Saratoga Springs, NY - Lawrence Edelson, Artistic and General Director of Opera Saratoga, announced today the program for the 2016 Summer Festival, which will run from May 28th through July 17, 2016. The season will feature three new productions, along with a diverse slate of recitals, concerts and master classes at multiple locations in Saratoga Springs, New York.
The complete season schedule, including the full calendar and details for all concerts and special events, will be announced in October. Subscriptions will go on sale October 31st, 2015, including special packages for out of town guests. Single tickets will go on sale February 1st, 2016.
A cornerstone of the operatic repertoire and one of the most frequently performed operas around the globe, Le nozze di Figaro returns to Opera Saratoga for the first time in twenty years. Beaumarchais' play, upon which the opera is based, serves as the sequel to Il barbiere di Siviglia (The Barber of Seville). In an already volatile political climate, the play created a stir by pitting witty servants against their masters. The opera adaptation was originally banned in Vienna because of the licentiousness of the play, but Mozart's librettist Da Ponte managed to get official approval, after which the opera was written and became a tremendous success. It was the first collaboration between Mozart and Da Ponte, the partnership, which later brought us Don Giovanni and Così fan tutte.
Le nozze di Figaro continues the plot of The Barber of Seville several years later. The Count has married Rosina and made her the Countess, but their marriage has gone sour because of his philandering. Figaro has quit barbering and is now the Count's major-domo. He is engaged to Susanna, who is Countess Rosina's maid - and the Count's intended conquest. Bartolo is back to seek revenge on Figaro for taking Rosina away from him, with the help of the conniving music-master, Basilio. Adding to the fun are an amorous teenager, a scheming old maid, a drunken gardener and his daughter. Much happens over the course a single "day of madness" in this beloved masterpiece.
Chinese bass Peixin Chen makes his Opera Saratoga debut as Figaro, and soprano Chelsea Basler - an alumna of Opera Saratoga's Young Artist Program previously seen as Josephine in H.M.S. Pinafore – returns as Susanna, his bride to be. The production also features the company debuts of soprano Katherine Whyte as the Countess and baritone Keith Phares as the Count. Andrew Bisantz makes his conducting debut with the company, along with director David Paul who helms this new production.
Le nozze di Figaro will run from June 24 to July 15, 2016.
The second production of the season will be the American premiere of Philip Glass' The Witches of Venice - an opera-ballet originally written for Teatro alla Scala in Milan that premiered in 1995. This whimsical opera that incorporates dance throughout was composed in collaboration with illustrator and stage designer Beni Montresor, who adapted the libretto from his children's book of the same name.
Based in the historical Venice of Carnival, The Witches of Venice is a whimsical tale about a boy grown from a plant in the King's garden, who is looking for a little girl like him. He soon finds himself escaping captors, wandering dark hallways, fleeing monsters, and ultimately finding a friend. It is a heartfelt story, with underlying themes of self-acceptance and finding one's place in the world. The Witches of Venice is one of Glass' most creative scores – a family-friendly opera featuring inventive songs, exhilarating dances, fantastical music portraying monsters and fairies, and savvy scoring that carries the story along. Opera Saratoga is thrilled to introduce American audiences to an important and little known work by one of America's most important composers, and to continue its commitment to presenting contemporary American work as well as operas in which dance plays an integral role.
Internationally renowned director and choreographer Karole Armitage, who made her debut with Opera Saratoga this past summer creating the company's critically acclaimed production of Dido and Aeneas, returns to direct and choreograph this American premiere production. Viswa Subbaraman, Artistic Director of Skylight Music Theater and former Artistic Director of the innovative contemporary opera company Opera Vista in Houston will conduct. Principal roles will be sung by members of Opera Saratoga's Young Artist Program, the second oldest mentorship program for emerging professional singers in the country. Applications for the program, directed by Laurie Rogers, are being accepted through September 12, 2015. Auditions will be held in Houston, Cincinnati and New York City in November. Last season, Opera Saratoga received over 1,000 applications for the program.
As with last season's production of Dido and Aeneas, members of the New York City based Armitage Gone! Dance Company will also be featured prominently in the production. In addition The Witches of Venice provides important opportunities for collaborations with other organizations in the region. Opera Saratoga will collaborate with The Capital District Youth Chorale, upstate New York's premiere children's chorus under the direction of Diane Warner, as well The School of the Arts at The National Museum of Dance under the direction of Raul Martinez, to provide opportunities for local children to perform alongside professional artists in the opera, which includes a children's chorus and extensive use of both child and adult dancers.
The Witches of Venice will run from July 1 to July 17, 2016.
Based on the Academy Award-winning 1994 Italian film that became a surprise hit with audiences around the world, and also on the 1985 novel Ardiente Paciencia by Antonio Skármeta, Il Postino tells the story of a shy young postman in a tiny Italian fishing village, who discovers the courage to pursue his dreams through his daily deliveries to his only customer, the esteemed Chilean poet Pablo Neruda. The role of Neruda was originally written for Plàcido Domingo, who sang the role at the opera's premiere in 2010 at Los Angeles Opera – just months before composer Daniel Catán's tragic death at the age of 62.
Catán is known for a neo-romantic style that has been compared variously to Puccini, Ravel and Debussy, with lush orchestrations and lyrical melodic lines. Tonal and accessible, his work has proven immensely popular with audiences.
Il Postino will be the first Spanish opera performed in Opera Saratoga's history. The cast will feature the company debuts of three international singers: tenor Daniel Montenegro will sing the title role of Mario Ruoppolo - the postman - a role he recently sang in Paris at the Théâtre du Châtelet; tenor Richard Troxell sings the role of Pablo Neruda; Cecilia Violetta López sings the role of Beatrice; and soprano Sandra López sings the role of Matilde Neruda, the poet's third wife. James Lowe also makes his company debut conducting the production, which will be directed by Opera Saratoga's Artistic and General Director Lawrence Edelson.
Il Postino will run from July 5 to July 16, 2016.
Soprano Katherine Whyte has performed on opera and concert stages across her native Canada, the United States and Europe, most recently returning to the Canadian Opera Company as Iris in Semele at the Brooklyn Academy of Music, the Metropolitan Opera as Brigitta in Iolanta, and as a recitalist with their Rising Star Recital series. She sang the Countess in The Princeton Festival's production of Le nozze di Figaro, and appeared with the Orquesta Sinfonica Nacional in Beethoven's 9th Symphony. The 2015-2016 season brings a debut with the Dallas Opera and a return to the Metropolitan Opera Company for their production of Rigoletto. Ms. Whyte made her debut with Canadian Opera Company in the 2011-2012 season in the title role of Iphigénie en Tauride and returned the same season as Iris in Semele. Following her Metropolitan Opera debut in 2007 in Strauss' Die ägyptische Helena, she has returned for The Gambler, The Enchanted Island, Two Boys, and Parsifal. Other highlights include her Vancouver Opera debut as Donna Anna in Don Giovanni, Beethoven's Mass in C Major and Stravinsky's Pulcinella with the Houston Symphony, Carmina Burana with the National Chorale, Mozart's Requiem with the Alabama Symphony Orchestra, Gilda in Rigoletto with English National Opera, Pamina in Die Zauberflöte with Michigan Opera Theatre, Euridice in Gluck's Orfeo ed Euridice with Atlanta Opera, and Iphis in Handel's Jephta with Opéra National de Bordeaux.
American soprano Chelsea Basler has been praised for her "luminous voice," "easy soaring range," and "wonderful acting." Critics have hailed her as "golden-voiced" and "simply superb." Her recent portrayal of Isolt in Boston Lyric Opera's production of The Love Potion was described as "lovely, passionate, and clear" (Opera News). Additional highlights of the 2014/15 season included return engagements as an Emerging Artist with the BLO performing the roles of Flora in La Traviata, Glasha in Katya Kabanova, and Zerlina in Don Giovanni. Recital and oratorio engagements included a recital at the National Opera Center in New York City, Mozart's Exultate Jubilate with the Atlantic Symphony Orchestra, and Vivaldi's Gloria with the Clearlakes Chorale. Basler has championed multiple roles in the American opera repertoire, including Margaret (Lizzie Borden) with BLO, and Guardian of the Dawn (Little Nemo in Slumberland) and Curley's Wife (Of Mice and Men) with Sarasota Opera. Most recently she was seen performing the role of Sara in the world premiere of Jennifer Higdon's Cold Mountain at The Santa Fe Opera. She will be joining BLO again this season in their production of The Merry Widow as Valencienne, and is thrilled to be returning to Opera Saratoga, where she previously sang the role of Josephine in H.M.S. Pinafore as an Apprentice Artist, as a Principal Artist in the role of Susanna in Mozart's Le nozze di Figaro. Equally comfortable on the concert stage, Basler will also be performing Mahler's 4th Symphony and Barber's Knoxville: Summer of 1915 with the Atlantic Symphony this season.
A noted interpreter of Mozart and bel canto repertoire as well as today's composers, baritone Keith Phares is regarded as one of his generation's most versatile artists. Recent engagements have included Zurga in Les pêcheurs de perles, and Marcello in La bohème with Seattle Opera; Charlie in Three Decembers with Florentine Opera; John Sorel in The Consul, and Orin Mannion in Mourning Becomes Electra with Florida Grand Opera; the Count in Le nozze di Figaro with New Orleans Opera; the title role in Elmer Gantry with Tulsa Opera; the title role in Der Kaiser von Atlantis in a joint production with Central City Opera and Colorado Symphony; the premiere of Paul's Case with UrbanArias; and the premiere of The Scarlet Ibis with the Prototype Festival. Future engagements include Elder Tull in the world premiere of Riders of the Purple Sage with Arizona Opera. For his debut with Florentine Opera, he portrayed the title role in Elmer Gantry. A live recording of this performance is now available from Naxos records. Mr. Phares made his Houston Grand Opera debut in the premiere of Jake Heggie's Last Acts (Three Decembers); and returned to the stage of Opera Theatre of Saint Louis in a new production of Martín y Soler's Una cosa rara. A graduate of the Juilliard Opera Center, he was a national winner of the 1998 Metropolitan Opera National Council Auditions and a finalist in the 1999 Eleanor McCollum Competition of the Houston Grand Opera.
Bass Peixin Chen is a recent graduate of the internationally renowned Houston Grand Opera Studio, and a student of Dr. Stephen King. His roles with the Company have included Ferrando in Il trovatore (2013), 2nd SS Officer in The Passenger, Bonze in Madama Butterfly, and Montano in Otello (2014), and Sarastro in The Magic Flute as well as Hunding in Die Walküre (2015). During the 2015-16 season, Peixin assays the title role of Le nozze di Figaro for Opera Saratoga and returns to Houston Grand Opera as Bartolo in the same work. On the concert stage, he joins Andrés Orozco-Estrada and the Houston Symphony for Beethoven's Ninth Symphony. Recent performances have featured the Chinese bass as Sparafucile in a company debut at the Santa Fe Opera in a new production of Rigoletto directed by Lee Blakeley and conducted by Jader Bignamini, as well as at the Washington National Opera as Dulcamara in L'elisir d'amore. Mr. Chen has bowed as the King in Aida under the baton of Zubin Mehta as well as both Bartolo in Le nozze di Figaro and Basilio in Il barbiere di Siviglia at the National Center for the Performing Arts (NCPA) in Beijing, and in The Passenger at the Lincoln Center Festival at the Park Avenue Armory. As a member of the Merola Program under the auspices of San Francisco Opera, Peixin Chen has sung Basilio in Il barbiere di Siviglia. On the international stage, Peixin Chen has worked with an illustrious list of conductors and directors including Lorin Maazel, Giancarlo del Monaco, Michel Plasson, David Pountney, James Robinson, Evan Rogister, Patrick Summers, and Francesca Zambello.
David Paul has worked as a stage director on operatic and theatrical stages throughout the United States and abroad. Equally at home in opera and theater, Mr. Paul's productions have been praised by critics and audiences for their ingenuity, attention to musical and dramatic detail, and the powerful, nuanced performances he draws from his performers. He is affiliated with the Metropolitan Opera's Lindeman Young Artist Program and The Juilliard School, where he recently directed their critically acclaimed coproduction of Iphigenie en Aulide. Other recent highlights include Chekov's The Seagull and Sarah Ruhl's Euridice at Columbia University; Le nozze di Figaro for Wolf Trap Opera; American Soldier by David Henry Hwang and Huang Ruo at Washington National Opera; Il Trovatore and Aida at North Carolina Opera; and La Cenerentola, Die Zauberflöte, The Rake's Progress, and Carmen for Music Academy of the West. In 2008, he was invited to serve on the artistic staff of the Shakespeare Theatre Company in Washington. Under the leadership of Michael Kahn, he adapted and directed Shakespeare's Hamlet and assistant directed productions of King Lear, Julius Caesar, Romeo and Juliet, and Euripides' Ion. He previously served on the artistic staff of Perseverance Theater, Alaska's flagship theater. While in Alaska, he adapted and directed Lorca's Blood Wedding, and served as music director on productions of Twelfth Night, King Island Christmas and Hair.
Internationally acclaimed American conductor, Viswa Subbaraman, is currently the Artistic Director/Music Director of The Skylight Music Theatre in Milwaukee, WI. In his inaugural season at the Skylight, highlights included a number of critically and audience acclaimed productions including Beethoven's Fidelio, which he both stage directed and conducted, Hans Werner Henze's El Cimarrón, and Philip Glass' Hydrogen Jukebox. Subbaraman recently conducted the world premiere of Somtow Sucharitkul's The Snow Dragon, which became the Skylight Music Theatre's first touring production to Thailand. Most recently, Subbaraman was selected by INKTalks in India as a 2014 INK Fellow, named by On Milwaukee magazine's Dave Begel as one of Milwaukee's 14 most influential people, and selected by the Milwaukee Business Journal as one of Milwaukee's most influential 40 Under 40 for 2015. Equally comfortable in the orchestral realm as with opera, Mr. Subbaraman served as Assistant Conductor of the Orchestre National de France where he assisted Kurt Masur and such distinguished artists as Bernard Haitink, Riccardo Muti, and Colin Davis. Highlights of his tenure with the ONF include the world premiere of the Overture du Roi Lear by Paul Dukas and the French premiere of the Symphony for Trombone and Orchestra by Ernst Bloch, which has been recorded and released under the title Tranquille through the districlassic label.
Karole Armitage, director of the New York-based Armitage Gone! Dance Company, was rigorously trained in classical ballet. As a professional dancer she performed in Balanchine's Grand Théâtre de Genève Company and in the Merce Cunningham Dance Company. Armitage is renowned for pushing the boundaries to create contemporary works that blend dance, music and art to engage in philosophical questions about the search for meaning. She joins a legacy of process-focused experimental dance that embraces the ballet and modern dance heritage as well. She directed the Ballet of Florence. Italy (1995 - 99) and the Biennale of Contemporary Dance in Venice (2004), and served as resident choreographer for the Ballet de Lorraine in France (1999 - 2004). She has created works for many companies, from The Bolshoi Ballet in Moscow to the Tasmanian Dance Company in Australia. She has choreographed two productions for the New York Philharmonic, directed opera at important European Opera Houses including Teatro di San Carlo in Naples and Théâtre du Châtelet in Paris, two Broadway productions (Passing Strange and Hair, the latter earning her a Tony nomination), videos for Madonna and Michael Jackson, several films for Merchant Ivory productions and the Cirque du Soleil production Amaluna (2012). Ms. Armitage, the recipient of a Guggenheim Fellowship, was awarded Commandeur de l'Ordre des Arts et des Lettres, France's most prestigious award in 2009, and an honorary Doctorate of the Arts from the University of Kansas in 2013.
Soprano Sandra López captivates audiences around the world with critically acclaimed performances in a wide variety of roles including the title roles of Tosca and Suor Angelica, Cio-Cio San (Madama Butterfly), Nedda (I Pagliacci), Catherine (A View from the Bridge), Liù (Turandot), Micaela (Carmen), Mimì (La Bohème), Tatiana (Eugene Onegin), Marguerite (Faust), Violetta (La Traviata), with companies including the Metropolitan Opera, Florida Grand Opera, Opera de Oviedo, Palm Beach Opera, Fort Worth Opera, and Virginia Opera. Recently, Ms. López appeared with the Finnish National Opera for her role debut as Elisabetta (Don Carlo) and with Teatro la Fenice as Mimì (La Bohème). She debuted with the Nuremberg Symphony and the Lithuanian National Opera and Orchestra, and she portrayed Juana Ines de la Cruz in the world premiere of With Blood, With Ink for Fort Worth Opera (released commercially on Albany Records in the fall of 2014). After winning the Metropolitan Opera National Council Award, Ms. López joined The Met's Lindemann Young Artist Development Program where she covered and performed roles such as Catherine (A View from the Bridge), Marguerite (Faust), Liù (Turandot), Roberta Alden (An American Tragedy – world premiere), Frasquita (Carmen), Tebaldo (Don Carlo), Fourth Maid (Elektra), and Flowermaiden (Parsifal). Highlights of 2015-16 include her debut with the Boston Symphony as the Fourth Maid in Elektra and two operas by Daniel Catán: the title role of Florencia en el Amazonas with Arizona Opera, and Matilde in Il Postino with Opera Saratoga.
Soprano Cecilia Violetta López, recently named one of opera's "25 Rising Stars" by Opera News, has been praised for her "alluring voice and incredible range," (Washington Times) and her "voice: plush and supple, exquisitely colored." (San José Mercury) After joining the roster of The Metropolitan Opera last season for their landmark new production of The Merry Widow, this season, Ms. López joins Opera Tampa as Fiordiligi in Così fan tutte, Violetta in La traviata, and Zerlina in Don Giovanni, and makes her company debut with Opera Saratoga as Beatrice in Il Postino. In recent performances, she sang Gilda in Opera Idaho's production of Rigoletto, Magda in La rondine with Skylark Opera, appeared in Bard SummerScape's Song Cycle Series singing a Spanish song recital, and Violetta in La traviata in her début with Virginia Opera. Ms. López made her role début as Violetta in La traviata in the Martina Arroyo Foundation's prestigious summer festival, Prelude to Performance. From this performance, the New York Observer exclaimed "[López delivered] a performance of the leading role of Violetta that is among the loveliest I have witnessed on any stage. Ms. López recently completed a tenure as a Resident Artist at Opera San José where she performed as Leïla in Les pêcheurs de perles, Roselinda in Die Fledermaus, Leonora in Il trovatore, the title role in Suor Angelica, Lauretta in Gianni Schicchi, Nannetta in Falstaff, Gretel in Hänsel und Gretel, Cio-Cio San in Madama Butterfly, and Donna Anna in Don Giovanni. Ms. López was awarded First Prize and Audience Favorite in the 2014 Irene Dalis Vocal Competition. She was a semifinalist in the 2011 Loren Zachary Vocal Competition in Los Angeles and won the 2012 The Metropolitan Opera National Council Auditions for the Utah District, advancing to the Rocky Mountain Regional Finals at the Ellie Caulkins Opera House in Denver, Colorado.
A graduate of San Francisco's prestigious Merola Opera Program, recent seasons for tenor Daniel Montenegro have included his European opera debut at the Théâtre du Châtelet as Mario in Daniel Catán's Il Postino alongside Plácido Domingo, as well as a number of significant role and company debuts including Roderigo (Otello) with San Francisco Opera under Nicola Luisotti, Alfredo (La traviata) with Minnesota Opera, Nemorino (L'elisir d'amore) with Washington National Opera, Pang (Turandot) at the Hollywood Bowl under Dudamel and most recently Roméo (Roméo et Juliette) for Tulsa Opera and at the Castleton Festival. This season Daniel makes his role and company debut as the Prince in John Adams' A Flowering Tree with Teatro Nacional de São Carlos and reprises the role of Mario with Opera Saratoga. As a San Francisco Opera Adler Fellow and former Resident Artist of the Minnesota Opera, Daniel has sung a wealth of roles including Liverotto and Rustighello (Lucrezia Borgia), Pong (Turandot), Remendado (Carmen), Tamino (Die Zauberflöte), Nick (The Handmaid's Tale) and Flavio (Norma). He has also sung Steuermann (Der fliegende Holländer) with both Portland and Arizona Operas and the Shepherd in Peter Sellars' production of Oedipus Rex at the Sydney Festival under Joana Carneiro. An ongoing collaboration with Los Angeles Opera has brought appearances in several productions including the world premiere of Lee Holdridge's Concierto para Mendez, La Traviata (released on DVD), Carmen, Luisa Fernanda and Il tabarro.
Tenor Richard Troxell has thrilled audiences in leading roles at opera houses and concert halls around the world, including Los Angeles Opera, Washington Opera, Sydney Opera, Houston Grand Opera, New York City Opera, the Opera Company of Philadelphia, Boston Lyric Opera, L'Opéra Comique in Paris, Monte Carlo, and Toulouse. Mr. Troxell's star turn as Pinkerton in Frederic Mitterand's critically acclaimed film Madame Butterfly received high praise from both film and music critics alike following its 1995 Paris and 1996 New York premieres. Recent career highlights include Roméo with the Palm Beach Opera; Des Grieux in Massenet's Manon with L'Opéra de Montréal; Pinkerton in Madame Butterfly with Opera Australia; Rodolfo in La Bohème with Opera Colorado; Turiddu in Cavalleria Rusticana with Opera Hamilton; the title role in Philip Glass' Galileo Galilei with Cincinnati Opera and Portland Opera; and Don José in Carmen for his Italian debut at the Teatro Petruzzelli, as well as at the Castleton Festival with Maestro Maazel, and for Opera Australia, in Beijing and at Vancouver Opera. Equally at home on the concert stage, Mr. Troxell has been seen with the San Francisco Symphony, the Philadelphia Orchestra, and the Saint Louis Symphony as Tenor Soloist in Orff's Carmina Burana. Other concert engagements of note include Handel's Messiah with the Pittsburgh Symphony, Mahler's Die Lied von der Erde with the Detroit Symphony, and Mendelsshon's Walpurgisnacht with the Denver Symphony. Future engagements include a return to Vancouver as Pinkerton, a return to the Metropolitan Opera for Die Fledermaus and Lulu, and his debut at Opera Saratoga as Pablo Neruda in Daniel Catán's Il Postino.
Lawrence Edelson is highly respected not only as a critically acclaimed stage director, but also as a visionary company leader who has created programs in the areas of artist mentorship and new works development that have served as models of innovation for opera companies around the country. Lawrence is the Artistic and General Director of Opera Saratoga, and the Producing Artistic Director of American Lyric Theater in New York City. As a stage director, Lawrence's critically acclaimed productions include Philip Glass' Hydrogen Jukebox (Fort Worth Opera); the American Premiere of Telemann's Orpheus (Wolf Trap Opera); the World Premiere of Jeff Myers' Buried Alive (Fargo Moorhead Opera and Fort Worth Opera); the New York premiere of Fauré's Pénélope (Manhattan School of Music); La Traviata (Minnesota Opera); Carmen (Toledo Opera); Il Barbiere di Siviglia (Hawaii Opera Theater); H.M.S. Pinafore and La Cenerentola (Opera Saratoga); Ariadne auf Naxos, Little Women, Eugene Onegin, Werther, and A Midsummer Night's Dream (IVAI Tel Aviv); and the world premiere of The ToyMaker Off-Broadway. Lawrence is perhaps best known in the opera field as the founder of American Lyric Theater and the creator of he Composer Librettist Development Program, the only full-time mentorship initiative for emerging operatic writers in the country. A tireless advocate for emerging artists and the diversification of audiences for opera, Edelson also serves on the Strategy Committee for OPERA America, and continues to forge collaborations with opera companies across the country.


During the Australian winter the SSAXC High Performance Program centres around the National Training Centre at Falls Creek. Falls Creek has been the home of the National Team since 2004, and since 2011 there has been a dedicated National Training Centre Coach appointed annually. On-snow training camps are held at the end of June and September, while daily training is overseen throughout the winter by National Team coaches.
In addition to providing financial support for the National Team and a training base for the Australian winter, Falls Creek works closely with team staff and athletes to improve cross country skiing facilities and to promote the resort as a year-round altitude training and outdoor destination. When out on the trails give a big wave to the Falls Creek groomers who are doing their best to ensure that the tracks are in good shape.
Competitions of all levels are held at Falls Creek throughout the season, culminating with the Kangaroo Hoppet at the end of August. For the latest information on snow and trail conditions via social media look for the tags #fallscreeksnow and #fallsxc tags, and for national team training and racing information follow the team at @ausxc or via the news section on this site.
Falls Creek is also increasingly becoming a training destination outside of the winter, with great opportunities for running and mountain biking, and national level running, triathlon, rowing and football teams using it for altitude training camps over the summer. Plans are underway for improved facility development at the Nordic Bowl which will enhance training possibilities year round.


text:
Kathleen Prudic
Assistant Professor of Citizen and Data Science, University of Arizona
Kathleen 'Katy' Prudic is an entomologist interested in discovering how ecological and evolutionary interactions promote biodiversity. She received her doctorate in Evolution and Ecology from the University of Arizona and her bachelor's degree from UC Davis before joining the staff of Yale University where she studied how and why butterflies have such beautiful wings.
Her research findings have been published in top notch research journals such as Science, Proceedings of the National Academy, Proceedings of the Royal Society and Behavioral Ecology. Her results have been featured in a variety of popular press venues including Associated Press, BBC, CBC, The Guardian, Harper's Magazine and Smithsonian Magazine.
Katy is presently an Assistant Professor at Arizona State University, School of Natural Resources and the Environment, and co-directior eButterfly, a citizen science project focused on butterflies and climate change.
Research Scientist, Oregon State University
Tucson, Arizona, U.S.
@EnviroKaty

redpajama_set_name: RedPajamaCommonCrawl


Oaths are rarely spoken of nowadays, yet Jesus spoke of them in His most famous sermon. Since He considered them important enough to speak about, I do to. Historically, there have been people that have given their lives for the sake of following Jesus' teachings on oath. But what is so radical about what Jesus said? Let's talk about it.
The problem Jesus was addressing was dishonesty. Followers of Jesus are to speak the truth and have such a clear witness to the world that they can be taken at their word. The problem comes when we live in such a way that we feel we need to add more to what we are saying. We rarely if ever hear people say, "I swear by the temple!" But it is common to hear folks qualify their words by saying "I promise" or "To be perfectly honest" or "I swear" or "I pledge." Those are all oaths which Jesus taught against.
As followers of Jesus, we need to simply speak the truth. That means not giving people superficial, wordy responses to try and mask what we really think. And on the more obvious side, it means to not blatantly lie. But when it comes down to it, all dishonesty is lying. Jesus never spoke a word He did not mean, so we can trust His words today.
We are to live the same.
But is that what people have died for? Have people really been killed because they refused to lie? It is a bit more complicated than that, but the answer is yes. In the early 1500s, a group of people known as Anabaptists (because they opposed infant baptism) took a stand against oaths of allegiance to the church and government, and for that they paid dearly. But these people knew that they were following what Jesus said.
So the challenge we are left with is this: Will we follow Jesus' teaching with the same fervency of those brave martyrs? By the power of the Holy Spirit I will, and I pray you will to.


Very good middle eastern fare. I like this place a lot. Very tasty food, friendly, fun waitstaff, modestly priced. They have the best pastitsio (a Greek dish!) I've had around here.
I miss the days when they had oud music there. Years ago, I remember being there one afternoon when SU was in the NCAA tournament. They had the tournament on TV in the restaurant. Shortly after they lost, Rony Seikaly walked in with his girlfriend. It was somewhat surreal, having just seen him on TV, and everyone consoled the dispirited giant. I remember how tiny his girlfriend seemed in comparison to him.
Not to discredit your review or anything (I really enjoy the blog, and I appreciate connecting with fellow foodies) but my wife and I went to Munjed's around 3-4 months ago, and the food was pretty awful. Everything seemed pre-packaged and processed, and even a bit on the "stale" side. It was definitely not what real Middle Eastern food should represent, in terms of nuanced fresh flavors. It also seemed rather dirty and dingy in there, as if no one had dusted the place in years. I had to order another beer to wash down the slightly acrid baba ghanoush. We didn't complain or anything; we actually felt sorry for them. I would say that it is as bad as the other equally filthy and subpar pseudo-Middle Eastern place on Marshal street.
First of all, great name! I have no problem with dissenting opinions, especially ones like yours that are reasonable. In fact, some of our posts are less current; we can't get back to every place we visit that often.
Munjed's has, in truth, had its ups and downs. I'll probably be going back sometime soon, and I'll try to post something about it.
On that street, my disappointments have to do with Alto Cinco, whose prices are "above" the food somewhat. And I've never liked that silly name.


Hey Everyone Spring is Finally here!
With the Arrival of spring we will be expanding our hours of operation. Starting on April 1st we will now be open from 7am-6pm Monday thru Friday, 8am-5pm Saturday, and Noon-5pm Sunday.


text:
Domenico Gargiulo (auch Micco Spadaro genannt, * 1609/1610 in Neapel; † ca. 1675 in Neapel) war ein italienischer Maler des Barock aus der Schule von Neapel. Er malte vor allem Landschafts- und Historienbilder.

Leben und Werk
Über Gargiulos Leben ist nur wenig bekannt. Er war angeblich der Sohn eines Schwertfegers, weshalb er auch unter dem Namen Micco Spadaro auftrat. Er war ein Schüler von Aniello Falcone, der auch Andrea di Leone und Salvator Rosa unterrichtete. Das  Aktzeichnen lernte er von Antonio Vaccaro.

Gargiulo gilt in Neapel als Hauptvertreter des Staffagebildes im großen Format. Für seine Ereignisbilder wählte er Stoffe, bei denen er große Menschenmassen in einen landschaftlichen oder architektonischen Rahmen setzen konnte, wie z. B. beim Aufstand des Masaniello (1647), der Straßen und Plätze Neapels topographisch genau wiedergibt. Daneben entstanden Schlachtenbilder, Volksbelustigungen und andere Massenszenen. Seine frühen Werke wurden von Paul Bril und Filippo Napoletano beeinflusst. Als sein Hauptwerk gelten die Fresken der Certosa di San Martino in Neapel (1638–1656), die Darstellungen aus der Geschichte des Kartäuserordens zeigen.

Obwohl Gargiulo als Künstler sehr produktiv war, sind heute nur wenige seiner Werke in öffentlichen Sammlungen zu finden. Weil er viel für private Auftraggeber arbeitete, befinden sich die meisten seiner Bilder immer noch in Privatbesitz.

Literatur
 Wilhelm Rolfs: Geschichte der Malerei Neapels. Seemann, Leipzig 1910, S. 322–331 ().

 Giancarlo Sestieri, Brigitte Daprà: Domenico Gargiulo detto Micco Spadaro: Paesaggista e "cronista" napoletano. Jandi Sapi, Mailand 1994, ISBN 88-7142-022-5.

Weblinks

Anmerkungen

Historienmaler
Landschaftsmaler
Maler des Barock
Maler (Neapel)
Person (Königreich Neapel)
Geboren im 17. Jahrhundert
Gestorben im 17. Jahrhundert
Mann

redpajama_set_name: RedPajamaWikipedia


A function label for an element in the clause which typically comes after the verb phrase and before the Direct Object. The Indirect Object in a sentence is typically a noun phrase or pronoun that refers to someone or something that can be seen as the goal, recipient or beneficiary of the action expressed by the verb. For example, in We sent Kate some flowers the function of Indirect Object is filled by Kate. See also Object.
Identify the Indirect Object in each of the following clauses. Click on the word (or words) that comprise the Indirect Object of each clause to select or deselect them.


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ERIC PREVEN'S NOTEBOOK
DC DISPATCH w/ Sara Corcoran
GELFAND'S WORLD
This Is How Amazon Is Fueling the Climate Crisis
Simon Whalley
Previous Article Burned-out Forests Are Not Re-Growing
Next Article Big Oil's Big Lie About Who Caused the Climate Collapse
CLIMATE PLEDGE - One benefit that Amazon has provided society with is a reduction in shopping-related violence.
The once legendary fights over low-priced electrical items have moved online, and the fight is now between who has the fastest fingers and the fastest internet connection. Black Friday, however, continues to supercharge an already hyper-consumerist society and push us closer to climate breakdown. Extinction Rebellion (XR) decided to call out the major online retailer on its most profitable day by blocking fifteen fulfillment centers in the UK, Germany, and the Netherlands. The fulfillment centers blockaded account for 50% of Amazon deliveries in the UK. In all, more than thirty arrests were made as the environmental group brought attention to Amazon's wasteful business practices, tax avoidance and worker exploitation.
Extinction Rebellion (XR) decided to call out the major online retailer on its most profitable day by blocking fifteen fulfillment centers in the UK, Germany, and the Netherlands.
While XR's detractors claim businesses are being affected in tough economic times, one man who has certainly not been affected by the Covid-19 pandemic is the founder of Amazon, Jeff Bezos. As people around the world hunkered down in their homes due to the deadly virus sweeping the planet, Amazon shares soared 8% as people switched to online shopping as bricks and mortar shops remained shuttered. In a single day in July 2020, the world's richest man added $13 billion to his already burgeoning fortune. His net worth rose from $113 billion in March 2020 to over $200 billion today.
Now, many will counter that Mr. Bezos deserves his wealth because he had the foresight to start Amazon back in the early days of the internet and he is a hardworking benign genius. It's easy to understand this thinking, especially for dedicated followers of Ayn Rand, but on closer inspection, Mr. Bezos and his online empire have benefited from a broken system that he and his billionaire chums would like to stay broken. Amazon has put the nail in the coffin for many high street retailers, and modern-day high streets may be unrecognizable when the pandemic finally ends. Shops that once provided society with tax revenues to pay for education and health care have been replaced by a global behemoth that in 2018 had revenues of $233 billion and a market value approaching $1 trillion and yet paid no federal income taxes and actually got a tax refund of $129 million.
Wherever and whenever Amazon can avoid taxes, it does. In Europe, it transfers 90% of its operating profits to Luxembourg where it pays 7.25% instead of 29%. It's easy to see how Amazon is able to provide its products so cheaply and undercut its brick-and-mortar competitors when it doesn't need to play by the same rules as brick-and-mortar shops.
In addition to legal tax avoidance, Amazon is also infamous for its inhumane working conditions where workers routinely complain of being treated like robots and being denied even basic bathroom breaks. Workers complain of being fired for taking sick days during the pandemic and drivers tell of urinating and defecating in bottles and bags as they cannot afford to stop to use a bathroom.
To counter his increasingly negative reputation, Bezos announced a $10 billion pledge to help fight the climate and biodiversity crises. Again, kudos to Mr. Bezos, but let's remember that he paid four times as much money to make his ex-wife happy, and that he made more in a single day in 2020 than he is providing humanity in its fight for survival. In 2020, Bezos named the first recipients of his Earth Fund with $791 million going to sixteen organizations focussed on conservation. In the same year, he invested $1 billion in his vanity space project, no doubt hoping that he will have a Plan B should our ecosystems and societies collapse. That's not the worst of it because Amazon is one of the biggest polluters in the U.S. His operation not only encourages wanton consumerism, which is the driving force behind the planetary collapse we are witnessing, but also produces more than 44 million metric tons (MMT) of fossil fuel waste. To put this into perspective, Amazon's carbon footprint is more than those of the nation-states of Switzerland (38.95 MMT), Ireland (36.92MMT), Norway (39.8MMT) and Denmark (37.45MMT). In early 2019, 8,000 Amazon employees wrote a letter to Bezos asking him how the company was planning to address pollution and in September, 3,000 tech workers in Seattle walked out in protest at the company's inaction on the climate crisis. Additionally, the group Amazon Employees for Climate Justice claim more than 1,800 employees in over 25 cities and 14 countries walked off the job in protest.
As more and more people move online to do their shopping, companies like Amazon will be able to slash their prices even further due to tax avoidance and unethical working conditions, and rampant consumerism will be encouraged even more. Maybe it's time we join the members of XR and Amazon workers themselves in calling out the company, and maybe we could even go one step further, or a few more than that, and actually walk into the town center to buy things we really need from a real person in a real shop. By continuing to fund Bezos' mission to Mars, we are ensuring that he leaves an inhospitable planet mired in climate chaos behind him.
(Simon Whalley is a writer for CommonDreams, an educator in Japan, the co-founder of Extinction Rebellion Japan and the author of the upcoming book, Dear Indy: A Heartfelt Plea From a Climate Anxious Father.)


Boston emcee Re-Surch, Kevin Nottingham and One Three Music bring Re-Surch's latest mixtape "Alcoholic College Kidz: The Collective Vol. 1"(Download here). This mixtape is a mix of tracks for hip hop fans who just want to party and have a good time. Raised in the "Ghetto, School in the Burbs", their next mixtape, is coming soon.
Here are a couple of the best songs off the mixtape.


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VIDEO: Lyta – Monalisa
Doro entertainment presents the official music video for "Monalisa" by star kid, Lyta. Lyta drops his first single of the year, an ode to his love interest titled "Monalisa". The track is produced by KillerTunes and it a perfect way to start his…
Lyta – Monalisa (Prod. by Killertunes)
Lyta finally releases "Monalisa". Ex YBNL star kid Lyta returns to the music scene with a new record to start his new phase. The talented artiste who left YBNL some months back for a new record, Duro Music Gang in order for him to…
Naijaa Ft. Nax & Lyta – For You
German-based songstress, Naijaa comes through with her much anticipated single titled "For You" which features Nax and former YBNL affiliate, Lyta. "For You" is one song that shouldn't be missing on your playlist. Download and enjoy below


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Home » Microgrids » Campus » SimpliPhi Power is Ready to Tell its Story…And it's a Good One
SimpliPhi Power is Ready to Tell its Story…And it's a Good One
September 14, 2015 By Elisa Wood Leave a Comment
The award-winning Lotus smart home in New York uses 48 SimpliPhi batteries for energy storage. Credit: SimpliPhi Power
In an age where marketing often trumps substance, the energy storage company SimpliPhi Power seems to have it backwards.
The company has spent years getting its battery technology right for the power industry before broadcasting its value to the world.
"We've really wanted to perfect our technology so that when we were selling product and entering markets we were not using customers in a beta test format," said Catherine Von Burg, CEO of SimpliPhi Power, in an interview last week, as the company emerged from its quiet (although very active) phase.
It's not that SimpliPhi didn't have a story to tell. In fact, it's a good one with characters like Lee Iacocca, Disney, Hollywood celebrities and humanitarian causes, culminating more recently in partnerships with some big microgrid players.
The story begins in 2001 with a bike and a battery.
Company founder Stuart Lennox at that time worked as a television and movie production designer. He became intrigued by a Lee Iacocca electronic bike and its battery while working on a commercial — so much so that he took out a home loan to develop a similar battery for use in movie cameras and portable lighting.
If it worked for Tron…
His battery became a Hollywood hit. A year later, Lennox founded SimpliPhi's early incarnation, LibertyPak.
The LibertyPak battery helped make many well-known television shows and movies, among them Madmen, Avatar and Inside Amy Schumer. It lit up the suits in Tron (because it doesn't get hot) and helped keep a special-effects moon afloat on Conan.
Meanwhile, the company kept bettering its batteries and battery management system, doing away with cobalt, switching them from lithium ion to lithium ferrous phosphate, and in doing so making the batteries less toxic and cooler. Its new battery could operate with 98 percent efficiency and retain repower for extended periods. Because it gives off no heat, the ferrous phosphate battery is spared the risk of fire or thermal runaway, a sudden and potentially destructive escalation of heat.
Then the electric grid changed
The movie industry continued to buy up its product. But the company began noticing new opportunities emerging for its lithium batteries.
After the company learned of the high percentage of military deaths during fuel deliveries in war zones, LibertyPak teamed up with ZeroBase to offer lighter solar plus storage systems to remote outposts.
"The military was attempting to bring portable solar generation to the front lines in Afghanistan and Iraq, but they were doing it with lead acid batteries," said Von Burg, in the company's history posted on its website. "They were heavy and toxic, and their labels said they would last for years, but in reality, they were only lasting about eight months. We heard stories of the landscapes of these war zones littered with abandoned batteries."
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Following the 2011 tsnuami in Japan, and the Fukushima nuclear meltdown, the company miniaturized its Little Genny (a portable DC/AC energy storage system) into a Baby Genny. The portable emergency relief, off-grid power system is now used worldwide, according to the company.
Meanwhile, the company leaders began noticing a massive change occurring on the electric grid. The door was opening for energy storage with the rise of renewable energy, new worries about electric reliability, and a consumer drive for local energy.
As a result, this year the company changed its name from LibertyPak/OES Company to SimpliPhi. It products are available to a range of markets that use battery energy storage: homes, buildings, stores, factories and communities, along with grid-operated and remote microgrids.
At SPI Sept. 15-17
SimpliPhi's batteries already are being used by U.S. Army & Marine Corps, Maui Brewing Company, Whole Foods, the Los Angeles Department of Water & Power, the City of New Orleans and several other customers.
"We have been very impressed with SimpliPhi products' ability to be able to replace lead acid batteries directly with much higher performance as well as having no need for ventilation or cooling," said Doug Wicks, product manager for off-grid systems and battery-based inverters at Schneider Electric. "These and other technology innovations, such as their modulatory, make for a remarkable energy storage solution."
With 5 MW of batteries deployed, the company now feels ready to market its product in earnest. So this week SimpliPhi is teaming up with Schneider Electric, ZeroBase Energy and Lotus at Solar Power International in Anaheim, Calif. to demonstrate its batteries.
The company will be at Booth 7505. No big splash, staging or high drama — just a company with a good story to tell.
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So What is a Microgrid, Exactly?
Ontario Plans Microgrid in Northern Most Community; Will Invest $2.5M
Microgrids, Money and the Utility 'Death Plunge'
NY Prize Stage 1 Awards: Who, Why and What's it Mean for Community Microgrids
Schneider Electric and FuelCell Energy Win in Connecticut Microgrid RFP
Filed Under: Campus, Commercial, Community, Critical Services, Datacenter, Google News Feed, Industrial, Infrastructure, Microgrids, Military, Players, Remote, Residential, Schneider Electric, Storage, x ~ Sub Features Tagged With: Microgrid Newsletter Feature, schneider, simpliphi
About Elisa Wood
Elisa Wood is the chief editor of MicrogridKnowledge.com and EnergyEfficiencyMarkets.com. She has been writing about energy for more than two decades for top industry publications. Her work also has been picked up by CNN, the New York Times, Reuters, the Wall Street Journal Online and the Washington Post.
Microgrid Knowledge Special Report on Microgrid Financing
An advanced microgrid offers both power supply and energy savings and derives value from each. And that's just the start of the complex stream of economic benefits that can emanate from a microgrid; others include electric reliability, resiliency, energy security, emissions reductions and energy bill savings. This paper provides an overview of microgrid financing and how the microgrid controller can help your microgrid reach maximum return on investment.


audiences with targeted and personalized email content that has opened up new revenue opportunities for publishers.
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ServiceMaster Cleaning & Restoration in Acworth is one of the fastest growing franchises in Georgia. Specializing in water, mold, fire, reconstruction, storm cleanup and trauma cleanup, ServiceMaster Cleaning & Restoration is Acworth's restoration expert. Our 24-hour emergency response team will respond to any residential or commercial restoration damage you may encounter.
As a testament to our extensive resources, ServiceMaster Cleaning & Restoration in Acworth, GA stands in a select group of franchises having earned the status of Quality Restoration Vendor (QRV). This is a designation established by ServiceMaster Corporate that is held by less than half of all national franchises and guarantees the highest quality in competency, integrity, training, equipment, insurance, professionalism, and environmental stewardship.
If you experience residential or commercial fire, water, storm, or trauma damage and need immediate restoration and repair, call us, ServiceMaster Cleaning & Restoration in Acworth, GA at 770-679-2299.
Water damage is quite prevalent in homes and buildings because there are many causes from rain and flooding to plumbing leaks, overflows, burst pipes, and other internal issues. The presence of excess water in your home or building is dangerous because it gets absorbed in porous materials which not only causes it to spread, but also results in serious damage or mold growth for the affected materials. The sooner you react to water damage, the more likely you are to limit its spread and prevent mold growth on your property. ServiceMaster Cleaning & Restoration provides water damage restoration services for homes and buildings in Acworth, GA. We use advanced water extraction equipment that can remove water and moisture from the property, and we will also clean and restore the affected areas.
Few disasters invoke as much fear as a fire because fires can put everyone within the building at serious risk and cause extensive property damage. When a fire occurs, you need to make sure that the building is evacuated and immediately call the fire department to put out the fire. Once the fire is out, you cannot hesitate to call for fire damage restoration as the smoke, soot, and other corrosive byproducts from the fire are still present and causing damage to your property. ServiceMaster Cleaning & Restoration provides fire and smoke damage restoration services in Acworth, GA to help clean up and repair homes and commercial buildings damaged by a fire. Our technicians can address structural damage caused by the fire, damage from smoke and soot, and residual odors from the smoke.
The Acworth, GA area has experienced its share of severe storms, including tornadoes, floods, and thunderstorms, that can cause serious damage to homes and buildings. Each of these storms brings precipitation and strong winds that can cause serious structural damage or water damage that can threaten the structural integrity of a home or building. If your property sustains damage from a storm, you must call for professional help immediately. ServiceMaster Cleaning & Restoration provides storm damage cleanup services to help restore homes and commercial buildings in Acworth, GA that have been affected by storms. Our technicians can stabilize and repair structural damage and address any case of water damage including major flooding.
Finding mold in your home or business is alarming because mold can cause property damage, including structural damage, as well as serious health effects. The visible mold may not be the only problem as mold can also form in hidden areas behind walls and ceilings. Mold is most likely to appear if there has been water damage on the property or high humidity because mold spores need moisture to form. The mold spores also feed on organic materials that can be found in drywall, wood, and other household materials which is why it can cause serious structural damage. At ServiceMaster Cleaning & Restoration, we can help homes and business in Acworth, GA with our mold remediation services. Our technicians will locate and remove all mold growth from your property and help repair the damaged areas.
When a natural disaster causes damage to your home, there is always a chance that the damage could require reconstruction services to repair. Disasters such as floods, fires, and storms can inflict structural damage on your property that will need to be stabilized and rebuilt. It is important to call a professional immediately after sustaining this type of damage because severe structural damage could get worse and even lead to a collapse. At ServiceMaster Cleaning & Restoration, we provide complete reconstruction services, as well as disaster restoration, to help homes and commercial buildings in Acworth, GA. Our technicians can stabilize the building and implement a complete reconstruction plan to get your home or business rebuilt to its original condition.


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The debate as to what constitutes Bob Dylan's single, greatest collection of work has raged across the four corners of the globe for decades, and it'll continue in heated and passionate terms for as long as we exist as a species. Perhaps it's better to zoom in on Dylan's different periods and focus on which album leads the pack there. And in this respect, 1975's 'Blood On The Tracks' signaled not only a new era for Bob Dylan, but a high water mark.
The subject matter may be disputed – Dylan has denied that 'Blood On The Tracks' is apocryphal – but it's undeniable that most people who've made it into adulthood will have experienced the pain and the heartache that's chronicled here.
The album's gestation has been well documented. We all know of the two distinct recordings sessions in New York and Minneapolis, and the illicit recordings that have been doing the rounds for some years have given Dylan's followers a taste of what went down. But it's only now that the full, recorded story is revealed.
And make no mistake: 'More Blood, More Tracks' – the 14th edition of Bob Dylan's ongoing Bootleg series – is an epic tale that shines a new light on perhaps his most enduring and timeless album. Collecting "every surviving take" from the sessions, this sumptuous artifact is a Holy Grail for those that have been beguiled by 'Blood On The Tracks' for over five decades.
Presented in chronological order of recording – and mixed and mastered with care – the listener is not only afforded an intimate view of this landmark album's conception, but the sound quality is such that it feels as if you're actually in the session. Moreover, the presentation of this material in its uncut and unadulterated state brilliantly displays Dylan in his element as the album begins to take shape.
Witness how lyrics, meter and melodies evolve, sometimes over the course of nine takes ('Idiot Wind') and even as many as a dozen ('You're Gonna Make Me Lonesome When You Go'). This is a master at work and you've got front row seats.
The Deluxe version also offers the full story of the recording sessions including song-by-song analysis in considerable depth. Included in the package is a second hardback book that tells the story of the album through the previously unseen photographs of Barry Feinstein and Ken Regan. Complimenting and enhancing them is a plethora of memorabilia as well as a reproduction of one of Dylan's original notebooks containing the handwritten working lyrics for 'Blood On The Tracks'.
'More Blood, More Tracks' is a deeply immersive experience. Offering tantalizing clues into the enigma of Bob Dylan, this stunning collection will ensure that you embrace this period of his career tighter still.
Available as a strictly limited 6-disc Deluxe edition and a 1-CD or 2-LP standard version.
Order HERE.


Lying in my hospital bed, backless gown and all, reading while waiting for them to get me. Actually now!
Thanks. It went well, I think. The staff is very friendly, which is lovely, and for some reason the post-anasthesia fog lifted much quicker.


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Adorable toddler takes her first ice tumble
By Emily Campbell
Is there anything cuter than a toddler in a puffy pink snowsuit? Perhaps a toddler in a snowsuit discovering ice for the first time. Like most kids her age, this intrepid explorer is a little unsure on her feet. This doesn't stop her from partaking in a little ice-cracking action. After a precarious stumble where she almost falls, it seems like she will emerge victorious from the vigorous stomp session.
However, in leaning forward to investigate the ice up close, the toddler loses balance and falls onto her (thankfully) well-padded head.
Every parent must find a balance between allowing their kids to discover the world and keeping them safe. Sometimes these choices can draw criticism, like in the case of this clip of a child frolicking with a deer. The controversial video divided opinion as to whether exposing a child to a wild animal was irresponsible, or just a well-intentioned attempt to build a relationship with nature.
In this case, it's hard to imagine anyone objecting to a harmless fall caught on film. Except maybe for the little girl when she grows up.
Do you have any funny stories or videos of your little ones interacting with nature? We would love to hear about them in the comments section!
Next StoryGorgeous country fireplaces we'd love to gather... 'round


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Profiles of Norwegian science: Russia, Norway's High North neighbor
by admin · Published June 30, 2017 · Updated June 27, 2017
Photo: Ilan Kelman
Geir Aas moderates the NORRUSS research conference in Oslo in May.
Ilan Kelman
Agder, Norway
Do "Good fences make good neighbors"? Robert Frost did not think so. What about for the geopolitical jockeying around the northern latitudes?
A Research Council of Norway program, NORRUSS, seeks to improve our understanding of social and political developments in the High North, especially with respect to Russia. This research was showcased on May 23 at a one-day workshop in Oslo.
Poignant analyses examined what is happening today in Russia and the High North, as well as what could happen in the future. The relevance of Russia to Norway—given the border, the fences along it, and mutual Arctic and European interests—played a key role in the inquiries.
The scientific program is set up to inform Norwegian policy directly, interpreting challenges and opportunities of politics, the economy, and society in Russia and across the High North. Supported by the Ministry of Foreign Affairs, NORRUSS activities generate knowledge and connections for counseling Norwegian interests.
Many projects explore Russian mindsets and developments around the vast country. The role of civil society, the legal culture including corruption, and views of nationalism are all probed, helping to inform Norway how to work with different sectors within Russia.
Resources and economics play a leading part. Projects cover food, fossil fuels, forestry, and shipping. Analyses of trade and defense as part of the Russian economy provide a deep picture of what keeps Russia's government funded, how it is changing, and possible future trends.
The High North and the Arctic are paramount. The region and its peoples are undergoing major social and environmental changes, bringing destructive threats and exciting possibilities. Different groups pursue and promote different interests.
Petroleum exploration and extraction brings perceived economic benefits in both Northern Norway and Russia. Often, many people in the affected areas provide strong social support for the oil and gas industry, even while knowing that environmental consequences could result. The actual economic benefits are harder to discern.
The social benefits of industrial development can be as important, as expected, and as desired as the financial ones. One project on corporate social responsibility for Arctic petroleum looks at community perceptions of the gains and losses experienced, comparing Norway and Russia. Another project highlights the cross-border collaborations for and by industry.
Peoples and cultures receive deserved prominence. Governance, government, indigenous peoples, land rights, education, and knowledge exchange feature in plenty of the studies. Land and resource use, power relations, political advocacy, and democratic decision-making feature among the subjects raised during interviews and focus groups.
Tension and complementarity between tradition and modernization recur. Communities and social groups do not always agree. The data require careful unpacking of perspectives to report the diversity and to discuss the implications of majority and minority viewpoints.
Similar themes swirl around high-level geopolitical interactions. NORRUSS also examines the interests of non-Arctic countries in the north. China's presence is felt strongly, permeating resources, energy, militarization, and nationalism.
With NATO, the EU, Schengen, and the Eurozone bordering Russia, the country represents an influential player in European security. Researchers dare to speculate on the post-Putin era and a fully democratic China, as both are core to Norwegian strategic interests.
Deciphering and managing this complex interplay of topics requires the thoughtful and deep investigations permitted via NORRUSS. One key is working directly with Russian researchers and institutions. Russian partners have been and must be major contributors to project formulation and implementation.
The work, then, is not just Norway researching Russia. It additionally creates collaborations to learn from each other by using the differing languages and cultures as bridges rather than divides.
The ethos of "good neighbors" becomes ever-present. Russia and Norway have so many overlapping interests and close collaborations, including in the High North, that "good fences" might not be feasible, even where some parties seek them.
Yet possibilities always remain for conflict and for Russia becoming more assertive and more aggressive. The NORRUSS program provides a solid scientific basis for understanding and anticipating developments around Russia and the High North, helping politicians and policy makers to shape Norway's direction.
Ilan Kelman (www.ilankelman.org and Twitter @IlanKelman) is a Reader in Risk, Resilience, and Global Health at University College London, England, and a fellow at the University of Agder, Norway. His overall research interest is linking disasters and health, including the integration of climate change into disaster research and health research.
Tags: High NorthIlan KelmanNORRUSSRussia
Combining anthropology and ecology
by admin · Published January 11, 2018 · Last modified July 20, 2018
The Arctic story is tragedy—and triumph
Norway opens largest EV charge station
Next story Don't tell
Previous story Norway's roads less traveled: Running & midnight sunning in Harstad


Previous: An Essay on Two Cities.
The thing can only be made clear to Englishmen by turning it round. Suppose a Frenchman came out of democratic France to live in England, where the shadow of the great houses still falls everywhere, and where even freedom was, in its origin, aristocratic. If the Frenchman saw our aristocracy and liked it, if he saw our snobbishness and liked it, if he set himself to imitate it, we all know what we should feel. We all know that we should feel that that particular Frenchman was a repulsive little gnat. He would be imitating English aristocracy; he would be imitating the English vice. But he would not even understand the vice he plagiarised: especially he would not understand that the vice is partly a virtue. He would not understand those elements in the English which balance snobbishness and make it human: the great kindness of the English, their hospitality, their unconscious poetry, their sentimental conservatism, which really admires the gentry. The French Royalist sees that the English like their King. But he does not grasp that while it is base to worship a King, it is almost noble to worship a powerless King. The impotence of the Hanoverian Sovereigns has raised the English loyal subject almost to the chivalry and dignity of a Jacobite. The Frenchman sees that the English servant is respectful: he does not realise that he is also disrespectful; that there is an English legend of the humorous and faithful servant, who is as much a personality as his master; the Caleb Balderstone, the Sam Weller. He sees that the English do admire a nobleman; he does not allow for the fact that they admire a nobleman most when he does not behave like one. They like a noble to be unconscious and amiable: the slave may be humble, but the master must not be proud. The master is Life, as they would like to enjoy it; and among the joys they desire in him there is none which they desire more sincerely than that of generosity, of throwing money about among mankind, or, to use the noble mediaeval word, largesse--the joy of largeness. That is why a cabman tells you are no gentleman if you give him his correct fare. Not only his pocket, but his soul is hurt. You have wounded his ideal. You have defaced his vision of the perfect aristocrat. All this is really very subtle and elusive; it is very difficult to separate what is mere slavishness from what is a sort of vicarious nobility in the English love of a lord. And no Frenchman could easily grasp it at all. He would think it was mere slavishness; and if he liked it, he would be a slave. So every Englishman must (at first) feel French candour to be mere brutality. And if he likes it, he is a brute. These national merits must not be understood so easily. It requires long years of plenitude and quiet, the slow growth of great parks, the seasoning of oaken beams, the dark enrichment of red wine in cellars and in inns, all the leisure and the life of England through many centuries, to produce at last the generous and genial fruit of English snobbishness. And it requires battery and barricade, songs in the streets, and ragged men dead for an idea, to produce and justify the terrible flower of French indecency.
When I was in Paris a short time ago, I went with an English friend of mine to an extremely brilliant and rapid succession of French plays, each occupying about twenty minutes. They were all astonishingly effective; but there was one of them which was so effective that my friend and I fought about it outside, and had almost to be separated by the police. It was intended to indicate how men really behaved in a wreck or naval disaster, how they break down, how they scream, how they fight each other without object and in a mere hatred of everything. And then there was added, with all that horrible irony which Voltaire began, a scene in which a great statesman made a speech over their bodies, saying that they were all heroes and had died in a fraternal embrace. My friend and I came out of this theatre, and as he had lived long in Paris, he said, like a Frenchman: "What admirable artistic arrangement! Is it not exquisite?" "No," I replied, assuming as far as possible the traditional attitude of John Bull in the pictures in Punch--"No, it is not exquisite. Perhaps it is unmeaning; if it is unmeaning I do not mind. But if it has a meaning I know what the meaning is; it is that under all their pageant of chivalry men are not only beasts, but even hunted beasts. I do not know much of humanity, especially when humanity talks in French. But I know when a thing is meant to uplift the human soul, and when it is meant to depress it. I know that 'Cyrano de Bergerac' (where the actors talked even quicker) was meant to encourage man. And I know that this was meant to discourage him." "These sentimental and moral views of art," began my friend, but I broke into his words as a light broke into my mind. "Let me say to you," I said, "what Jaures said to Liebknecht at the Socialist Conference: 'You have not died on the barricades'. You are an Englishman, as I am, and you ought to be as amiable as I am. These people have some right to be terrible in art, for they have been terrible in politics. They may endure mock tortures on the stage; they have seen real tortures in the streets. They have been hurt for the idea of Democracy. They have been hurt for the idea of Catholicism. It is not so utterly unnatural to them that they should be hurt for the idea of literature. But, by blazes, it is altogether unnatural to me! And the worst thing of all is that I, who am an Englishman, loving comfort, should find comfort in such things as this. The French do not seek comfort here, but rather unrest. This restless people seeks to keep itself in a perpetual agony of the revolutionary mood. Frenchmen, seeking revolution, may find the humiliation of humanity inspiring. But God forbid that two pleasure-seeking Englishmen should ever find it pleasant!"


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Two children amongst four injured in RTC
Friday 22nd May 2015 – 7.25pm – Jamie Arrowsmith .
Two adults and two children have been taken to hospital following a road traffic collision on Himley Lane, Himley this afternoon.
West Midlands Ambulance Service was called to the incident at just before 4pm.
Four ambulances together with a paramedic area support officer in a rapid response vehicle attended the scene.
A West Midlands Ambulance Service spokesman said: "Ambulance crews responded to a road traffic collision involving two cars at Himley, both of which had suffered front end damage.
"Prior to the arrival of crews, a group of four student paramedics had already started caring for the patients after coming across the incident.
"From the first car, a woman in her 30s was treated for a suspected fractured collarbone and cuts to her stomach. She was given pain relief and immobilised with the use of a neck collar and spinal board before being taken to Russell's Hall hospital.
"Travelling in the back of the car, a nine-year-old boy suffered bruising and friction burns from his seatbelt whilst a five-year-old girl was treated for neck and arm pain. They were also immobilised and taken to Russell's Hall.
"From the second car, a woman in her 40s was treated for back pain and minor injuries to her wrist and hands. She was immobilised and taken to New Cross Hospital for further assessment."
Paramedic area support officer Kurt Jones was quick to praise the actions of the student paramedics, saying: "A big thank you to our four student paramedics who had already started caring for the patients prior to the arrival of crews. It is always a welcome sight to see patients being cared for when we arrive on scene and they deserve a great deal of credit for their actions."
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#Celebrity
8 Reasons Nicole Kidman Is a Timeless Star
by Jennifer Lafferty
Nicole Kidman is a timeless star, reminiscent of classic icons from Hollywood's golden age. From her classic beauty to her stellar acting chops, here are eight reasons we love Nicole.
The beautiful, award-winning Australian actress has been mesmerizing audiences for more than 20 years, impressing us with her performances in a wide range of films including drama, comedy, and musicals, but what is it that makes her so special? As with a lot of great stars, her allure is a combination of many things.
Elegance: Hollywood was once full of elegant celebrities like Grace Kelly, Elizabeth Taylor, and Audrey Hepburn, but today this breed of polished and classy entertainers has almost disappeared. Nicole Kidman's natural elegance, grace, and sophisticated style sets her apart from the crowd and evokes classic movie star glamour.
Talent: Much more than just a pretty face, Kidman is a genuinely talented actress who takes her career seriously. Not only does she impress moviegoers with powerful and convincing performances, but she has won numerous awards—including an Oscar for her portrayal of author Virginia Woolf in the 2002 drama The Hours.
Versatility: Nicole Kidman is one of the few actresses who could successfully run the gamut with comedy, period drama, thrillers, fantasy, and musicals. Seeing her transform into a wide range of different characters from dancer/prostitute Satine in Moulin Rouge! to deeply troubled Grace Stewart in The Others, audiences have always marveled at her versatility.
Classic Beauty: There's no shortage of beautiful actresses in Hollywood, but with her flawless skin, feminine features, swanlike figure, and refusal to drastically alter her look based on fads, Kidman has a classic beauty that will continue to resonate with future generations of movie fans.
Involvement in High Quality Projects: Nicole Kidman generally chooses films that are considered high-quality, like the acclaimed 2007 fantasy adventure The Golden Compass or the 1999 mystery thriller Eyes Wide Shut from legendary filmmaker Stanley Kubrick. Her habit of choosing projects with artistic merit means that her movies are more likely to stand the test of time.
Intriguing Personal Life: Sometimes actors are remembered as much for their fascinating personal lives as their work. Kidman's 10-year marriage to Tom Cruise generated plenty of publicity, especially when it unexpectedly ended. She also had high-profile boyfriends, including Lenny Kravitz—and reportedly Jude Law—before she married country music star Keith Urban in 2006.
Reputation as a Fashion Icon: In addition to having glamorous clothing and an amazing sense of style, Kidman is hailed as a fashion icon for her fearless risk-taking on the red carpet. Even her most daring ensembles are always within the realm of good taste. Like any true fashion icon, she is good at expressing herself through her own personal style. Her wardrobe is a clear reflection of her.
Individuality: Nicole Kidman has always radiated a strong sense of self on-screen, which is also obvious from many of the decisions she's made in her career. With her powerful combination of strength, intelligence, sensitivity, and charisma, Kidman's individuality is a big part of her appeal.
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Last night I had finished outside for the day and had come in to call it a day and sort out dinner. Half way through the task of taking off my boots I heard a noise outside that I couldn't easily recognize. Upon reaching the back door the investigate I saw this red fox 20 feet from the door.
Since all our chickens were already killed I went and grabbed the video camera instead of the shotgun. There is some great video of it using its amazing hearing to try and locate a meal. The kissing sound you hear towards the end of the video mimmicked a rodent distress sound. It had heard me move and ran off. I was able to get it to come back with that sound.


text:
Andy Murray falls to Kevin Anderson in fourth round — US Open News
Tony Alberts
"That's something that is disappointing to lose because of that", said Murray, who had 49 winners and 20 unforced errors, but did not make a forehand victor until the last game of the second set. Thats many years work thats gone into building that sort of consistency. "To lose that is tough", Murray was quoted as saying by bbc.com on Monday. Its wonderful. I feel like its a great accomplishment.".
Andy Murray secured all three points by winning his two singles matches and teaming with his brother for victory in the doubles.
"I'm just really looking forward to heading already to my next tournament".
Waiting for the Romanian in the last eight is two-time U.S. Open finalist Victoria Azarenka, who advanced with a comfortable 6-3 6-4 win over American Varvara Lepchenko.
It is 38 years since Britain had male and female quarter-finalists at the same Grand Slam, but Murray's defeat means it is the first time in five years there have been neither.
Murray had played and practiced on windy Armstrong, but the conditions added to the difficulties in facing Anderson on his favorite surface.
Anderson will be facing Swiss fifth seed Stan Wawrinka. "Of course Roger will be the favourite of the match but I will have nothing to lose, " said Gasquet.
The 15th seed won their fourth-round match 7-6 (7-5) 6-3 6-7 (2-7) 7-6 (7-0) in four hours and 18 minutes.
"Seven-love obviously is a pretty good score against John", said Federer. In 429 tie-breakers played by Isner, he had never dropped one 7-0.
"The pace on his second serve especially is unreal".
Murray found himself in crisis after a first-set tie-break which Anderson stole 7-5 with a couple of stinging winners at the death. He got tight serving the set out, and Murray got one break back and very almost levelled the score, a missed pass proving costly. She definitely doesn't give you many chances to be able to take control in a point. "You need to put the pressure out", Wawrinka said. "I wish I could play every tiebreak like that". The set was so quick. "I want to get to that stage where I am as strong as the top players mentally". "I guess I had a little childhood dream come true, so that's pretty special". "I began to be more aggressive, started moving my feet better".
Kevin Anderson praises the rise to prominence of Stanislas Wawrinka ahead of their US Open quarter-final at the US Open.
Besides, the US Open has not traditionally been Murray's best Grand Slam earner – performances at Wimbledon have been the biggest contributor to his bank balance with just shy of $6m earned in prize money. I think he was really finding his way back in the match. "The second set was better".
"I was trying to use the energy of the crowd as much as I could to help me". But Anderson held firm and converted his fourth set point with an ace.
Tagged: Andy MurraybreakFedererfirstGrand SlamKevin AndersonmatchMurraysecondStanislas Wawrinkathe US OpentournamentU.S. OpenUS Openvictory
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