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Kaiser Baas X80 review: Kaiser Baas X80
Lexy Savvides
Dec. 1, 2013 8:23 p.m. PT
Compare These
Fujifilm X100F
The Good Mount is compatible with many GoPro accessories. Colour LCD screen.
The Bad Reliability issues. Only able to record in 1080/30p.
The Bottom Line The X80 is a reasonably cheap action camera, but reliability issues make it hard to recommend.
Kaiser Baas X80
Though there is one very big, very important name in the action camera space, there are plenty of cheaper alternatives out there to woo buyers. One of these is the AU$149.95 X80 from Kaiser Baas, which has the ability to record all your thrills and spills in 1080/30p glory.
It's clear that the GoPro has had more than a passing influence on the design of many of these cheaper alternatives. The X80 is no exception. See the box of the X80 on a store shelf and you would be excused for confusing it with an actual GoPro, down to the shape and size of the packaging.
Then there is the mounting system itself, which uses the same screw and thread system as GoPro cameras. This makes it compatible with many existing accessories on the market.
The camera itself also shares the same two-button operation and waterproof casing as the more expensive action camera. Pressing and holding the power button will turn the camera on and off, while a single, short press enters into the menu system to change settings. The Shoot button does exactly what it says on the tin: commences and stops recording.
Shaped like a small square, the X80 is relatively compact but is actually heavier than many of the other competing models on the market. This may be something to consider if you want to ensure your action camera stays as unobtrusive as possible. The lens offers a fixed field of view of 120 degrees.
What does set the X80 apart from the GoPro is that it has a 2-inch colour LCD screen at the back so you can see what is being filmed. Unless you buy the optional BacPac LCD screen or hook up the more expensive camera to a smartphone to act as a remote viewfinder, you are unable to see exactly what the GoPro is shooting.
Included in the box of the X80 is the waterproof casing, which allows you to go down to depths of 30 metres underwater, plus bike, flat and curved mounts.
Connectivity is via mini HDMI and mini USB. The X80 accepts microSD cards up to 32GB. The battery is rated for 2.5 hours of recording time.
The X80 records video clips in 1080/30p, 720/60p or 480/120p. The output format is MP4 (H.264). Images are captured at 12, 8, 5 or 3 megapixels, though the 12-megapixel resolution is interpolated rather than natively captured.
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Saturday, July 11, 2020 | History
2 edition of The Western Preacher found in the catalog.
The Western Preacher
Published 1865 by Published for the author .
Free kindle book and epub digitized and proofread by Project Gutenberg. The Preacher of Cedar Mountain: A Tale of the Open Country by Ernest Thompson Seton - Free Ebook Project Gutenberg. As the book's title suggests, that case has something to do with The Preacher, the late Ephraim Hult, a charismatic man of God whose fame rested on .
Description. The Santa Fe Trail stretches from the Mississippi River to New Mexico Territory through the West's most savage lands. That's why a wealthy trader hires the mountain man called Preacher to keep his trade goods safe – and hopefully deliver a flock of pilgrims to a Promised Land. They Called Him Preacher | JOHNSTONE COUNTRY. WHERE THE BULLET IS LAW. Of all the Western series by William Johnstone, the epic saga of the mountain man known as Preacher may be the most beloved and enduring. This special edition includes two of Preacher's greatest adventures--Cheyenne Challenge and Preacher and the Mountain Caesar--featuring two of the legend's bloodiest .
Check out this great listen on The Western Mail Order Bride: Preacher Man and Dinah with the Dark Hair, is a love story about a Civil War vet who is a preacher, and who decides to settle in a Baptist church in Phoenix, in the Arizona Territory. He's there over a decade and feeling qui. Preacher's Law is a series of western novels by Dean L. McElwain and Barry Myers. The series follows the adventures of J.D. Preacher, a man who is always on the trail of vengeance. The Preacher's Law series began in with the novel Widow Maker by Dean L. McElwain.
Jubilee souvenir of Galt, 1897
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The Western Preacher Download PDF EPUB FB2
Product details Series: A Preacher & MacCallister Western (Book 1) Mass Market Paperback: pages Publisher: Pinnacle (J ) Language: English ISBN ISBN Product Dimensions: x x inches Shipping Weight: /5(37).
This book reveals the making of the character 'Preacher' of the Mountain Man series. It begins in and covers the lives of the early American pioneers, the war ofriverboat life, early towns, frontier life, etc, etc.
It is very well written and seems to be very historically accurate/5. Of all the Western series by William Johnstone, the epic saga of the mountain man known as Preacher may be the most beloved and enduring.
This special edition includes two of Preacher's greatest adventures— Cheyenne Challenge and Preacher and the Mountain Caesar —featuring two of the legend's bloodiest showdownsBrand: Kensington.
Of all the Western series by William Johnstone, the epic saga of the mountain man known as Preacher may be the most beloved and enduring. This special edition includes two of Preacher's greatest adventures--Cheyenne Challenge and Preacher and the Mountain Caesar--featuring two of the legend's bloodiest showdowns TO HELL AND/5.
William W. Johnstone is the New York Times and USA Today bestselling author of over books, including Preacher, The Last Mountain Man, Luke Jensen Bounty Hunter, Flintlock, Savage Texas, Matt Jensen, Sidewinders, and Shawn O'Brien Town : William W.
Johnstone, J.A. Johnstone. Book digitized by Google from the library of the New York Public Library and uploaded to the Internet Archive by user tpb. Cowboy Preacher This was another phenomenal western love story like the previous 6 books in this Series and is exceptional with two young people's story of them falling in love forevermore.
How great is that in this western romance novel. Thanks for the great read!/5(9). The complete series list for - Preacher: The First Mountain Man William W.
Johnstone. Series reading order, cover art, synopsis, sequels, reviews, awards, publishing. Preacher is an American comic book series published by Vertigo, an imprint of DC Comics. The series was created by writer Garth Ennis and artist Steve Dillon with painted covers by Glenn Fabry.
The series consists of 75 issues in total – 66 regular, monthly issues, five one-shot specials, and a four-issue Preacher: Saint of Killers limited series. The First Mountain Man ((The First Mountain Man Series – Preacher) $ – $ Select options; 2.
Blood on the Divide(The First Mountain Man Series – Preacher) Western Books Action / Thriller Books Horror Books Book Club Merchandise.
PO Box Murfreesboro, TN Phone: Email: @ William W. Preacher's Frenzy (Preacher/The First Mountain Man Book 26) by William W. Johnstone and J. Johnstone This is a series book, in a series that tells the tale of a group of mountain men who trapped for furs in the dangerous mountains of the early West.
This book is an outlier, since the hero, Preacher, finds himself out of his s: Genre/Form: Sermons: Additional Physical Format: Print version: Western preacher. Bedford, Ind.: Published for the author, (OCoLC) Material Type. Before the legend of Preacher there was a man, and before the man there was a boy.
In this thrilling new novel, William W. Johnstone tells the story of a young man filled with wanderlust and raw courage—who will someday become a : Tantor Media, Inc.
That was the case for me with Preacher: Book One. Written by Garth Ennis, Preacher tells the story of a Texas Reverend called Jesse Custer, who acquires a divine power called 'The Word of God' that allows him to command people to do anything he wants. Garth Ennis' Preacher and the Western Or how Preacher is a western B.A.
Essay Kjartan Fossberg Jónsson Kt.: western character in comic book history is Jonah Hex, a character that has been around for decades and, as ofstill has a series going strong.
Recent output. THE GREATEST WESTERN WRITERS OF THE 21ST CENTURY William W. Johnstone, the beloved, bestselling frontier chronicler, brings to life the story based on the historical lawman born and bred in Cherokee Nation: Sixkiller. In the wild, wild west there.
The book's nine chapters are devoted to A.A. Allen, Oral Roberts, C.W. Burpo, Rev. Ike, Carl McIntire, Kathryn Kuhlman, Billy James Hargis, the Armstrongs (Herbert and Garner Ted), and Billy Graham. Morris was born in Oklahoma, where Oral Roberts struck oil, and over the course of twenty years traveled widely to experience many of America's /5(2).
Directed by Clint Eastwood. With Clint Eastwood, Michael Moriarty, Carrie Snodgress, Sydney Penny. A mysterious preacher (Clint Eastwood) protects a humble prospector village from a greedy mining company trying to encroach on their land.
The harsh, unforgiving frontier is no place for innocents. And when an old friend of the Preacher's asks him to guide a gaggle of wide-eyed Easterners through the Rockies, Preacher responds with a polite: "Hell no." But the pilgrims are pursued by a gang of outlaws - and then ambushed by angry.
In the seventh book in his bestselling Preacher series, William W. Johnstone gives his millions of avid fans exactly the kind of gritty, action-packed Western novel they look for from this prolific and hugely popular writer.A Messiah Shall Lead.
The book was the Bible — and the truth about Jesus arrested his attention. He read on, the veil of unbelief was removed, and he became persuaded that Jesus is the very Christ. "Mother," said a child, "my teacher tells me that this world is only a place in which God lets us live a little while — that we may prepare for a better world.While the origin of the Saint of Killers in the Old West is the only true western element in the comic book Preacher, the series has been described as a " Splatterpunk Western" or a .Preacher, Book 4 book.
Read reviews from the world's largest community for readers. This title collects the story of Jesse Custer's ultimate battle w /5().
astonmartingo.com - The Western Preacher book © 2020

redpajama_set_name: RedPajamaCommonCrawl


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Electricity Local
Comprehensive Local Electricity Guide
Swea City Electricity Rates
Commercial Electricity in Swea City
^ The average commercial electricity rate in Swea City, IA is 9.01¢/kWh.[1]
Residential Electricity in Swea City
^ The average residential electricity rate in Swea City, IA is 12.99¢/kWh.[1]
Industrial Electricity in Swea City
^ The average industrial electricity rate in Swea City, IA is 5.78¢/kWh.[1]
Swea City, IA Electricity Statistics
Commercial electricity rates in Swea City
The average commercial electricity rate in Swea City is 9.01¢/kWh.[1]
This average (commercial) electricity rate in Swea City is 12.48% greater than the Iowa average rate of 8.01¢/kWh.[2]
The average (commercial) electricity rate in Swea City is 10.7% less than the national average rate of 10.09¢/kWh. Commercial rates in the U.S. range from 6.86¢/kWh to 34.88¢/kWh.[2]
Residential electricity rates in Swea City
The average residential electricity rate in Swea City is 12.99¢/kWh.[1]
This average (residential) electricity rate in Swea City is 20.06% greater than the Iowa average rate of 10.82¢/kWh.[2]
The average (residential) electricity rate in Swea City is 9.34% greater than the national average rate of 11.88¢/kWh. Residential rates in the U.S. range from 8.37¢/kWh to 37.34¢/kWh.[2]
Industrial electricity rates in Swea City
The average industrial electricity rate in Swea City is 5.78¢/kWh.[1]
This average (industrial) electricity rate in Swea City is 9.06% greater than the Iowa average rate of 5.3¢/kWh.[2]
The average (industrial) electricity rate in Swea City is 13.34% less than the national average rate of 6.67¢/kWh. Industrial rates in the U.S. range from 4.13¢/kWh to 30.82¢/kWh.[2]
Iowa Electricity Rates & Consumption
Commercial electricity in Iowa
Commercial electricity rates in IA [3]
The average commercial electricity rate in Iowa is 8.01¢/kWh, which ranks 45th in the nation and is 20.61% less than the national average rate of 10.09¢/kWh.[3]
Commercial electricity consumption in IA [3]
Commercial electricity consumption in Iowa averages 4,601 kWh/month, which ranks 45th in the nation and is 26.24% less than the national average of 6,238 kWh/month.
Commercial electricity bills in IA [3]
The average monthly commercial electricity bill in Iowa is $368, which ranks 50th in the nation and is 41.49% less than the national average of $629.
Learn more about commercial electricity in Iowa
Residential electricity in Iowa
Residential electricity rates in Iowa [3]
The average residential electricity rate in Iowa is 10.82¢/kWh, which ranks 33rd in the nation and is 8.92% less than the national average rate of 11.88¢/kWh.
Residential electricity consumption in IA [3]
Residential electricity consumption in Iowa averages 873 kWh/month, which ranks 29th in the nation and is 3.32% less than the national average of 903 kWh/month.
Residential electricity bills in IA [3]
The average monthly residential electricity bill in Iowa is $94, which ranks 35th in the nation and is 12.15% less than the national average of $107 per month.
Learn more about residential electricity in Iowa
Industrial electricity in Iowa
Industrial electricity rates in Iowa [3]
The average industrial electricity rate in Iowa is 5.3¢/kWh, which ranks 47th in the nation and is 20.54% less than the national average rate of 6.67¢/kWh.
Industrial electricity consumption in IA [3]
Industrial electricity consumption in Iowa averages 224,118 kWh/month, which ranks 14th in the nation and is 99.82% greater than the national average of 112,158 kWh/month.
Industrial electricity bills in IA [3]
The average monthly industrial electricity bill in Iowa is $11,868, which ranks 19th in the nation and is 58.6% greater than the national average of $7,483.
Learn more about industrial electricity in Iowa
How Does Your Electricity Rate Compare?
Enter Your Rate
& Click "Compare"
to Find Out
Enter your rate (numbers only) from your electricity bill. Example: 9.63
Household Income in Swea City, IA
Swea City, IA Income Breakdown [4]
Sorry, data is not currently available.
Income Summary for Swea City, IA
Electric bills: The average residential electricity bill in Iowa is about $94/month, ranking 35th in the U.S. and 12.15% less than the national average of $107.[5]
Income: Swea City vs. Nation [4]
Additional information about Swea City
About Swea City
Swea City is a city located in Kossuth County in the state of Iowa, and has a population of approximately 536.[6]
More about Swea City utilities
For more information about Swea City electricity, or for additional resources regarding electricity & utilities in your state, visit the Energy Information Administration.
Benjamin Franklin researched electricity extensively in the 18th century. The lightning rod was among his inventions.
Additional Cities in IA
Balltown
1. ^ National Renewable Energy Laboratory
2. ^ U.S. Department of Energy
3. ^ U.S. Energy Information Administration (2012)
4. ^ United States Census Bureau
5. ^ U.S. Energy Information Administration
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Nicole Moudaber's "Together for Beirut" A Two-Day Charity Stream
Nicole Moudaber's "Together for Beirut" is a two-day charity stream raising money to help Lebanon grapple with COVID-19 and the massive explosion in the country's capital. Teaming up with Beatport, Nicole Moudaber is calling upon the electronic dance music industry's finest including Carl Cox, Chris Liebing and John Digweed to raise disaster relief funds.
Donate to support Lebanon's Disaster Relief here.
Livestreaming via Beatport ReConnect, Nicole Moudaber's "Together for Beirut" starts on Saturday, August 23 at 5:00pm BST. The Queen of Techno will kick off the virtual event. It'll round out with one of Brazil's finest acts ANNA on Sunday, August 24. Other top artists set to take the decks are Juliet Fox, Sama'Abdulhadi, and Victor Ruiz. The 24-hour live stream will be complemented by another fundraising effort scheduled for September 13.
Full Lineup and Set Times Announced! 🏆 24 hours. 24 DJs. Join us and some of dance music's biggest names, for another ReConnect marathon 'Together For Beirut' raising funds to support local essential NGOs in Beirut. This is going to be a special one. #beatportreconnect pic.twitter.com/fXzlHg0gXi
— Beatport (@beatport) August 21, 2020
The massive explosion shook Lebanon's capital earlier this month and left hundreds of thousands without shelter. The explosion killed about 200 people and injured more than 5,000. Officials estimate about $15 billion in damage. The port's explosion could not come at a worse time as the country already struggles to cope with the pandemic. Lebanon has also been facing a multitude of crises including political, social, health, and economic prior to the coronavirus.
We must support in any way we can to help, and in addition, our efforts will also be helping the music and arts industry of Lebanon which has been wiped out.
Nicole Moudaber on providing relief to an already ailing Lebanon
Proceeds will benefit the Beirut Emergency Fund.
Watch "Together for Beirut" via Beatport's Twitch.
Nicole Moudaber's "Together for...


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Celebration Art Live: The Audition with Karen Meeks Johnson (Online)
Presented by Celebration Arts Theatre at Online/Virtual Space
The Audition is a space where artists can create, cultivate and enrich a marketing network for recognition of their artistry and lives of our multicultural metropolitan community. KT Masala hosts Karen Meeks Johnson in a Contemporary Christian Music Review.
Karen Meeks Johnson is a teacher, actress, and Contemporary Christian Music singer and songwriter. After surviving thyroid cancer, she recorded her first E.P. in 2002, and an album in 2012. Last year, Karen released, Are You listening Now.
Karen Meeks Johnson is a teacher, actress, and Contemporary Christian Music singer and songwriter. After surviving thyroid cancer, she recorded her first E.P. in 2002, and an album in 2012. Last year, Karen released, Are You listening Now. She is releasing another single, "Hope and a Future," this month.
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*Register here to watch.
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Did Truman Ever Regret His Hiroshima Decision? | Opinion
Greg Mitchell , Author
On 8/5/20 at 10:50 AM EDT
Opinion Hiroshima Nagasaki Atomic bomb Harry truman
Seventy-five years ago this week, President Harry S. Truman exulted when he heard the first report that the atomic bomb he had ordered dropped over Hiroshima, Japan, by a B-29 bomber, had exploded as planned and on target, most likely devastating most of the large city. Truman was on the ocean, returning to Washington from the Potsdam Conference in Germany, where he had secured Joseph Stalin's promise to declare war on Japan around August 10. An article in the press the day after the first atomic attack depicted Truman, his voice "tense with excitement," personally informing his shipmates about the atomic attack. "The experiment," he announced, "has been an overwhelming success."
Missing from this account was Truman's burst of triumphalism when the news of the bombing first reached the ship: "This is the greatest thing in history!"
Truman's official announcement, released while he was still at sea, again showed pride in America's achievement. The atomic bomb, he declared, represented "a harnessing of the basic power of the universe." America had "won the greatest scientific gamble in history." And Japan had now been repaid for Pearl Harbor "manyfold."
From that moment on, Truman rarely (some would say, never) looked back from a different angle, inevitably responding to questions about ordering two bombs dropped over Japan—from the media or in sometimes hostile letters to him at the White House—by affirming that decision, or even with what we would now call "doubling down."
He said he "didn't have any doubt" about the wisdom of the decision—unlike those he pictured as "eggheads" or "Monday morning quarterbacks." He called it the "most terrible decision that any man in the history of the world had to make" but "I'd do it again" and "I would not hesitate." On one occasion, asked how long it took him to decide to use the new device, he simply snapped his fingers. When the scientific director of the bomb project at Los Alamos, Robert Oppenheimer, revealed during a private meeting with the president shortly after the war that he feared he had "blood on my hands," Truman (by varying accounts) either offered to pass him a handkerchief or simply told him to quit worrying, the decision was his. After he left, in any event, Truman complained to a top adviser that the "Father of the Atomic Bomb" was a "crybaby scientist."
In an interview he cited the Japanese soldiers as vicious fighters and "I thought that wiping out complete cities with the bomb would be better." And in 1959, long out of office, he declared (not for the last time) that "I never lost any sleep over my decision," perhaps the line most associated with Truman and the bomb. But Truman went further: He didn't want anyone else to lose any sleep over it, either. In private, he instructed the pilot of the plane that dropped the first bomb, Paul Tibbets, "Don't you ever lose any sleep over the fact that you planned and carried out that mission. It was my decision. You had no choice."
Yet, in the same period he would assert, "You have got to understand this is not a military weapon. It is used to wipe out women and children and unarmed people." He even met with a group of Japanese hibakusha (survivors) visiting the U.S. and, surprisingly, said he would be willing to travel to Hiroshima for a television special if asked. Then he instructed an aide, "But I won't kiss their ass." The trip never happened.
And then this interesting episode. When the Hiroshima City Council sent him a polite but firm letter of protest over his latest statement that he felt "no compunction whatever" about ordering the use of the bombs, he replied with a fervent defense, blaming Japan for starting the war (the U.S. was "shot in the back"), for which they had to pay with the "sacrifice" of Hiroshima and Nagasaki. He even repeated the official claim that the two cities were mainly "devoted to war work." The Hiroshima council replied by acknowledging the evil of Pearl Harbor, then asked if he truly believe that the slaughtering of 200,000, mainly women and kids, was really a "humane" act? Truman did not respond.
Truman continued to keep a file of letters hailing or hitting his decision, and sometimes replied to them. He accused one writer of "misplaced sentiment" and called another protester "Just an ignorant Cluck" (this was the writer's last name.) The file was titled "The Jap Bomb Affair."
Now, you would think from all tof his that Truman truly did not have any second thoughts about decision. And why would he? Opinion polls showed that a strong majority of Americans, from the first day and continuing for decades, endorsed that decision. It is interesting, therefore, that he and his allies in making that decision acted very defensive in that brief period before the official narrative (only the bomb could have ended the war in that time frame and save hundreds of thousands of American lives) became so rarely challenged.
Three examples among several stand out.
If the civilian casualties were something to accept as the price of winning the war, why did the U.S. go to such extremes in exercising press censorship over all postwar reports from the atomic cities, and limit, ban or suppress photographs and footage, sometimes for several decades, even film shot by the American military?
If the decision was such a "slam dunk," why did Truman and the White House, in an unprecedented move, force MGM in 1946 to re-shoot the key scene in the first movie drama on the bomb, The Beginning or the End, to present his decision in an (even) more positive light? The movie was already stuffed with falsifications ordered by the U.S. military. Then they got the movie studio to fire the actor playing Truman, for allegedly lacking "military bearing."
If there was little reason to worry about the verdict of history, why did Truman and his allies, later in 1946, feel they had to induce the reluctant former Secretary of War, Henry L. Stimson, to write a lengthy cover story for Harper's magazine to counter the popularity of John Hersey's epochal "Hiroshima" article in The New Yorker which briefly threatened the official narrative? (By the way, the Stimson article succeeded in its mission.)
So: Yes, there is little evidence that Truman ever truly regretted his order to utilize the bomb. But his active participation in warding off any threats to the wisdom of that decision—and at times mocking some who raised questions relating to necessity or morality—suggest that he knew that it was at least vulnerable to serious probing and by no means a "settled question" (although many in the media treat it that way today.)
One also wonders if Truman might have felt, even slightly, that perhaps he had not been well served by his advisers, who (to judge by his writings or statements) may not have fully impressed on him the honest details of the U.S. targeting for the atomic bombs—the very center of a city, not a largely military or industrial zone—which guaranteed high civilian casualties. Two weeks before the attack on Hiroshima, he wrote in his diary about the new weapon: "I have told the Sec. of War, Mr. Stimson, to use it so that military objectives and soldiers and sailors are the target and not women and children...he & I are in accord. The target will be a purely military one...."
Cities Need Investment—Not a Theatrical Federal Policing 'Surge'
Lebanon Is Collapsing and Urgent Reform Is Desperately Needed
Saving Lebanon
Then, in August, he replied to a letter from a church official protesting the Hiroshima bomb that "nobody is more disturbed over the use of the Atomic bombs than I am." When asked later why he put a hold on a third bomb strike even before Japan's surrender, he said that the thought of wiping out another 100,000 people and killing "all those kids" was too horrible.
Perhaps he never lost any sleep reflecting on that. But it might have—and should have—occupied at least a few minutes of his waking hours.
Greg Mitchell's latest book is The Beginning or the End: How Hollywood—and America—Learned to Stop Worrying and Love the Bomb (The New Press). add link He has written ten previous books.
The views expressed in this article are the author's own.


Betsy grew up in Casper Wyoming and attended the Montessori School of Casper as a child. In 2013, Betsy graduated from the University of Wyoming with a Bachelor's degree in English. In 2015 Betsy returned to MSC as a classroom assistant, and in the fall of 2016 she moved to St. Paul, Minnesota where she completed her AMI Montessori training. In 2018 she completed and received her Master's Degree in Education with an emphasis in Montessori from St. Catherine's University in St. Paul. Betsy loves to read, sing, and cook with the children, and is thrilled to come back to her Montessori roots. In her spare time, she enjoys being with her family, hiking, camping, fishing, travelling, reading, and cooking.
Chanda was raised in Casper and joined the Montessori School of Casper team in October 2015. She enjoys working with young children and is pursing her A.A. degree in Early Childhood Education. In her free time, Chanda enjoys hunting and spending time with her dogs.


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#931 Carr, captivity, creativity
Woo, The Monkey Who Inspired Emily Carr: A Biography
by Grant Hayter-Menzies, with a foreword by Anita Kunz
Madeira Park: Douglas & McIntyre, 2019
$9.99 / 9781771622141
Reviewed by Jessica Poon
What, ultimately, does a statue represent? A statue is allegory at its most literal. A statue can never be the very person it hopes to represent, a representation doubtless filtered through a window of interpretation. For the most part, statues intend to speak for the vox populi, which is precisely why so many ostensibly illustrious statues are presently losing their appeal. A statue of a person says: this person — almost invariably a man — is worth admiring. And so, what if a person is worth admiring, but does not have a statue? Is admiration for a person without a statue foolhardy, then?
Of course not. Grant Hayter-Menzies observes that the statue of Emily Carr on Victoria's Inner Harbour, unveiled in 2010 opposite the BC Legislature, was long overdue. When it comes to ambivalently unethical animal ownership there are, seemingly, two perspectives: if the owner is a man like Salvador Dali, who famously owned an ocelot, it's de rigueur, a matter of eccentricity; if the owner is a woman like Emily Carr or Frida Kahlo, colloquially speaking, she is crazy. As Hayter-Menzies writes, "Few male artists, to my knowledge, are given the same treatment because of the pets they love. When was the last time you read a "crazy cat lady" (or dog lady) send up of Charles Dickens, or Pablo Picasso, or Richard Wagner? It seemed to me only women were judged negatively by the kinds and numbers of pets they included in their private lives" (p. 38).
Emily Carr statue (with Woo on shoulder), Victoria, with the Empress Hotel behind, sculpted by by Barbara Peterson. Photo by Joe, courtesy Flickr
Emily Carr and Woo, circa 1926. Photo courtesy of the Royal BC Museum and Archives
I could not have said it better myself. Indisputably, Emily Carr was an artist of lasting significance. How much of her output, however, is in debt to her pet monkey, Woo? Is great art worth a monkey's compromised livelihood? Is exotic pet ownership less unethical if there is mutualistic affection? Can the ownership of an exotic pet be preferable to the undesirable alternatives? The answer to these questions, like all viable questions, is not necessarily straightforward, let alone satisfyingly answered; however, Hayter-Menzies's account is nuanced, empathetic, and never unequivocally judgmental. Certainly, he understands empirically the emotional and artistic impact of pet ownership, with his own dog Freddy's "soft brown eyes looking up at mine, when, head in hands, I straightened up to begin the struggle all over again" (p. 39). Stereotypical cats notwithstanding, the obviously asymmetrical power difference between an owner and animal lends itself to a glimpse of being, if not a deity, then a person received with seemingly disproportionate admiration, e.g. by your typical dog. At best, this asymmetry inspires the owner to live up to that disproportionate admiration. Instead of Be the change you want to see in the world, perhaps it ought to be: be the person your pet thinks you are.
Woo warming at a camp fire in Metchosin, 1934. Photo courtesy BC Archives
Woo. Courtesy Royal BC Museum
Emily Carr, previously afraid of monkeys, deliberately put herself in their presence to conquer her fear. As a long-standing screamer toward spiders, I admire the tenacity of her self-prescribed exposure therapy more than I can say. In literally facing her fears, Carr wrote, "When my fear of monkeys went . . . my fear of darkness went also" (p. 48). Were monkeys and darkness inexplicably equivalent in Carr's mind, or did confronting one fear have the domino effect of conveniently vanquishing another? I don't know, but I was intrigued.
Meeting Woo at Lucy Cowie's pet shop in Victoria was more serendipitous, however, than intentional exotic pet ownership. Hayter-Menzies suggests that, however unethical or problematic, Carr's ownership of Woo was still preferable to other alternatives and that Carr perceived herself as not merely owning, but rescuing Woo. He alludes to Carr's empathetic nature when he writes that, "Mrs. Cowie recommended the monkey to Carr, evidently seeing in her anxious features the chance of an easy sale" (p. 48). This rescue, of course, was still a transaction.
Grant Hayter-Menzies. Photo by Dave Traynor
Hayter-Menzies's depiction of Woo could be described as vaguely anthropomorphic, but that would be too easy and altogether inaccurate. The interior state of an animal cannot easily be comprehensible in quantitative terms; but that does not mean that an educated guess, rooted in empathy, is not a worthwhile endeavour. If Carr described Woo in a manner not unlike that of a person, it is because Woo herself is uncannily similar to a human and yet, irrefutably a monkey whose kinship with humans – Woo preferred them to monkeys, perhaps owing to having been tormented by bigger monkeys at Lucy Cowie's pet store – is, in fact, also due to her unlikeness. For example, Hayter-Menzies writes, "Woo was allowed to discard all such silly human etiquette associated with receiving gifts. When she did not care for what she found in her shredded stocking, Woo simply threw it aside 'with a grunt of scorn,' much to the sympathetic delight of the children. Woo's freedom to do whatever she felt like doing provided a vicarious thrill in a world of man-made restrictions on all-too-human behavioural urges" (p. 68). In many ways, Woo is like a person who has banished a corset off their id, wholly unconcerned with the etiquette of post-Victorian times, or really, any etiquette at all.
Emily Carr with two griffons, her cat Dolf, and Woo, circa 1935. Photo courtesy Art Gallery of Ontario
Emily Carr and Woo. Courtesy Pinterest
Woo is attention-hungry, such that Hayter-Menzies suggests that she intentionally poisons herself with paint to receive Carr's affections. In other words, Woo is not an unintelligent animal destined to repeat her foibles and not to learn from them; rather, she has learned that when she is under duress, she will receive the attention she so craves – through a rational incident of self-poisoning.
Statements beginning with "Humans are the only species that,… " from using tools to language, seem inevitably doomed for future scientific ridicule, but I will proceed anyway: humans are the only species with such flagrantly arrogant convictions of their especial capabilities. Such convictions make exotic pet ownership more understandable, if not ethically palatable. Although Woo was beloved and had no shortage of human company, as well as a remarkably affinity for Ginger Pop, one of Carr's dogs, she still spent an undue amount of time being chained in walled rooms antithetical to her natural environment. Of course, Woo had been removed from her natural environment at an early age and Carr's home was doubtless preferable to Cowie's pet shop.
Hayter-Menzies concedes the difficulty of "try[ing] to get inside the mind of an animal and learn about what it has endured. An animal's experience can be pondered, guessed at and put to the methodical determinations of science. We will never know; they will never tell us" (p. 49). He quotes Virginia Woolf: "But what is 'oneself?' " . . . "Is it the thing people see? Or is it the thing one is?" (p. 41). In these two questions are more implicit questions: how much overlap is there between what is perceived and what is real?
Detail of Emily Carr statue by Barbara Peterson. Photo courtesy Promptings2
Emily Carr's tenure as a landlady is perhaps not as well-known as her mythic notoriety of pushing her menagerie of pet animals in a baby stroller, but it characterized a great deal of her life. While she often found her tenants contentious, she also perceived they were an obstruction to her artistic productivity, somewhat like a teacher of creative writing who no longer has time to write. A respectable day job — or a day job without respectability — often becomes a parasite to creative output, as Hayter-Menzies reports:
Carr's problem as an artist was not so much that tenants got in her way, any more than artists or writers who work jobs waiting tables or pushing papers around desks are entirely justified in blaming their need to make a living for their lack of making art. Years later, when she . . . left behind landladying for good, Carr quixotically professed to miss it, which is like saying she pined for all the stress, worry and interruption that had faced her on a daily basis. What she missed was the battle waged daily to find the time she thought she needed for her art — the opponent against which, with an irony Carr no doubt appreciated, she had to rage in order to dream more deeply more courageously, into the thinking and making of art (p. 74).
Emily Carr, Woo. Image courtesy artnet.com
I found myself uncomfortably relating to this, insofar as my formerly steady job as a line cook became recognizably precarious during the onset of Covid-19. And then I thought: I'll be writing all the time now! This is a secular blessing in disguise. That didn't happen — I found myself missing the ache of standing for eight hours straight; I read more brilliant people's written words; I found myself wanting to hold a knife and cut stupendous amounts of food, something I could never reproduce at home; I longed for the consistent, effortless manufacturing of anecdotes and complaints about my job. In short, I needed to feel stymied to produce. Of course, Carr had a tendency to embellish her artistic inactivity; generally she was always more productive than she felt she was.
I was at the Chapultepec Zoo in Mexico City last December, embarrassingly giddy to see animals I would otherwise not be able to see. I knew I was supposed to feel ethical outrage, but I was just excited for the veritable panoply of animals. Then I came upon a solitary mandrill sitting head down, looking at his hands. The mandrill was adjacent to spider monkeys actively seeking money — they were positively clamouring for shiny coins to satisfy their inner magpies. The spider monkeys struck me as a crude, panhandling version of Wall Street traders in their skill at embracing avarice; they had done so communally. They were doing their best to relish the objectionable. But the mandrill — I felt certain that it knew sadness. What I saw was sadness. I didn't think I was only projecting, either. I wished the mandrill would solicit something I could give it, like the spider monkeys, but the mandrill hardly moved.
Hayter-Menzies had a related experience:
When I took my cousin to a zoo, so many years later as an adult, I did so concealing at first how uncomfortable I was. . . . But when we came to the monkey cage, I no longer had dominion over my own emotions. It started with the squealing of the children, scattered everywhere, pressed against the bars. I recognized the same look in the eyes of the capuchins, who sat tensely on branches and rocks that I'd seen at the circus in the gaze of an elephant. It's a look remarkably human, actually. It is frustration, it is anxiety, both of which were easy to understand in creatures attempting to eat their midday meal under the onslaught of human curiosity. . . . Sometimes, as I came to see, it isn't merely the captivity that is so degrading and harmful. It's how this captivity prompts humans to act . . . when they experience it — to treat the captive animal as some sort of living trophy (pp. 147-148).
Emily Carr, Portrait of Woo, 1932
Better a living trophy than a dispensable endangered species unfortunate enough to live in a place populous with humans dead-set on deforestation and destruction, one might opine; but surely we can do better.
Hayter-Menzies is consistently empathetic. When he is judgmental, he backtracks with nuance. When Woo is given to the Stanley Park Zoo, stripped of his beloved owner, Hayter-Menzies admits to initially not even having considered the anguish Carr experienced in being deprived of Woo. He was singularly focused on Woo's mistreatment and premature death in reprehensible captivity — one year after his separation from Carr — but Carr doubtless suffered grievously as well.
It is impossible to quantify Woo's contribution to Emily Carr's artistic output, but if we wanted to try, we could look at Carr's final and arresting portrait of Woo, "perhaps unfinished (as may be indicated by the change of position of the tail)" (p. ix). He looks more menacing than friendly and holds a green apple, almost as if he is saying: See me for who I really am.
Emily Carr's grave at Ross Bay Cemetery
Jessica Poon
Jessica Poon is a writer, line cook, and pianist in Vancouver. She recently completed her bachelor's degree in English literature from the University of British Columbia. Visit her website here. She has recently reviewed Wayson Choy's Paper Shadows: A Chinatown Childhood: A Memoir of a Past Lost and Found, for The Ormsby Review.
#930 The relevance of Ken Lum
#932 Ableman's urban agriculture
3 comments on "#931 Carr, captivity, creativity"
Pingback: Valerie Green reviews Muggins by Grant Hayter-Menzies
Grant Hayter-Menzies says:
I'm pleased and touched. Thank you for this beautiful review, and for seeing what I intended when I wrote the book.
Richard Mackie says:
Thank you, Grant. Jessica Poon brings out the best in the remarkable pairing of Woo and Emily. This is surely BC's greatest pet story!


The best of two worlds meet in Dippoldiswalde near Dresden. There Sachsenküchen has been combining carpentry with industrial production since 1908. The result: top-class kitchens that offer the highest degree of individuality. And the manufacture has become even more flexible this year: By investing in one of the most modern plants for the production of individual furniture, every component part is now manufactured according to the single-unit-principle – thus the customers have even greater freedom in planning the kitchen. In addition to this, Sachsenküchen is introducing a series of new models, decor and fronts at the A30 Kuechenmeile trade fair. Hence, the shortest way to a dream kitchen now leads directly to Saxony.
The proximity to customers and the focus on implementing customer wishes go hand in hand with product quality at Sachsenküchen. And because the company has one of the most modern production lines to manufacture "single units", this quality can be supplied with the speed and price-performance-ratio of industrial manufacturing.
An above average production depth, excellent quality of fittings or a sophisticated interior design of the cupboards – the list of the benefits of a Sachsenküchen kitchen is long. At the A30 Kuechenmeile in the KCL Kitchen Center Löhne, visitors can convince themselves of the benefits – and experience how Sachsenküchen fills the topic of individuality with life: The current trends in interior design can be found in a large number of new colours, decors and fittings. The list of novelties, where the virtues of Sachsenküchen are fully exploited, extends from trend colours such as stone gray over marble decor right up to the new shiny metallic surfaces of the model OXANA: a clean, straight design that can also be found in the new planning variation without handles. Sachsenküchen will present seven new kitchens at the industry event in Eastern Westphalia. Among these are many novelties that contribute to the fusion of living room and kitchen: the new pull-out tray, new ultra mat FENIX surfaces, which are available as worktop or front material, compound worktops for flush-mounted hobs and sinks or drawers made of wood.
With the seven kitchens, Sachsenküchen also shows what a real "tailored kitchen" looks like. With regard to each model, exhibitors explain where the exhibition pieces deviate from the standard. "This way customers and distributors can get an impression of what we mean by single-unit-production," says Elko Beeg. "Namely, a 'tailored kitchen' that is designed completely according to the customer's wishes and spatial requirements." The best examples of this are cupboards made to order, additional built-in interior sliding bins and very unique furniture in line with customer drawings.


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Arizona Court Rules School Voucher Programs Unconstitutional
PHOENIX – A state appeals court says two relatively new state school voucher programs are unconstitutional.
The programs were designed to provide money to let foster and disabled children attend private schools.
The 3-0 ruling Thursday by a Court of Appeals panel in Tucson reverses a trial judge's decision that said the voucher programs were legal. They were passed at the urging of supporters of so-called "school choice" initiatives.
A lawyer for supporters of the programs says they'll appeal the ruling.
Challengers contend the programs enacted by the Legislature in 2006 violate state constitutional prohibitions against public funding for private and religious schools. They also argue the programs undermine the state's public school system by diverting needed money.


Nestled in San Marcos, Texas along I-35 sits Hays County Bar-B-Que, a veritable giant of Texas BBQ. Named as one of the 50 Best BBQ joints in Texas by Texas Monthly, Hays County Bar-B-Que is no sleeper. Michael and Asenette Hernandez bought the business in 2007, and have rocketed to the top of the barbecue scene with flair! This is no low-key BBQ joint – Hays County hosts live music almost every Saturday night – it is truly a destination for BBQ lovers across Texas.
Interestingly enough, Jessie Miranda and Aaron Hernandez showed me around the place and told me a secret about the pits: no thermometers! The pits are heated up and the meat is smoked until they are deemed "done", typically by touch and feel. This is usually after around 18 hours of cooking, but one never really knows!
The fires are fueled with post oak and mesquite, a traditional blend of woods that create a unique and flavorful taste.
I was astounded by the quality of the brisket I was served at Hays County Bar-B-Que! The moist slice of brisket was fantastic, and the burnt ends were superb! The meat was full of flavor, and just pulled apart with ease. Perfect spice profile. Absolutely beautiful specimens of what brisket should be, with a thick smoke ring and oh so tender! Hays County knocked this one out of the park!
My first time eating at Hays County Bar-B-Que, I declared that I had eaten the best pork rib of my life. Since that time, I have tasted ribs that might top those at Hays County, but not by much. These are prepared in the dry style, not overly wet, with a slightly leathery textured bark. The meat was very tender, but stayed on the bone until you pulled it off. Great flavor, not overpowering the delicate pork flavor.
Hays County Bar-B-Que packs their sausage in-house, using a mix of pork and beef and an array of spices. In my opinion, the peppery flavor profile was right on point, but the casing was over the top. I had to actually spit out the tough pieces of casing after enjoying the sausage. Hopefully they've fixed this issue, but it was distracting to say the least.
The sides were good, with the beans stealing the show over the potato salad. I tried a beef rib and some turkey, but the brisket and ribs were the real show-stoppers.
Hays County Bar-B-Que is a real destination for barbecue lovers across Texas. Go on a Saturday, spend the day, and enjoy the great smoked meats and the live show!
This entry was tagged Bar-B-Que, barbecue, bbq, brisket, San Marcos, sausage, Texas barbecue, Texas BBQ, The Best of Texas Barbecue, txbbq. Bookmark the permalink.


Otherwise, you should split the matrix into 4 size-equal matrices, and the price of a matrix will be the sum of submatrices prices plus 1 coin.
You are given q queries. Each query gives you the number of row/column x, and you have to change the color of all cells in this row/column (i.e., if a cell is white, it will be black; if a cell is black, it will be white) and find the price of the new matrix.
The first line contains two integers n and q (0 ≤ n ≤ 20, 1 ≤ q ≤ 106) where n means that the size of the matrix is 2n × 2n and q means that there are going to be q queries.
Each of the next q lines contains two integers t and x (0 ≤ t ≤ 1, 1 ≤ x ≤ 2n). If t = 0, then the x-th row will be changed; otherwise, the x-th column.
For each query, print a matrix price.


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May-Treanor done, but Walsh wants 4th beach gold
Olympics Headlines
Patriots sign Olympic medalist Demps
Phelps' agent: Leaked pics not violation
Dumais wins US synchronized diving title
Lolo honored at home in tough month
Douglas, Wieber enjoy celebrity sparkle
Richards-Ross wins 400 in Stockholm
Auriemma won't return as coach in 2016
Phelps again graces Wheaties box
US diver Boudia eyes gymnastics for 2016
N. Korean medalists get big welcome home
By JIMMY GOLEN,
(AP Photo/Dave Martin)
LONDON (AP) It's no wonder Kerri Walsh Jennings has an insatiable desire for Olympic gold medals: She can't take care of the ones she already has.
Walsh Jennings dropped her medal on the concrete Thursday, just a sleepless night after she and Misty May-Treanor won their third straight Olympic beach volleyball tournament. The medal was scratched in two spots along the rim, but the three-time Olympic champion was not upset about the damage.
"It truly is good to get the first one out of the way," said Walsh Jennings, adding that with two small children, she is used to things at home being dented and dinged.
Has she considered tucking them away in a safe place?
"The best thing about these things is sharing them, because so many people haven't ever held a gold medal," Walsh Jennings said. "People find inspiration in it. I'm blessed that I can share it."
Walsh Jennings and May-Treanor beat fellow Americans April Ross and Jennifer Kessy in the gold medal match Wednesday night to run their Olympic winning streak to a perfect 21-0.
Half of the most dominant team in the sport's history - no man or woman had ever won even two gold medals before - Walsh Jennings was already thinking of a fourth Olympics, turning her thoughts to a fourth gold medal. But she'll need to chase it with another partner because May-Treanor is planning to retire.
She'll have no trouble finding one.
Walsh Jennings said she will play in an FIVB event in Poland next week with Nicole Branagh, a 2008 Olympian she paired with while May-Treanor was injured and contemplating retirement after Beijing.
"Nicole is such a no-brainer," Walsh Jennings said. "She deserves it."
Another possibility is Ross. Kessy turned 35 during the Olympics - the day after May-Treanor - and is unlikely to stick around for the 2016 Games in Rio de Janeiro.
"They're the two girls at the top of my list," said Walsh Jennings, who was on the U.S. indoor volleyball team that finished fourth in the 2000 Olympics in Sydney.
But first, Walsh Jennings is planning to have another child - she had two sons within a year since the last Olympics, the first conceived before leaving Beijing.
"That would be ideal," she said.
May-Treanor also wants to start a family, but her plans have been complicated by the fact that her husband, Matt Treanor, is a professional baseball player who also travels for his job. After playing for Florida, Detroit, Texas and Kansas City, Treanor is now with the Los Angeles Dodgers, so the two have a chance to spend much of their summers together for the first time.
"Beach volleyball's not going to be my career anymore," May-Treanor said Wednesday night "It's time for me to be a wife. I want to be a mom and share time with my family. All of us as athletes sacrifice more on the family end than people realize. And it's getting back to that. My mind says it's time. My body says it's time. And it's the right time."
Walsh Jennings said May-Treanor's retirement gave her a mix of emotions she didn't feel after the first two titles. In addition to the elation of the victory, there was pride in the success of American volleyball - which put two women's teams on the podium for the second time in three Summer Games - and sadness for the end of the most successful partnership in the sport's history.
"I'm just really proud to finish the journey with Misty how we finished it," Walsh Jennings said after the match. "It's been 11 years of really, really fun and crazy times. She's the best there ever has been. To have been with her so long and call her a dear, dear friend and a sister now is the greatest gift ever. I'm glad she went out on top."


large, customisable floor plates, maximum ventilation, elevators including separate ones for services, and a host of safety and security features. The 4 floor structure also allows for a lavish retail space on the ground floor. The project is complete and ready for occupation.
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Ideal as a specialty health institute.
Floor to Floor Heights of 4.35 Mtrs for ground floor and 3.75 Mtrs for typical floors.
External Glazing used is of Sun Ban Four Star Rating Category. Provides for optimum natural light and has an elegant appearance.
Solar Factor ranging to only between 0.20 and 0.29.
Strategic openings for effective ventilation.


If your manuscript is not contained in one continuous file, your files will need to be merged before we can begin production of your book. You can merge your files yourself or you can have us do it for an additional fee. If you are paying for file merging, be sure to include the order the files go in, or relabel the files in chronological order.
If you'd like to merge the files yourself, here's how. Open a new blank document, and before you do anything with it, save it as a new file. I'm going to call my new file 'My Complete Manuscript'. Now we're ready to merge our first file into our new document. Just go to 'Insert' and 'File'. In the window that pops up, locate the first file we need to merge. For my example, I have each chapter saved as an individual file. So the first file I need is 'Chapter 1'. I select it and then I click 'Insert'. I have now brought my first file into the new document. To merge the rest of your files, you just repeat the same step for each file. Make sure your text insertion marker is positioned at the end of the document where you want each new file to be merged. In my example, our marker is already flashing there so I'm ready to merge my second file. I am just going to go to 'Insert' and 'File', and then select my second file. While I'm at it, I'm going to go ahead and bring in my third file and then we'll take a look at what we've done. Okay. If I scroll up through my new document, I see the start of Chapter 3 and Chapter 2, and at the beginning I see Chapter 1. I have successfully merged the first three chapters of my book into one continuous file.
If I want my chapters to begin on new pages, all I need to do is position my cursor and click before the chapter title, and then go to 'Insert' and 'Break'. In the window that pops up, I select 'Page Break' and 'Okay'. This will bump my chapter to the next page.
If you have any questions about file merging, please don't hesitate to give us a call at 1-888-728-8467. We'll be happy to talk about it with you.


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The Classical Music Guide Forums
Welcome to the new Classical Music Guide Online Forums!
Board index Classical Music Guide Online Classical Concert Reviews
Remembering a concert 12 years ago on this date
Have you been to a concert somewhere in the world recently? Share your thoughts with us about the performance, the more details the better!
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Ricordanza
Location: Southern New Jersey, USA
Post by Ricordanza » Thu Jul 23, 2020 6:11 am
Thunderstorms are in the weather forecast today, as they were 12 years ago on this date (July 23, 2008) when my wife and I took a chance and attended a concert by the Philadelphia Orchestra at the Mann Music Center in Fairmount Park. As I re-read my review, two thoughts come to mind. The first, of course, is how much I miss going to concerts which have been cancelled due to the pandemic. Secondly, even in pre-pandemic times, it has been several years since the Philadelphia Orchestra played this kind of "regular" classical program at the Mann Center. Oh well, I'll have to rely on good memories for the time being.
The title of this review was: "Between thunderclaps, Philadelphians and Jennifer Koh shine"
Summer concerts of the Philadelphia Orchestra at the Mann Music Center are never completely free from distractions. Located on a hill in Fairmount Park in West Philadelphia, and open on three sides, this venue is prone to the sounds of the city, including police and fire sirens. On Wednesday night, Nature provided the distractions. Just before the concert began, a fierce thunderstorm blew in to the area, and just as the musicians were warming up, two direct lightning hits landed just next to (or on the roof of?) the structure. Audience and musicians were startled by the tremendous noise. Yes, we were under cover, and (we presumed) in a lightning-protected structure, but it was unnerving, nevertheless. What did this foretell for the concert ahead?
Rossen Milanov, the evening's conductor, came out on stage, thanking the audience for coming out on such a night, and tried to soothe us with a viola joke...something about how viola players were like lightning—never striking twice in the same place.
The concert began with a stirring rendition of that old favorite, Wagner's Prelude to Die Meistersinger. How many times has the Philadelphia Orchestra played this work? It's still a joy to hear this when well played, as it was this evening. Some rumbles of thunder were heard, and the rain poured down, but not enough to detract from the performance.
Next was the work that brought me to this concert—Sibelius' darkly beautiful Violin Concerto. This was my first opportunity to hear Jennifer Koh, a Curtis Institute graduate and a Tchaikovsky Competition winner. I would say that she played brilliantly…but "brilliant" is not the right word for this concerto. The lower strings dominate for soloist and orchestra, and the melodic lines are passionate, intense, and melancholic. Whatever the right words are to describe the qualities needed to perform this concerto, Koh had them. This was a deeply satisfying performance. Again, Nature cooperated until just after the performance ended, when a huge burst of thunder shook the arena.
The evening concluded with my favorite Brahms Symphony, No. 4. This is another piece which the Philadelphians have performed hundreds of times over the years, and it's a work which is well suited to their sound. It was an opportunity to enjoy this Symphony on every level—its sensual delights, melodic and harmonic richness, and complex but coherent structure.
But I must add a word about Rossen Milanov, the Philadelphia Orchestra's Associate Conductor and the Artistic Director of the Mann summer series. He is a puzzle. He is not a pleasing conductor to watch in motion. He is prone to jerky movements, and gestures which don't match the rhythm of the orchestra. But it is clear that the musicians have figured him out, and together, they produced fine performances of these three great works.
As we left the Center in search of our car in the grassy parking field, the storm had let up. If the storm had continued, it would have been an ordeal to find and extract our car from a dark and muddy field. But it turned out to be another successful evening at the Mann—just enough cooperation from Nature to allow enjoyment of the music, and to make our way home without problems.
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eduardorbjqz.blog5.net
Successful lotto figures: Powerball, Florida Lotto, SuperLotto Furthermore, Basic Lotto
The Powerball winning numbers for Wednesday, Dec. 5 are 13, 17, 19, 27, 38 and PB 12. Players can find tickets cell phone the next Powerball draw on Dec. 8 that can feature a $40 million jackpot.
Here is also another lottery results across America from Wednesday:
On Wednesday, Michigan Lottery officials announced that Eugene and Nancy Gaspar of Dearborn have won a $1 million Powerball prize. The couple are cancer survivors and possess been married for 56 years. The Gaspars won the 2nd prize in the record-setting Nov. 28 draw which featured a $587.5 million Powerball jackpot.
They said they plan on retiring quietly. "I what food was in shock, numb," said Mr. Gaspar, who find the numbers according to his grandchildren's birthdays. "We won't have any money worries in the future. I can't imagine anything I really need, we've stood website a good life." Mr. Gaspar bought the lucky Powerball ticket at a CVS Pharmacy located at 13250 Ford Rd. in Dearborn.


Go Team GB, Insurefor is cheering you on all the way!
Home / Travel News / Go Team GB, Insurefor is cheering you on all the way!
Perhaps the run to Rio is not entirely about selflessness, however, as there is plenty going on in this great seaside city, which offers 80 kilometres of beaches.
One of the most popular places to visit in the southern hemisphere, Rio de Janeiro is famous for its beaches, its caipirinha cocktails and its landscapes. Then there is the music - many come to bossa nova the warm, tropical night away. Nearly six million people live in the city and it is home to the largest number of Portuguese people outside Portugal's capital, Lisbon.
Rio is a stunning metropolis, with its seafront and the iconic Copacabana and Ipanema beaches. In 2012, CNN named Ipanema the number one city beach in the world. The city is framed by its visually dramatic mountains, the Two Brothers, Sugarloaf and Corcovado. In 1961 the Tijuca National Park, or Parque Nacional da Tijuca, came into existence and is the biggest urban forest surrounded by city development in the world. As an urban forest, it is ranked number two internationally.
Rio itself is the biggest tourist attraction in Brazil, hosting nearly three million visitors a year. It is known for its fun-loving atmosphere, helped enormously by holding the world's largest party each year.
Rio's carnival started in 1723; therefore, there have been almost three centuries to get the formula right. It is known internationally for the floats in its colourful parade, participation by representatives of the samba dancing schools, music and general revelry. In addition, there are balls and street festivals taking place throughout the city in what is one of the world's biggest celebrations.
For those in Rio to cheer on Team GB, the Olympics is probably enough of a carnival in itself; however, there other attractions should the beaches, the weather and the astounding beauty of the place not be enough.
The Maracanã Stadium is the where the Olympic opening ceremony took place and where the closing ceremony will be held. It holds a special significance for football fans, as it was built to host the 1950 World Cup. For the final game of the 1950 World Cup, the stadium held nearly 200,000 people.
Christ the Redeemer is one of the symbols of Rio - a gigantic art deco statue of Jesus Christ situated on Mount Corcovado. Completed in 1931, the statue is 98 feet tall and its outstretched arms span 92 feet. It is the largest art deco statue in the world and one of the city's great landmarks.
Exploring can make you thirsty, so it is good that Rio can offer the delightful caipirinha. Brazil's national cocktail is a delicious blend of lime, crushed ice, sugar and the spirit cachaça. Not so well known outside Brazil, cachaça is a distilled beverage made from fermented sugarcane juice and the most popular in the country. A caipirinha is definitely the drink to sip while watching someone exert themselves over hurdles or throwing the shot put. Those lucky enough to be in Rio for the Olympics will see it being consumed everywhere, sometimes from a glass but often from a coconut.
Watch some world-class athletes, stroll along a world-class beach and sip a renowned cocktail - this all adds up to a wonderful way to express support for Team GB.


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Lesotho PM announces intention to resign - South Africa's SABC
Lesotho PM announces intention to resign – South Africa's SABC
FILE PHOTO: Thomas Motsoahae Thabane, Prime Minister of Lesotho addresses the 74th session of the United Nations General Assembly at U.N. headquarters in New York, U.S., September 27, 2019. REUTERS/Lucas Jackson
JOHANNESBURG (Reuters) – Lesotho Prime Minister Thomas Thabane announced his intention to resign on Thursday, the South African Broadcasting Corporation reported.
The alert on its TV news channel gave no reason, but police are looking for Thabane's wife, Maesaiah, to question her in connection with the murder of his other, estranged, wife, Lipolelo.
Lipolelo was shot days before Thabane was sworn in as leader of the mountain kingdom in June 2017. An arrest warrant is out for Maesaiah after she failed to turn up for questioning, although she has not been charged with anything.
Lesotho, a mountain state encircled by South Africa, three-quarters of which lies more than 1,800 metres above sea level, is one of the world's poorest countries and has one of Africa's highest levels of HIV/AIDS prevalence.
Reporting by Tim Cocks; Editing by Kevin Liffey
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Nicholas Dinopoulos | Bass-Baritone
Opera, Concert & Recital Singer | Teaching Artist & Conductor
Critical acclaim for Nick's performances on the operatic stage, concert platform and in recital. Follow the hyperlinks for reviews in full.
Arvo Pärt Passio – Australian Boys Choir
"Dinopoulos' mode of direction came from an emphatic and clear school; just the sort of conducting that you'd expect from a singer-musician who has learned his craft from observing both the worthwhile and the useless gestures of senior figures during his career to date."
Clive O'Connell, The Music - 28 March 2019
C.P.E. Bach St. Matthew Passion – Melbourne Bach Choir
"Nicholas Dinopoulos sang Christus with an assurance that recalled Warwick Fyfe's exertions in the same role during earlier Melbourne Bach Choir Passions. Just as pliant as [tenor evangelist Andrew] Goodwin, this bass made the Gethsemane section a powerful, unsentimental experience and negotiated his line with a no-nonsense gravity during the exchanges with the High Priest and Pilate."
Clive O'Connell, The Music - 20 February 2018
Fauré Requiem – Gloriana Chamber Choir
"Nicholas Dinopoulos again showed his capacity to understand a part almost instinctively, lending a warm strong baritone to the Offertory and later to a vigorous Libera me."
Suzanne Yanko, Classic Melbourne - 27 September 2017
Lyric Rhapsody – Art Song Canberra
"...Dinopoulos has a thrillingly powerful voice..."
Len Power, Canberra Critics Circle - 29 August 2016
Bach and His Ancestors – Latitude 37
"Finally, it was the turn of Johann Sebastian Bach and his cantata Ich habe Genug. Dinopoulos captivated the audience from the outset, his voice melding beautifully with the instruments, particularly [Kirsten] Barry's oboe. He used it to differentiate the various sections, from joy to despair - but always with a sense of calm."
Suzanne Yanko, Classic Melbourne - 1 April 2016
Iphigénie en Tauride – Pinchgut Opera
"For their production of Iphigénie en Tauride, Pinchgut assembled an ensemble of Australian singers whose fluency in Gluck's musical language is impeccable. Portraying both an unnamed Scythe and the Ministre du sanctuaire, bass-baritone Nicholas Dinopoulos - an Oreste in the making - sings handsomely and powerfully, the authority of his voicing of the latter part's 'Étrangers malheureux, il faut vous séparer' markedly increasing the menace of the scene in Act Two in which he appears. His music in Iphigénie en Tauride is neither demanding nor extensive in comparison with other works in his repertoire, but Dinopoulos is a singer whose attractive, assured vocalism and unaffected acting are always noticed."
Joseph Newsome, Voix des Arts - 14 December 2015
Giasone – Pinchgut Opera
"The rôles for low-voiced gentlemen are sung with epic technical control by bass-baritone Nicholas Dinopoulos and baritone David Greco. As Ercole, Mr. Dinopoulos lacks none of the burly masculinity of this legendary hero. His famous labors behind him, Ercole lent his brawn to the Argonauts' expedition to seize the golden fleece, and Mr. Dinopoulos lends his resonant voice and charismatic self-assurance to this performance of Giasone. His singing of the opening scene, 'Dal'Oriente porge l'alba,' is suitably robust, and his annoyance with Giasone's amorous dalliances is amusingly evident throughout the performance. His dueting with Isifile in Part Two is extraordinarily charming, and he impresses in every scene in which he appears with his uncanny combination of firm, ringing tone throughout his range and great flexibility."
Joseph Newsome, Voix des Arts - 5 August 2014
"As Ercole, Nicholas Dinopoulos had a suave breadth and depth to his sound (as attendant to a philander this role is an interesting antecedent to Leporello in Mozart's Don Giovanni)."
Peter McCallum, Sydney Morning Herald - 7 December 2013
"From the first, Dinopoulos demonstrates not only the depth, but length, breadth and richness of his voice, which only gets better as he and the opera rollick along. Better still, he's just as substantial theatrically...Like Dinopoulos, [countertenor David Hansen] has corresponding strengths in the dramatic and, especially, comedic stakes."
Lloyd Bradford Skye, Daily Review - 6 December 2013
María de Buenos Aires – Victorian Opera
"...operatic baritone Nicholas Dinopoulos, sensitively and authoritatively tackling multiple roles as the Cantor..."
Peter Burch, The Australian - 23 August 2013
"Nicholas Dinopoulos, as the Cantor, has a vocal warmth and resonance that embodies the fluidity and ardour of Piazzolla's music and tells the story sensitively."
Kate Herbert, Herald Sun - 22 August 2013
Peninsula Summer Music Festival – Bach Cantatas
"At Saturday's opening, tenor Paul Bentley and bass Nicholas Dinopoulos sang a cantata each before combing for a hefty performance of Ich lasse dich nicht, BWV 157, distinguished by the singers' intensity, Bentley's easy negotiation of each top B in the operatic Ich halte solo, and the mellow pleasure of the bass' lowest register."
Clive O'Connell, The Age - 31 December 2012
Melbourne Festival – Buxtehude Membra Jesu Nostri
"Bass Nicholas Dinopoulos invested his active solos with a vigorous bounce."
Clive O'Connell, The Age - 11 October 2012
The Seasons – Songmakers Australia | "Bass-Baritone Dinopoulos wows Piazzolla fans"
"The night's main interest came in bass-baritone Nicholas Dinopoulos, who surged through five numbers, at his most impressive in "Balada para un Loco," which displayed a convincing mastery of the Spanish text by Horacio Ferrer and a powerful ardour when the actual song got under way. This young singer impressed with his linguistic fluency in three Romance tongues and an unswerving conviction that carried his audience with him through the macho world that Piazzolla's work inhabits."
Clive O'Connell, The Age - 24 September 2012
Gloriana Chamber Choir – Bach St. John Passion
"Nicholas Dinopoulos sang an imposing Christ..."
Melbourne Symphony Orchestra – Grainger Tribute to Foster
"The night ended with...the Tribute to Foster, with an enthusiastic quintet of young soloists, led off by bass Nicholas Dinopoulos."
Clive O'Connell, The Age - 1 September 2012
The Consort of Melbourne – Grainger Tribute to Foster
"But the pleasures were...Nick Dinopoulos's potent bass in the Foster score."
Clive O'Connell, The Age - 4 July 2011
The Opera Studio Melbourne – Mozart Don Giovanni
"Nicholas Dinopoulos (Leporello)...had definite stage presence."
Barney Zwartz, The Age - 4 September 2010
"Nicholas Dinopoulos sparkles with comic invention as Giovanni's manservant Leporello, here re- imagined as more of a best friend, riding the Don's coattails and enjoying the spoils that are cast aside. The close age and friendship of the pair made Don Giovanni's betrayal of Leporello all the more dramatic, almost more important in revealing Giovanni's evil side than the murder of the Commendatore. Dinopoulos had the audience in the palm of his hand and he sings the bass role with assurance."
Simon Parris, Theatre People - 3 September 2010
Melbourne University Choral Society – Pergolesi Magnificat/Carissimi Jephte
"...bass Nicholas Dinopoulos brought animation to some brief narrative contributions."
Clive O'Connell, The Age - 11 May 2010


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Sunburned Hand of the Man
Experimental / Rock
Reviewed:
When Carl Jung carved his symbols of mankind onto the face of his beloved cubic lawn jockey, among the\n ...
When Carl Jung carved his symbols of mankind onto the face of his beloved cubic lawn jockey, among the archetypes of the collective unconscious present was surely the open hand. Part invitation and part warning, very few pictorial representations-- with the exception of the smile or frown-- are so readily recognized as the forward stare of the uncurled hand. With one glance at the album cover of The Sunburned Hand of the Man's latest release, Headdress, it's apparent that the spirit of the deceased Swiss psychiatrist is alive and well in this musical collective hailing from the darkest recesses of Massachusetts.
The knit hand encircled by a background of stars embodies both the welcome and caution inherent in the music that is in turn violently cruel and unconformably beautiful. The fact that it's a patchwork appendage, obviously tailor-made with minor imperfections magnified, displays the collective approach that more than likely went into the creation of the musical product itself. One imagines a procession line of long-haired bohemians printing and then hand-gluing album covers, inserting fresh-pressed vinyl into protective sleeves made from recycled rolling papers, then boxing and shipping the fresh goods away from the confines of an abandoned barn surrounded by three feet of mostly white snow.
It's from this natural and mystical bond that the music emanates effortlessly. The opening track "Shitless" presents all of the musical motifs at the band's command upfront for aural inspection. A funky bassline and a smattering of odd percussion act as the soil and ground from which the guitars grow forth, as a recorder eventually pushes forward against a barrage of wails and grunts, more animal than human. "Sense of the Senseless" develops from this with a steady hypnotic drone cut intermittently by bird-chirps and struck bells. A polyphonic chant arises-- a modern Dies Irae-- as a whistle signals a tempo change that finds solace solely in the errant harmony of frantic shouting. The song ends with a lamenting cry to "learn from experience," before fading far too quickly into the harmonica-driven track "The Illness".
With any luck, the band will heed their own plea, as the album's only true criticism can be that, at times, it sounds more like a collection of inspired moments that are cut far too short than a fully developed composition, more than likely a consequence of its finite medium. Brief windows of ingenuity such as the echo and din of the title track or the droning ebb and flow of "A Second Guess" would find more time to breathe, develop, and recapitulate given the format of a double album. As is, though, songs such as "Yes, Your Highness" don't have time to pick up the momentum of such Varèse-pleasing ideas as the use of sirens and strong complex rhythms incorporated into regular song structure.
This is not to say that the entire album feels abruptly halted or rushed, as "The Underground Press" proves contrary. Easily the most developed piece, if not the best, this is the swaying back and forth number on the album that allows the girl wearing the kitten ears at the live show to feel that she's comfortable enough with the crowd and herself to take off her shirt. Stravinsky himself would be proud of this unadulterated use of rhythm and beat, augmented by loud hypnotic chords pulsing from a variety of instruments, ultimately falling prey to the screams and whoops that herald its necessary finale.
Acting as a subtle trend in the album, the sense of prevalent necessity from song to song further merits one of the superior critiques that can be lauded upon a work of art, the discrimination of timelessness. This is not to say that the album could have been released at any given time with similar acclaim-- though it undoubtedly could have-- it's only a comment upon how the music flows so readily with complete and utter disdain for trend and fashion that it feels simultaneously primitive and advanced, while retaining every bit of its musical relevance. In the end, the music leaves one with a sense of somber contentment and satisfaction as mysterious in origin as the warmth received from the open-hand greeting of a stranger.
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