This entry highlights the 2014 Spring color Dazzling Blue.
Now through 5/31/14 this bracelet and earrings pattern is FREE with any Red Panda Beads purchase.
The bracelet and earrings design was done using Deb Roberti's Bijoux Bracelet and Earrings patterns. You can purchase the patterns on the www.aroundthebeadingtable.com website.
Below are the items used in this 2014 Dazzling Blue bracelet and earring set.


CAVENDISH, William, Lord Cavendish (1641-1707), of Chatsworth, Derbys.
Here is money asked of us to carry on a war we were never advised about, and what we have given is turned to raising of families, and not paying the King's debts. There is so little fruit of the addresses of the last session that we now find greater grievances, as articles of war and martial law. The nation's interest is laid aside for private interest.
Parliaments have been prorogued without doing anything, and money has been refused for our better strength at sea; and now we have had a long prorogation and officers notoriously known to raise men for the French service, and much countenanced here at Court. When he considers these things he still thinks we have creatures and pensioners of France in our councils.
Prerogative protects us, but those abuse it who speak of it without telling us how 'tis for our safety. I am for it as it is by law, but not for prerogative to be swayed by ill counsels. I am not for the ministers having money to employ it, either for a short war, or no war. Let us be showed that a war is intended in earnest. I am sorry I cannot [but] suspect otherwise. Till that be plain, I cannot give money. Till it be showed us, I cannot give a penny.
I cannot agree to the Duke's being declared a Papist by Act of Parliament till I hear the Lords' reasons for the proviso. If we agree to the proviso, we cannot hear the Lords' reasons. Possibly I may be convinced by the Lords, but I am not by anything I have heard yet.
I see no reason to abandon all thoughts of public safety because all things are not yet done. No man in this House can say so much of ill management, etc., as I can think. ... But, because you have not everything done on a sudden, will you put a negative on the King's message? There is no reason for that, or why we should be ruined whilst we consider [how] to punish offenders. I have examined myself, and if I were not in the state I am, I should be of the same opinion.
1. HMC 15TH Rep. VII, 161, 166; Pepys Diary, 11 May 1660.
2. Sir Robert Somerville, Duchy of Lancaster Office Holders, 162, 170; Cal. Treas. Bks. ix. 1509; x. 273; HMC Buccleuch, ii. 107; Manning and Bray, Surr. i. 342; Nottingham Bor. Recs. vi. 36.
3. CSP Dom. 1689-90, p. 97; BL Loan 16.
4. Copinger, Suff. Manors, i. 60-61; Lysons, Derbys. 147-8; DNB; Cal. Comm. Adv. Money, 402.
5. HMC Hastings, ii. 141; CSP Dom. 1665-6, p. 431; Grey, i. 66, 183; Milward, 165; CJ, ix. 40, 92; Burnet, ii. 91; HMC Rutland, ii. 11; CSP Ven. 1669-70, p. 72; Dering, 45; PRO31/3, bdle. 127, f. 189.
6. Dering, 110, 148; CJ, ix. 265, 292; Burnet, ii. 16-17; Grey, ii. 152, 200, 247, 329, 362, 374; CSP Ven. 1673-5, p. 33; Essex Pprs. (Cam. Soc. n.s. xlvii), 131.
7. Dering Pprs. 59, 77, 82, 89; Grey, iii. 4, 83, 120, 128-9, 291-3, 299, 316, 356; iv. 39; vii. 191; Haley, Shaftesbury, 389; Essex Pprs. 319; Bramston Autobiog. (Cam. Soc. xxxii), 199; Bulstrode Pprs. 302-3, 316-19; Reresby, 101.
8. Browning, Danby, i. 229; HMC Rutland, ii. 34, 39; Grey, iv. 65, 101, 200, 368, 391; v. 6-7, 31, 81-82, 95, 98; CSP Dom. 1676-7, p. 564; 1677-8, pp. 149, 268; CJ, ix. 398, 418, 428, 432; HMC Portland, iii. 355.
9. Browning, iii. 8; Grey, vi. 141, 218, 225, 236, 253, 347, 370; CJ, ix. 542, 561.
10. Devonshire mss IH, letter of 28 Jan. 1679; HMC Ormonde, n.s. iv. 347, 356; v. 5, 38, 98; Grey, vi. 426; vii. 2, 14, 15, 30, 54, 98, 247, 274-5; CJ, ix. 573, 588, 602.
11. HMC Ormonde, n.s. iv. 522; v. 137, 291-2, 503, 561-2; vi. 2, 8; CSP Dom. 1679-80, p. 177; 1680-1, pp. 38-39; Grey, vii. 198; viii. 44, 90, 198, 268, 283, 308; HMC 7th Rep. 479; PRO31/3, bdle. 146, f. 26v; bdle. 147, f. 85; Exact Coll. Debates, 154, 256; CJ, ix. 683.
12. Luttrell, i. 132, 174; HMC Ormonde, n.s. vi. 161, 328; Browning, i. 374; Burnet, ii. 92, 382.


text:
Nella sua carriera cinematografica, iniziata nei primi anni dieci all'epoca del cinema muto, Jack Richardson (che non va confuso con l'attore John J. Richardson [1888–1942]) apparve in oltre cinquecento film.

Biografia

Nato a New York nel 1870, venne educato alla Culver Military Academy, facendo le sue prime esperienze di attore per due stagioni con la Metropolitan Players e per una stagione con la Royal Chef Company e l'Orpheum Stock Company. Passò poi a lavorare per il cinema, messo sotto contratto dall'American Film Manufacturing Company per cui lavorò dal 1911 al 1916.

Si sposò due volte: con Florence Stone e, nel 1914, con l'attrice Louise Lester accanto alla quale girò diversi film.

Morì il 12 giugno 1960 a Los Angeles all'età di 89 anni.

Filmografia

1911

 Strategy, regia di Allan Dwan - cortometraggio (1911)
 The Boss of Lucky Ranch, regia di Allan Dwan - cortometraggio (1911)
 The Opium Smuggler, regia di Allan Dwan - cortometraggio (1911)
 The Sheriff's Captive, regia di Allan Dwan - cortometraggio (1911)
 A Cowboy's Sacrifice, regia di Allan Dwan - cortometraggio (1911)
 Branding a Bad Man, regia di Allan Dwan - cortometraggio (1911)
 A Western Dream, regia di Allan Dwan - cortometraggio (1911)
 A Trooper's Heart, regia di Allan Dwan - cortometraggio (1911)
 A Daughter of Liberty, regia di Allan Dwan - cortometraggio (1911)
 The Ranch Tenor, regia di Allan Dwan - cortometraggio (1911)
 Rattlesnakes and Gunpowder, regia di Allan Dwan - cortometraggio (1911)
 The Sheepman's Daughter, regia di Allan Dwan - cortometraggio (1911)
 $5000 Reward, Dead or Alive, regia di Allan Dwan - cortometraggio (1911)
 The Witch of the Range, regia di Allan Dwan - cortometraggio (1911)
 The Cowboy's Ruse, regia di Allan Dwan - cortometraggio (1911)
 The Broncho Buster's Bride, regia di Allan Dwan - cortometraggio (1911)
 The Hermit's Gold, regia di Allan Dwan - cortometraggio (1911)
 The Sky Pilot's Intemperance, regia di Allan Dwan - cortometraggio (1911)
 A Western Waif, regia di Allan Dwan - cortometraggio (1911)
 The Call of the Open Range, regia di Allan Dwan - cortometraggio (1911)
 The Schoolm'am of Snake, regia di Allan Dwan - cortometraggio (1911)
 The Ranch Chicken, regia di Allan Dwan - cortometraggio (1911)
 Cupid in Chaps, regia di Allan Dwan - cortometraggio (1911)
 The Ranchman's Nerve, regia di Allan Dwan - cortometraggio (1911)
 The Parting of the Trails, regia di Allan Dwan - cortometraggio (1911)
 The Cattle Rustler's End - cortometraggio (1911)
 The Ranch Girl, regia di Allan Dwan - cortometraggio (1911)
 The Poisoned Flume, regia di Allan Dwan - cortometraggio (1911)
 The Cowboy and the Artist, regia di Allan Dwan - cortometraggio (1911)
 The Mother of the Ranch, regia di Allan Dwan - cortometraggio (1911)
 The Gun Man, regia di Allan Dwan - cortometraggio (1911)
 The Claim Jumper, regia di Allan Dwan - cortometraggio (1911)
 The Circular Fence, regia di Allan Dwan - cortometraggio (1911)
 The Rustler Sheriff, regia di Allan Dwan - cortometraggio (1911)
 The Miner's Wife, regia di Allan Dwan - cortometraggio (1911)
 The Land Thieves, regia di Allan Dwan - cortometraggio (1911)
 The Cowboy and the Outlaw, regia di Allan Dwan - cortometraggio (1911)
 The Horse Thief's Bigamy, regia di Allan Dwan - cortometraggio (1911)
 The Trail of the Eucalyptus, regia di Allan Dwan - cortometraggio (1911)
 The Stronger Man, regia di Allan Dwan - cortometraggio (1911)
 The Water War, regia di Allan Dwan - cortometraggio (1911)
 The Three Shell Game, regia di Allan Dwan - cortometraggio (1911)
 The Mexican, regia di Allan Dwan - cortometraggio (1911)
 The Way of the West, regia di Allan Dwan - cortometraggio (1911)
 The Test, regia di Allan Dwan - cortometraggio (1911)
 The Sheriff's Sisters, regia di Allan Dwan - cortometraggio (1911)
 The Angel of Paradise Ranch, regia di Allan Dwan - cortometraggio (1911)
 The Duel of the Candles - cortometraggio (1911)
 Bonita of El Cajon, regia di Allan Dwan - cortometraggio (1911)

1912

 The Relentless Law, regia di Allan Dwan (1912) - cortometraggio
 Justice of the Sage, regia di Allan Dwan - cortometraggio (1912)
 Love and Lemons, regia di Allan Dwan - cortometraggio (1912)
 The Best Policy, regia di Allan Dwan - cortometraggio (1912)
 The Grub Stake Mortgage, regia di Allan Dwan - cortometraggio (1912)
 Where Broadway Meets the Mountains, regia di Allan Dwan - cortometraggio (1912)
 An Innocent Grafter, regia di Allan Dwan - cortometraggio (1912)
 Society and Chaps, regia di Allan Dwan - cortometraggio (1912)
 An Assisted Elopement, regia di Allan Dwan - cortometraggio (1912)
 After School, regia di Allan Dwan - cortometraggio (1912)
 The Tramp's Gratitude, regia di Allan Dwan - cortometraggio (1912)
 The Maid and the Man, regia di Allan Dwan - cortometraggio (1912)
 The Coward, regia di Allan Dwan - cortometraggio (1912)
 The Distant Relative, regia di Allan Dwan - cortometraggio (1912)
 The Range Detective, regia di Allan Dwan - cortometraggio (1912)
 Driftwood, regia di Allan Dwan - cortometraggio (1912)
 Her Mountain Home (o  The Eastern Girl), regia di Allan Dwan - cortometraggio (1912)
 The Pensioners, regia di Allan Dwan - cortometraggio (1912)
 The End of the Feud, regia di Allan Dwan - cortometraggio (1912)
 The Myth of Jamasha Pass, regia di Allan Dwan - cortometraggio (1912)
 The Other Wise Man, regia di Allan Dwan - cortometraggio (1912)
 The Haters, regia di Allan Dwan - cortometraggio (1912)
 The Thread of Life, regia di Allan Dwan - cortometraggio (1912)
 The Wandering Gypsy, regia di Allan Dwan - cortometraggio (1912)
 The Reward of Valor, regia di Allan Dwan - cortometraggio (1912)
 The Brand, regia di Allan Dwan - cortometraggio (1912)
 For the Good of Her Men, regia di Allan Dwan - cortometraggio (1912)
 The Simple Love, regia di Allan Dwan (1912) - cortometraggio
 The Evil Inheritance, regia di Allan Dwan - cortometraggio (1912)
 Under False Pretenses, regia di Allan Dwan - cortometraggio (1912)
 The Vanishing Race, regia di Allan Dwan - cortometraggio (1912)
 The Tell-Tale Shells, regia di Allan Dwan - cortometraggio (1912)
 It Pays to Wait, regia di Allan Dwan - cortometraggio (1912)
 A Life for a Kiss, regia di Allan Dwan - cortometraggio (1912)
 The Meddlers, regia di Allan Dwan - cortometraggio (1912)
 The Girl and the Gun, regia di Allan Dwan - cortometraggio (1912)
 The Bad Man and the Ranger, regia di Allan Dwan - cortometraggio (1912)
 The Outlaw Colony, regia di Allan Dwan - cortometraggio (1912)
 The Land of Death, regia di Allan Dwan - cortometraggio (1912)
 The Jealous Rage, regia di Allan Dwan - cortometraggio (1912)
 The Greaser and the Weakling, regia di Allan Dwan - cortometraggio (1912)
 The Marked Gun - cortometraggio (1912)
 The Stranger at Coyote, regia di Allan Dwan (1912) - cortometraggio
 The Dawn of Passion, regia di Allan Dwan - cortometraggio (1912)
 The Vengeance That Failed, regia di Allan Dwan - cortometraggio (1912)
 Geronimo's Last Raid, regia di John Emerson - cortometraggio (1912)
 The Fear, regia di Allan Dwan - cortometraggio (1912)
 The Foreclosure, regia di Allan Dwan - cortometraggio (1912)
 White Treachery, regia di Allan Dwan - cortometraggio (1912)
 Their Hero Son, regia di Allan Dwan - cortometraggio (1912)
 Calamity Anne's Ward (riedizione: Calamity Anne, Guardian), regia di Allan Dwan - cortometraggio (1912)
 Jack of Diamonds, regia di Allan Dwan - cortometraggio (1912)
 The Reformation of Sierra Smith, regia di Allan Dwan (1912)
 The Promise, regia di Allan Dwan - cortometraggio (1912)
 The New Cowpuncher, regia di Allan Dwan - cortometraggio (1912)
 The Best Man Wins, regia di Allan Dwan - cortometraggio (1912)
 One, Two, Three, regia di Allan Dwan - cortometraggio (1912)
 The Wanderer, regia di Allan Dwan - cortometraggio (1912)
 Maiden and Men, regia di Allan Dwan - cortometraggio (1912)
 Man's Calling, regia di Allan Dwan - cortometraggio (1912)
 The Intrusion at Lompoc, regia di Allan Dwan - cortometraggio (1912)
 The Thief's Wife, regia di Allan Dwan - cortometraggio (1912)
 The Would-Be Heir, regia di Allan Dwan  - cortometraggio (1912)
 Jack's Word, regia di Allan Dwan - cortometraggio (1912)
 Her Own Country, regia di Allan Dwan - cortometraggio (1912)
 Pals, regia di Allan Dwan - cortometraggio (1912)
 The Animal Within, regia di Allan Dwan - cortometraggio (1912)
 The Law of God, regia di Allan Dwan (1912) - cortometraggio
 Nell of the Pampas, regia di Allan Dwan - cortometraggio (1912)
 The Power of Love, regia di Allan Dwan - cortometraggio (1912)
 The Recognition, regia di Allan Dwan - cortometraggio (1912)
 The Blackened Hills, regia di Allan Dwan - cortometraggio (1912)
 The Girl of the Manor, regia di Allan Dwan - cortometraggio (1912)
 Loneliness of Neglect, regia di Allan Dwan - cortometraggio (1912)

1913

 The Fraud That Failed, regia di Allan Dwan - cortometraggio (1913)
 Another Man's Wife, regia di Allan Dwan - cortometraggio (1913)
 Calamity Anne's Inheritance, regia di Allan Dwan (1913) - cortometraggio
 The Awakening, regia di Allan Dwan - cortometraggio (1913)
 The Silver-Plated Gun, regia di Allan Dwan - cortometraggio
 Women Left Alone, regia di Allan Dwan - cortometraggio (1913)
 Calamity Anne's Vanity, regia di Allan Dwan - cortometraggio (1913)
 The Romance, regia di Allan Dwan - cortometraggio (1913)
 The Finer Things, regia di Allan Dwan - cortometraggio (1913)
 High and Low, regia di Allan Dwan (1913) - cortometraggio (1913)
 Jocular Winds, regia di Allan Dwan - cortometraggio (1913)
 Calamity Anne, Detective, regia di Allan Dwan - cortometraggio (1913)
 An Eastern Flower, regia di Allan Dwan - cortometraggio (1913)
 Cupid Never Ages, regia di Allan Dwan - cortometraggio (1913)
 Calamity Anne's Beauty, regia di Allan Dwan - cortometraggio (1913)
 Matches, regia di Allan Dwan - cortometraggio (1913)
 Cupid Throws a Brick, regia di Allan Dwan - cortometraggio (1913)
 Woman's Honor, regia di Allan Dwan - cortometraggio (1913)
 In Another's Nest, regia di Allan Dwan - cortometraggio (1913)
 Boobs and Bricks, regia di Allan Dwan - cortometraggio (1913)
 Calamity Anne's Trust, regia di Allan Dwan - cortometraggio (1913)
 Oil on Troubled Waters, regia di Allan Dwan - cortometraggio (1913)
 The Road to Ruin, regia di Allan Dwan - cortometraggio (1913)
 Human Kindness, regia di Allan Dwan - cortometraggio (1913)
 Angel of the Canyons, regia di Allan Dwan - cortometraggio (1913)
 Calamity Anne's Parcel Post - cortometraggio (1913)
 Ashes of Three, regia di Allan Dwan - cortometraggio (1913)
 Her Big Story, regia di Allan Dwan - cortometraggio (1913)
 The Wishing Seat, regia di Allan Dwan - cortometraggio (1913)
 Reward of Courage, regia di Albert W. Hale - cortometraggio (1913)
 Unwritten Law of the West, regia di G.P. Hamilton (Gilbert P. Hamilton) - cortometraggio (1913)
 Marine Law - cortometraggio (1913)
 A Husband's Mistake, regia di Albert W. Hale - cortometraggio (1913)
 Calamity Anne Takes a Trip, regia di Albert W. Hale - cortometraggio (1913)
 Quicksands, regia di Albert W. Hale - cortometraggio (1913)
 A Tale of Death Valley, regia di Gilbert P. Hamilton - cortometraggio (1913)
 The Song of the Soup (1913)
 Truth in the Wilderness, regia di Lorimer Johnston (1913)
 At the Half-Breed's Mercy, regia di Albert W. Hale (1913)
 Tom Blake's Redemption, regia di Albert W. Hale e Lorimer Johnston (1913)
The Scapegoat, regia di Lorimer Johnston (1913)
Mission Bells (1913)
When Chemistry Counted, regia di Tom Ricketts (1913)
 The Adventures of Jacques, regia di Lorimer Johnston - cortometraggio (1913)
The Mystery of Tusa, regia di Albert W. Hale (1913)
A Tide in the Affairs of Men, regia di Albert W. Hale (1913)
For the Flag, regia di Lorimer Johnston (1913)
Jack Meets His Waterloo, regia di Lorimer Johnston (1913)
For the Crown, regia di Lorimer Johnston (1913)
Calamity Anne, Heroine, regia di Lorimer Johnston - cortometraggio (1913)
Travelers of the Road, regia di Allan Dwan (1913)
 Master of Himself - cortometraggio (1913)
 The Badge of Honor - cortometraggio (1913)
A Pitfall of the Installment Plan (1913)
 Calamity Anne's Sacrifice - cortometraggio (1913)
Hidden Treasure Ranch, regia di Lorimer Johnston (1913)
In the Mountains of Virginia, regia di Lorimer Johnston (1913)
In the Days of Trajan, regia di Lorimer Johnston (1913)
The Girl and the Greaser, regia di Lorimer Johnston (1913)
 The Haunted House, regia di Lorimer Johnston - cortometraggio (1913)
 An Assisted Proposal, regia di Lorimer Johnston - cortometraggio (1913)
The Tale of the Ticker (1913)
Calamity Anne's Dream - cortometraggio (1913)
At Midnight, regia di Lorimer Johnston (1913)
The Occult, regia di Lorimer Johnston (1913)
American Born, regia di Lorimer Johnston (1913)
Trapped in a Forest Fire, regia di Lorimer Johnston (1913)
His First Case, regia di Lorimer Johnston (1913)
Personal Magnetism, regia di Lorimer Johnston (1913)
The Rose of San Juan, regia di Lorimer Johnston (1913)

1914

The Power of Light, regia di Lorimer Johnston (1914)
The Son of Thomas Gray, regia di Lorimer Johnston (1914)
Destinies Fulfilled, regia di Lorimer Johnston (1914)
At the Potter's Wheel, regia di Lorimer Johnston (1914)
 A Blowout at Santa Banana, regia di Lorimer Johnston - cortometraggio (1914)
True Western Hearts, regia di Lorimer Johnston (1914)
 The Cricket on the Hearth, regia di Lorimer Johnston - cortometraggio (1914)
The 'Pote Lariat' of the Flying A, regia di Lorimer Johnston (1914)
 The Crucible, regia di Lorimer Johnston - cortometraggio (1914)
A Child of the Desert''', regia di Lorimer Johnston (1914)
 The Call of the Traumerei, regia di Jacques Jaccard e Lorimer Johnston - cortometraggio (1914)  A Story of Little Italy, regia di Lorimer Johnston (1914)
 The Coming of the Padres, regia di Lorimer Johnston - cortometraggio (1914)
 The Turning Point, regia di Lorimer Johnston - cortometraggio (1914) The Certainty of Man, regia di Lorimer Johnston (1914)
 A Happy Coercion - cortometraggio (1914)
 The Last Supper, regia di Lorimer Johnston - cortometraggio (1914)
 The Widow's Investment, regia di Lorimer Johnston - cortometraggio (1914)
 David Gray's Estate, regia di Lorimer Johnston - cortometraggio (1914)
 The Story of the Olive, regia di Sydney Ayres - cortometraggio (1914) The Navy Aviator, regia di Sydney Ayres (1914)Beyond the City, regia di Sydney Ayres (1914)The Lost Sermon (1914)Metamorphosis (1914)A Prince of Bohemia (1914)The Oath of Pierre, regia di Sydney Ayres (1914)Sparrow of the Circus (1914)The Unmasking (1914)The Painted Lady's Child, regia di Sydney Ayres (1914)Nature's Touch, regia di Sydney Ayres (1914)Cameo of Yellowstone, regia di Sydney Ayres (1914)Feast and Famine, regia di Sydney Ayres (1914)A Man's Way, regia di Sydney Ayres (1914)Business Versus Love, regia di Thomas Ricketts (1914)Does It End Right?, regia di Sydney Ayres (1914)The Trap, regia di Sydney Ayres (1914)
 Their Worldly Goods, regia di Sydney Ayres - cortometraggio (1914)  The Aftermath, regia di Sydney Ayres (1914)
 Break, Break, Break, regia di Harry A. Pollard - cortometraggio (1914) The Cocoon and the Butterfly, regia di Sydney Ayres (1914)His Faith in Humanity, regia di Sydney Ayres (1914)The Taming of Sunnybrook Nell, regia di Sydney Ayres (1914)A Modern Rip Van Winkle, regia di Sydney Ayres (1914)Billy's Rival, regia di Sydney Ayres (1914)Jail Birds, regia di Sydney Ayres (1914)
 Sir Galahad of Twilight, regia di Sydney Ayres - cortometraggio (1914)
 Redbird Wins, regia di Sydney Ayres - cortometraggio (1914) Old Enough to Be Her Grandpa, regia di Thomas Ricketts (1914)In the Candlelight, regia di Thomas Ricketts (1914)
 The Strength o' Ten, regia di Thomas Ricketts - cortometraggio (1914) Out of the Darkness, regia di Thomas Ricketts (1914)The Girl in Question, regia di Thomas Ricketts (1914)
 The Sower Reaps, regia di Thomas Ricketts - cortometraggio (1914)
 The Unseen Vengeance, regia di Thomas Ricketts - cortometraggio (1914)

1915

 The Legend Beautiful, regia di Thomas Ricketts - cortometraggio (1915) The Black Ghost Bandit, regia di Thomas Ricketts (1915)Refining Fires, regia di Thomas Ricketts (1915)
 Coals of Fire, regia di Thomas Ricketts - cortometraggio (1915)
 The Law of the Wilds, regia di Thomas Ricketts - cortometraggio (1915) A Heart of Gold, regia di Tom Ricketts (1915)
 In the Twilight, regia di Thomas Ricketts - cortometraggio (1915)  She Never Knew, regia di Thomas Ricketts (1915)Heart of Flame, regia di Tom Ricketts (1915)
 The Echo, regia di Thomas Ricketts - cortometraggio (1915)
 The Two Sentences, regia di Thomas Ricketts - cortometraggio (1915)
 Competition, regia di Reaves Eason, Thomas Ricketts - cortometraggio (1915)
 In the Sunlight, regia di Thomas Ricketts - cortometraggio (1915) A Touch of Love, regia di Tom Ricketts (1915)The Poet of the Peaks, regia di Reaves Eason (1915)The Day of Reckoning, regia di B. Reeves Eason (1915)She Walketh Alone, regia di Reaves Eason (1915)The Altar of Ambition, regia di Arthur Macklin (Archer MacMackin) (1915)At the Edge of Things (1915)The Purple Hills, regia di Gilbert P. Hamilton (1915)
 A Golden Rainbow, regia di Thomas Ricketts - cortometraggio (1915)
 The Right to Happiness, regia di Thomas Ricketts - cortometraggio (1915) Peggy Lynn, Burglar, regia di William Desmond Taylor (1915)One Woman's Way, regia di Archer MacMackin (1915)A Good Business Deal, regia di Reaves Eason (1915)
 Mountain Mary, regia di B. Reeves Eason - cortometraggio (1915) To Melody a Soul Responds, regia di B. Reeves Eason (1915)The Honor of the District Attorney, regia di Reaves Eason (1915)The Newer Way, regia di Reaves Eason (1915)After the Storm, regia di B. Reeves Eason (1915)The Exile of Bar-K Ranch, regia di B. Reeves Eason (1915)Payment Received, regia di Jacques Jaccard (1915)The Assayer of Lone Gap, regia di B. Reeves Eason (1915)Drawing the Line, regia di Reaves Eason (B. Reeves Eason) (1915)The Spirit of Adventure, regia di B. Reeves Eason (1915)A Question of Honor, regia di Reaves Eason - cortometraggio (1915)In Trust, regia di Reaves Eason (1915)The Little Lady Next Door, regia di Reaves Eason (1915)The Barren Gain, regia di B. Reeves Eason (1915)Hearts in Shadow, regia di Reeves Eason (1915)Breezy Bill, Outcast, regia di Donald MacDonald (1915)Two Spot Joe, regia di Donald MacDonald (1915)Profit from Loss, regia di Reaves Eason (1915)
 The Sheriff of Willow Creek, regia di Frank Cooley - cortometraggio (1915) The Smuggler's Cave, regia di Reaves Eason (1915)Playing for High Stakes, regia di Donald MacDonald (1915)Man to Man, regia di Donald MacDonald (1915)
 The Valley Feud, regia di Fred Cooley - cortometraggio (1915)
 Broadcloth and Buckskin, regia di Frank Cooley - cortometraggio (1915) The Pitch o' Chance, regia di Frank Borzage (1915)

1916

 Wild Jim, Reformer, regia di Frank Cooley - cortometraggio (1916)
 Sammy's Dough-Full Romance (1916)
 According to St. John, regia di Tom Chatterton (1916)
 When the Light Came, regia di Tom Chatterton (1916)
 Double Crossed, regia di Tom Chatterton (1916)
 The Quagmire, regia di Tom Chatterton - cortometraggio (1916)
 The Ranger of Lonesome Gulch, regia di Tom Chatterton (1916)
 Two Bits Silent Selby (1916)
 The Awakening, regia di William Bertram (1916)
 A Flickering Light, regia di Frank Borzage (1916)
 Unlucky Luke, regia di Frank Borzage (1916)
 Jack, regia di Frank Borzage (1916)
 The Pilgrim, regia di Frank Borzage (1916)
 The Demon of Fear, regia di Frank Borzage (1916)
 The Taming of Wild Bill, regia di William Bertram (1916)
 That Gal of Burke's, regia di Frank Borzage (1916)
 El Diablo, regia di William Bertram e Murdock MacQuarrie (1916)
 The Forgotten Prayer, regia di Frank Borzage (1916)
 The Gambler's Lost Love, regia di Murdock MacQuarrie (1916)
 Land o' Lizards, regia di Frank Borzage (1916)
 The Fight on the Dam (1916)
 Immediate Lee, regia di Frank Borzage (1916)
 Rehabilitated (1916)

1917Blood Money, regia di Fred Kelsey (1917)
 The Bad Man of Cheyenne, regia di Fred Kelsey (come Fred A. Kelsey) (1917)
 Nature's Calling, regia di Allan Dwan (1917)
 The Outlaw and the Lady, regia di Fred Kelsey (1917)
 The Old Sheriff, regia di Allan Dwan (1917)
 Beware of Strangers, regia di Colin Campbell (1917)
 Mouth-Organ Jack, regia di Allan Dwan (1917)
 Giving Becky a Chance, regia di Howard Estabrook (1917)
 Love or Justice, regia di Walter Edwards (1917)
 The Sawdust Ring, regia di Charles Miller, Paul Powell (1917)
 Golden Rule Kate, regia di Reginald Barker (1917)
 Mountain Dew, regia di Thomas N. Heffron (1917)
 Ashes of Hope, regia di Walter Edwards (1917)
 One Shot Ross Fighting Back, regia di Raymond Wells (1917)
 The Sudden Gentleman1918The Man Above the Law Go West, Young Man, regia di Harry Beaumont (1918)
 Captain of His Soul, regia di Gilbert P. Hamilton (1918)
 Free and Equal The Sea Panther His Enemy, the Law  You Can't Believe Everything The Painted Lily Desert Law The Reckoning Day, regia di Roy Clements (1918)Wife or Country1919

 The Long Lane's Turning, regia di Louis Chaudet (1919)
 The Old Maid's Baby, regia di William Bertram (1919)
 The End of the Game, regia di Jesse D. Hampton (1919)
 Whitewashed Walls, regia di Park Frame (1919)
 The Mints of Hell, regia di Park Frame (1919)
 The She Wolf, regia di Clifford Smith (1919)
 South of Santa Fe, regia di Clifford Smith (1919)
 The Mayor of Filbert, regia di William Christy Cabanne (1919)
 Some Gal, regia di Clifford Smith (1919)
 The Girl of Hell's Agony, regia di Clifford Smith (1919)
 Dangerous Hours, regia di Fred Niblo (1919)

1920

 The Fatal Sign Duds The Strange Boarder The Toll Gate The Silent Avenger, regia di William Duncan (1920)
 The Heart of a Woman, regia di Jack Pratt (1920)
 Dangerous Love1921

 A Small Town Idol The Show Down, regia di William James Craft
 Too Much Speed, regia di Frank Urson (1921)
 The Sting of the Lash, regia di Henry King (1921)
 Fightin' Mad , regia di Joseph Franz (come Joseph J. Franz)
 No Defense, regia di William Duncan (1921)

1922

 The Deuce of Spades , regia di Charles Ray (1922)
 The Crimson Clue, regia di Milburn Morante (1922)
 A Dangerous Adventure, regia di Jack L. Warner e Sam Warner (1922)

1923

 Souls for Sale, regia di Rupert Hughes (1923)
 Fog Bound Counterfeit Love Girl from the West The Daring Years No Mother to Guide Her1924

 The Love Master, regia di Laurence Trimble (1924)
 Fighting for Justice, regia di Walter De Courcy (1924)
 North of Alaska, regia di Frank S. Mattison (1924)
 Down by the Rio Grande, regia di Alan James (come Alvin J. Neitz) (1924)
 The Midnight Express, regia di George W. Hill (1924)
 Looped for Life, regia di Park Frame (1924)
 Tiger Thompson, regia di B. Reeves Eason (1924)
 The Fire Patrol, regia di Hunt Stromberg (1924)
 Border Women, regia di Alan James (come Alvin J. Neitz) (1924)
 The Cowboy and the Flapper, regia di Alan James (come Alvin J. Neitz) (1924)
 Il cavallo d'acciaio (The Iron Horse), regia di John Ford (1924)
 Crashin' Through, regia di Alan James (come Alvin J. Neitz) (1924)
 Midnight Secrets , regia di Jack Nelson (1924)
 Dynamite Dan, regia di Bruce Mitchell (1924)
 That Wild West, regia di Alan James (come Alvin J. Neitz) (1924)
 Women First, regia di Reeves Eason (1924)
 The Pell Street Mystery , regia di Joseph Franz (1924)
 Lightnin' Jack (1924)

1925

 Cold Fury  (1925)
 Beyond the Border, regia di Scott R. Dunlap (1925)
 Slow Dynamite , regia di Frank S. Mattison (1925)
 Where Romance Rides, regia di Ward Hayes (1925)
 His Greatest Battle, regia di Robert J. Horner (1925)
 The Texas Bearcat, regia di B. Reeves Eason (1925)
 Border Vengeance The Knockout Kid, regia di Albert S. Rogell (1925)
 Ridin' Wild, regia di Leon De La Mothe (1925)
 Sagebrush Lady, regia di Horace B. Carpenter (1925)
 Gentleman Roughneck, regia di Grover Jones (1925)

1926

 The Hollywood Reporter Walloping Kid The Winking Idol The Hurricane, regia di Fred Caldwell (1926)
 The Night Watch, regia di Fred Caldwell (1926)
 The Broadway Gallant The Rainmaker, regia di Clarence G. Badger (1926)
 The Millionaire Orphan The Heart of a Coward Her Honor, the Governor  Code of the Northwest The Merry Cavalier  The Merry Cavalier  The Silent Trailer Devil's Dice A Horse on Broadway 1927

 The Sonora Kid The Snarl of Hate Avenging FangsBlack Tears, regia di John Gorman (1927)
 Eager Lips, regia di Wilfred Noy (1927)
 Polly of the Movies The Trail of the Tiger The Mansion of Mystery Wilful Youth Partners of the Trail, regia di Wallace Fox (1931)

1933

 The Trail DriveSolo una notte (Only Yesterday), regia di John M. Stahl (1933)
 L'uomo invisibile (The Invisible Man), regia di James Whale (1933)
 Il museo degli scandali (Roman Scandals), regia di Frank Tuttle (1933)
 Gun Justice The Son of Kong''

Note

Altri progetti

Collegamenti esterni

Cinema muto statunitense

redpajama_set_name: RedPajamaWikipedia


text:
Beat The Record review in No Depression-by Lee Zimmerman
July 20, 2014 Reviewsadvanderveen56
(BTR)
Ad Vanderveen's exceptional reputation as a singer-songwriter with a superior skill set is well entrenched in his native Netherlands, but sadly, here in the States, he's hardly known at all… and that's despite a string of exceptional LPs and intermittent efforts with sometime collaborator Iain Matthews. Nevertheless, this latest set of songs offers all the proof needed as why his fan base continues to build back home. Exceedingly mellow, melodic and engaging, these tracks demonstrate his innate ability to create a compelling sound from the most tender of trappings. There's not an abundance of fuss or fastidiousness in terms of preparation; as he explains in his back cover comments, his aim was to convey the music in "the most direct and pure way by sharing… the first expression in recording, the original demo." Yet despite the relatively spartan settings the songs still resonate remarkably. Modest though it may be, here's hoping — and expecting — that Beat the Record will propel this talented artist towards even greater awareness.(www.advanderveen.com)
Lee Zimmerman-No Depression, April 2014.
← No'Neils
New double CD 'Presents Of The Past / Requests Revisited' →

redpajama_set_name: RedPajamaCommonCrawl


text:
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NOTE: THIS SECTION IS ALWAYS UNDER CONSTRUCTION!
Head Types
Pocket Types and Materials
Shaft Types and Materials - should I shorten the stick?
Stick Rules
Breaking in a Stick
If you are new to lacrosse and/or your child is just starting out, acquiring a lacrosse stick will be fairly high on your list of things to do. After all, this is probably the most "personal" of lacrosse equipment and the sticks provided by organizations are typically the least expensive (and harder to use) models.
However, if you know nothing about the current state of lacrosse sticks, where do you start?
Hopefully this section will help. We'll cover what stick types are out there, what pocket materials are and how they differ, the different types of shafts, what rules apply to sticks and finally how to break in your new stick.
NOTE - If you are new to lacrosse and do not have the patience to wade through all the information here, or if you have already purchased a stick, PLEASE! at a minimum read the bottom section on BREAKING IN A STICK.
When you are first starting out you will likely purchase a "complete" stick, that is, the combination of a shaft, head and stringing as supplied by the manufacturer. This is a great way to start out since it removes some potentially confusing variables right up front. However there are good "complete" sticks for a starter, some "not so good" and some which are "illegal" for organized play. We'll touch on these below.
As a player gains experience, each component of a stick (head, stringing or "pocket", shaft) is far more likely to be purchased separately, with the "stick" being a combination of preferences for each component, perhaps from different manufacturers and with the player doing the actual stringing of the pocket. When we discuss "sticks" below, we will actually be discussing these individual components.
For the new player, the most important aspects of a stick will be:
The pocket adjustment/break in;
The head/pocket stringing combination.
The shaft - as long as it is legal for organized play - will be relatively unimportant for most beginning and intermediate players.
Be forewarned however, as a player grows into the sport the "need" for the latest and greatest stick technology can be overwhelming!
It is important to note that the success of any stick for an individual player will ultimately end up being a subjective matter. What feels "right" to one player may not feel "right" to another. A player gaining in experience may need to go through several head and shaft combinations before the right combination is found.
Many years ago, traditional lacrosse sticks were constructed of a one-piece wooden shaft/head with leather and catgut strings for the pocket. You've probably seen this type of stick (as shown at right) - you may even own one. While they are still being made today (the model at right is available from Mohawk International), they are not approved for NCAA use and are generally not recommended for today's player - if you break the shaft, the stick is done for.
As advances in plastic materials worked their way into the sports field, lacrosse sticks were "split" between a head and a shaft, which is what you see today in almost all lacrosse sticks on the market. Since shafts can ding, bend and break, this also allows the player to retain the head and buy a new shaft only (or vice versa). The shafts can be made of wood, metal or composites while the heads are made of plastic. As well, advances have been made in materials for the pockets (see below) which means the manufacturers now have options beyond the "traditional" pocket which dominated the wooden sticks.
What is "head offset"? When reviewing the current market for plastic heads, you'll see the term "offset" frequently used. In the picture below, note heads A, B and C:
The head marked "A" has no offset, that is the top plane of the head (as viewed from the side) is level with the shaft. Head B"" has a slight offset, in that the plane of the head starts to dip "below" the plane of the shaft. The Head marked "C" has further offset still. An offset head sometimes can improve the "feel" of the stick in terms of both catching and ball release when throwing, and may help with getting in proper position for ground balls.
Head Interchangeability - What about a head from manufacturer A and a shaft from manufacturer B? Almost all "current" heads will fit all "current" shafts from different manufacturers. There are slight differences which may make the fit tighter or looser for any given combination, but for the most part you can make a head fit a shaft from a different manufacturer.
What about breaking a head? As a general rule, most manufacturers will warrant a head against breakage due to a manufacturing defect. Sometimes if you break a head it will be covered, sometimes not depending on the circumstances, the retailer and the manufacturer. Under this scenario as a player moves up and plays in more competitive games and tournaments, it may become important to own a backup stick in the event a stick breaks during a game.
As head technology advanced, so did pocket technology. Today's player has a choice of not only pocket materials but also pocket construction and design. Note the picture to the right - from left to right we have a dura (or "hard") mesh pocket with a "U" channel, a mega-mesh pocket with a "V" channel, a traditional pocket and then a soft mesh pocket with three shooting strings. These are a few standard offerings, but players the world over have created thousands of custom pocket designs to their liking.
What is important in a pocket?
A pocket needs to provide both "feel" (generally meaning some stiffness) when the ball hits it during catching and at the same time allow the player to quickly release the ball during throwing. This is easier to feel in a stick than to describe it! A very stiff or very soft stringing job will generally not provide a player with a sufficient pocket.
A quick side note: Much of the catching and throwing process depends on "feel", which is a combination of the head, the pocket and the weight of a standard lacrosse ball in the pocket. When sponge balls are used, it may actually be harder for the player to throw and catch due to the lack of "feel" when the ball is in the pocket!
Which pocket material to choose?
"Traditional"
This pocket is still very popular today, and consists of nylon strings "woven" throughout leather straps. There are countless variations of stringing the nylon through the leather, and this can be a fun pocket for the player to string themselves. The combination of the stiffer leather and the flexible nylon gives a nice combination of being able to "feel" the ball hit and expand the pocket and allowing the flexibility for a quick ball release when throwing.
Hard Mesh
Probably the most popular pocket material today. It retains it's shape when wet or dry and retains the "feel of resistance" which is important to feel the ball in the stick. Comes in several types, styles, colors and hardness.
Soft mesh is the easiest to start playing with right away but may require more shooting strings (see picture below) than other materials due to it's "flimsy" nature. Also tough to use when wet.
Mesh Configurations
All types of mesh come in different configurations, meaning the number of "diamonds" across the width of the mesh. "Standard" mesh typically has 10 diamonds across the width. "Monster mesh" may have only 7 diamonds, and some manufacturers actually make 6, 7, 8 and 10 diamond meshes. The differences are subtle enough that it will be completely up to the individual player which they prefer.
Shooting Strings
Most sticks come with two or three shooting strings (see picture below) which basically guide the ball out of the pocket when thrown. The idea is that each successive string guides the ball a bit more out of the pocket as the ball is thrown. If the shooting strings are too loose you will get "whip" in the stick, which typically will cause the ball to head downwards. Adjusting the shooting strings is critical to a good pocket, if you need help in this area, check with an experienced player or coach.
Other Considerations/Combinations
There are all kinds of permutations and combinations of pocket materials, and if you wish to make up and string your own feel free!
Shaft Types and Materials
Today's lacrosse player has a far and wide choice of shafts. From a $10 aluminum shaft to a $20 hickory shaft to a $50 lightweight alloy shaft to a $100 composite shaft on up to a $200 specialized lightweight alloy shaft.
Needless to say, the beginning to intermediate player will do just fine with the lower cost, heavier and more durable shafts. As a player progresses and moves up the competitive ladder, the lightweight and specialized shafts can be considered.
A few things to note however:
Lots of experienced players continue to use the inexpensive aluminum shafts throughout their playing careers;
Shafts are subject to bending and breaking and they generally are not covered by warranty - if you break a $200 shaft, you start over.
Should I shorten my son or daughters shaft?
Boys sticks typically come with one of three shaft lengths "off the shelf". The attack/middie shaft length (with head) makes the stick a little over 41" long. The defense shaft length (with head) makes the stick 72" or less. Goalie sticks are in between.
While the HS/NCAA minimum stick length is 40", the RALL league in which we play has no minimum. For K through 3rd grade boys, a total stick length of 36" to 39" will probably work well. As players get larger and closer to the 5th/6th grade level, they should have a stick length approaching or at 40".
The RALL league stipulates "long poles" can only be used on defense at the 5th/6th grade boys level. This means that K-4th grade players should have a stick no longer than 41" or so. By RALL rulse, when in 5th/6th grade, the total stick length cannot exceed the players height.
Girls sticks are less sensitive to length. Most can be used effectively right off the shelf. Since the girls cradling motion is more upright, it is important not to have a stick that is too short. Very young girls may consider cutting down the stick a few inches but from 3rd/4th grade on up the stock length should be fine.
Various rules are in place to ensure that players are using basically the same stick setup at the same age levels during organized play.
Stick Length: Men's rules call for stick lengths of 40 to 72 inches. Youth lacrosse will typically let younger players use down to a 37 inch stick. "Long poles", or sticks over 42" are allowed in the 5th/6th grade boys divisions and above.
Lacrosse Heads: Lacrosse sticks have come a LOOOOONG way from the original wood and leather stick, but now it seems like there are a million different types of heads, which leads to the age old question "Which one do I pick?" It's true there are a TON of different lacrosse heads on the market, but you need to pick one that is right for YOUR style of play and position because YOU want to have the correct equipment when going into battle. When choosing a head, you must remember: "its not the wand, its the magician." But hopefully this guide can atleast point you into the right direction.
Head Classification:
Tradtional: These are heads that are only allowed in Youth and High School, such as the STX Stallion and Brine Clutch
Universal: These are typically heads ending in U or X. These heads, such as the Clutch Elite X and the Super Power U, can be used at any level; High School or College. These sticks meet requirements of both NCAA and NFHS rule books.
NCAA: These heads are specifically designed for the NCAA and have a narrower scoop and standard 3 inch throat design. Examples include the Brine Clutch X6 or Warrior Evo X6
Pocket Depth: In the photo below, note the gray arrow on head "B". The rule regarding pocket depth for a boys stick states that when a ball is placed in the stick that there can be no space viewed where the arrow is pointing. That is, the top of the ball cannot be below the bottom of the sidewall. For the girls game, the top of the ball must be able to be seen above the top of the sidewall. This means the girls are allowed a dramatically shallower pocket than the boys. Any of you boys who think you have superior stick skills - try playing with a girls stick!
Goalie Sticks: Sticks used for goaltending
When you first purchase a stick - particularly a boys stick - it will not be "broken in" yet, that is, it's not ready for play. All pockets need to be broken in to some extent, but some are far easier than others.
As with all things, there is a price to be paid for ease of use.
The easiest pocket to break in will be a soft mesh pocket, Once the sidewall strings are loosened up a bit the pocket will be fairly "stretched" and a player can probably start using the stick right away. The downside to soft mesh is it's "lack of feel" and when it gets wet it is very tough to play with.
The pocket materials with "better feel" are typically your hard (or "dura") mesh or the traditional pocket with leathers and nylon. Leather is also subject to differences in feel and size when wet, which has led many of today's players to use the hard mesh pocket material.
There are wide variations in what a given manufacturer will consider "hard" - the hard mesh from Shamrock for instance is fairly close to a soft mesh, while the hard mesh from Warrior, STX and Brine are fairly hard.
So how to break in a hard mesh or traditional pocket?
Method A - Loosen up the sidewall strings and pound the pocket with a ball in hand. This is a bit of a pain and can take a fair amount of time. Once the pocket is somewhat stretched, the best next step is to play wall ball, bouncing the ball off a brick wall and catching it in the pocket.
There are items called "pocket pounders" which are essentially a ball attached to the end of a shaft, This makes it easier on your hands to pound the "ball" into the pocket.
There are also items called "pocket stretchers", which you set in the stick and then turn a screw to stretch out the pocket. Leave it this way for a day or two and the mesh will be stretched out fairly well.
Keep in mind that as the mesh begins to stretch you may have to re-tighten the sidewall strings to keep the pocket legal as show above.
Girls sticks require little if any break in due to the shallow nature of the pocket, and almost all girls sticks are strung with the traditional method.
For boys sticks, you want the ball to settle in the middle of the pocket when the stick is held horizontally, with the top of the ball just over the bottom of the sidewall. This is a good starting position, but keep in mind as long as the pocket is legal, the player may prefer other variations.
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text:
Agrilus roscidus é uma espécie de inseto do género Agrilus, família Buprestidae, ordem Coleoptera.

Foi descrita cientificamente por Kiesenwetter, 1857.

Referências

roscidus


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text:
concerto, Music
Alexander Scriabin: Piano Concerto, op 20
performed by the Chicago Symphony orchestra under Pierre Boulez
Anatol Ugorsky, piano (for Deutsche Grammophon)
Allegro moderato
the Czech Philharmonic under Libor Pesek, Garrick Ohlsson, piano
There's nothing like really good straightforward music. It's interesting how sometimes certain pieces make me think of certain emotions or get the introspective wheels spinning, while others are just kind of purely directly enjoyable, without conjuring up thoughts or nostalgia or feelings that make it so. I don't really know quite what I feel about this piece or how I process it, it's just really stinking enjoyable. It's clean, unpretentious, not complicated or challenging, but that's not to say it lacks any kind of depth. It's music without an agenda.
As mentioned in the previous post (and some others), for whatever reason, I'd made it a goal to come to understand and appreciate the music of Scriabin. I'd heard him hailed as a musical pioneer and genius, if not a bit insane, and I wanted to see what made him so.
I started with the larger-scale musical form that he had more of that I would be more familiar with, the sonata. While he'd written etudes and preludes and mazurkas and polkas, those are smaller works, and I wasn't even as familiar with other composers' polkas and etudes, etc. So I felt that was a good place to start.
I started with his first sonata, as I supposed was most logical. Although I did notice similarities to Chopin in some areas, it still felt very different from the kind of expression I was used to hearing in Chopin's music. The first few (up to about #4 or so) were far easier to adapt to than the latter five or six, but we'll get to those later.
In any case, I warmed up to his much later sonatas before learning
he had a piano concerto, so I was extremely eager to hear it. And we have this. Scriabin was older than Chopin when he wrote his concerto, but still young. I believe Chopin was only about 20 years old (or thereabouts) when he wrote both his piano concerti, and Scriabin here is 24. Again, I feel in this piece, the music isn't overshadowed by pretentiousness or the expression of specific emotions; it's just music.
For some reason I associate it with Chopin's concertos. It's not the Russian, dissonant, eery modern kind of work he would have written had he been twenty years older. It's clean, balanced, quite Romantic, and to me has a wonderful balance of piano and orchestra together. This is impressive, as it is his first work for orchestra, and apparently wrote it in only a few days, but took another six months or so to finish the orchestration. It premiered on October 23, 1897.
A nice concise work, it is around half an hour, maybe a bit shy. Not as short as the Rimsky-Korsakov concerto, but certainly also not as long as Rachmaninoff, Brahms, or Tchaikovsky would have written it. That being said, I love how it, like Liszt's first piano concerto or Prokofiev's first as well, although short, is still perfectly fulfilling and enjoyable. You don't feel like it's too short to be enjoyable or take it less seriously for its brevity. A half hour isn't necessarily a short work, but it's much shorter than many of the mainstays in the repertoire. That said, it is just stunningly beautiful.
To put this piece into context, let's talk a little about his life: he was born in 1871 (on Christmas day, according to the Gregorian calendar) into an aristocratic family. His father studied Turkish, and his mother, herself a concert pianist, died of tuberculosis when he was still young. His father completed his studies and moved to Turkey to work as a diplomat. The young Scriabin was left at home with Grandma, great aunt, and aunt. One of his aunts was an amateur piano player and apparently took care of him and "documented his life" up to his first marriage. The young Scriabin apparently also built pianos and gifted them to houseguests. He studied at the Moscow conservatory under Arensky, Taneyev, and Safonov. He did not complete his composition studies due to disagreements with Arensky, and Arnesky's signature is the only one missing from Scriabin's graduation certificate. There's a picture of a young Scriabin and a young Rachmaninoff among a small class of Nikolai Zverev's students. Even young, you can see Rachmaninoff as tall and gangly, big ears and large-formed, while Scriabin was apparently of smaller stature, with hands that could barely reach a ninth, while Rachmaninoff could play a 12th or 13th. Anyway, I fully intend to feature much of Scriabin's work here, so I'm not going to do the full bio at this point. That's enough useful background to realize this guy was wonderfully precocious, talented, interested and driven. His music bears that out.
His piano concerto is in three movements:
I almost feel like this piece is kind of an obligatory piece, dare I say a writing exercise for Scriabin. It almost feels like a formality. While it is beautiful and shimmering and rich, it feels almost too polished to be something that he wrote. We will get to his sonatas and some other of his pieces in later posts, but in comparison, it is standout different to me. By this time he'd written his first two piano sonatas, and a large collection of mazurkas, etudes, and TONS of preludes. I find some similarity in this piece to his third piano sonata (which we will certainly get to in due course). It was completed the year after this piece was orchestrated, published and premiered.
One of my favorite sonatas, his third, was written within a year after this piece. I know that doesn't make sense now unless you're already super familiar with Scriabin's timeline, but this is just me doing research and putting it into perspective. I find the second and third piano sonatas to be somewhat similar works in feeling and expression. As I referenced with his first, there was a clear similarity to Chopin's work, or at least an influence from him (or maybe more generally the typical awash-with-emotion Romanticism; he'd even written 24 preludes in all twelve major and minor keys by this time, even in the same sequence as Chopin).
I said obligatory, but I don't mean it negatively. A concerto is a big deal, a showoff piece of sorts for both composer and pianist, and it may have been a good career move for him to write something line this. I feel like had he written his 'Poem of fire' then, it would have been not as smart a career move. But that was years down the road, and Scriabin's tonal vocabulary hadn't developed fully, although I strongly feel it was headed in that direction. Even in the early sonatas, you can hear a wild hair he has toward something new and exciting, while using Chopin as a jumping-off point. Once he found his footing, he didn't need that anymore and used himself as jumping off point. There are glimpses of that in the first three sonatas, but I feel somewhat less so in this concerto, possibly because the orchestra keeps him centered or focused on something more traditional.
The first movement opens serenely, with horn, then strings, and clarinet. The piano creeps in, and this theme is repeated in the orchestra. It builds to a shimmering, beautiful swell, with the piano accompanying the orchestra before focusing back on the piano. This movement is trickly and tinkly and artistic.
This piece to me feels like it is a point in Scriabin's career where he knew what he wanted to write or achieve (his 'atonal' expression that would come later), but wasn't sure how to get there yet, or just hadn't developed well enough to be ready. I say that because it's not long after this piece that the composer really starts to open up and veer greatly from the standard harmonic and structural traditions of the Romantic era. We will eventually get to the piece that makes me say this, but for now, suffice it to say that this is a piece that's early enough for the young Scriabin to still be developing, but mature enough that he knows what he wants.
The word gothic comes to mind. His third sonata is described as such, but not in the sense that the style is musically gothic (renaissance) or dark, but that it feels stately, epic, romantic (in the fairy tale princess and knight in shining armor kind of way). This piece (or at least this movement) makes me think of a castle perched atop a great mountain looking out over a vast flat wilderness of its kingdom, perhaps in the Scottish highlands (or maybe more fittingly, Russia), a fortress showing its age while still standing strong. Maybe that sounds a bit dark, but it's the impression I get, in a totally positive manner. It's stately and regal and full of dark rich navy blues and grays.
I talked about absolute music, music for the sake of music earlier, and while it sounds like I'm going back on that, I'm not. But in trying to process the feelings and beauty of this piece, I'm trying to get something relatable out of it. I don't think of this imagery (as I said in the last post), but it's something that evokes the sort of emotion that this piece conjures up. It's gothic in that sense. It sounds even more castly with the triplet figures in the brass toward the end of the movement. There's some tension or conversation between the orchestra and the piano, and the movement is solid enough that one feels these are the only two characters in the movement. The orchestra works and breathes as a whole here, and in among the towering heights of the movement, there are serene little valleys of delicacy. This is a magical, glistening, enchanted movement, and the theme from the beginning finishes out the movement with a bit more movement and energy. It's a typically Romantic finish.
The second movement is a series of theme and variations, and I must say, it has to be one of the most beautiful passages Scriabin has ever written. It's delicate, tender, restful, poetic. The strings open softly with the main theme, and it's in F#, whereas the first movement (and the piece itself is in F#m), so this one does feel like a breath of fresh air. As the clarinet starts, so does the piano. The piano brings in the first variation, and it dances with the clarinet, backed by the orchestra, and I genuinely feel this is one of the most finely-written passages of Scriabin's repertoire, if not any repertoire. It's supremely perfect second-movement material. We lead right into the second variation. While this one has quite a bit more spring in its step, its still tender and round and soft. Something about it seems just almost Irish to me…. maybe it's the flute flittering up at the top of the piano's line; I'm not sure, but it's happy. At this point it almost sounds like a film score to a Disney film or something. That variation is clearly over, and the piano comes in heavily with the beginning of the third variation, a funeral march. It sounds in structure and idea almost identical to the beginning, but with a 180º change in emotion. The piano is leading this one in the march, and the orchestra mourns in kind, but it doesn't last long. There's a much more intricate fourth variation, that, while it isn't as fast and lively as the second variation, is brighter than the funeral march. It is still a bit meditative, but positive. This one is full of ornamentation and flittery notes, but doesn't sound overly busy. It's still peaceful. This one slips us right back around almost to the beginning theme. What I enjoy about this movement is that, even in less than nine minutes, it seamlessly and artistically expresses a range of emotion while keeping a general emotional center. The ideas are all related; there's a beautiful logic to it. After all, I've always felt that a theme-and-variations piece/movement is just for the composer to show his/her prowess and ingenuity.
The third movement comes in strongly with the piano. This movement is the strongest of the three emotionally, the most powerful. While it feels a lot like the first, it's a bit more vigorous. The theme at the beginning with the question and answer between piano and orchestra is the bit of this entire piece that gets stuck in my head. I'll be tapping it out with my foot or humming it to myself for days now. It's a big theme of the piece. It is resounding and energetic. This is the longest movement of the piece by a few minutes, and it builds in intensity with a lot of the same material and styles for the last few minutes up to a big, clean, crisp finish.
To be honest, I don't want to say I get bored with this movement, but…. it's a bit more of the same thing we had in the beginning movement. It's stunning writing, and it keeps its momentum, but I suppose there's nothing else specific to describe about it.
I haven't listened to Ohlsson's performance in its entirety, but the first half of the movement sounds far more inspired and Romantic (or maybe just more attentive and lively) than Ugorsky's. Also, I just really really like Garrick Ohlsson. Look for any of his master classes on YouTube, and just listen to the man. He is full of insight, knowledge and talent, but humble and approachable as ever. I've listened to hours of his talking and explaining and teaching, and I love every minute of it.
While this piece is in a minor key, and sounds somewhat heart reaching and mellow or even sorrowful, I don't feel it to be a sad piece. It Isis stunningly beautiful, and straightforwardly simple. It's also an important part of Scriabin's development and represents his early self very well. A must listen.
February 26, 2014 September 17, 2016 Fugue for Thought1897, Boulez, Chicago, concerto, Czech Philharmonic, DG, Music, Piano, Romantic, Russian, Scriabin, Ugorsky
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In recent years, there has been an increasing demand for "health consumer technologies"—small, user-friendly, point-of-care devices that can be operated by untrained individuals to evaluate health and disease. The Qualcomm Tricorder XPRIZE was a $10 million global competition to stimulate innovation and integration of advanced technologies, enabling reliable health diagnoses anywhere and anytime (https://tricorder.xprize.org/). The competition called for the development of a device that could diagnose 12 diseases (and the absence of disease) and capture 5 real-time health vital signs independent of a healthcare professional or facility. Devices also could not weigh >5 pounds and required the capability to transmit data to a cloud storage and computing system. Although diagnostic accuracy was a key component, the competition was unique in its strong emphasis on user adoption and experience. In fact, only teams scoring the highest on the consumer experience evaluations were eligible to win the overall competition.
After the competition's launch in 2012, >300 teams joined. In April 2017, 3 winners were announced. Final Frontier Medical Devices, led by Basil Harris, was announced the highest performing team and received $2.6 million for their achievement. Dynamical Biomarkers Group, led by Chung Kang Peng, received $1 million for second place. Cloud DX, led by Sonny Kohli, was also recognized as XPRIZE's first Bold Epic Innovator and received $100000.
Here we learn more about these devices and their inventors, including what inspired their teams and what hurdles they were able to overcome.
Describe your device and what it does.
Basil Harris: Our tricorder is an autonomous medical diagnostic device that leverages technological advances in wireless monitoring, artificial intelligence, and affordable point-of-care biomedical processes. Our prototype tricorder, called DxtER, comprises several innovative sensors that together form a comprehensive healthcare kit. The diagnostic engine, or the brain of the device, is an app on a phone or tablet. It encompasses our unique examination and diagnostic algorithms. The app is responsible for the fusion of data, requests for further inputs, and displays the diagnosis and suggested courses of action. The app provides the user guidance on how and when to call on the kit's peripheral devices, which include a noninvasive blood glucose monitor, a quick urine test, and a blood pressure cuff, among other technologies. Our solution not only achieves the goal of diagnosing diseases and continuously monitoring vital signs, but it is also able to perform these tasks in revolutionary new ways that are noninvasive. We have developed, and continue to advance, methods for measurement of blood glucose, hemoglobin, and white cell counts that do not require needles or other implantable devices.
Chung Kang Peng: Our system implemented an artificial intelligence algorithm to interact with the user to identify potential diseases from a group of 12 possible medical conditions. In addition to continuous 24-h monitoring of vital signs, our system guides the user to carry out necessary diagnostic tests. This may include blood, urine, imaging, and physiological signal analyses. We developed our own image and signal analysis tools for accurate disease diagnosis.
Sonny Kohli: Our tricorder is called Vitaliti and consists of a smartphone hub that pairs/communicates with 3 peripheral components in the spirit of the original tricorder: (a) a neck wearable that functions as a continuous vital sign monitor, (b) a desktop laboratory (in vitro desk station) that allows for biomarker collection and quantification, in addition to component storage and battery charging, and (c) the spirotoscope—a combination hand-held/wireless spirotometer and otoscope. Artificial intelligence-based computational techniques are then used to compile and process patient interview questions with tricorder-derived vital signs and physiological information to arrive at medical diagnoses. Easy to understand advice is then provided to aid users in managing their newly diagnosed condition. This information is delivered by a prerecorded video message from me, just as I would with my patients in a face-to-face encounter.
What inspired you to enter the Tricorder XPRIZE competition?
Chung Kang Peng: We recognized a need for a device that was low cost with a low technical barrier for operators to aid medical care in remote locations. Our goal was to develop technologies for mobile clinics that could be deployed in rural areas of the developing world where it was unlikely to have sufficient numbers of qualified medical professionals to perform the necessary diagnostic evaluations.
Sonny Kohli: I was volunteering in Haiti after the earthquake in 2010, and encountered several patients for whom I did not have the investigative equipment that I typically needed for diagnosis. I then realized that portable autonomous equipment that would leverage the near ubiquitous nature of a smartphone and cellular access to the Internet could profoundly improve global access to medical care. So, I started in earnest with a small team building a mobile phone-based 12-lead electrocardiogram. In 2013, I was cold-called by Robert Kaul, who introduced me to the Tricorder competition. We decided to build an entirely new small team to create an entry in this competition. With no money and few resources, we trudged along and made it to the finals! It was at that point that we decided to create a company around our new tricorder, called Cloud Dx.
Basil Harris: As an emergency physician, I witnessed daily how the US healthcare system was failing so many patients. My team and I believed that we were successfully developing a diagnostic device that would dramatically improve healthcare delivery. With our healthcare kit, consumers would be empowered with significant information about their health, as well as answers to pressing medical questions when they needed them. It is important to note, however, that we do not see tricorders as replacing medical providers, but rather as a tool to make our jobs more efficient. Patients would have improved communication with their doctors and, ultimately, better health outcomes. Medical professionals would see patients better engaged in their own health. Healthcare providers could access real-time, medically accurate monitoring data to more effectively aid patients in maintaining wellness, and likewise provide expedient complex diagnostics and care management.
What was the biggest technical challenge you faced related to measurement of biomarkers?
Sonny Kohli: Biomarkers derived from nontraditional sources like saliva are a challenge to acquire autonomously. Ultimately, overcoming user/consumer inertia in acquiring their own biosamples was our biggest challenge and victory. We did so by creating a unique collection experience. Together with our team in Canada, our partners at Dr. Shan Wang's laboratory at Stanford helped create a novel, painless, and easy-to-use platform for collection of saliva and other bodily fluids. We engineered a novel tool for blood collection by finger prick, using a pressure-triggered small-caliber cannula that acquired the sample with a mechanism that "hid" the needle before and after collection. This device could then be inserted into our desktop in vitro diagnostic unit for automatic interpretation. For saliva collection, we engineered a tool that could both collect salivary secretions on a cotton swab and coalesce them into a concentrate for subsequent quantification in the in vitro diagnostic unit. Urine collection deployed a similarly engineered tool to simplify the process. To facilitate the collection process, we coached the user with step-by-step graphics and instructions on our mobile app. Stabilizing our reaction reagent on the test surface of our collection apparatus was also a challenge (as it was prone to degradation because of moisture and temperature changes). Lastly, the epoxy we used to glue together our collection cartridges ended up interfering with our measurement technique. This was unanticipated and a difficult problem to both diagnose and solve.
Basil Harris: Some of the simplest of tasks can often turn out to be the most challenging. Developing the artificial intelligence for automating the medical diagnostic process was certainly a bigger undertaking than we imagined. Also, not trivial, was creating routines, algorithms, and machine-learning exercises to teach the system how to interpret data streams from running vital signs, continuous electrocardiogram rhythm leads, and lung sounds from auscultation. However, the biggest challenge was entrusting the end user with the tasks necessary to capture reliable data—whether it be correctly applying sensors on the skin or testing a blood, urine, or saliva sample. Our urine test card, for example, uses the smartphone or tablet camera and must be able to run in a variety of settings. Ensuring that a nonexperienced user can capture reliable data is critical. Making a task simple for the end user does not engender a compromise on quality. It only increases the burden on the developer.
As clinicians, we need to appreciate that this type of technology is coming whether we are involved or remain on the sidelines. We need clinicians and laboratorians to guide its development and direct the conversation. We understand the importance of obtaining real and reliable data. We need to demand that devices coming to market, like these tricorders, deliver worthy medically significant data. The more robust the technology is, the more likely it will be adopted into practice. We stress the importance of obtaining accurate and medically significant data that are reliable enough to be used to make actionable medical decisions. Our strategy is to work within the medical community and conduct rigorous clinical trials to bring this technology to life. Although it is tempting to release new technology to an eager audience, we believe that premature deployment would be detrimental to the overall goal and have chosen the tougher path toward validation through trials and evidence collection. In the end, the more robust the technology is, the more likely it will be seamlessly adopted into practice. We believe that this balanced approach will build trust in our new technology.
Chung Kang Peng: Because the entire system had a weight limitation of 5 pounds, it was challenging to apply innovative technologies for blood testing. As a result, we had to use more conventional technologies for biomarker detection (i.e., using test strips that require the right amount of blood and proper dilution with chemical solution). This involved tasks that proved challenging for regular consumers and led to less accurate results.
During this process, did you reach a point where you almost gave up? If yes, what was it?
Chung Kang Peng: No, our team has been lucky that we carried out the development of our system smoothly. Although some of our original plans did not work, we were fortunate that our back-up plans worked.
Sonny Kohli: There were many times when we either ran out of money or faced some other catastrophic issue that forced us to ponder quitting. Not getting approval from Health Canada to test on patients until the final hour was one of those more memorable moments.
Basil Harris: We reached many points during the competition when we expected to be eliminated. We entered the Qualcomm Tricorder XPRIZE competition as 1 of 312 teams from 38 countries, and we knew from the start that the odds were stacked against us. Despite these odds, we had no intention of giving up. The timeline of the Qualcomm Tricorder XPRIZE was by design a huge challenge. In part, it was how they accelerated the development of technologies behind each XPRIZE.
The Tricorder XPRIZE competition has many restrictions, such as size and weight and monitoring 5 vital signs and assessing various conditions. If you could have changed 1 criterion, what would it have been and why?
Chung Kang Peng: I would have relaxed the weight restriction, maybe to 10 pounds, instead of 5. This would have given us more freedom to develop more innovative technologies that are bulky and heavier in the initial stage of development, but which would certainly become more compact and lighter as time goes by.
Basil Harris: We would have loved to incorporate some third-party devices into our system. The competition restricted us to our own equipment. Although this did allow us to create some novel devices, moving forward we will provide an open platform in which data from any trusted source can be included. The ultimate tricorder would be an amalgamation of the best components of all the finalist systems.
Sonny Kohli: I would not have changed any criteria. Rather, I would have enforced 1 of the criteria. The blood pressure requirement was supposed to be noninvasive and continuous (i.e., streaming). This would have been a true leap forward in the current state of the art. Instead, most teams used legacy technology and periodic blood pressure measurement via an arm cuff. This was not in the spirit of the competition but did serve the intended purpose. We created a continuous, noninvasive blood pressure monitor.
Where do you see the technology you invented being used in the future?
Sonny Kohli: I see many potential uses: (a) at home for high-risk patients requiring continuous monitoring, (b) postoperative high-risk patients being discharged home early or being set up in a virtual hospital ward at home for ongoing care, (c) athlete training and monitoring of performance, (d) advanced health and wellness metrics (like a Fitbit® on steroids), and (e) in remote places where access to high-fidelity monitoring like that needed in an intensive care unit or an operating room is challenging and/or unavailable.
Chung Kang Peng: We are pursuing our goal to develop our second-generation system that can be used in rural areas where no healthcare resources are available. To accomplish this, we are working with collaborators in medical institutions and government agencies in China.
Basil Harris: More than 1 billion people across the globe lack access to comprehensive and affordable high-quality healthcare services. In many ways, the need for access to services is as critical in Syrian refugee camps as it is in the urban center of Philadelphia. The ability of an individual to diagnose what disease he or she has (or does not have) is empowering to that individual, their family, and their community.
A device providing meaningful, reliable health information and diagnoses is new to a market of 1-dimensional wearables. Tricorders will inspire people to be more engaged with their health and will improve their well-being and productivity, causing a positive ripple effect with far-reaching benefits.
Deployed at scale, this technology will lessen the 2 major systemic barriers to accessing healthcare: cost and provider shortages. First, our health kit could act as a triage system, giving people answers when they need them, guiding them to appropriate action and care, and helping them monitor and manage their health outside of a provider's office. Our health kit could reduce existing inefficiencies in the healthcare system, helping to lower costs. Second, this technology is adaptable and could be deployed anywhere in the world, bringing diagnostic capabilities to remote villages and underserved communities. The health kit would be a catalyst to help people access the answers they need in real time, regardless of logistical constraints. Barriers to providers working with patients would virtually disappear, as more providers could remotely monitor and communicate with their patients.
These devices are designed for healthcare consumers to use. What do you see as the future role of individuals in their own healthcare?
Basil Harris: Tricorder technology, or automated/technology-assisted diagnosis, is in its infancy, and as it matures it will provide basic medical triage and basic medical diagnosis in support of medical personnel, especially in areas where the number of medical professionals cannot support the population. This is true in many developing areas around the world, as well as in highly developed areas where access to healthcare remains a huge barrier.
Tricorders will not replace human doctors but will assist them. The fact that the tricorder's underlying diagnostic engine can explore more possibilities, never tires at looking at data, and provides a consistent view of data will make it a valuable tool in a medical professional's arsenal. Having sensor devices like this at home will allow users to collect data, monitor their health, and advise when to take action, in partnership with their doctor and/or the local urgent care center or emergency room in cases when further action is deemed appropriate.
Chung Kang Peng: Ideally, in the future, most diagnosis and medical care will be performed at the patient's home. Therefore, the sensors to gather accurate information from the patient must be user-friendly. Collected information will be uploaded to the cloud, where artificial intelligence-based expert systems will provide meaningful interpretation to the patient.
Sonny Kohli: Self-management, remote management, and patients being more vested in their own health will be the inevitable reality of a strained healthcare system with insufficient resources to care for The Silver Tsunami. Therefore, tools that facilitate self-care and remote management will be vital.
What type of a device do you think the Tricorder XPRIZE of 2025 would be asking for?
Chung Kang Peng: I hope a true "tricorder" system, which is a hand-held scanner that can scan the patient completely noninvasively to make the diagnosis.
Sonny Kohli: Completely noninvasive biomarker collection and quantification, entirely artificial intelligence powered, with a "zero interface," meaning patients do not even know that it is present while their health is being monitored.
Basil Harris: The XPRIZE of 2025 would be asking for completely noninvasive tricorders that can reliably diagnose and advise the user without any blood samples.
Moderators: We want to thank the experts for their careful and thoughtful replies to our questions. The Qualcomm Tricorder XPRIZE incentivized technologic breakthroughs needed to enable a digital health revolution. This involved leveraging the ubiquity and ease of use of mobile consumer devices with innovations in sensing and artificial intelligence to create potential for improving the affordability, access, and effectiveness of care for more people. The radical advancements achieved by these teams, often on relatively limited budgets, are not limited to technology. Inherent to the process and the devices are disruptions and impending evolution in product development and regulatory pathways, healthcare delivery and business models, and infrastructure. Whether through these devices or others that follow, the Tricorder XPRIZE forged a path to bring science fiction significantly closer to reality.
Employment or Leadership: A.M. Gronowski, Clinical Chemistry, AACC; B. Harris, XPRIZE Team: Final Frontier Medical Devices, Basil Leaf Technologies, LLC; S.S. Kohli, Cloud DX.
Consultant or Advisory Role: A.M. Gronowski, Church and Dwight Co, Inc., Theranos; S.S. Kohli, Cloud DX.
Stock Ownership: B. Harris, Basil Leaf Technologies; S.S. Kohli, Cloud DX.
Research Funding: C.K. Peng, HTC.
Patents: B. Harris, 6 preliminary patents in draft. S.S. Kohli patents under review.
Received for publication September 7, 2017.
Accepted for publication December 6, 2017.


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