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Brundibár
Hans Krása
Performed at the Lobero Theatre
May 20, 2017 2:30 pmMay 20, 2017 5:00 pm
Opera Santa Barbara's newly formed Santa Barbara Youth Opera presents a fully staged production of Brundibár. Written for children with just one adult part, and no more than 40 minutes long, it was composed in 1938 by Hans Krása, with lyrics by Adolf Hoffmeister, as an entry for a children's opera competition. It received its premiere in German-occupied Prague and was performed by children at a Jewish Orphanage. The children and the composer were eventually transported to the Terezín concentration camp. In July 1943, the score of Brundibár was smuggled into camp, where it was re-orchestrated by Krása for the various instrumentalists who were available to play at that time. The premiere of the Terezín version took place on 23 September 1943 in the hall of the Magdeburg barracks. The opera eventually had over 50 performances at Terezín. Nearly all of the children who performed in the opera were deported to Auschwitz and perished in the gas chambers. Hans Krása met the same fate. The history of Brundibar is brutal, but the opera itself is a parable of hope and justice.
This performance will also include two movements from a song cycle called "I never saw another butterfly", composed by Charles Davidson, and inspired by the poems of the children of Terezin.
This special production is a collaboration with the Ojai Youth Opera and the Santa Barbara Youth Symphony.
Sung in English
Production Sponsors: Eve Bernstein, the George H. Griffiths and Olive J. Griffiths Foundation, Eva & Yoel Haller, the Poomer Fund for Anne Smith Towbes, Jim & Stephanie Sokolove, Eleanor VanCott, the Williams-Corbett Foundation and the Zegar Family Fund.
Kostis Protopapas
Kostis Protopapas was named General Director of Opera Santa Barbara in December 2017, after two-and-a-half seasons as Artistic Director.
During his time as Artistic Director and principal conductor, Kostis brought a unified vision to OSB's musical and production values, strengthening the orchestra and chorus, engaging some of the country's most promising young directors and singers, building a high-performing production team, and increasing focus on contemporary American opera. The result was productions of both familiar and new repertoire that are counted among the finest in the company's history.
As General Director, Kostis grew the company's staff from three to seven, assembling an enthusiastic group of overachievers sharing an appetite for innovation and the desire to strengthen the company's bond with the community.
During 2018-19, the company's 25th anniversary season, Kostis oversaw the sold-out Santa Barbara premiere of Tchaikovsky's Eugene Onegin and a production of The Crucible that the Santa Barbara Independent hailed as "one of the season's most exciting performances of any kind in Santa Barbara"; a 25th anniversary gala concert; and the company's first-ever student matinee performance as well as its first ever Youth camp.
Under Kostis' leadership Opera Santa Barbara saw the creation of the Santa Barbara Youth Opera, a program providing educational and performance opportunities for school-age children; the expansion of the company's Chrisman Studio program to a season-long residency for emerging artists; an impressive growth in the company's community engagement and educational activities throughout the Central Coast; and the runaway success of Operacurious, a new program that brings Young Professionals in Santa Barbara in contact with opera and its artists.
2016 saw the end of Kostis' 15-year association with Tulsa Opera, during which he conducted 30 productions of a diverse repertoire extending from popular classics to contemporary American works. About his 2011 Barber of Seville performances, Alex Ross of The New Yorker wrote, "Most impressive was the fluid idiomatic playing of the orchestra… In any city, it's rare to find a conductor that sets the right tempo so consistently that you stop noticing he's there."
Kostis has been an Assistant Conductor for the Lyric Opera of Chicago, LA Opera and Santa Fe Opera. At the Lyric Opera of Chicago, he also served as Assistant Chorus Master under Donald Palumbo for two seasons..
Born in Athens, Greece, Kostis Protopapas studied Archaeology and History of Art at the University of Athens before coming to the United States in 1993, on an Onassis Foundation scholarship, to study piano at The Boston Conservatory and conducting at Boston University. He became an American citizen in 2011. He loves living in Santa Barbara, and enjoys downtown restaurants, the Funk Zone's tasting rooms, and sailing on the Santa Barbara Channel.
Aninka and Pepícek, two little children, have a sick mother. The doctor has prescribed milk for her health, and they go to seek it in the town marketplace, but they have no money to purchase it. Three traders hawk their wares: an ice-cream man, a baker and a milkman. The children engage the milkman in song, but he tells them that they need money for milk. Suddenly the children spot the organ-grinder, Brundibár, playing on the street corner. Seeing his success, they decide to busk as well (and proceed to sing a song about geese), much to the annoyance of the townsfolk and Brundibár, who chase them away. Three animals – a sparrow, cat and dog – come to their aid, and together they recruit the other children of the neighbourhood in their plan. Night falls, the dawn comes, the children and animals begin morning exercises and the townsfolk get ready for the day. The plan goes ahead: the animals and children drown out Brundibár; they then join in a beautiful lullaby. The townsfolk are very moved and give Aninka and Pepí?ek money. Suddenly, Brundibár sneaks in and steals their takings. All the children and the animals give chase and recover the money. The opera concludes with a victory march sung about defeating the evil organ-grinder.
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Lobero Theatre33 E Canon Perdido StSanta Barbara, CA 93101


The picture is adorably perfect, making us fall in love with them once again.
Beach seems to be an ultimate New Year destination for Bollywood stars and taking the cue, actor Abhishek Bachchan too was seen celebrating the start of the year with actress-wife Aishwarya Rai Bachchan and daughter Aaradhya at an unknown beach from where he uploaded a picture to wish fans. The picture is adorably perfect, making us fall in love with them once again.
On the professional front, Aishwarya was last seen in the film Fanney Khan which could not perform well at the Box Office but the stellar cast including Rajkumar Rao, Anil Kapoor and Divya Dutt were lauded for their individual performances. As for Abhishek, the actor made quite some noise with his performance in the movie Manmarziyaan and now the husband-wife duo will be seen together after a long time for Anurag Kashyap's production Gulab Jamun.
Aishwarya had mentioned about her next film with Abhishek during Fanney Khan's promotions revealing for the first time that they will be seen together again. She had said, "AB (Abhishek Bachchan) and I have agreed to do Gulab Jamun. I told AB that he needs to decide what he wants to do after Manmarziyaan." The couple was last seen together in Mani Ratnam's Raavan. Gulab Jamun is expected to go on floors in January 2019.


SINGAPORE – ESET, a developer of award-winning cybersecurity software, recently commissioned a survey to understand consumer behaviours online and their attitudes towards cybersecurity in light of the recent cases of data compromises.
The ESET 2018 APAC Consumer Behaviour survey revealed that more than 1 in 3 (42%) Singaporeans had experienced a data breach in the past 12 months. These breaches range from personal data being stolen and used, fraudulent charges on bank accounts, social media breaches, malware breaches and the most prominent, virus attacks.
Singaporeans are increasingly possessing more connected devices and spending more time on the internet as a result. On average, 62% of Singaporeans are spending more than three hours a day on the internet. This could be due in part to various reasons including the number of connected devices they possess. On average, Singaporeans have at least two connected devices with Smart TVs being the most prevalent in Singaporean homes.  64% of respondents state they owned a smart TV, among other devices such as wearables, lights, fridges and more.
As consumers move towards the use and reliance of more digital devices and solutions, it is vital that consumers understand the cyber threat landscape, as well as the available cybersecurity solutions suited for their needs.
The survey also revealed gaps in understanding of basic cybersecurity protocols. Only 22% of respondents will check if a website is secure before making a transaction. The highest proportion of respondents (40%) state they would trust a familiar website despite familiar sites being a prime target for phishing.
The lack of need to check could be due to the perception that such websites are safe as the respondents believe that the highest source of cyber-attacks originates from social media (17%) and internet downloads (17%).
Password hygiene continues to be a key challenge as close to half (44%) of the respondents admitted that they use similar passwords over different platforms. Similar passwords across different platforms pose more significant threats, especially when the platforms they protect contain important information such as personal data and credit card information.
The survey polled 1000 respondents in Singapore, of which 43% were male and 57% were female. The bulk of respondents were aged between 35-44 years (27%), followed by a range of 18-24 (20%) years. The ESET Consumer Behaviour Survey was conducted in Singapore, Malaysia, Indonesia, India, Thailand, Hong Kong and Taiwan. The objective of the survey was to get a better understanding of the behaviour of consumers online, as well as the threats they are vulnerable to. It seeks to uncover what their thoughts were on data protection measures such as password strength and anti-virus solutions, considering the growing trend of owning and using constantly connected devices.


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text:
Q: Aggregate total Descendants using CTE MS SQL I have a very simple table in a Micrososft SQL 2008 R2 database called "Ancestry" of the form:

parentSearch  childSearch 1195784 1185596 1195787 1185596
  1195787   1195785 1195787 1195786 1195799 1185596
  1185596   1195785 1195785 1195786 1195786 1195776
  1195786   1195788 1195786 1195790 1195786 1195796
  1195786   1195798 1195785 1195786 1195786 1195776
  1195786   1195788 1195786 1195790 1195786 1195796
  1195786   1195798 1195786 1195776 1195786 1195788
  1195786   1195790 1195786 1195796 1195786 1195798

This is an ancestry table, with descendants at least four levels deep.  I have beat myself blue inthe face trying to write a CTE against this that will aggregate the total number of descendants for EACH parent, nom atter the level they are at.  A single child in this data can have multiple parents.

A: Try this:
with temp as
(
SELECT 1195784 as Parent, 1185596 as Child
UNION
SELECT 1195787, 1185596
UNION
SELECT 1195787, 1195785
UNION
SELECT 1195787, 1195786
UNION
SELECT 1195799, 1185596
UNION
SELECT 1185596, 1195785
UNION
SELECT 1195785, 1195786
UNION
SELECT 1195786, 1195776
UNION
SELECT 1195786, 1195788
UNION
SELECT 1195786, 1195790
UNION
SELECT 1195786, 1195796
UNION
SELECT 1195786, 1195798
UNION
SELECT 1195785, 1195786
UNION
SELECT 1195786, 1195776
UNION
SELECT 1195786, 1195788
UNION
SELECT 1195786, 1195790
UNION
SELECT 1195786, 1195796
UNION
SELECT 1195786, 1195798
UNION
SELECT 1195786, 1195776
UNION
SELECT 1195786, 1195788
UNION
SELECT 1195786, 1195790
UNION
SELECT 1195786, 1195796
UNION
SELECT 1195786, 1195798
),
agg as
(
        SELECT  parent, child
        FROM    temp
        UNION ALL
        SELECT  t.parent, t.Child
        FROM    agg
        JOIN    temp t
        ON      agg.child = t.parent
)

SELECT parent, COUNT(*)
FROM agg
GROUP BY parent

A: Try this:
WITH CTE AS
(
    SELECT *
    FROM Ancestry
    UNION ALL
    SELECT A.ParentSearch, B.ChildSearch
    FROM CTE A
    INNER JOIN Ancestry B
    ON A.ChildSearch = B.ParentSearch
)
SELECT ParentSearch, COUNT(*) Quant
FROM CTE
GROUP BY ParentSearch
ORDER BY ParentSearch
OPTION(MAXRECURSION 0)

redpajama_set_name: RedPajamaStackExchange


Hey guys! Welcome back to The Leadership Coaching Group podcast. I'm Liz Roney and this is episode #12!! Woo hoo!
Today I want to talk to you about the role of forgiveness in your life. Leadership often benefits from an amount of clemency whether at home or in the office.
I have worked with a few large organizations that require people to work together even after they have really bumped heads.
It's not uncommon to see people really struggle to move on from whatever painful experience they have endured and find enough peace to continue working together effectively.
What's worse, in my mind, is when people become so bitter towards one person that the negativity of un-forgiveness starts to bleed into their perception of groups of people instead of towards individual actions.
I think that it's been within the past few years that I've started to learn how to forgive in a genuine and absolving way. It's not easy. And forgiveness in and of itself does not make pain go away. And, just to set the stage appropriately, I have a LOT of work to do here. So much so, that my own personal pain is driving this topic. I'm an empath and when other people are hurt, I actually feel it. I won't pretend that when I feel I'm on the wrong end of a negative interaction that the pain doesn't feel just a little sharper though.
But why would I talk to a bunch of go-getters who are expressing intentionality toward their careers and their lives about something as squishy as forgiveness?
Well, because for one, it's not squishy. It's arduous and exacting before it's 2nd nature.
And also because we will always be working with people. At a minimum, that will include ourselves. More likely, and hopefully, it will include a wide array of people that play into your life on a bunch of different levels!
Working effectively with other humans is the bedrock of effective leadership. Understanding how to build teams with people that have harmonious connections, to delivering guidance and vision to those who depend on you, and ensuring your personal life is robust and your heart is full all require people skills. And whether they mean to or not, people have the ability to step on your toes and break your heart.
You learn. You let go of that instance. You forgive. And you move on.
If only those 4 steps were so simple though.
Let's unpack my approach to forgiveness. This isn't anything that's published or stuffed into a formalized study to prove its legitimacy. It's just me, talking to you. And yes this plays into my leadership philosophy. And a little life experience that might prove of some use to you.
Really challenging circumstances can be the very best learning opportunities. They challenge you to overcome something. Sometimes real, sometimes imagined. And it's an opportunity for the best or the worst of you to shine through.
Broken trust might be one of the more painful things to endure.
This is true in personal and professional settings, to be sure. And they are often very intertwined.
A few years ago, my mother became very ill. Not something that anyone in my family has ever dealt with or had to support before. So she kept it to herself.
She was immobilized with pain and struggled even to lift a glass of water to stay hydrated. Obviously eating was of no interest. Her body was under attack but in that awful time, she realized her identity was just as threatened. It dawned on her that she might not be able to go back to work. If this terrible thing that was causing her piercing and nearly intolerable pain didn't subside, there was no way she could return to the professional world she loved.
Interestingly, she reflects most now, not on her physical pain, but on the pain of losing her work. Her ability to interact with others as an authority. Her purpose.
But that pain, was a lesson in valuing health, reframing identity, leaning on family, and so many other things that may not have surfaced throughout the pain.
This story is meant to illustrate that we can learn through pain. There are nuances of oneself that shine through during pain. Sometimes it's unknown vulnerabilities, passions we are out of touch with, or simple truths that we have never been focused enough upon to get acquainted with.
But this isn't a story where someone had to forgive a work situation though, is it? Well, if you turn the page in the novel, the plot thickens.
It turns out my mother had a work-a-holic daughter at the time. Without being obtuse, I assume you can conjecture that that daughter is me.
I was working for that infamous company I was fired from at the time. Honestly, I didn't believe I could take the time off to go see what was going on with my mom. It's a weak excuse and I'm embarrassed to admit it. But, that was my naïve view.
After realizing the severity of the condition of my mom's health, prioritizing a toxic work environment, and then being fired from it not long after, I had to learn to forgive the man that not only approached me in a very inappropriate way but fired me in the same conversation.
Theoretically, there is no business sense in forgiving him.
In the short-term, I was traumatized. In the long run, that blemish has almost caused me problems.
The people you love come first. That's it. There's always another job, company, opportunity. Stop idolizing this one career.
Challenges are as big as you make them. I have this mark on my record. I was fired. But looking it in the eye, owning my share of the responsibility has totally freed me from assigning any weight to the matter. As you can tell, I'm very shy about speaking about it. More interestingly, by telling the highest level of executives and people of influence that I've interviewed to work with about it has left them unconcerned and almost more amenable to working with me. The fear of what that could mean has been disintegrated by reality and not bolstered by "what ifs". As a result, I'm empowered…and maybe a little more interesting.
Knowing your priorities are key. When I left that company, I knew I'd never work for an organization like that again. Why did it take a rough event like that to actually admit it? If I had listened to that still small voice had been telling me to leave for MONTHS, I would have avoided the entire mess. But, circumstances being what they are, I'm grateful for anything that helped me learn to focus on what matters.
Challenging yourself to being your best self is part of your life's work. Part of me would love to hate that man. I still don't believe he's a good human. But I know he's a human. In his mind, he must have thought what he was doing was good and right for some reason. You wouldn't hate a child for having a tantrum and this is no different. He lacked emotional, moral, and professional maturity. And without experiencing how damaging bad-managers can be, I wouldn't be doing the work I'm doing today. I had a choice to be dark or to be better. It was worth a bumpy road to actively and vocally make a stance on that topic. So instead of hate, I'm getting closer to feeling thanks towards this person. I'm also entirely okay if, eventually, that feels like burning coals upon his head.
Separately, there is always something to be learned in any experience. Even if trust is betrayed, someone seems to be attacking you, or whatever it may be. We have this one beautiful, complicated life. Each experience is a different flavor and why not grow from it? Elevate yourself and how you show up so that the next instance is one you navigate through with agility and grace because you have experience and wisdom. Those each take time to gain and time is something you're given every single day. I challenge you to LEARN to treat it like an asset.
It's so easy to tell a person to just let it go. To get over it. Whatever their "it" may be.
But actually dropping something, especially when you feel most vulnerable, can be wildly challenging.
In fact, what does it even mean to let something go? Is it as simple as just no longer talking about it? In your friend's minds that might be all there is to it, but in your mind, there's probably a little more work to do.
where she described the act of letting go as truly accepting reality and facing the cold hard facts of whatever situation you are in the middle of.
Immediately you might be thinking of a friend who can't handle the fact that they were dumped. They go through every "why aren't I enough", "what if I changed", "that person is such a monster", etc. etc. But the facts are simple: the person you were dating didn't want to be with you. That's it. That's all you know for sure. And it hurts!! So very much. But there really isn't anything else to concern yourself with because that is the state you are in and it's time to stop making it more complicated. I do believe in taking a little time to grieve. But once you have, it's important to realize that you are investing energy in something that is going to hold you down when your job is to move forward.
Why do we have a tendency to hold on to pain and sometimes to trivial matters?
on his website that says that people struggle to let go because people have a need for certainty. The unknown space of moving on can be scary, even when it's in our own best interest. Instead, we cling to the past, toxic as it may be, because it's familiar and we have more certainty about it.
I was taken aback and asked if she was accustomed to this leader yelling at her, specifically?
The answer was no…but apparently, in a meeting about 5 years ago where they had come together to work a similar problem, he did yell at her, which was inappropriate, but it was also largely inconsequential and exclusive to that one instance.
This leader now had new responsibilities that gave him more of a global perspective of the organization. He also was under new management. And I happen to know he was doing some self-improvement work to improve his interpersonal communication.
What the woman expressed to me was fear. But deeper than that was a need to let go of the one interaction.
In the Tony Robins article, the authors suggest that you ask yourself why it matters to let go of whatever past experience you're working through. I love this. Why does it matter for you to move on from your past relationship? Why does it matter that you forgive your coworker for messing up one time?
In this case, it was effecting the woman I mentioned by not letting go of her one experience with the leader she thought might yell. She did not participate in the entire meeting we were all sitting in on. As a result, he thought she was no longer a value add and asked her manager to evaluate whether or not she should still have a role within the organization. She, on the other hand, was hoarding information, which kept the working group from actually solving the problem they all were gathered to fix.
So why would it matter for this person to let go of her past experience? Well for one, it put her entire job in jeopardy. For two, she was threatening the completion of the mission her company was working towards. With consequences THAT heavy, I'd say moving on is worth it.
That's a powerful takeaway to consider. Think about the hidden costs of not letting go of your past trials. Then think about the benefits you could reap if you did. Being overcome by this much logic, it's hard to do anything except let go.
Once you've let your hurts go, the next step is to take the next step. You have to move forward.
The great thing is that you have responsibility for your role in your life. If something really seems off, you have the choice to change your environment or to deal with it. If you chose to deal with it though, remember, there is still some burden that will stay with you.
Lao Tzu once said, "someone must risk returning injury with kindness, or hostility will never turn to good will." Returning injury with kindness is a step, and in many circumstances, a very commendable one at that.
What it comes down to is intentionality. What do you really want to achieve in your relationships, your work, and your life?
I teach people about the importance of building a leadership philosophy. The reason for that is that I think it's vital to have a definiteness of purpose.
So when you are in a loop of repetition, such as one of unforgiveness, you can look at what results your thoughts and actions are breeding and know if you are showing up as the person you intend to be. The person that can fulfil the purpose you are focusing on.
Okay guys, that's all for today.
If you need help working through this or any other leadership topic, feel free to email me at liz@theleadershipcoachinggroup.com. If you found this helpful, please consider leaving a review for the podcast on iTunes.


There are a lot of arguments in favour of remodelling a home, even though there's no question taking on a major remodel can be a daunting task. A well planned and executed remodel can, however, help a homeowner finally achieve the home of their dreams, with all the special amenities that have long been dreamed of. A great remodel can bring an owner a great home without having to give up a great neighbourhood, and with a low interest home loan, it can also be a way to get a "new" house for a great price, as long as the project is carefully planned and budgeted.
A home remodel is not a plan to be entered into lightly, however. There are many myths and misconceptions about home renovations which should be addressed before embarking on a major remodel. Here are a few of the key myths that can fool home renovators every time.
1. A Home Renovation is a "Do It Yourself" Project.
While some people are great at tackling minor do it yourself projects, home renovations can involve major reconstruction, plumbing and electrical work that is best left to the professionals. Shoddy and amateurish work costs more in the long run.
2. A Low Bid is the Best Bid.
Don't be fooled by a super low bid. Take a careful look at the contractor's experience and finished work. It's better to pay a bit more for better quality, rather than having to redo work later.
3. It's Okay To Let Inspiration Take Over During The Renovation.
While that all sounds very romantic and exciting, the truth is you need to put your inspiration into the planning phase of your job. Get a good design plan set at the beginning, and use it as a roadmap. Getting inspired and changing course after building has begun is risky and can be very expensive.
4. It's Easy To Judge Construction Materials by Their Appearance.
This is a big misconception. Just because materials, like tile or lumber, look the same, it's important to take a closer look. Cheaper materials may be cheaper because they are less durable. Ultimately, you're paying more for products that last.
No, taking on a home renovation is much more than a fun do it yourself project. It can be difficult and expensive, but with careful planning and professional help, it can be incredibly rewarding.


"A Summer Blizzard" played to rather poor business at the Lansing last night. The company possesses two very clever dancers in the Nichols sisters and a Hercules jr. who can neither act, sing nor dance in Henry Putman . H. W. Murphy did the crushed tragedian with a silent and impressive dignity which suggested the melancholy Dane and was a restful contrast to the loud-mouthed, full-fisted methods of the rest of the company. His thin and flowing locks, his chin, blue-black from constant shaving, recalled the Shakespearian actor all too forcibly. He was a Thespian to the finger tips, which were constantly appearing through his shabby gloves. In the last act Barnaby Reynolds did some clever imitations. That is a complete and charitable invoice of the good attributes of the company. An itemized account of its failings would be longer and more tedious.
"The Summer Blizzard" is the work of a man who believes that a company and a little scenery and considerable nerve are the only requisites for a play. If there is any evil in the Hoyt school of farce it is that the opinion has gone abroad that a little horse play and half a dozen songs are all a play really needs. The play is loosely written and coarsely acted. There is not a man in the company who is not knocked down in the first act and kickeddown stairs in the second.
The comedy is all of a crude, clownish sort that hinges on sounding blows and the physical degradation of the actors. It is a pity, for the most of them seem to be bright young people and deserve a better play. This one could only run successfully in Zululand or the Cherokee strip or among the cannibals of the upper Congo.
Miss Clara M. Richardson entertained a company of about two hundred of her friends with a song recital in the parlors of the Windsor last evening. She was assisted by Mrs. Will Owen Jones in two piano numbers and by Miss Marie Hoover , accompanist. The leading musicians of the city were present, together with the best-known lovers and patrons of music. Their appreciation of the program was expressed in unmistakably hearty applause and by many compliments showered upon the performers in the social hour following the recital.
Miss Richardson sang Donizetti's "La Zingara," Ehlert's "By the Beehive," "Solveig's Song," by Grieg ; "Salve Regina," by Dana ; Handel's "Let the Bright Seraphim," Neidlinger's "Robin" and "Spring Song" and the polacca from "Esmeralda;" by A. G. Thomas . This attractive program was lengthened by two encore pieces, the familiar "I've Something Sweet to Tell You," and a charming souvenir of country life, "The Wooing," by Martinus Sieveking . Miss Richardson has a fine high soprana voice, fresh and brilliant. Her style of singing has broadened since her last recital. The Handel number gave evidence of high ambition and ability to make its gratification possible and pleasurable. Her voice and manner also fit her for ballad singing. There was a wide range in her program, but she proved herself equal to all its exacting requirements.
Miss Richardson had the advantage of a sympathetic accompanist. This difficult work was performed admirably by Miss Hoover.
The piano numbers by Mrs. Will Owen Jones were Liszt's "Tarantelle" and a group of dainty things, "Morgenstimmung," by Grieg, "Krakowiak," by Paderewski , and "Eglogue," by Raff . "Gay Butterflies," by Louis Gregh , was added in response to an encore. Her playing was characterized by a fine appreciation of the poetry in the music and a marked delicacy of touch.
"A Summer Blizzard": Neither the New York Times drama review index nor Odell's Annals of the New York Stage notes a play of this name appearing in New York, although the Times records a performance in Philadelphia in September 1894.
Cather reviewed the play on December 5, 1894.
Lansing Theatre: The Lansing Theater, on the southwest corner of 13th and P Streets, was built in 1891, displacing the Funke Opera House as the largest and finest theater in Lincoln. The owners were J.F. Lansing (b. 1842), a Lincoln real estate man, and his brother-in-law Henry Oliver (b. 1857); Edward A. Church was the manager. According to the program of the opening week (November 23-28, 1891) the auditorium consisted of the orchestra and parquet seating on the main level, with dress circle at the rear and sides; three tiers of five boxes each and six loges were at the sides. Above were the balcony and the gallery. With standing room, about 2500 people could be present.
The building also housed offices, including that of Cather's friend and fellow reviewer, Dr. Julius H. Tyndale. It was renamed the Oliver Theater in 1898.
The Oliver Theater, Lincoln, Nebraska. The theater was originally named The Lansing Theater.
the Nichols sisters: The New York Times noted that Lulu and Mabel Nichols "blacken their faces and appear as very frank darky girls" in Hendrik Hudson (20 March 1894); Odell notes their appearance in blackface in vaudeville in June 1894 (XV 608), and they continued to appear in vaudeville in the early years of the twentieth century. Sheet music for an 1897 song, "Mr. Morton, Stop Your Courtin'" noted that it was sung by the Nichols sisters.
Hercules jr.: Hercules junior was a generic term for a strong man, or someone of such pretensions, after the hero Hercules of classical mythology.
Henry Putnam: Neither the New York Times drama review index nor Odell's Annals of the New York Stage notes an actor of this name appearing in New York.
H. W. Murphy: Neither the New York Times drama review index nor Odell's Annals of the New York Stage notes an actor of this name appearing in New York.
the melancholy Dane: Hamlet, prince of Denmark.
Barnaby Reynolds: Possibly the Barney Reynolds who appeared both in variety and vaudeville shows and in such plays as The Hustler (1891 and 1892), Fatherland (1892), and Chimmie Fadden (1896).
Charles Hoyt: Charles Hoyt (1860-1900) was born in New Hampshire, moved west to a cattle ranch in Colorado, became a newspaperman, then wrote his first play and had it produced in 1883; he became one of the most successful producer-playwrights by the late 1880s, perfecting the style of Broadway musical in which a farcical, light-hearted plot gives opportunities for songs and specialty features.
Hoyt school of farce: Hoyt's plays, and their imitators, were comedies with very loose, though sometimes complicated, plots interspersed with songs, dances, and specialty numbers.
Zululand: The Zulu king Shaka (d. 1828) established a great kingdom in southeastern Africa. His successors resisted attempts at conquest by the Boers, and were at first able to resist the British in the Anglo-Zulu war of 1879. However, by 1887 Zululand had been annexed by the British, becoming part of Natal in 1897.
Cherokee strip: The Cherokee Strip in Oklahoma was an area 226 miles long (east to west) and 58 miles wide, originally given to the Cherokee tribe when they were forced from Georgia to northeastern Oklahoma; it was known as the Cherokee Outlet, as the Cherokee were allowed to cross it to their hunting grounds further west. In 1866, the US government forced the Cherokees to sell tracts of the land to other Native American tribes. In 1893 the area was opened to white settlement, precipitating the last great land rush, as 100,000 people gathered to lay claim to 42,000 parcels of land.
upper Congo: The great Congo River of central Africa was the last to be explored by Europeans; a series of falls surrounded by impassable terrain for more than 200 miles prevented explorers from approaching from the river's mouth on the west coast. In 1867, Henry Stanley, coming overland from the east, found missionary Dr. Livingstone exploring a river which turned out to be the upper Congo, above the falls. However, there was little European interest in the area until the late 1870s, when Leopold, King of the Belgians, decided to claim the area by means of a front company in which he was the sole shareholder. His ruthless exploitation of the resources and people of the area became notorious.
Miss Clara M. Richardson: The 1892 Lincoln city directory lists a Miss C. M. Richardson, whose residence was the Windsor Hotel, the proprietor of which was F. G. Richardson, presumably her father.
the Windsor: The three-story Windsor Hotel in Lincoln, Nebraska, was built in 1884 by T.F. Barnes on the southeast corner of 11th and Q Streets. It was one of the larger hotels in the city, accommodating about two hundred guests. F. G. Richardson was the proprietor in the early 1890s.
Image available at the Memorial On-Line Library of Historical Publications.
Mrs. Will Owen Jones: Edith Doolittle, who attended classes at the University of Nebraska, married classmate Will Owen Jones (class of 1886). She was an accomplished pianist who performed at many public functions in Lincoln.
Marie Hoover: The 1894 and 1895 Lincoln city directories show that Marie Hoover taught at the Lincoln College of Music and the Nebraska Conservatory of Music, and lived with her father, William H. Hoover, at 1336 L St. The 1900 census for Lincoln records that music teacher Marie Hoover was born in Nebraska in December 1871 to Ohio-born parents, while the 1880 census shows a 12 year old Nebraska-born Mary Hoover living in Brownville, Nebraska, with her parents, Ohio-born William and Harriett Hoover.
Donizetti: Italian composer Gaetano Donizetti (1798-1848) was born in Bergamo and studied under Johann Simon Mayr, who recognized his talent early. His first opera was performed with some success in 1818, but he began to be well-known with the production of La Zingara in Naples in 1822, eventually establishing himself as the successor to Rossini and Bellini. He composed more than sixty operas as well as songs, chamber music, and church music. L'elisir d'amour (1832) is his most famous comic opera, Lucia di Lammermoor (1835) his most famous tragic opera.
"La Zingara": Donizetti composed an "arietta" with words by C. Guaita, called "La Zingara" ("The Gypsy Girl") for solo voice and piano.
In Donizetti's two-act opera, La Zingara (1822), the gypsy girl Argilla uses her opportunities as a fortune teller to save the life of the imprisoned Duke of Alziras, bring the lovers Ines and Fernando together, and free Don Sebastian—who turns out to be her father—from imprisonment. The soprano aria, "Fra l'erbe cosparse" is one of the more popular songs from the opera, which mixes spoken dialogue and musical numbers; the mezzo-soprano Argilla also has several arias.
Ehlert: German composer Louis Ehlert (1825-1884) was also an influential teacher and critic who recognized and promoted the work of Brahms and Dvorak.
"By the Beehive": "By the Beehive" is an art song (lied) by Louis Ehlert.
Solveig: Probably one of Edvard Grieg's best-known works, "Solveigs sang" (also known as "Solvejg's Lied"), is from his Peer Gynt suite, no. 2, based on a text by Ibsen. It was first published in 1874-5 and revised in 1892 (op. 23, no.19). The song begins:The winter may pass and the spring disappear,The summer too will vanish, and then the year;But this I know for certain: that you'll come back again,And even as I promised you'll find me waiting then.
Less often performed is "Solveigs vuggevise" (op. 23, no. 26).
Edward Grieg: Edvard Grieg (1843-1907) was born in Bergen, Norway. A holiday in the mountains of Norway as a youth had a powerful effect on him, both in the folk music he heard and the landscape itself. The great violinist Ole Bull helped him enter the Leipzig Conservatorium in 1858; on his return to Norway he was influenced by Richard Nordraak and the idea of developing a national music. He became the best-known of Norwegian composers. Many of his compositions were songs, and his orchestral and piano works also have lyrical qualities.
"Salve Regina": The Salve Regina is one of four hymns to the Virgin Mary sung in the medieval Latin mass; the words were traditionally attributed to St. Bernard of Clairvaux in the twelfth century, but are now thought to have been composed by Hermann Contractus. It begins:	Hail, holy Queen, Mother of Mercy,	our life, our sweetness and our hope.	To thee do we cry, poor banished children of Eve;	to thee do we send up our sighs,	mourning and weeping in this vale of tears.
At a performance of this piece at a concert of American music in 1891, the New York Times reviewer said, "There are no words at hand to express the disgust which C. Henshaw Dana's 'Salve Regina' inspired. It was a pitiable exhibition of puerile incompetency" (24 February 1891).
Dana: American composer C. Henshaw Dana (1846-1883) studied abroad for many years, and composed both songs and church music; he died of heart disease at his home in Massachusetts.
Handel: Composer George Frideric Handel (1685-1759) was born in Saxony, and showed his musical talents at an early age. His first two operas (of more than fifty written in his life) were produced in 1705, when he was twenty; when opera was banned locally, he turned to composing sacred music and oratorios. In 1710 he became Kapellmeister to Elector George of Hanover, soon to be King of England; Handel settled in England in 1712 and became a British subject in 1726, and was associated with the Royal Academy of Music, the Royal Opera House, and the royal court, for which his Water Music and Fireworks Music were composed. When he died he was given a state funeral and was buried in Westminster Abbey. Handel's operas lost favor in the nineteenth century, but his sacred oratorios, the most famous of which is the Messiah (1742), were often performed by both amateur and professional choruses.
"Let the Bright Seraphim": In Handel's oratorio, Samson (1743), Samson's funeral pageant is followed by an exultant aria for trumpet and voice, "Let the Bright Seraphim." The words were taken from Milton's ode, "At a Solemn Musick:"	Let the bright seraphim in burning row,	Their loud, uplifted angel trumpets blow.	Let the cherubic host, in tuneful choirs,	Touch their immortal harps with golden wires.
Neidlinger: American composer William Harold Neidlinger (1863-1924) was born in Brooklyn; he became a student of organist Dudley Buck and later taught in the music department at the Brooklyn Institute of Arts and Sciences. He composed the music to an opera, Ulysses (1898), set Walt Whitman's poem, "Memories of Lincoln," to music, and composed the Christmas hymn, "The Birthday of a King" (1890), and southern dialect songs such as "Sweet Miss Mary" (1906), as well as more serious music such as the hymn "Spirit of God" and the cantata, Prayer, Praise, and Promise.
"Robin": "Robin" is a song with words by Oley Speaks and music by W. H. Neidlinger.
"Spring Song": W. H. Neidlinger wrote both the words and music to "Song of Spring."
polacca: A polacca is a form of the Polish dance, the polonaise; this may be Esmeralda's song at the end of the first act of Goring Thomas's opera Esmeralda (1883).
"Esmeralda": The four-act opera Esmeralda was first produced in London in 1883, and had its first performance in the United States in 1900. The story is that of Victor Hugo's hunchback of Notre Dame.
A. G. Thomas: British composer Arthur Goring Thomas (1850-1892) studied in France and then at the Royal Academy of Music in London. He wrote two operas, Esmeralda (1883) and Nadesda (1885) and left a third unfinished at his death. He was best known for the art song, "The Swan and the Skylark" (1894).
"I've Something Sweet to Tell You": "I've Something Sweet to Tell You" was the title of songs by several mid-nineteenth century composers to lyrics by Frances Osgood. However, in the 1890s it was one of the best-known songs by British composer Eaton Faning (b. 1850).
"The Wooing": "The Wooing" was a song by pianist and composer Martinus Sieveking.
Mr. Martinus Sieveking: Dutch composer and pianist Martinus Sieveking (1867-1950) was born in Amsterdam, where he studied with composer Julius Röntgen. He was a prolific composer, though many of his pieces are described as "salon music." However, he was also a talented arranger: many of his versions of Chopin's music are still standard. Sieveking taught at the conservatory of music in Lincoln from 1893-95, and toured America in 1895-96, performing at Carnegie Hall in New York. A tall, handsome man, he became a close friend of the famous strongman, Eugen Sandow (1867-1925), developing his body according to Sandow's principles. In the first quarter of the twentieth century, Sieveking taught piano in New York and composed and performed music for player piano companies. He died in Pasadena, California.
Liszt: Composer and pianist Franz Liszt (1811-1886) was born in Hungary, of parents of German and Austrian descent. He began to play the piano at the age of six and soon showed himself to be a prodigy, making his first public performance at the age of nine. He studied under Beethoven's pupil, Carl Czerny, in Vienna; legend says that when Liszt played for Beethoven himself in 1823, the composer congratulated him and kissed him on the forehead. Liszt had a brilliant career as a virtuoso pianist, but retired from performing in 1847 to devote himself to teaching and composing. As both teacher and composer, he was one of the major influences on nineteenth century music.
Liszt's younger daughter, Cosima (1837-1930) married composer Richard Wagner.
"Tarantelle": Franz Liszt's "Tarantella," (a rapid dance from southern Italy in 6/8 or 3/4 time), was No. 3 of the "Venezia e Napoli" set in his suite, Années de Pélerinage, Second Year: Italy (1859).
"Morgenstimmung": Edvard Grieg's Morgenstimmung ("Morning-mood") is from the Peer Gynt Suite, No. 1, Op. 46.
"Krakowiak": Ignacy Paderewski wrote several krakowiaks for piano, based on a lively Polish folk dance in 2/4 time. There are two (No. 1 in E major, No. 3 in B flat) in Danses polonaises, op. 5, two more in Danses polonaises, op. 9 (No. 1 in F and No. 5 in A), both composed in the early 1880s, and a "Cravovienne fantastique," No. 5 in Humoresques de concert, op. 14, composed c. 1887-88.
Paderewski: Ignacy Jan Paderewski (1860-1941), with his long red hair and commanding presence, became the type of the virtuoso pianist. His New York debut was in 1890, and he toured North America almost annually thereafter.
"Eglogue": Joachim Raff published five eglogues in his op. 105, no. 3 (1865).
Raff: German-Swiss composer Joseph Joachim Raff (1822-1882) showed early musical talent; he received a gymnasium education but was essentially self-taught musically. An early attempt to make a living as a composer bankrupted him, but encouragement by Mendelssohn and Liszt, and practical help from Liszt in finding jobs in the music industry—hack work like orchestrating waltzes by the hour—helped him make a better second start. In 1863 one of his compositions was awarded first prize in a Viennese musical competition, and thereafter he became a well-known, even popular composer, considered the equal of Brahms and Wagner. In 1877 he became director and professor of composition at The Conservatoire in Frankfort; there he taught and encouraged many younger musicians, including the American composer Edward MacDowell.
"Gay Butterflies": "Les Joyeux papillons" (1877) was a "capriccio for piano" by Louis Gregh.
Louis Gregh: French composer Louis Gregh (1843-1915) was born in what is now Algeria. He was a prolific composer of keyboard music for one, two, or three players, as well as songs and orchestral compositions, including ballets and operettas such as Un Lycée de jeunes filles (1881) and Le Capitaine Roland (1895). Gregh also began a music publishing business about 1876.


Since the 1970s, the Super Bowl has been known as the granddaddy of all TV advertising opportunities, with companies ponying up huge bucks and devising elaborate and outrageous ads designed to stick in consumers' heads long after they air. Increasingly, advertisers are seeing the Super Bowl as the granddaddy of all advertising opportunities on all channels, and tweaking ad design accordingly.
According to 1-to-1 Media, this year's Super Bowl advertisers will use geolocation, social media and near-real-time content to extend the reach and value of ads beyond TV. For example, while close to 25 percent of Super Bowl ads in 2012 did not feature any kind of social media crossover (such as Twitter hashtag, QR code, etc.), that percentage is expected to be substantially smaller this year.
And some advertisers are expected to bring location-based services, such as sending targeted offers to consumers based on their geography, to their Super Bowl ads this year. In addition, 1-to-1 Media predicts some advertisers may try to build content around important plays shortly after they happen, citing an AT&T campaign during the 2012 Olympics that featured a gold medal performance from US swimmer Ryan Lochte moments after it happened.
Partially as a result of social media conversations that pop up throughout the Super Bowl and partially as a result of the Super Bowl losing its historic status as a dull, blowout game, advertisers are less resistant to running ads late in the game than they used to be. Although ads still get cheaper as the game progresses, AdAge reports in both the 2010 and 2011 Super Bowls, the most-watched ads occurred in the second half of the game.
This year, Allstate and Coca-Cola are even running big ads right after the game ends. Coke's ad will include an ending chosen by viewers via social media during the game, demonstrating how social media and gamification are shifting the traditional rules of buying ads during sporting events which say the earlier, the better.
Is the Money Well Spent?
Yahoo Finance reports Super Bowl ads will cost close to US$ 4 million for a 30-second spot this year. That begs the question of whether the expense is worth it. The answer appears to be "usually." About 111 million people are expected to watch this year.
And although more than 40 percent of the dotcom companies that advertised during the legendary "Dotcom Bowl" in 2000 were bankrupt within a year, the collapse of tech stock prices probably had more to do with it than one-time ad expenditures. Yahoo Finance also cites two struggling dotcom companies that experienced enough of a post-Super Bowl ad lift to turn their businesses around -- E-Trade in 2008 and CareerBuilder.com in 2011.
According to SearchEngineWatch, companies that run Super Bowl ads experience a 20 percent jump in site visits during Super Bowl Sunday and continue getting increased site traffic for about a week, further indicating the cross-channel value of Super Bowl ads.
An article in the Washington Post reminds advertisers that a winning cross-channel Super Bowl ad needs more than slick production values and a few cheap laughs to go viral and obtain the full benefits of cross-channel exposure.
Will any of this year's Super Bowl ads dig into something hidden inside the consumer psyche, or will they simply offer the typical collection of buffoonish dudes, hot girls and unusually intelligent animals advertisers think appeal to the all important 18-to-35 male demographic.
A recent CMSWire article about Super Bowl ads noted the importance of mobile video to modern TV advertising. Adobe Digital Index data predicts that mobile video viewing will approximately double on Super Bowl Sunday as it does for other major sporting events, on both tablets and smartphones.
This kind of traffic, Adobe said, raises the question of whether marketers should supplement their Super Bowl ad spend with online video directed toward mobile devices, or, if they can't afford the US$ 3.8 million-per-30 seconds price tag of Super Bowl airtime, possibly use digital marketing instead.
The big bucks companies spend to air TV ads during the Super Bowl appear to still be money well-spent (though not always), but as sports content continues to spread across different channels and devices, the value (and therefore price) of having a 30-second TV ad may diminish in the near future.


Class Trips: Often teachers like to enhance what is being learned in the classroom with class trips for their students. Class trips are not required, but provide program enrichment opportunities and a wide range of experiences for our students. Nowadays, school bus charters and entrance fees to facilities can be quite expensive. These trips cannot be possible without parents willing to volunteer their time to help supervise students. Parents wishing to do so much have successfully completed the Child Abuse Register search and a Criminal Records check. Parent chaperones are expected to give their full attention to the supervision of students, under the direction of teachers. That is the first priority; ensuring the safety and well-being of our students. If adequate supervision cannot be provided due to a lack of parents volunteering to chaperone, then, unfortunately, class trips will be cancelled. We need your support to ensure this does not happen.


Janet Marinelli » Blog Archive » Carbon Neutral Landscapes?
« Will the White House Plant a Row for the Hungry?
This entry was posted on Saturday, March 21st, 2009 at 8:58 am and is filed under Food for Thought, Sustainable Design. You can follow any responses to this entry through the RSS 2.0 feed. Responses are currently closed, but you can trackback from your own site.


The life changing herb Vitex has been used for generations in India and Europe and is the angel herb for calming and balancing hormonal problems in women and those teens, male or female who are prone to acne. Barely a day goes by when we are not offering Vitex.
Vitex, also known as Vitex Agnes Castus or Chaste Tree, helps relieve premenstrual symptoms such as nervous tension, moodiness, bloating, fluid retention and breast pain collectively known as PMT or the far more disturbing PMMD. Those who experience PMDD are often unable to function at their normal capacity while symptoms are present and need a broad naturopathic approach to balancing their hormones and general health.
By regulating the menstrual cycle, an increase in the happy hormone dopamine occurs which has a positive effect on the hormonal system and may induce a better quality of sleep.
Historically the dose was administered each morning as a tea, tincture and more recently in tablet form. However recent advice suggests any time during the day is useful. However, a morning and evening dose of Vitex may have a positive effect on sleep.
For a more thorough explanation here is a quote from the Materia Medica of Western Herbs by Carole Fisher.
A selection of other supplements that assist women in general include – Magnesium, Vitamin B Complex and specifically Vitamin B6 – (also useful for women prone to nausea in pregnancy), essential fatty acids, zinc and more. Come and talk to our naturopath Bridget, she will get you back feeling on top of the world. And as always if symptoms persist, consult your healthcare professional.


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Pastels event colors downtown Loveland (slideshow)
By Shelley Widhalm |
September 15, 2014 at 9:42 a.m.
LOVELAND — Walking down Fifth Street once again is a colorful experience thanks to the handiwork of local artists painting in the sidewalk squares.
They used paintbrushes, their hands, water and biodegradable chalk to turn the sidewalks in front of the Loveland Museum/Gallery into a gallery of chalk art of animals, people and designs.
This year, artists, students and art teachers filled in more than 100 sidewalk squares as the public watched them at work, each square or set of squares sponsored by businesses, churches and nonprofits to support Alternatives to Violence in Loveland. Alternatives to Violence provides 24-hour crisis intervention, emergency services, child and adult therapy, and a transitional living center and is at work at building a safehouse.
Minnie Lippaitt of Loveland, who normally works out of her home studio, set up shop directly south of the museum to chalk in a square sponsored by the city of Loveland. She drew a red heart against a blue sky with butterflies floating along the swoop of the heart line.
To fill in her canvas, Lippaitt used images of butterflies she found online to provide a reference point for her drawing.
"They're not accurate. They give you some colors," Lippaitt said.
Lippaitt, who worked with the help of her partner, Mary Lortt, drew in the basic shapes and colors of the butterflies and then added in the details. She used water for the base layer to spread the chalk, knowing from participating last year that dry chalk is good for the detail work and wet chalk for the larger sections of color.
"The dry chalk tends to get all over the place," Lippaitt said. "It just stays in one spot. It doesn't fill in the sidewalk very well."
Fort Collins resident Melissa Robinson drew an image of the front of an elephant in grays and browns with butterfly wings coming out of its sides in vibrant reds, oranges and purples. She used her hands and a few paintbrushes to create layers and shadows.
"I love how free it is, and how you can move it so easily and how much layering you can do," said Robinson, who works in ceramic arts and teaches art at Thompson Valley High School.
Staci Schmidt of Fort Collins wanted to incorporate the theme of love with owls, a bird her boyfriend loves, so she found a photograph of two owls snuggling on a tree branch to draw during her first year as a sidewalk chalk artist. A peer of hers recommended she get the pavement wet for the first layer to essentially create a paint-like substance, she said.
Schmidt used the wet chalk for layering and dry chalk on top for the detail.
"I kept layering," said Schmidt, who teaches art at two Thompson School District elementary schools. "I brushed and blended it together and kept adding water. … I'm finishing with dry on top to get the rough texture."
With water, Schmidt can create smooth lines, but with dry chalk, she can get "speckles," she said.
"It hits the texture and stays," she said.
For Windsor mixed media artist Carrie Perkins, using mostly dry chalk works best to get the depth she wants.
Perkins drew a portrait of a woman with half of her face in shadow, except for her blue eyes and a blue butterfly above her cheekbone. Her work was sponsored by Divorce Care at Crossroads, so she wanted to show how there can be color in something as black and white as divorce.
"When you think of divorce, you want to find hope in the situation," Perkins said. "There's light at the end of the tunnel."
When Perkins works, she tries to find the depth in her subject, captured through lights and darks and the medium she uses, she said.
"That perfect line, that perfect shadow can create the whole picture," Perkins said.
Perkins likes working in chalk, she said.
"It gives you the freedom to be loose and do whatever you want. There's no control," she said.
Contact Reporter-Herald Staff Writer Shelley Widhalm at 970-669-5050 or swidhalm@reporter-herald.com. Follow her at twitter.com/ShelleyWidhalm.
Shelley Widhalm
Shelley Widhalm is a freelance writer and editor and founder of Shell's Ink Services, a writing and editing service based in Loveland. She has more than 15 years of experience in communications and holds a master's degree in English from Colorado State University. She can be reached at shellsinkservices.com or shellsinkservices@gmail.com.
Trivially Speaking: 'Back in the saddle' and getting out again
Loveland Community Briefs for Jan. 28

redpajama_set_name: RedPajamaCommonCrawl


Insightful agronomists have long seen a correlation between soil deficiencies and specific weeds appearing. Neal Kinsey draws on his own experience with diverse crops from around the world to illustrate connections between weeds and soil fertility. With weeds consistently ranked farmers' top problem, consider this added element as part of the weed control equation. Neal Kinsey is the world's foremost trainer and practitioner of CEC-based soil fertility management as first espoused by Prof. William Albrecht.
(1 hour, 11 minutes, 45 seconds) Recorded at the 2016 Acres U.S.A. Conference, Omaha, Nebraska, Thursday, December 1, 2016.


Feel confident when you buy with Chorley Group, all our cars are included with warranty to give you peace of mind. Warranties are automatically included on all vehicles, with the option to extend the length of coverage.
All our cars come with a either a manufacturer backed warranty or through a 3rd party company. Warranties ensure coverage of your vehicle against any manufacturing defects for free of charge. Including repairing or replacement of faulty components. Warranty ages vary, but all can be extended if you wish to cover your vehicle into the future.
Used cars under 7 years old/60,000 miles come with either a manufacturer backed warranty or our own 12 month used car Warranty. Manufacture Used Car warranties often come with their own set a benefits (see more detail on the links below).
Our standard 12 month warranty comes with all our used cars (under 7 years old/mileage under 60,000 ) not included on a manufacturer scheme (listed below). Extended warranties are available up to 24 months.
Manufacturer warranties for new and used warranties each have different length, terms and benefits. New car warranties usually cover 3-7 years whilst used car warranties are shortly with 12-24 month warranties.


This is Lofty. He is a beautiful, 16 month old Lab. He is housetrained, friendly, playful, loves toys, likes to go for walks and has been an only dog. Not much experience with other dogs, no experience with children. He fractured his elbow at 4-1/2 months. His family did the surgery to repair it. Lofty is looking for a loving home.


Have you sent us your essay about Being 30+? Today starts the 1st Round of Editing! Send yours before July 1st!
I am pleased to announce that TODAY we are sending the first batch of essays to our editors! My heart is racing!
I would like to thank Laura Abréu, Carole Dufour, María Delgado, Sabrina Sinclair, Anya Piña, Sky Sterling, Carla Ponce, Susie Dantzig, Yahaira Sosa, Libby Creagh, Patricia Cedeño, Ivy Rueda, Yosely Cedano, Gladybell Bruno, Sonya Stoa, Laura Barboza, Zania Sala, Carolina Santurian, Johanna Salazar, Tuti Loor, Manuela Frencia, Yarimar Uribe, Igmar Uribe, Mar Simo, Joline Matika, Veronica Barrios-Garcia and that beloved friend who decided to contribute anonymously for believing in this project, for trusting me and for sharing your most personal feelings with me and the readers of "Now That I Am in My 30s". I am so grateful and proud of what we are doing together!
"Now That I Am in My 30s" would love to hear your story about turning 30, being 30+, and what matters most for you now!
We will be accepting drafts until July 1st!
Please share this post with all your friends around the world! We want to hear stories from Africa, America, Asia, Australia, and Europe!
Can't wait to read your essay!


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Noor Salman Trial: Pulse Nightclub Shooter's Father Was FBI Informant For Ten Years [VIDEO]
Emotion-Driven Rhetoric Makes Bad Public Policy [VIDEO]
After #FaceBookDataLeaks, the Media Would Like to Know If We Trust Mark Zuckerberg
by Marta Hernandez in politics 5 Comments
A buddy of mine made an interesting observation today. "That Emma Gonzalez must drink a crapload of water," he quipped, "because she cries crocodile tears on command, and the waterworks are significant." He's right. Gonzalez uses her tears to her marketing advantage. The most significant thing she seems to have learned from her insta-fame is that it's driven by tears, by emotion, and by heartwrenching pleas from children to do SOMETHING about "gun violence."
While her buddy Hogg appears in public with a constantly sour look on his face, arms crossed, lips pursed as if he's trying to keep down something utterly distasteful, and jaw set in a mockery of determination and courage, Gonzalez has learned to let her vulnerability flag fly. After all, most can't resist a weeping little girl (no matter how many Cuba patches she wears on her jacket, and no matter how much statist rhetoric she spews).
Gonzalez doesn't need facts. She have a roughly six minute speech at the March for our Lives Lies Saturday, filled with verbal gems such as:
Everyone who was there understands, everyone who has been touched by the cold grip of gun violence understands.
No one could comprehend the devastating aftermath or how far this reach or where this could go. For those who still can't comprehend because they refuse to, I'll tell you where it went. Right into the ground, six feet deep.
And while it was a powerful, emotional speech, it did nothing to promote helpful dialogue. It did nothing to advance intelligent policies. It only fomented anger, which blinds even some of the most intelligent people to facts, logic, and justice.
A woman on Twitter, who claimed that after her 9-year-old child climbed in her lap and tearfully begged her to not have guns in the house anymore in the aftermath of Parkland, which ostensibly garnered 146,000 "likes."
While I have my doubts about any kid that age acting and talking like a thumb-sucking toddler still learning to speak, the larger point here is that more than 146,000 people thought that was just adorable and sweet, and more likely than not, it supported their biases against self defense in the home.
The person replying to this tweet may seem callous to some, but they have a point.
Without a firearm, this home invader may not have gotten a nasty surprise after kicking the door down in Utah.
Without those evil AR-15s that evoke such terror in the nation's kids, a man who attacked another with a knife may have committed an act of murder.
Without a gun, this homeowner would not have been able to stanch this nighttime home invasion.
But that doesn't matter. A little child begged "Please let's don't anymore," and the crowd went wild!
Emotionalist rhetoric does not good policy make.
This is how we wound up with ObamaCare, which deprived hundreds of thousands of people of the health insurance coverage they relied on, made insurance cost-prohibitive, and "helpfully" offered geriatric men pregnancy care. But the left whined and cried about millions of people unable to get health care (patently untrue). Children would DIE! Old people would be left without care!
If you guys haven't seen this incredible video by the very talented Remy, you should watch it! It explains very clearly – and with a huge dollop of humor – how emotion-driven rhetoric works.
Before anything was known about the Austin bomber, the Congressional Black Caucus, which includes such astute minds as Hank "Guam will tip over" Johnson and Sheila "I am a queen" Jackson Lee sprang into action by demanding SOMETHING be done, and frothing their constituents into a frenzy. CLASSIFY HIM A TERRORIST! RACISM!
But hey, racism and terrorism always sells, and the CBC certainly knows how to market its crazy to its constituents.
(Note: if we base Conditt's actions in Austin on the FBI's definition of terrorism: the unlawful use or threatened use of force or violence by a person or an organized group against people or property with the intention of intimidating or coercing societies or governments, often for ideological or political reasons, he checks every box. However, at that point, we knew nothing about the actor or his motivations.)
Emotion-driven terminology has given us legislative crap sandwiches such as the "Fairness Doctrine," that gave a government bureaucracy the authority to judge what broadcasts were "honest, equitable, and balanced," and grant the license to operate to media outlets based on bureaucrats' political views.
Fearmongering has brought us GMO labeling.
Hysteria brought us the 1994 "assault weapons" ban that did nothing to prevent violence, but deprived Americans of their choice of constitutionally protected purchases and their ability to use the tools of self-defense of their choice.
We had "the Great Society," the oh-so-patriotic "USA PATRIOT Act," and the aforementioned "Affordable Care Act," which was neither affordable, nor provided care.
And while Emma Gonzalez knows how to work up a crowd, her tears will not offer solutions.
I would submit that a dispassionate and rational examination of all available evidence without emotion or histrionics will be much more effective at creating policies that improve our nation. Good policy is never made from the heart. It's never made out of anger or passion. It's is made from a genuine desire to improve and an ability to objectively examine the issues from all angles.
Sound policies should not be about MUH FEELZ; it should be about OUR COUNTRY!
congress Congressional Black Caucus David Hogg Emma Gonzalez emotional rhetoric gun control guns Hank Johnson hysteria laws March for Our Lives Mark Anthony Conditt policy Sheila Jackson Lee
Written by Marta Hernandez
Marta Hernandez is an immigrant, writer, editor, science fiction fan (especially military sci-fi), and a lover of freedom, her children, her husband and her pets. She loves to shoot, and range time is sacred, as is her hiking obsession, especially if we're talking the European Alps. She is an avid caffeine and TWD addict, and wants to own otters, sloths, wallabies, koalas, and wombats when she grows up.
Sheila Jackson Lee Co-opts MLK to Pimp Voter Fraud
HuffPo: Whitey and Vikings and GUNS, Oh My!
A Visit from Saint Trump
GWB says:
No one could comprehend the devastating aftermath or how far this reach or where this could go. For those who still can't comprehend because they refuse to…
Sorry, but internally inconsistent and grammatically incoherent statements are not "powerful" to me.
But, then again, I use reason and logic, so I'm a patriarchal misogynist or something.
Good. Because callousness is the right response to those who would use children as human shields for their idiotic, totalitarian ideas.
he checks every box
Really? because I don't think we still know *why* he did what he did – if it wasn't for "ideological or political reasons". then it wasn't terrorism.
Good policy is never made … out of anger or passion.
"There oughta be a LAW!"
I have always loved Jonah Goldberg's formulation of what should be the cri de coeur of conservative reaction: "Don't just do something, STAND THERE!"
Marta Hernandez says:
"Really? because I don't think we still know *why* he did what he did – if it wasn't for "ideological or political reasons". then it wasn't terrorism." – actually, according to the 25-minute phone message he left, he wanted to see "the world burn." That makes it at the very least ideological, and as one of my professors said recently, when I brought this up to him, it's also an anarchist stance. So yes, he does check every box.
I don't see anarchy as ideological, since there's actually no end result that will appease the one inflicting damage. But I can certainly see your counter-argument.
SED says:
About 10 or 15 years ago, after some event happened that got all the gun-control nuts worked up into a frenzy, I said to myself that handguns will be banned by the end of my lifetime…
I grieve for my country and the idea of human freedom.
I'm pretty sure emotions will win this debate and my prediction is on track to come to pass long before the end of my lifetime. I am 62 now…
twolaneflash says:
Having taught in a high school that had its accreditation taken away for "a pervasive atmosphere of fear & intimidation", had a student blow his own brains out in class, had a 15 year old sent to prison for life for killing a bully with one punch…I still say the enemedia will not ask the one relevant question: "Who among you bullied this kid to the point that he hates your guts with a homicidal rage? Bueller? Bueller?".


text:
'The Port and the Image' – The Port of Ningbo: Fiction and Reality
Zheng Chuan, The typology of Beilun, Ningbo, map, from the series The Port of Ningbo: Fiction and Reality, 2017
Zheng Chuan is an architect and photographer. He currently works at the Ningbo Architecture Design Institute. In The History of the Port of Ningbo there is one passage that left a particularly deep impression on him:
"Starting in Hemudu in the Neolithic era [an archaeological site near Ningbo in Zhejiang, dating back to c. 5000 BC] to the modern port of Beilun, Ningbo has more than 7000 years of history… over the course of this history, Ningbo has gone through 5 large-scale transformations, each of which has defined a new era for the city……"
Zheng Chuan's work 'The Port of Ningbo: Fiction and Reality' consists of three parts: the imagined, the reappearing, and the coast. At the centre of Zheng Chuan's work is a multi-dimensional collage of the Port of Ningbo. It consists of digital simulations of the sea, 3D modeling of the old passenger terminal that brings the building back to life, and on-site photographs of artificial traces by the sea.
Zheng Chuan, An Imagined Sea and Vessels on it, 3D retendering image, Chapter 1, from the series The Port of Ningbo: Fiction and Reality, 2017
Zheng Chuan, Constructed Island II,3D retendering image, Chapter 1, from the series The Port of Ningbo: Fiction and Reality, 2017
Zheng Chuan, Hydraulics in Museum's installation, photography, Chapter 1, from the series The Port of Ningbo: Fiction and Reality, 2017
To create an image of the sea, Zheng Chuan did not want to rely solely on the lens of his camera. Instead, he wanted to use a technique that combined fiction and reality. Using technology, he sought to create something that is consciously different from a real image of the sea: the horizon would be a piece of cloth, the islands are digitally duplicated, and the ocean spray is pulled together with little pieces of flannel. Not even the water is real, it's just a digital rendering. And when the piece is on display, the museum itself will serve as a stage, it too becoming a character in the scene.
Zheng Chuan, Original Rendering of Restoration, 3D retendering image, Chapter 2, from the series The Port of Ningbo: Fiction and Reality, 2017
The artist's 3D modeling of the old passenger terminal brings the audience back to the time when overnight cruise ships still travelled between Ningbo and Shanghai. Passenger traffic hit its peak in the 1990s, when more than 10 ferries would set off in both directions each day. At its height, more than 930,000 passengers travelled on these ferries in a single year. However, as train travel got faster and expressways were built, the ferries–which were slower and at the mercy of the weather–began to get fewer and fewer passengers. On June 24th, 2001, ferry services were terminated, and in 2006 the site was turned into an art museum.
Zheng Chuan, The Remains After the Wharf was Converted to a Museum, Chapter 2, from the series The Port of Ningbo: Fiction and Reality, 2017
Zheng Chuan, A New Site for The Ferry Terminal Waiting Room Mural from an Old Photograph, photo collage, Chapter 2, from the series The Port of Ningbo: Fiction and Reality, 2017
For this work, Zheng Chuan sought to recreate the original ferry dock. Through drawings of the original design and 3D models, he digitally recreated what life was like by the port when it was still in use. Through old photographs of the interior and drawing inspiration from a large mural depicting the dock's future in the waiting room, he re-created a surreal new scene that exists in its own space and time.
The last part of the project is a collection of photographs that reflect the current landscape of Ningbo.
Zheng Chuan, Path on Cezi Island, photography, Chapter 3, from the series The Port of Ningbo: Fiction and Reality, 2017
The Ningbo-Zhoushan port is already the world's biggest in terms of cargo tonnage, and the fourth biggest in terms of container traffic. The coastline is filled with deep water berths and has been taken over by the shipping industry. But when you pull away from the noise and bustle of the port area, the coastline settles into a tranquil silence, where people and nature live and coexist together. At the same time, small, silent traces of history peep out through the cracks of the current generation's surroundings. In creating these pieces, Zheng Chuan has focused on showing how these man-made traces of history conflict with the nature around them, and how they contradict the idea of coexistence; they want to speak out, but yet they hold back.
Zheng Chuan, Old Waterfront District in Jiangbei, Ningbo, photography, Chapter 3, from the series The Port of Ningbo: Fiction and Reality, 2017
Perhaps we don't need to examine each and every frame of the history of the Port of Ningbo. As the central landmark of the Port, the old passenger terminal served as the most reliable witness to its rise and decline during the 25 years it remained standing. When the building returns to life in the form of Zheng Chuan's computer-generated image, the history and politics behind it can no longer be ignored.
Zheng Chuan, Beilun port, a Night at Dock 4, photography, Chapter 3, from the series The Port of Ningbo: Fiction and Reality, 2017
Large-scale Territory
Tags: Urban Imaginaries, Landscape, Large-Scale Territory
'The Port and the Image' – The Port of Ningbo: Fiction and Reality 29.872034, 121.550138 'THE PORT AND THE IMAGE' – THE PORT OF NINGBO: FICTION AND REALITYTags: Urban Imaginaries, Landscape, Large-Scale Territory


text:
Soundtrack For A Book
Do you ever find the books that you read have a soundtrack in your head?
It doesn't happen for me with every book, but sometimes the author mentions a certain band or song a few times and I start humming it in my mind even when I'm not reading. Or I'm listening to a new song or album when I read the book and the two become linked in my mind.
It happens to me when I write books as well. I always make a playlist for a new book I'm writing, but the song that comes to embody that book sometimes surprises me.
When I wrote my rom-com Cover Story, I played the soundtrack to The Blues Brothers over and over. And over. The tone really suited the story, but the main track I played was their version of The Peter Gunn Theme. To me, this is Tobi Fletcher as she's searching for the culprit of the gnomicides - determined and a bit ridiculous. Here, let me show you:
There were two romance themes. The first was Muse's version of Can't Take My Eyes Off You. Any version of this song would have worked, but this version has an irreverence (wait for the chorus) sitting right beside the sensual romance of it. (In fact, I even had my heroine's sister tell her that the hero couldn't take his eyes off her!)
The second romance theme was Pearl Jam's version of Soldier of Love. This song is so perfect about how Simon feels about Tobi:
I also played a bit of ABBA for the perky tone and sense of fun. If you've read the book, you'll know one of the characters, Jazlyn, plays ABBA pretty much all day, so the soundtrack made its way onto the page. (I have a feeling Michelle Douglas will appreciate this one being here!)
Another song that has the sense of fun is Queen's Crazy Little Thing Called Love. I played this one a lot too.
What I'd love to know is: when you're reading a book, do you ever associate a song with what you're reading? Maybe something the author actually wrote on the page, or perhaps a song that just seemed perfect for the story? Or is there a song that you've always thought would make a great book? And besides these questions, I'd love to hear what you think of Cover Story's playlist! :)
Posted by Rachel Bailey
Labels: ABBA, Can't Take My Eyes Off You, Cover Story, Crazy Little Thing Called Love, Muse, Peter Gunn Theme, Queen, Rachel Bailey, Soundtracks, The Blues Brothers
Rachel Bailey is a lover of books, chocolate, dogs, and ice cream. Luckily, she has four dogs, an ice cream maker, a steady supply of chocolate, and bookshelves overflowing with books, so she's covered on all fronts. Her books have hit the USA Today bestseller list, are published in over twenty-six countries and have been translated into sixteen languages.
Sue MacKay October 27, 2014 at 6:47 AM
What an interesting playlist. I l love all those tracks, especially Queen's.
I can't say I associate music with stories I read or write. Though when listening to songs I do get ideas for stories though never replay that piece over and over while writing it. Something to try some time.
Rachel Bailey October 27, 2014 at 10:58 AM
Queen is amazing! Interesting that you get ideas from songs, Sue. that's happened to me a couple of times too. Re: playing it over and over - I find if I just play it a few times, I listen to the lyrics, but if I play it heaps, it becomes like white noise.
Claire Baxter October 27, 2014 at 8:22 AM
Great playlist!
No, I can't say that I have ever associated reading a book with music, but it could happen. I do have a playlist when writing. Sometimes there's an obvious link like Andrea Bocelli when writing a book set in Italy, sometimes it's not obvious at all why I've chosen the track(s), but the 'feel' is right for me.
Claire, I think that sometimes those that 'feel' right are the best!
There are lots of books that I associate with music - I should have put some in the post! One that springs to mind is Jenny Crusie's Maybe This Time. It's a reunion story and the hero always thought the heroine walked like she was moving to Eric Clapton's Layla. When he meets her again, his brother asks if that's still true, and the hero says yeah, but now it's the acoustic version. I think by having two versions of the song mentioned a few times, I had it playing in my own head when she was on the page. :)
Louisa George October 27, 2014 at 11:48 AM
I have to say I don't associate music with books- I write in silence, but could possibly try writing to music. I think I'll have a go tomorrow- (thinking of a playlist is fabulous procrastination, and I do love me some of that!!)
Louise, glad to have given you a new procrastination technique. ;)
You might want to start with music with no lyrics, since you're coming in from silence. Sometimes you can find instrumental versions of songs you want, like U2's All I Need Is You covered by the guys in 2Cellos. Still very emotional without the distracting words.
Sharon Archer October 27, 2014 at 12:03 PM
I love your playlist, Rachel! They're all fabulous but I especially the Peter Gunn Theme and Queen's Crazy Little Thing Called Love!
I don't have a regular playlist when I write but there is one song that really "spoke" to me for one of my stories - it's a 1981 country song called Somebody's Knocking but Terri Gibbs. I still remember the very first time I heard this song. Odd how some songs really get under your "skin"! If you want a listen here it is - https://www.youtube.com/watch?v=-kEDU7m2z14
OMG, Sharon! That song is…well perfect for some heroine that lives in my future. :-) Thanks for the link.
Sharon Archer October 27, 2014 at 2:04 PM
Oh, that's so cool, Michelle! :) I debated whether to post a link so now I'm glad I did!
Sharon, that's a great song! I'm thinking along the same lines as Michelle - that's going on a future soundtrack. :)
Of course, now I'm mentally running through all your books, trying to work out which one it was... I'm thinking Bachelor Dad, Girl Next Door, but that could just be because the heroine's name is Terri. :)
LOL. I think whenever we need story inspiration we should just turn to each other for songs! So with that in mind… Here's a link to a song I've pilfered from Jenny Cruise (I've been reading her blog recently). The song is called God Help the Girl. I'm finding it a tad addictive…and I need to find a story to fit to it. :-)
https://www.youtube.com/watch?v=ABh8w78OsEY
Lyn October 27, 2014 at 12:21 PM
I can't say I've ever associated music with books. I didn't realise that I was familiar with The Peter Gunn Theme, but it does fit perfectly with Tobi and the gnomicides.
Overall, a pretty good soundtrack for the story, but I think A Crazy Little Thing Called Love would fit with any romance/rom-com story.
Oh, and currently questioning whether I'm nuts - have just signed up to NaNoWriMo for this year. Less with an aim to write 50k words and more just to put pen to paper or fingers to keyboard reguarly.
Lyn, good for you for signing up for NaNoWriMo! Yep, getting into the routine of working every day is a big part of the challenge.
Glad you felt the link between The Peter Gunn Theme and the gnomicides. It shuffles on my iPod and every time I hear it, I'm straight back in gnome street, writing about Tobi's sneezes and watches. :)
LOVE that ABBA track, Rach! :-) But then you knew I would. In fact I think your entire playlist is fab.
I make playlists for all of my books too. They help me find the right tone for the story. They help me "discover" (Jenny Crusie's description) my story too. It's funny, though. Often once I've created the playlist and have started working on my book, I don't play it again. Mind you, some songs will take me straight back into a particular story world. :-)
Hey, Louisa, I hate writing to music too. Need quiet when I'm writing. But a playlist is a great tool when one is plotting and planning and dreaming a book. :-)
Michelle, how did I know you'd like that ABBA section of the playlist? ;)
I like the white noise effect of music while I'm writing. If I have silence, then I'm listening to all the other sounds - dogs barking, postman coming down the street, fridge humming, etc, and I get nothing done!
Hi Rachel
I don't think I have ever associated a story with a song although I do love the songs on this list :) I do love my music and I often have the radio playing in the background while I am reading but I don't link them that I know of
I am really looking forward to this one
Helen, glad you liked the songs on the list!
I haven't read many rock star books, but I've been wondering about whether they invoke music for the reader... Maybe I should read a few more and see!
Jennifer St George October 28, 2014 at 9:36 AM
I have to admit that I don't really have music in my head when I'm reading (or writing). However, anything to do with ABBA makes me happy and gets me up and dancing.
Jennifer, it seems there's a definite fan base for ABBA amongst the LoveCats! :)
Great play list, Rachel! I'm a HUGE Queen fan (even went to see the musical with their songs a few years back). I don't create playlists for my books but I love seeing what other authors come up with.
Stefanie, another Queen fan! Did you see their tour with Adam Lambert? I missed it but it sounded like it was amazing.
How To Date A Billionaire
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Letter to Me by Sharon Archer


The Wildwod Arts winter exhibition will feature a range of new and exciting art work in a variety of mediums, plus ceramics, jewellery and felting by some of the region's finest professional artisans. Artists include: Richard Slater (Royal Institute), David William Young, Rebecca de Mendonca, Arthur Homeshaw, Shirley Kirkaldy, plus many, many more. There will be plenty of choice for those seeking unique Christmas presents. Come along to the preview evening on Friday 9th November from 6.30pm - 8.30 pm where you'll have the chance to meet some of the artists and enjoy a glass or two of wine with some seasonal nibbles.


In part 1 and 2 I gave some comments on two radio interviews regarding complementary medicine (CM) and how the National Institute of Complementary Medicine (NICM) misleads the public. To be fair to the NICM, the full transcripts should be read in order to understand the context of these interviews. I cannot claim that everything that is being said is wrong or misleading – there are indeed some truths or half-truths. In this article I will focus on the most interesting part from another radio interview, regarding the effectiveness of CMs according to the NICM, and just give a short comment on the statements that they make. This article deals with creating public trust that CMs really works.
"Norman Swan: We'll cover safety next week, and whether the alternative medicine industry should be regulated. But let's get back to whether the treatments are effective, because many of those who use them tell you they are. The common response from orthodox practitioners though is that it's just the placebo effect, the result of taking a sham treatment which you believe is going to do you good.
That riles people like Alan Bensoussan, who runs the Traditional Chinese Medicine unit at the University of Western Sydney.
Alan Bensoussan: Look I've been involved in complementary medicine for some years, and I remember 20 years ago the first reaction to acupuncture coming to the West was, 'Oh look, it's just a placebo procedure.' About ten years later gradually people started turning around and saying, 'Actually we know now something about it, we know that endorphins are involved, we know that other neurotransmitters like serotonin are involved in the process as well.' And so gradually medicos are taking on acupuncture, practising it themselves, and there's an increased acceptance of it. Whereby now, we wouldn't say it's a placebo procedure totally.
Acupuncture is not only called a placebo anymore but a "theatrical" placebo. Looking at the scientific basis of acupuncture, energy flowing through non-existing meridians, it cannot be anything other than a placebo. And this has been shown over and over.
But now the claim is made that CM is equally effective as surgery (or surgery is equally ineffective as CM). This is a very interesting comparison and it places CM on equal footing with surgery. Most people will agree that positive outcomes due to surgery cannot possibly be due to only a placebo effect (eg. removing your appendix, heart bypass operations, mending shattered bones etc). But most people will also be surprised to know that there are some surgical procedures that have been shown to be equally ineffective as sham surgery – in other words, the positive outcome was caused by only the placebo effect. Because of this a review of health care procedures are currently taking place, which will hopefully lead to the removal of ineffective treatments. And rightfully so. If something is shown not to work (or it only causes a placebo effect) it should be stopped. This most definitely does not mean that every medical procedure out there is nothing other than a placebo effect. Some might be, but the vast majority have a clear effect on top of any additional placebo effects.
The NICM now wants the public to believe that CM is equally effective as surgery. Their argument: yes there might be some CM's (they never specify which ones) that only causes a placebo effect, but most CM's are just as effective as surgery. In a previous article I wrote about how they compare the theory behind TCM with quantum physics, in order to make people believe that there is a massive body of scientific evidence supporting TCM. Now they compare, again in a very convincing way, something that is in general very effective (surgery) with something that has been shown to be ineffective (most CMs). This is done to create public trust in the effectiveness of CM.
The term CM is difficult to define and it includes every medical procedure or treatment out there that has no or very little scientific evidence. This does NOT mean that no or very little research has been done – it means that all results indicate that it is not effective. An important distinction to make is disproven vs unproven therapies. Homeopathy is a disproven therapy (huge amount of research shows that it does not work) vs some herbal medicines where no research has been done and hence its effectiveness is unproven. However, most CMs are placebos while some of them like Homeopathy and Chiropractic can also be quite dangerous. There is a very good way to distinguish between medicine and CM. As soon as there is good and reproducible scientific results supporting the effectiveness and safety of any medical intervention, that medicine or treatment enters the realm of evidence based medicine, even if it was originally regarded as being a CM. Whereas, due to a lack of scientific evidence it enters or it stays in the realm of CM even if it was once regarded as a "conventional" intervention.
Previous PostPrevious Intentionally misleading the public. Part 2: Comparing the theory that governs TCM with quantum physics.


This is Bubble Barrage, Level 8. You have 12 eggs to collect. The items available are 3 Instant Rocks, 5 initial Bubble Suit moves, and unlimited Freeze-O-Matic.
Use the Bubble Suit to get on the ledge on your right.
Drop down and collect egg #1.
Use the Bubble Suit to get to the platform above and to your left.
Fill back up with the bubble source here and collect egg #2.
Use your Bubble Suit to get to egg #3 on your right.
Use the Bubble Suit to get back to the bubble source on your left.
Climb the ladder. When the fish turns rightward, collect egg #4.
Then use your Bubble Suit to get onto the platform above.
Get on the far-right of this platform, but don't drop on the egg. Instead use your Bubble Suit to float rightward, over the egg. Drop onto the platform to the right of the egg.
Use your Bubble Suit to get over the gap on your right.
Collect egg #5 to your right.
Go down the ladder. When the fish is heading right, collect egg #6.
Drop down to your left and continue onto the bubble source on your left. Wait for the fish to fall into the indent to the right of you.
Shoot the fish with the Freeze-O-Matic.
Use your Bubble Suit to get up to the platform above.
Climb the ladder. Use the Bubble Suit to get onto the platform above the fish.
When the fish is heading left, drop onto egg #7.
Toss an Instant Rock into the gap on your right.
Drop down the gaps on your right.
Quickly collect egg #8 to your left.
And egg #9 on your left.
Go back to the right. You want to be just to the left of the ladder. Create an Instant Rock to the left.
Climb the ladder partly. The fish should fall on your rock and continue past you.
When the fish gets stuck in the indent, shoot it with your Freeze-O-Matic.
Climb the ladders and drop down the gaps. Grab egg #10.
Use your Bubble Source to get to the top platform, then go down two ladders and head left.
Drop an Instant Rock into the indent on your left.
Grab egg #11 on your left.
Drop off the left ledge and grab egg #12 on your right.


Note: You are currently viewing documentation for Moodle 2.4. Up-to-date documentation for the latest stable version of Moodle may be available here: Enrolment FAQ.
7 Is there a way for teachers to be notified when students enrol in a course?
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If you are a teacher in a course, go to Settings > Course administration > Users > Enrolment methods and disable (close the eye) of the self-enrolment option.
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In a course, you can disable the message by clicking on Settings > Course administration > Users > Enrolment methods Click the edit (hand/pen) icon to the right of Self enrolment. Remove the tick from "Send course welcome message".
The message can be disabled throughout Moodle by the site admin via Settings > Site administration > Plugins > Enrolments > Self enrolment.
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Why does my course have a lot of duplicated guest access settings?
This is a bug with courses which have been restored. It seems that each time they are restored, extra guest access settings appear. It doesn't appear to affect use of the course however. The tracker entry is MDL-31497 if you would like to vote for it to be fixed.
When enrolment in a child course expires, do enrolments in metacourses expire too?
No; students must be manually unenrolled - see MDL-38916.
How do I prevent teachers from accidentally disabling enrolment methods?
Edit the teacher role in Settings > Site administration > Users > Permissions > Define roles and uncheck the capability moodle/course:enrolconfig.
Make sure Manual enrolment is enabled in your course.
This page was last modified on 11 June 2013, at 10:45.