with some balances, above all disadvantaging the viola. Some of the explanation could be in the choice of the cavernous Atrium Hall (below, in a photo by Zane Williams) as performing venue, rather then the more intimate Landmark auditorium, the original meeting house of the First Unitarian Society, designed by Frank Lloyd Wright. The Atrium's highly reverberant acoustics overwhelmed the players' sound, and, at the same time, prompted over-exertions in volume output, to the detriment of carefully calculated ensemble.
The size of the hall also pointed up the painfully small size of the audience. There are always weekend competitions for attention, especially in the spring. Still, the Mosaic group is only beginning to develop sufficient promotion and publicity for its activities. Potential audience members need to be made aware of what the group offers.
What it does offer is one of the high-quality sources of chamber music performance in Madison's very rich spectrum of events in that category.
The next Mosaic season should win the wider attention it greatly deserves.
Tags: Arts, Brahms, Cello, Chamber music, Classical era, Classical music, Classical style, Debussy, Die Meistersinger von Nürnberg, Early music, Faure, First Unitarian Society of Madison, Frank Lloyd Wright, French music, Gabriel Fauré, Gallic, German music, History, Jacob Stockinger, Johannes Brahms, Madison, Madison Early Music Festival, Madison Symphony Orchestra, Medieval, MEMF, Mosaic Chamber Players, Music, nocturne, Piano, Piano Quintet, quintet, Ravel, Richard Wagner, Sonata, strings, Tristan und Isolde, two pianos, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, Wisconsin, WORT-FM 89.9, YouTube
Classical music education: Classical music can help students study for final exams. Plus, the WYSO Harp Ensemble and Youth Orchestra perform Saturday afternoon.
ALERT: Just a reminder that tomorrow, Saturday, Dec. 13, at 1:30 p.m. in Mills Hall, on the UW-Madison campus in the George Mosse Humanities Building at 455 North Park Street.
The Youth Orchestra (below) and the Harp Ensemble of the Wisconsin Youth Symphony Orchestras (WYSO) will perform.
The orchestra's program includes The Roman Carnival Overture by the French composer Hector Berlioz; three excerpts from Act 3 of "Die Meistersinger von Nürnberg" by the German Opera composer Richard Wagner; and the first, third and fourth movements from the Symphony No. 1 in D Minor by Russian composer Sergei Rachmaninoff.
The Harp Ensemble will perform the traditional tune "Be Thou My Vision" as well as "Grandjany, Eleanor and Marcia"; and a medley of music by the Italian opera composer Giacomo Puccini.
Call the WYSO office at (608) 263-3320 for up-to-date concert and ticket information. Or visit http://wyso.music.wisc.edu
Tickets are $10 for adult, $5 for young people 18 and under; and they are available at the door 45 minutes prior to each concert.
Today is officially the last day of classes for the first semester at the University of Wisconsin-Madison. The next two weeks are devoted to a study period and to final papers and exams.
That means classes are also ending at a lot of other public and private universities and colleges around the nation, The Ear suspects. And elementary schools, middle schools and high schools will not be far behind.
So it is a timely time to post the results of research that shows that classical music -– not just any music, but specifically classical music, which lowers rather raises blood pressure –- can help students study and prepare for final exams.
It was published in advance of two radio stations' scheduling of useful classical music in Los Angeles at the University of Southern California and in San Francisco.
Apparently, the secret is that it has to do with the embedded structure of the music itself.
The researchers, which range from the cancer center at Duke University and the University of San Diego to the University of Toronto, even mention some specific composers and musical genres or forms that exhibit that sense of structure in outstanding ways.
The composers cited include such Old Masters as Johann Sebastian Bach (below top), Wolfgang Amadeus Mozart (below middle) and Johannes Brahms (below bottom). Richard Strauss and George Frideric Handel also were mentioned. Surprisingly, no mention was made of music by Antonio Vivaldi, Franz Joseph Haydn or Franz Schubert.
But students should avoid loud and more scattered music, the research suggests. No "1812 Overture," complete with cannons, by Peter Ilyich Tchaikovsky! Such music is actually disrupting and counterproductive.
Maybe that same sense of structure and regularity — especially noticeable in Baroque music as well as the Classical period and early Romantic music — also explains why those composers have appealed to so many people for so long.
It may also explain why student who study music and go through formal music education often go on to high achievement in other fields.
And the preferred forms include solo music, including the piano and the lute, and string quartets. That makes sense to me since they are more intimate and less overwhelming forms. Solo French piano by Claude Debussy, Gabriel Fauré and Francis Poulenc come in for special mention. (I would also add the 550 sonatas by Domenico Scarlatti.)
The Ear suspects that what works for final exams also works for other studying and homework in general and other intensive intellectual tasks.
And maybe what is good for college students is also good for high school or even middle school or elementary school students.
I do have some questions: Did the researchers take the conflicting evidence about multi-taking into account? But I assume they probably gave that some thought. Still, you have to wonder.
Here is a link to the story:
http://news.usc.edu/71969/studying-for-finals-let-classical-music-help/
Do you have favorite music to study by? (One of my favorites is the Waltz in C-Sharo minor by Frederic Chopin as played with great discernible structure, repetition and variation — listen to inner voices — as well as incredible color and nuance by Yuja Wang in a popular YouTube video at the bottom.)
Favorite composers, favorite kinds and favorite pieces?
Tags: 1812 Overture, Ancora String Quartet, Antonio Vivaldi, arias, Arts, Bach, Baroque, Beethoven, Berlioz, Brahms, cancer, cannons, Chamber music, Chopin, Classical era, Classical music, college, composer, Debussy, Die Meistersinger von Nürnberg, Domenico Scarlatti, Duke University, elementary school, exams, Faure, final exams, France, French music, George Frideric Handel, German music, Germany, Giacomo Puccini, Handel, harp, harp ensemble, Haydn, high school, instrumental, Italian music, Italy, Jacob Stockinger, Johann Sebastian Bach, K-12, Los Angeles, Ludwig van Beethoven, lute, Madison, Middle school, Music, Music education, opera, Orchestra, Overture, Piano, Poulenc, private education, public education, Pyotr Ilyich Tchaikovsky, Rachmaninoff, Rachmaninov, Richard Strauss, Richard Wagner, Roman Carnival Overture, Romantic music, Russia, Russian music, San Francisco, Schubert, solo, symphony, Tchaikovsky, Toronto, university, University of San Diego, University of Southern California, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Vivaldi, Waltz, Wisconsin Youth Symphony Orchestras, Wolfgang Amadeus Mozart, WYSO, YouTube, Yuja Wang
Classical music: The Middleton Community Orchestra deserves to be taken seriously by local symphony fans. Plus, Edgewood College's FREE Fall Choral Concert is tonight at 7.
ALERT: Tonight at 7 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive, Edgewood College presents its FREE Fall Choral Concert. The program includes the Chamber Singers and Men's Choir under the direction of Albert Pinsonneault (below), and the Women's Choir under the direction of Kathleen Otterson. This free concert will feature a diverse repertoire, including traditional Western, African and American Gospel works.
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
The Middleton Community Orchestra (below, in a photo by Margaret Barker) is trailblazing in a number of ways.
For one thing, it regularly has its concerts on Wednesday evenings (though the one on December 23 will be on a Monday), thus avoiding contributing to the already impossible crush of weekend conflicts.
Second, like some other groups, it performs a program without intermission (and follows the concert with generous refreshments, below, and a chance to meet the musicians). Under some circumstances, that kind of program could be hard on the performers, given no rest. But it does make for a compact concert experience.
On Wednesday night, the MCO opened its 2013-14 season, its fourth season, at the Middleton Performing Arts Center, attached to Middleton High School. And it sounded better than ever.
After some shuffling, the program had settled down to a familiar symphony, framed by two familiar overtures.
Hector Berlioz (below) took material from his opera "Benvenuto Cellini" for his "Roman Carnival" concert overture.
Maestro Steve Kurr (below, in a photo by Margaret Barker) tends to favor somewhat leisurely tempos, but not always just to make things easier for the players. In the slow opening material the strings delivered a degree of confidence and suavity beyond anything I have heard from them before. And the whole orchestra easily managed the brisker tempo of the overtures fast and flashy later sections.
The meat in the hamburger, as it were, was the Fourth or "Italian" Symphony by Felix Mendelssohn (below). Given the limited number of rehearsals the orchestra can manage, it works miracles. To be sure, it could use more, and the somewhat overtaxed sound of the strings, especially the violins, seemed not quite fully secure, at least in the first movement. But that movement contains particularly difficult string writing, after all.
Conductor Kurr rightly included the movement's repeat, too often ignored by many conductors (who thereby lose some lovely transitional moments). But the work went very well, overall, in an intelligently conceived and very handsomely played performance, a real pleasure to hear.
The final piece was by Richard Wagner (below), whose bicentennial is being marked this year: the overture to his opera "Die Meistersinger von Nurnberg." It is an absolute marvel of orchestral writing, and the Middleton players made it sound truly magnificent. Particularly noticeable was progress in the brass section, which sounded more secure, better disciplined and balanced, than ever before, truly splendid.
Madisonians, listen up! It can fairly be said that our area now has four orchestras to take seriously.
Not only the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, of course, but the UW Symphony Orchestra as the third, and the Middleton Community Orchestra as an honorable fourth. Madison's concert-lovers who ignore their concerts are missing some very fine music-making!
Fore more information about attending, p;laying in and supporting the Middleton Community Orchestra, which is heard playing Johann Strauss Jr.'s famous "On the The Beautiful Blue Danube" waltz in a YouTube video at the bottom, visit:
http://middletoncommunityorchestra.org
Tags: American Record Guide, Benvenuto Cellini, Chamber choir, Choir, Die Meistersinger von Nürnberg, Edgewood, Edgewood College, Felix Mendelssohn, Hector Berlioz, Jacob Stockinger, Johann Strauss Jr., Madison Symphony Orchestra, Middleton High School, On the Beautiful Blue Danube, opera, Orchestra, Overture, Richard Wagner, sing, United States, University of Wisconsin–Madison, vocal music, Wisconsin, Wisconsin Chamber Orchestra, YouTube
Classical music: Music critics of The New York Times name their favorite recordings — historical and current — of Richard Wagner to celebrate this year's bicentennial of the famous opera composer's birth. What are your favorite Wagner works and recordings?
This year is the bicentennial of the birth of composer Richard Wagner.
Just about everything about Richard Wagner (below) is epic and titanic, dramatic and revolutionary.
Little wonder, then, that he is known especially for "The Ring of the Nibelung," that 16–hour, four-opera mythological cycle that challenges the most resourceful singers, actors, stage directors, orchestras, conductors and opera companies. It took many complications and until the 1960s for conductor Sir Georg Solti to make the first complete recording of "The Ring" for Decca — and it still holds up to the best complete recordings since then.
Stop and think and consider this: In the time it usually takes to hear "The Ring" you could listen to all the symphonies and concertos of Beethoven, or all his string quartets and most of his piano trios.
True, some of Wagner's vocal music is quite stirring and enthralling.
But only some of it — at least to my ears.
I share some of the sentiments of his detractors, who included some pretty good artists and discriminating musicians.
Take the composer Gioachino Rossini, who quipped "Wagner's music has great moments but dull quarter hours."
The American writer and humorist Mark Twain observed that "Wagner's music is better than it sounds."
The comedian and filmmaker Woody Allen remarked: "Every time I listen Wagner, I get the urge to invade Poland."
If you like those, here is a link to some more quips about Wagner, including some by French poet and critic Charles Baudelaire and French composer Claude Debussy:
http://en.wikiquote.org/wiki/Talk:Richard_Wagner
I am probably a dissenter, but I think Wagner generally wrote better for instruments than he did for the voice. At least I generally find his orchestral music tighter and more enjoyable to listen to.
Indeed, I would like to hear the Madison Symphony Orchestra or the University of Wisconsin-Madison Symphony Orchestra do one of the various versions of "The Ring Without Words," perhaps the orchestral anthology of highlights from "The Ring" and other operas that famed conductor George Szell (below) arranged and conducted with the Cleveland Orchestra (in a YouTube video at the bottom).
I love the overtures and preludes, and I don't think they get programmed often enough these days. Same for the charming "Siegfried Idyll."
I remember an old vinyl LP recording with Eugene Ormandy conducting the Philadelphia Orchestra. How I loved, and found endlessly thrilling the Overture to "Tannhauser," the "Prelude and Liebestod" to "Tristan und Isolde," the Overture to "Die Meistersinger von Nurnberg," preludes from "Lohengrin," and the magically static and haunting Prelude to "Parsifal." They are terrific curtain-raisers.
So I was happy to see orchestral recordings by Herbert von Karajan and Otto Klemperer included on the list in The New York Times.
I also love "best moment" anthologies so it is also good to see choices like the new recording by the German tenor Jonas Kaufmann – a great choice since Kaufmann (below) seems a perfect Wagner singer who has a huge but subtle voice, stamina and the handsome good looks for the parts.
Anyway, here is a link to the Wagner discography in The New York Times:
http://www.nytimes.com/2013/08/23/arts/music/critics-name-their-favorite-wagner-recordings.html?pagewanted=all
What is your favorite Wagner recording? What piece and what performer?
And do you favor his vocal or instrumental music?
Tags: Charles Baudelaire, Claude Debussy, Der Ring des Nibelungen, Die Meistersinger von Nürnberg, Eugene Ormandy, Georg Solti, Gioachino Rossini, Herbert von Karajan, Jacob Stockinger, Jonas Kaufmann, Lohengrin, Mark Twain, New York Times, Otto Klemperer, Parsifal, Richard Wagner, Siegfried Idyll, Tannhauser, Tristan und Isolde, Wagner, Woody Allen, YouTube


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Producer, songwriter, composer, and member of St. Lucia.
Musician and avid runner Nick Paul searches for the best in-ear headphones.
Musician and producer Nick Paul searches for the perfect over-ear headphones that deliver accurate sound and cancel outside noise.