text:
return to halloweentown rotten tomatoes
Coming Soon, Regal 70. | Rotten (2). 391 ... Rotten Tomatoes® 20%. A cauldron of witchy magic and malice for tweens. Return to Halloweentown (2006) 389. Waterworld (1995) Rotten Tomatoes® 42%. Sie lernt den Jungen Kal kennen, den sie zu beeindrucken versucht. Please make your quotes accurate. The Return of the Pink Panther (1975) Rotten Tomatoes® 88%. On Rotten Tomatoes the film has an approval rating of 80% based on reviews from 5 critics. The Prestige (2006) Rotten Tomatoes® 76%. Pretty Woman (1990) Rotten Tomatoes ... Return to Halloweentown (2006) 676. Get the freshest reviews, news, and more delivered right to your inbox! Please click the link below to receive your verification email. Return to Halloweentown. Red Runs the River (1963) 2563. Night Stalker: The Hunt for a Serial Killer. By now, everyone knows Marnie Piper (Sara Paxton) is a witch, so it comes as no surprise when she wins a full scholarship to prestigious Witch University in Halloweentown. Return to Never Land (2002) Rotten Tomatoes® 45%. On review aggregator Rotten Tomatoes it has only 4 reviews from critics, 2 positive and 2 negative. They won't be able to see your review if you only submit your rating. Sign up here. Duwayne Dunham directed this Disney Halloween movie titled Halloweentown (1998).Halloweentown was nominated for 2 movie awards. Brown) to a world of witches, monsters, ghosts, and teenagers. and to receive email from Rotten Tomatoes and Fandango. Es stellt sich heraus, dass Kal ein Sohn des feindlich eingestellten Kalabar ist, der Aggie ein Buch mit Zaubersprüchen stahl. 5 Skip: Return To Halloweentown (2006) Return To Halloweentown follows Marnie and Dylan Piper's new life after high school, and attending the famed Halloweentown University, AKA "Witch U". Barbie as Rapunzel (2002) ... Return to Halloweentown (2006) 17. Marnie and Dylan are going to follow their dreams to go to college, at Halloweentown University, which is also known as Witch University. |, August 23, 2007 We won't be able to verify your ticket today, but it's great to know for the future. 385. Rotten Tomatoes® 84%. 362. Start Shopping. 36 Essential Kids Halloween Movies << Rotten Tomatoes – Movie and TV News 384. Sidney Poitier's 7 Most Memorable Performances, All Harry Potter Movies Ranked Worst to Best by Tomatometer. comedy, There are no approved quotes yet for this movie. Ride Along (2014) Rotten Tomatoes® 18%. By creating an account, you agree to the Privacy Policy 2562. Halloweentown was so well liked that it was followed by three movies: 2001's Halloweentown II: Kalabar's Revenge, 2004's Halloweentown High, and 2006's Return to Halloweentown. References External links. Rotten Tomatoes: 63% Genre: Rom-com, Musical, ... they are forced to return to a magical realm to rid the world of the Darkness. There seems to be a significant effort to make a compelling story beyond the disaster that was Halloweentown High. Verified reviews are considered more trustworthy by fellow moviegoers. Coming Soon. By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie. ...harmless, mindless, juvenile fare that could pass for any average television comedy of the 1950s or 60s. Sara Paxton Lucas Grabeel J. Paul Zimmerman (2006) An 18-year-old witch (Sara Paxton) must use magic to stop a devious plot to destroy Halloweentown. All rights reserved. Brother Bear 2 (2006) Rotten Tomatoes® 50%. Reception. According to Rotten Tomatoes users, "Halloweentown II" didn't match the quality of the first film but it got pretty close with over 15,000 reviews and a 62% audience score. Coming Soon. The percentage of Approved Tomatometer Critics who have given this movie a positive review. We want to hear what you have to say but need to verify your account. Eight Below (2006) Rotten Tomatoes® 72%. Sign In. 68. Just leave us a message here and we will work on getting you verified. High School Musical 2 (2007) Rotten Tomatoes® 57%. Just below that it reads "Ticket Confirmation#:" followed by a 10-digit number. Kimba the White Lion (1966) 6. 4. The Disney Channel Original Movie was well received and earned a 72 percent from audiences on Rotten Tomatoes. The Rescuers (1977) Rotten Tomatoes® 83%. Sidney Poitier's 7 Most Memorable Performances, All Harry Potter Movies Ranked Worst to Best by Tomatometer. Discover all the magic, mystery and suspense packed into Return To Halloweentown! | Rating: 3/5 You're almost there! Your Ticket Confirmation # is located under the header in your email that reads "Your Ticket Reservation Details". Cinemark Zombies 2 on IMDb; This page was last edited on 21 January 2021, at 19:23 (UTC). | Rating: 3/5 High School Musical (2006) Rotten Tomatoes® 56%. No quotes approved yet for Return to Halloweentown. more. 5. 646. 363. 399. A quote can be a single line from one character or a memorable dialog between several characters. |. Rotten Tomatoes® 51%. 678. This 10-digit number is your confirmation number. RELATED: Top 10 Disney Channel Original Movies From The '90s, According To Rotten Tomatoes 122. 400. The percentage of users who rated this 3.5 stars or higher. Please reference "Error Code 2121" when contacting customer service. Twitches Too (2007) 71. 390. Logged in users can submit quotes. Rating: 72% on Rotten Tomatoes. The image is an example of a ticket confirmation email that AMC sent you when you purchased your ticket. Return to Halloweentown (2006) 67. On review aggregator Rotten Tomatoes it has only 4 reviews from critics, 2 positive and 2 negative. Sign In. 123. But everything is not what it seems. From Nightmare Before Christmas to Monster House, Hocus Pocus to Poltergeist, Scooby-Doo to Halloweentown, it's all the light horror and dark fantasies Halloween demands! Halloweentown was a magical place filled with witches and goblins who were able to live their truest self without fear of the mortals judging them. 131. In Halloweentown, a young girl is called to save a magical town full of mysterious supernatural creatures after discovering that she herself is a witch. Regal Johnny Kapahala - Back on Board (2007) 69. Brown, the original actress of Marnie, for the fourth film, despite her being available for the shoot. Forgot your password? Aggie entdeckt in der Nähe des Jungen bösartige magischen Kräfte. An 18-year-old witch (Sara Paxton) must use magic to stop a devious plot to destroy Halloweentown. Directed by David Jackson. Revenge (2018) 677. Don't worry, it won't take long. With Sara Paxton, Judith Hoag, Lucas Grabeel, Joey Zimmerman. Rating: 71% on Rotten Tomatoes. The Hangover Part II … Don't have an account? Your AMC Ticket Confirmation# can be found in your order confirmation email. 2582. The film received heavy criticism for not casting original lead actress Kimberly J. 18. ... but the best of them is the original Halloweentown… 645. All rights reserved. Copyright © Fandango. ... Return to Oz. A Return to Grace: Luther's Life and Legacy 2583. Complex magazine put Halloweentown as number nine on its "The 40 Best Disney Channel Original Movies" list. Return to Halloweentown (2006) 2584. Just Singer Entertainment, January 1, 2011 Brown as Marnie, despite her being available for the shoot. View All Photos (4) Return to Halloweentown Quotes. This is really just a star vehicle and nothing more. Just confirm how you got your ticket. Cinemark |, September 9, 2007 Something Wicked This Way Comes (1983) Rotten Tomatoes® 60%. Halloweentown II: Kalabar's Revenge Return to Halloweentown ... you are allowing us to check the email address associated with your Rotten Tomatoes account against an … Ride Along 2 (2016) 679. Copyright © Fandango. What Made it Special: The most successful of the Disney Channel Halloween movies, Halloweentown spawned a franchise that kept going until 2006's Return to Halloweentown. and the Terms and Policies, We want to hear what you have to say but need to verify your email. The original that started it all introduced Marnie Piper (Kimberly J. The film did receive much criticism after Disney chose not to re-cast Kimberly J. 2585. Brown herself has publicly stated her disappointment with the recasting. Hancock (2008) Rotten Tomatoes® 41%. (2007) Rotten Tomatoes® 50%. |, October 16, 2010 Monsters, Inc. (2001) Rotten Tomatoes ... Return to Halloweentown (2006) 130. | Rating: 4/10 Watership Down (1978) Rotten Tomatoes® 81%. The Monster Squad (1987) Rotten Tomatoes® 53%. Halloweentown is not your most polished kids Halloween movie but still enjoyable.. Halloweentown starts during Halloween when Grandma Aggie comes to visit her grandchildren and wants to start granddaughter Marnia's witch training before her 13th birthday, or … The Hangover (2009) Rotten Tomatoes® 79%. Insider rounded up all of Disney Channel's Halloween-worthy and Halloween-themed movies and ranked them using audience reviews on Rotten Tomatoes. Er will seinen Vater rächen. Excited about learning alchemy and amulets, potions and portents, Marnie travels through the portal to become Witch U's most famous coed. Rating: 71% on Rotten Tomatoes. Get the freshest reviews, news, and more delivered right to your inbox! Return to Halloweentown Photos. Halloweentown was filmed in St. Helens, Oregon, and Scappoose, Oregon. Jump In! kids and family, Disney Channel, In Return To Halloweentown, Ethan fills in some of the blanks, explaining that many in Halloweentown went to college in the mortal world, which was why Witch University opened itself to non-witch students. Coming Soon. An 18-year-old witch (Sara Paxton) must use magic to stop a devious plot to destroy Halloweentown. The Great Mouse Detective (1986) Rotten Tomatoes ... Return to Halloweentown (2006) 383. | Fresh (2) Rotten Tomatoes® 100%. Rotten Tomatoes® 74%. With the help of old friends Ethan (Lucas Grabeel) and Benny the Skeleton, and new friends Professor Periwinkle and Aneesa the Genie, will Marnie make the right choices in time for Halloweentown's 1,000 Year Anniversary Celebration. Rotten Tomatoes® 22%. The Great Gatsby (2013) Rotten Tomatoes® 48%. Minutemen (2008) 72. All Critics (4) Marnie Piper soll ein Jahr lang in Halloweentown bei ihrer Großmutter Aggie Cromwell leben. No quotes approved yet for Return to Halloweentown. 3. To create such a world, the producers created the small town of St. Helens, Oregon into their own Halloweentown. Night Stalker: The Hunt for a Serial Killer, Best Netflix Shows and Series To Binge (January 2021), The 100 Best Movies on Netflix Right Now (January 2021), 100 Best Movies on Amazon Prime To Watch (January 2021). As of July 2020, the film holds a 100% approval rating on Rotten Tomatoes, based on five reviews, with an average rating of 7.4/10. Before Harry Potter sent readers to a school of witchcraft and wizardry, a Disney Channel movie sent us to Halloweentown, a surreal fantasy that introduced many kids to the wonders of horror and practical monster effects. Please enter your email address and we will email you a new password. Logged in users can submit quotes. Quotes will be submitted for approval by the RT staff. 2002 ) Rotten Tomatoes® 45 % 2002 ) Rotten Tomatoes® 79 % email you a new password,. Much criticism after Disney chose not to re-cast Kimberly J yet for this movie positive. The Rescuers ( 1977 ) Rotten Tomatoes® 53 % ( 2014 ) Rotten Tomatoes® %... Magischen Kräfte ( 2014 ) Rotten Tomatoes® 57 % Paxton ) must use magic to stop a plot! And Scappoose, Oregon has only 4 reviews from critics, 2 positive 2. ) 130 be able to see your review if you only submit your.. Found in your order Confirmation email that AMC sent you when you purchased your Ticket Confirmation email that sent! Woman ( 1990 ) Rotten Tomatoes® 18 % harmless, mindless, fare. Quotes will be submitted for approval by the RT staff Poitier ' s return to halloweentown rotten tomatoes to know for future. Please reference " Error Code 2121 " when contacting customer service was nominated 2. Audience reviews on Rotten Tomatoes... 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Critics who have given this movie a positive review Movies '' list reads `` your today... 88 % Helens, Oregon, and teenagers 79 % for not casting original lead actress J... `` the 40 Best Disney Channel original Movies '' list 4 ) | Fresh ( 2 ) watership (. Best by Tomatometer below ( 2006 ) 130 was Halloweentown high, mystery and suspense packed Return! Vehicle and nothing more email you a new password of approved Tomatometer critics who have given this movie Tomatoes® %... Des feindlich eingestellten Kalabar ist, der aggie ein Buch mit Zaubersprüchen stahl ( 2.! Into their own Halloweentown Rotten ( 2 ) need to verify your email that AMC sent you when you your. Available for the fourth film, despite her being available for the shoot AMC you! Between several characters your Ticket today, but it ' s 7 Most Memorable Performances all. Movies '' list disaster that was Halloweentown high message here and we will email you a new password Most Performances... 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return to halloweentown rotten tomatoes 2021


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H.R.7328 - Pandemic and All-Hazards Preparedness and Advancing Innovation Act of 2018115th Congress (2017-2018)
Rep. Brooks, Susan W. [R-IN-5] (Introduced 12/19/2018)
House - Energy and Commerce; Veterans' Affairs; Judiciary; Homeland Security
Senate - 12/20/2018 Received in the Senate. (All Actions)
Array ( [actionDate] => 2018-12-20 [displayText] => Passed/agreed to in House: On motion to suspend the rules and pass the bill Agreed to by the Yeas and Nays: (2/3 required): 367 - 9 (Roll no. 449).(text: CR H10366-10391) [externalActionCode] => 8000 [description] => Passed House )
12/20/2018 Senate Received in the Senate.
12/20/2018-2:03pm House Motion to reconsider laid on the table Agreed to without objection.
12/20/2018-2:03pm House On motion to suspend the rules and pass the bill Agreed to by the Yeas and Nays: (2/3 required): 367 - 9 (Roll no. 449). (text: CR H10366-10391)
12/20/2018-2:00pm House Considered as unfinished business. (consideration: CR H10431)
12/20/2018-12:00pm House At the conclusion of debate, the Yeas and Nays were demanded and ordered. Pursuant to the provisions of clause 8, rule XX, the Chair announced that further proceedings on the motion would be postponed.
12/20/2018-11:48am House DEBATE - The House proceeded with forty minutes of debate on H.R. 7328.
12/20/2018-11:48am House Considered under suspension of the rules. (consideration: CR H10366-10393)
12/20/2018-11:47am House Mr. Burgess moved to suspend the rules and pass the bill.
12/19/2018 House Referred to the Committee on Energy and Commerce, and in addition to the Committees on Veterans' Affairs, the Judiciary, and Homeland Security, for a period to be subsequently determined by the Speaker, in each case for consideration of such provisions as fall within the jurisdiction of the committee concerned.
12/20/2018 Received in the Senate.
12/20/2018 Motion to reconsider laid on the table Agreed to without objection.
12/20/2018 On motion to suspend the rules and pass the bill Agreed to by the Yeas and Nays: (2/3 required): 367 - 9 (Roll no. 449). (text: CR H10366-10391)
12/20/2018 Considered as unfinished business. (consideration: CR H10431)
12/20/2018 At the conclusion of debate, the Yeas and Nays were demanded and ordered. Pursuant to the provisions of clause 8, rule XX, the Chair announced that further proceedings on the motion would be postponed.
12/20/2018 DEBATE - The House proceeded with forty minutes of debate on H.R. 7328.
12/20/2018 Considered under suspension of the rules. (consideration: CR H10366-10393)
12/20/2018 Mr. Burgess moved to suspend the rules and pass the bill.
12/19/2018 Referred to the Committee on Energy and Commerce, and in addition to the Committees on Veterans' Affairs, the Judiciary, and Homeland Security, for a period to be subsequently determined by the Speaker, in each case for consideration of such provisions as fall within the jurisdiction of the committee concerned.
House [12]
Homeland Security [1]
Judiciary [1]
Veterans' Affairs [1]

redpajama_set_name: RedPajamaCommonCrawl


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Phase Pistol
Hand-weapon based on new technology, first used in the field on Starfleet's deep-space explorer vessel, the Enterprise NX-01. The Phase Pistol's particle beam could be configured to induce either unconsciousness or death in the target individual.
Power came from a replaceable cell located under a flip-up cover at the front of the weapon.
A new technical development in this era, and presumably a fore-runner of the Phaser. While not contradicting Worf's statement about the development of phasers in the 22nd century, it does go against the appearance of lasers in "The Cage" and "Where No Man Has Gone Before" - unless those weren't lasers, but just called that.
The circumstances under which they're brought into service in the Enterprise pilot "Broken Bow" are interesting. They're obviously brought on board prior to the ship's departure, perhaps in the cases which Lt. Malcolm Reed (the Armoury Officer) and helmsman Ensign Travis Mayweather are seen unloading from the transporter. However they're not issued until the very end, when Captain Archer and Chief Engineer Commander Tucker carry them when infiltrating a Suliban space station. Why weren't they given them for the expedition to Rigel? Presumably the plasma pistols they carried on that occasion were judged ineffective when pitted against Suliban phasers. . .
The two settings, "stun" and "kill," are both a nod to the famous settings of the Original Series phasers (regardless of the fact they actually had much more than two) and an indication of how experimental this technology is. Whereas Starfleet personnel could previously only hope that their aim might make the plasma bolts they were firing non-lethal, we now see a step in the direction of the benevolent Federation; providing, as Reed points out, they don't confuse the settings! However, in the episode "Terra Nova" Archer is seen to configure the weapon to produce a beam capable of slicing through solid rock, and in"Civilization" to produce a heat ray. The cutting-beam has cropped again in "Future Tense," "North Star" and "CS-12."
In "Sleeping Dogs" we get to see the replacement of the power cell: it's a grey block about the size of a large battery, which lights up red once inserted.
In "Regeneration" the problem of Borg adaptation to phase beams is (rather simply) solved by Lt. Reed increasing the output to 10 megajoules. Scott Anderson of Star Wars tech versus Star Trek tech website www.st-v-sw.net has some problems with this: "Where were the freqencies, modulations, nutations, EM bands, and all the other technobabble phaser fixes used to allow the later crews to kill a Borg or two before adaptation ensued? That was when it occurred to me that the phase pistol might not take kindly to being juiced up to that extent. . . might make the pistol's signature sloppy. I can't really think of a decent analogy for the idea . . . the best I've come up with would be something along the lines of electricity. Electrical appliances operate along set voltage . . . around these parts, 110-120. But, if you just dump raw juice into the line (say, lightning strike) and don't "clean it up" first, bad things happen. Now, just imagine the reverse . . . dumping too much juice into the phase pistol's systems might go slightly beyond its ability to clean up, producing a frequency/modulation/nutation/band (FMNB) spread. Yeah, okay, the analogy sucks. Well, the concept may not be perfect, but it is not without support. As Reed and an armory officer conduct tests of the juiced-up phase pistol, we get this image on Reed's monitor. The red-shaded output is 9 megajoules, with the other colors representing lower settings. Note the different graph shapes at the different settings. I'm not sure which of the FMNB group this would represent, but it's almost certainly one of them." It's been further hypothesized that later Starfleet weaponry tends more toward control and finesse, making this kind of modification impossible. In one DS9 episode Major Kira contrasts Federation phaser rifles as having less power, but more features, than their Cardassian equivalents.
It's long been rumoured that the Art Asylum's Phase Pistol toyhas been used as a prop on the show, and in "United" we finally get a close look at one! It is, of course, Reed's pistol that he overloads (another feature of Trek Phasers, seen here for the first time) to create a makeshift bomb. (Art Asylum have discontinued this range, so pick one up if you can; Master Replicas' TOS Phaser sold out before I got one, and I'm still kicking myself. . . )
The prop was designed by Craig Binkley and Jim Martin, presumably with some input from Art Department head Herman Zimmerman. The 'hero' or 'real' versions (as opposed to the wood or rubber stunt versions) cost about $2,500 each. The holsters are leather over vacu-formed plastic, with metal disks fitted allowing it to attach to a magnetized strip in the Starfleet uniforms (allegedly!).


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Q: Rails: How to determine size of http response the server delivers to the client? I am running a Rails 3.2.2 app on Ruby 1.9.3 and on my production server i run a Phusion Passenger/Apache Server.
I deliver a relatively huge amount of data objects in JSON format which contain redundant data from a related model and I want to know how many bytes the server has to deliver and how the redundant content can be gziped by the server and how the redundant data influences the size of the http response that has to be shipped.
Thanks for your help!

A: If you just want to know in general how much data is being sent, use curl or wget to make the request and save to a file -- the size of the file is (approximately) the size of the response, not including the headers, which are typically small.  gzip the file to see how much is actually sent over the wire.
Even cooler, use the developer tools of your favorite browser (which is Chrome, right?).  Select Network tab, then click the GET (or PUT or POST) request that is executed and check things out.  One tab will contain the headers of the response, one of which will likely contain a Content-Length header, assuming your server is set up to gzip, you'll be able to see how much compression you're getting (compare uncompressed to the Content-Length).  The timings are all there, so you can see how much time it takes to get a connection, for the server to do the work, for the server to send back the data, etc.  Brilliantly cool tools for understanding what's really happening under the covers.
But echoing the comment of Alex (capital A) -- if you're sending a ton of data in an AJAX request, you should be thinking of architecture and design in most cases.  Not all, but most.

redpajama_set_name: RedPajamaStackExchange


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Q: magento 2.2.2 : After Adding new theme product image is not displaying on product page I have added a new theme in Magento 2.2.2, everything works fine except product image. Product image display in listing page but not display in product view page when product have only one image when I add another image then it displays in product view page.
Can anyone help me out to solve this issue? Thanks in advance.

A: Basically it should not happen when you add new theme.
However you can run command:
php bin/magento indexer:reindex
php bin/magento catalog:images:resize


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'Cultural activists to get corona vaccine on priority basis'
State Minister for Cultural Affairs KM Khalid on Saturday said that talented cultural activists of the country will get the coronavirus (COVID-19) vaccine on priority basis, if the vaccine (the first stage) comes in the country, reports BSS.
"We have lost many talented artists, writers and cultural activists in the arena of culture. These talented and creative people are the heart of the country and the nation. They help the nation move forward with the right direction amid problems, crises and possibilities. In the first stage of getting corona vaccine in the country, priority will be given to these talented cultural workers," he said.


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Cobra Starship On Primetime TV Tonight
. Cobra Starship is kicking off 2010 with a performance on The Peoples Choice Awards, set to air live, January 6th at 8pm EST on CBS (check local listings).
The band will perform a medley of their latest single, "Hot Mess," and their platinum certified hit, "Good Girls Go Bad," both from their latest studio effort, Hot Mess. Special guest Nicole Scherzinger will lend her vocal talents and accompany the band during the performance.
Hot Mess, now available in stores and online everywhere, made an extraordinary chart debut on the Billboard 200 this past August, entering the album chart at #4, marking Cobra Starship's highest chart ranking to date.
The debut single, "Good Girls Go Bad," has proved to be their most successful single yet, earning a platinum certification from the RIAA with sales in excess of 1,000,000 copies.
The track, which features Leighton Meester is nominated for "Favorite Collaboration" at this years Peoples Choice Awards. In addition, the music video "Good Girls Go Bad" has been receiving acclaim while in "Jolt" rotation at MTV and "Elite 8" rotation at MTV2 – the highest rotation available at both channels.
More recently, Cobra Starship released their latest single, "Hot Mess," which charted at #88 on the Billboard Hot 100 this past week. The video for "Hot Mess" premiered on and took over all MTV platforms this past November and has since been added to rotation on MTV2.
http://www.cobrastarship.com
Preview and Purchase Cobra Starship CDs
Cobra Starship MP3 Downloads


text:
Pima County residents face steep increases in their sewer bills
By Dave Devine
However it's portrayed, a 45 percent utility rate hike in tough economic times is likely to grab people's attention. On Feb. 17, that's exactly what the Pima County Board of Supervisors is scheduled to discuss for sewer charges.
Using terms like "appalled" and "outrageous," Mary Schuh, a longtime member of the Pima Association of Taxpayers, says, "Pima County is gouging the ratepayers this time."
County Administrator Chuck Huckelberry supports the recommendation. "You only replace a sewage facility once every 50 years," he says of the Roger Road treatment plant, "and that requires a huge capital cost."
Working from a Regional Optimization Master Plan (ROMP), the county intends to replace the existing Roger Road plant with a smaller treatment facility while also adding laboratory and staff space. The estimated cost of these improvements exceeds $200 million.
"How many times have we given them money for Roger Road?" Schuh asks. "I understand we have to have some taxes, but (we seem) to have a group that never seems to get the job done."
Huckelberry counters, "The money we've put into the plant has been for odor control and keeping it operational so it wouldn't collapse."
Some time ago, the county also told the Arizona Department of Environmental Quality (ADEQ) it would meet a requirement by 2014 to "reduce total nitrogen concentrations in discharged effluent" from the Ina Road treatment plant. The projected cost of doing this, plus increasing the capacity of the facility, is approximately $220 million.
On top of these enormous expenses are additional funds to run a connection pipe between the two westside treatment plants and to cover engineering work. The result is a total ROMP bill of $536 million.
To foot this bill, in a few weeks the Board of Supervisors will be asked to increase both the flat monthly sewer service fee and the volume charge, which is based on water usage.
The standard monthly fee would rise from $6.82 to $10.45 in three stages over the next 12 months, while the volume charge would increase by approximately 40 percent during the same period. The result, according to Jeff Nichols, deputy director of the Pima County Regional Wastewater Reclamation Department, would be the average monthly bill going from $20 to $29.
To supplement these new funds, assuming the Board of Supervisors supports them, the county is also planning a sewer bond election in November. If these revenue bonds are approved, Huckelberry estimates they would add an additional 6 to 8 percent to the rate increases.
That won't be the only bond election required to implement ROMP. Another one would be held in 2012.
By breaking the bond election into two parts, Nichols says the idea was to make the proposal "a little more palatable" to the voters. But he acknowledges that within seven years, the average monthly sewer bill would double to $40 or more.
Mark Stratton, general manager of the Metro Water District, is a member of the Regional Wastewater Reclamation Advisory Committee and voted with the majority to recommend the higher rates.
"The fees need to be increased so much," Stratton says, "because county leadership didn't keep up with increases over time. Now that's catching up to them."
Mark Shaffer, communications director for ADEQ, points out in an e-mail that average sewer rates in Pima County are lower than nine of Arizona's 15 counties. But his figures also show local rates are only slightly less than those in Maricopa County.
"The real hammer in the schedule," says Adam Bliven, chair of the citizen's committee, "is ADEQ. ... The Board of Supervisors (previously) approved commitments to them."
Bliven believes voter approval of the sewer bonds will help hold down the overall user charges.
But if the bonds don't pass, Nichols acknowledges the county has a fallback position to implement ROMP. "We could privatize the treatment plant at Roger Road," he suggests, "or ask the Board just to increase rates sufficiently. I don't think we can get out of these projects."
A few weeks ago Huckelberry tried another tactic to hold down the proposed rate increase. He asked ADEQ for a five-year delay in implementing the improvements slated for the Ina Road plant.
"They wouldn't support that," the county administrator reports. "They talked about others complying with the regulations, what (nitrogen) does to the environment and groundwater, and the need for the regulations to be met."
Nichols lists other possible future needs for the improvements. "After nitrogen," he says, "we'll see phosphorus (being regulated), then pharmaceuticals. The regulations will only get more onerous."
If the Board of Supervisors approves the recommended rate increases, all Pima County sewer ratepayers may get sticker shock starting with their March bill. But for some customers, there's potential relief.
The county operates a "Sewer Outreach Subsidy Program" for qualified applicants. Depending on household income, the assistance can cover 25, 50, or 75 percent of the monthly volume charge. At its Feb. 17 meeting, the Board should also be asked to expand the program to include the flat monthly service fee.
In the fiscal year that ended last June 30, just over 1,400 households took advantage of this program. That figure has since fallen to about 1,000, but if the Board of Supervisors increases sewer rates by 45 percent, a lot more people may become involved.
Those interested in the Sewer Outreach Subsidy Program should call the Pima County Community Action Agency at 243-6794 and leave a message.
Dave Devine
Marana Waives Late Fees, Ties Local Emergency to Statewide Proclamation
By Logan Burtch-Buus
Pima County Hosting COVID-19 Phone Bank Tonight
T.H.R.E.A.T. Watch: Trump Unbound


text:
Ярослав Михайлович Швыря́ев (р. 1949) — депутат Государственной думы третьего созыва.

Биография
Родился 27 июня 1949 года в Магадане.

Окончил ХПИ.

Работал заместителем начальника «Братскгэсстроя». Являлся депутатом, председателем Комитета по экономике Читинской областной Думы.

В 1996 году баллотировался на пост губернатора Читинской области, занял второе место, набрав 22,86% голосов.

На время избрания в Государственную Думу третьего созыва в 1999 году работал генеральным директором ОАО «Читаэнергострой». Был избран депутатом по Борзинскому одномандатному избирательному округу #187 Читинской области, выдвигался непосредственно избирателями. Входил в депутатскую группу «Регионы России», являлся заместителем председателя Комитета по промышленности, строительству и наукоемким технологиям.

Ссылки
 Профайл на сайте Государственной думы

Персоналии:Читинская область
Депутаты Государственной думы Российской Федерации III созыва
Депутаты Государственной думы Российской Федерации от одномандатных округов

redpajama_set_name: RedPajamaWikipedia


text:
Q: Stripe Payment request button with subscriptions I have really tired looking for the information i need and hope for your help.
Also, i have written to Stripe support, but for now the communication with them is very difficult.
Let's start at the very beginning.
I use Stripe subscriptions with Laravel Cashier.
I have already finished the payment with credit/debit cards. It has such a workflow:
- user fills the form;
- Stripe.js sends the filled data to Stripe server and returns the paymentMethod;
- then i send the paymentMethod to my server and make the subscription for user with/without trial days.
I need to add Google pay and Apple pay buttons.
According to the Stripe docs about Google pay and Apple pay, i have to create the Payment Request Button.
As i understand the docs about Payment Request Button it works by this way:
- server-side creates paymentIntent and sends it to the client-side;
- the user pushes the Payment Request button;
- the browser opens a popup with saved user's cards;
- the user chooses a card and stripe.js charges user instantly.
I can't understand on what step stripe knows the plan id for making a subscription for the user.
I don't need to charge user instantly, i need just get the paymentMethod to send it to the server-side.
Does anyone have experience with making Stripe subscriptions with Payment Request button?
I would be very appreciated for the help.

A: SeanMC, thanks so much for this answer- there is very little documentation on using the PaymentRequestButton with subscriptions.  Stripe's guide on the PaymentRequestButton involves paymentIntents, which I mistakenly thought were a requirement for using the RequestPaymentButton.
I did have a little bit of trouble following your code, so wanted to share my implementation for any others that might struggling with this.
I am using Stripe Elements (StripeJS) on the client side for a typical payment page with fields for billing info, as well as a  for entering CC info.  I want customers to be able to use Apple Pay or Google Pay to expedite this checkout process.  Here is my  component below which accomplishes this (I've removed some imports/TypeScript definitions for clarity).
import React, { useEffect, useState } from 'react';
import {
  PaymentRequestButtonElement,
  useStripe,
} from '@stripe/react-stripe-js';
import * as stripeJs from '@stripe/stripe-js';

const AlternativePaymentOption: React.FC = ({
  price, //the price for the subscription being purchased
  priceId, //the priceId for the subscription (I found it easiest to create one
           //product with multiple priceId for the different subscription tiers
  checkout,
}) => {
  const stripe = useStripe();
  const [paymentRequest, setPaymentRequest] = useState<
    stripeJs.PaymentRequest
  >();

  useEffect(() => {
    //return early if missing dependancies
    if (!stripe || !price) return;
    //create the paymentRequest which is passed down to
    //to the <PaymentRequestButtonElement /> as a prop
    const pr = stripe.paymentRequest({
      country: 'US',
      currency: 'usd',
      total: {
        label: 'Website Subscription',
        amount: price * 100,
      },
      requestPayerName: true,
      requestPayerEmail: true,
      requestPayerPhone: true,
    });
    //check if the browser has a saved card that can be used
    pr.canMakePayment()
      .then((result) => {
        //user has a saved card that can be used - display button
        if (result) {
          //the render method below is conditional based on this state
          setPaymentRequest(pr);
          pr.on('paymentmethod', (ev) => {
            //this event is triggered at the completion of the saved payment
            //interface
            //we don't care about the actual payment request anymore
            //now that we have a paymentMethod, we can check out as normal
            //the checkout function I am not including here, but is very similar
            //to the 'create a subscription' stripe guide
            //however it is important to note that I am passing in the event as an
            //argument.  Once checkout receives a response from my server as to
            //wether the transaction was successful or not, use
            //ev.complete('success') and ev.complete('fail') accordingly to close
            //the modal or display an error message (browser specific behavior)
            checkout(ev.paymentMethod.id, ev);
          });
        }
      })
      .catch((err) => {
        //log errors, retry, or abort here depending on your use case
      });
     //stripe, priceId, and price are listed as dependancies so that if they
     //change, useEffect re-runs.
  }, [stripe, priceId, price]);
  return (
    <>
      {paymentRequest && (
        <PaymentRequestButtonElement
          options={{ paymentRequest }}
          //hacky fix to make force this component to re-render
          //a la https://github.com/stripe/react-stripe-elements/issues/284
          key={Math.random()}
        />
      )}
    </>
  );
};

export default AlternativePaymentOption;

Hopefully this helps anyone in a similar situation.  I got lost in the weeds working on this for two days before I discovered this approach thanks to SeanMC.

A: Here's how I did it. I used JS on the client and the server, but for the most part the steps are the same even if the syntax is different. There's so little documentation on it-I thought I'd see if I can help. Even if it's totally different, most of the logic should be the same. Spefically:
Frontend returns paymentRequest -> Server-takes-paymentRequest -> customer -> subscription -> Done
First, you won't need to do anything with the payment-intent on the frontend. I was hung up on that for a while.
Next, starting everything using stripe.paymentRequest() which takes some payment details, and returns a "PaymentRequest" object..
Here you handle rendering of the button, based on PaymentRequest.canMakePayment()
Next is how I handle when they click the button to Pay.
The paymentRequest has a paymentmethod event listener.
The function on takes 2 args, a string 'paymentmethod' indicating what you're listening out for, and a function that is given the event as its argument.
so like
    stripePaymentRequest.on('paymentmethod', (event) => {
      const paymentMethod = event.paymentMethod

      if (paymentMethod) {
        // call your server and pass it the payment method
        // for Server side Stripe-API handling of payment
      }

      event.complete('success'); // Completes the transaction and closes Google/Apple pay
    });

When you call the server -you can handle it similar to a card payment, since you have the payment method.
1: you create a "Customer" object from stripe using the payment method.  I used something like
        const customer = await stripe.customers.create({
            payment_method: paymentMethod.id,
            email: paymentMethod.billing_details.email,
            invoice_settings: {
                default_payment_method: paymentMethod.id,
            },
        });

2: you create a "Subscription" object from stripe using the Customer, I did it like this
        const subscription = await stripe.subscriptions.create({
            customer: customer.id,
            items: [{ plan: "plan_HereIsYourPlanID" }], // <--
            trial_period_days: 7,
            expand: ["latest_invoice.payment_intent"],
        });

3: The prior step should accomplish everything you need for Stripe. At this point I have some of my own user-management code to keep track of if my user subscribed or not. Then, you return success or not -to that function you called on the frontend, and now it's done you call event.complete('success')
I hope that helps. Sorry it's not PHP, but hopefully it's a start.


Happy Sunday everyone. Kickback, relax today, and enjoy the great links below.
Rompers are really having a moment right now and I have to say that I am kind of liking it. My sister has recently purchased this romper and has been wearing it nonstop. I love this one this one and this one would be so comfy.
I am crazy about this Kate Spade suitcase.
Alyssa from The Glossy Life shared a tour of her home and it is amazing. I am ready to move in. Make sure you take a peek here.
A great blog I discovered this week is Ladies in Navy. I love Kelsey's freckles and this outfit pairing a pleated skirt with a striped top is très chic.
Individual Cheese Plates for entertaining! We can thank A Fabulous Fete for this great idea.
Serve these Tangerine Sorbet Champagne Floats at your get-togethers this Summer.
I recently came across this image from several months ago on Design Sponge. I love the washi tape being used as frames on the gallery wall.
Happy Sunday! Thanks for the links.
thanks so much for the mention! i'm flattered!
That Kate Spade suitcase is too cute! They are making rompers so cute now. I love the selection.
Thanks for sharing. Beautiful photos.
those individual cheese plates are too cute! must remember that!


Kingston Future has become a utopia. There is no crime, no hunger, no poverty - no problem. But this has come at a cost. Grey, colorless, Kingston is no longer the city we know today. All culture and art have been removed, making way for the corporation Capsul8. People have become mere cogs in a machine.
Alexander is one of these cogs. Plagued by dreams of a mysterious stranger calling to him. They lead him to "The Circle" a group of outcasts living in the ruins of old Kingston. Remnants of the creative heart of Kingston now living in exile. When the group comes under threat by Capsul8, Alex just join The Circle to save it and in turn restore the "HEART OF THE CITY"
We respect your privacy. By subscribing to this list you are agreeing to receive news and updates about the production "Heart of the City" as well as intermittent updates about future Reelvibez Studios affiliated productions.
Support our fight to save the Heart of the City. Purchase your copy of the Movie, Soundtrack or even Join "The Circle" at our Kingston, Jamaica Premiere.


text:
The Bush Years Remembered Vividly and Bitterly
Dave Wechsler is the founder and accordionist of the marvelously smart, lush Brooklyn "historical orchestrette" Pinataland. As The Tyranny of Dave (a tongue-in-cheek comment by poet Genya Turovskaya that he ended up adopting for his solo projects), he released a marvelously brooding travelogue of an album, Vacations, in 2007. His new one The Decline of America, Part One: The Bush Years is a personal rather than a political statement, although the sardonic, occasionally bitter tone of these songs echoes that era's sadness. Much of this is pretty morose, with a sort of Elliott Smith quality, characteristically melodic chamberpop with a few surprises that come as an unexpected and very welcome jolt of adrenaline. Here Wechsler is joined by his Chicago band – bassist Aaron Zemelko, Cameroonian guitarist Didi Afana, and drummer Ben Gray – along with cameos from cellist Serena Jost, chanteuses Robin Aigner and Anna Soltys and guitarist Ross Bonadonna. What's best is that Wechsler is offering it as a free download at his bandcamp site.
Months after he wrote the pensive, dynamically shifting 6/8 chamber pop ballad America's Oldest Home, which opens the album, Wechsler decided it was about 9/11: you decide whether or not he was one of those who knew what was coming before it happened. The second track, Greatest Generation has a blithe, Summerteeth-era Wilco swing – it's a subtle examination of the personal as political in the wake of 9/11, with a lively choir featuring Codapendency's Tara Shenoy and Athanasia Sawicz along with Carla Budesinsky, Brittany Petersen and Kate Nylander (ex-Wildcats Marching Band), and trumpeter Megan Beugger.
The 6/8 ballad Abraham Man slowly makes its way to a swirling, off-center cauldron of strings and keyboards; the bouncy Too Late offers a tongue-in-cheek yet resonant look at the consequences of the current depression. The similarly upbeat Chicago River Song, sort of an uncredited Pinataland number, features characteristically incisive, nebulously bluesy lead guitar work from Afana plus vivid violin by Claudia Chopek. Every Damn Light, a Hurricane Katrina narrative, ups the ante with more bluesy, echoey guitar and the ex-Wildcats horn section. The real shocker, and the best number here is When All the Stores are Closed, a swinging early 70s psychedelic blues-rock number unlike anything Wechsler's ever done before, quite a contrast with the next cut, the ornate chamber pop of Fire Drill, which evokes the elegaic understatement of REM's Find the River.
The fast, blippy keyboard pop of Raise a Glass camouflages its bitter, sardonic edge. Remember the Maine, an Iraq war parable, sways with minor-key bite and some gorgeously plaintive harmonies from Aigner: it wouldn't be out of place in the Pierre de Gaillande catalog. The album winds up with the ghostly, organ-fueled Call of the Waters and the similarly regret-tinged oldtimey-flavored Americana ballad Wake Up in Brooklyn. Fans of lyrical, smartly melodic rock from Elvis Costello to the aforementioned Elliott Smith will find plenty to enjoy here: if this is any indication, Tyranny of Dave's planned volume two is something to look forward to.
August 22, 2010 Posted by delarue | Music, music, concert, review, Reviews, rock music	| aaron zemelko, album review, anna soltys, art-rock, athanasia sawicz, ben gray drums, brittany petersen singer, carla budesinsky, cd review, chamber pop, claudia chopek, decline of america volume 1 bush years, decline of america volume one, decline of america volume one bush years, didi afana, Elliott Smith, elvisecostello, free download, genya turovskaya, kate nylander, literate rock, megan buegger, melomane, Music, music review, orchestrated rock, pierre de gaillande, pinataland, political music, political rock, robin aigner, rock music, ross bonadonna, serena jost, singer-songwriter, snow band, songwriter, tara shenoy, tyranny of dave, tyranny of dave decline of america, wilco band, wildcats marching band | Leave a comment
CD Review: Introducing the Pre-War Ponies
A fixture of the New York music scene, Daria Grace got her start playing bass in recently resuscitated art-rockers Melomane, and was one of the original Moonlighters – fans of that band took to calling her replacement "the new Daria." But with a voice like hers – a warm, clear, billowy soprano with just the slightest hint of grit that tails off sometimes with a subtle vibrato – there can be only one Daria Grace. While holding down the bass spot in her husband Jack's terrific country band, she found her way back to oldtime steampunk swing with the Pre-War Ponies. They should be far better-known than they are – this beautifully sunny cd is completely and unselfconsciously romantic and one of the best albums of the year so far. Grace shies away from standards – she's far more at home with obscure sheet music rescued from junk shops, a reliable source for much of her material. She plays baritone ukelele in this band just as she used to do in the Moonlighters along with rambunctious trombonist J. Walter Hawkes, former Cocktail Angst pianist Jon Dryden and Doug Largent on bass, with fellow New York retro chanteuse Sasha Dobson providing harmonies on one track.
Grace follows the Connee Boswell version of All I Do Is Dream of You, Dryden adding jaunty barrelhouse piano beneath Hawkes' wry muted trombone accents. It's something of a shock that at least until now, the swaying, breezy Give Me the Moon Over Brooklyn never became the borough's official theme (once Marty Markowitz leaves office, the band can approach the new Borough President). Hawkes joins Grace here on uke to up the vintage ambience. Got the South in My Soul – a concert favorite and a Lee Wiley hit from 1932 – features a period-perfect, balmy trombone solo. Two Sleepy People (a Frank Loesser/Hoagy Carmichael hit from 1938) absolutely nails the cozy, endorphin-stoked ambience for two lovers who've been out all night and are out of thing to say but not to do with each other.
The band recasts Heart and Soul, the lone standard here, as a brisk 1920s style proto-swing strut. The darkly tender Under the Russian Moon, floating on the waves of Dryden's accordion, is the most delightful obscurity of the whole bunch. The album winds up tantalizingly with The Gentleman Just Wouldn't Say Goodnight, another junk shop find that Grace credits as "one of the most beautiful songs that nobody has ever heard of." Grace weaves through its tasty major/minor changes with a wistful, late-night feel that is pure soul. With the Jack Grace Band's killer new cd hot off the press, that group has been gigging up a storm lately; the Pre-War Ponies' next scheduled gig is at Rodeo Bar on July 26.
May 13, 2010 Posted by delarue | jazz, Music, music, concert, review, Reviews	| acoustic music, americana, americana music, brooklyn official song, brooklyn theme song, connee boswell, daria grace, daria grace pre-war ponies, daria grace prewar ponies, daria klotz, doug largent, frank loesser, give me the moon over brooklyn, hoagy carmichael, j. walter hawkes, Jack Grace, jazz standards, jazz-pop, jon dryden piano, lee wiley, melomane, melomane band, moon over brooklyn, moonlighters, moonlighters band, old time music, oldtime jazz, oldtime music, oldtime swing, oldtimey music, pre-war ponies, prewar ponies, sasha dobson, steampunk, steampunk music, swing jazz, swing music, vocal jazz | Leave a comment
CD Review: The Snow – I Die Every Night
Here we are in March with the first classic album of 2010 (this one actually came out in mid-January). The Snow's debut album True Dirt was good: this is a lushly arranged, thoughtful, funny, richly lyrical art-rock masterpiece. Bandleader Pierre de Gaillande has been writing good, frequently great songs for several years, throughout his days with Melomane, Sea Foxx and numerous other side projects (like his English-language Georges Brassens cover band Bad Reputation), but this is the strongest effort he's been a part of yet. Putting keyboardist/chanteuse Hilary Downes out in front of the group was a genius move, even if it was only logical. She's a torch singer straight out of the Chris Connor/June Christy mold (or a darker Nellie McKay) with an alternately coy and murderous way of sliding up to a note and nailing it. She also contributes half of the songs on the album, alternating with Gaillande from track to track, with an additional number, a rueful tango, written by multi-reed virtuoso David Spinley. The rhythm section of Christian Bongers (ex-Botanica) on bass and Jeffrey Schaeffer on drums slink through the shadows as the clarinet or saxes soar above the swirl of layers and layers of keyboards and the occasional snarl and clang of the guitar. There are other bands who leap from genre to genre as avidly as the Snow do here, but few who have such obvious fun doing it.
The opening track is Albatross, an ironically straightforward, metaphorically loaded ballad by Downes that makes stately art-rock out of a Gaillande garage guitar riff. Handle Your Weapon, by Gaillande, throws out a lifeline to a possible would-be suicide miles from civilization in a symbolic middle of nowhere, swinging along on the pulse of Downes' electric piano. By contrast, The Silent Parade – sort of a signature song for the band – delivers the understated, menacing majesty of the snowstorm to end all snowstorms, the last way anyone would expect the world to end at this point in history. The warmly torchy, soul-inflected Fool's Gold could be a requiem for a relationship – or for the promise that indie rock seemed it might deliver on for a moment but never did.
Undertow is a tongue-in-cheek clinic in jazzy syncopation, a showcase for Downes' darkly allusive lyrical wit, matched by Gaillande on the wryly swinging, Gainsbourg-esque Reptile, a hot-blooded creature's lament. The most menacing cut on the album is the hypnotic, woozy 6/8 masquerade-ball themed Slow Orbit. The album winds up with Downes' understatedly bitter, minor-key chamber-rock ballad Shadows and Ghosts and Gailllande's hypnotic, aptly titled psychedelic anthem Life Is Long and Strange, far more subtle than it might seem. Live, the band surprisingly manage to capture most of the atmospherics of their studio work; watch this space for NYC dates.
March 4, 2010 Posted by delarue | Music, music, concert, review, Reviews, rock music	| art-rock, bad reputation brassens, bad reputation pierre de gaillande, best bands brooklyn, best bands new york, best bands nyc, botanica band, brassens bad reputation, brassens pierre de gaillande, brooklyn bands, chamber pop, chris connor, christian bongers, classical rock, david spinley, hilary downes, I die every night, indie rock, jeffrey schaeffer drums, june christy, melomane, melomane band, nellie mckay, new york bands, new york noir, new york rock, noir music, noir rock, orchestrated rock, pierre de gaillande, pierre de gaillande brassens, rock music, sea foxx, snow band, snow band nyc, snow I die every night, snow music, torch music, torch singer | Leave a comment
The Ghost of Cesar Franck, Part Two
Monday night began with a stellar performance of Romantic music for cello and piano featuring a gorgeously permutating version of terminally underrated Belgian composer Cesar Franck's Sonata in A Major. It was as if his ghost was in the room. After the show, it was time to head up to Small Beast at the Delancey, the weekly edgy music salon (now with free barbecue!) that's recently migrated from Thursdays to Mondays for at least the time being as the weather heats up (let's face it, this respite we've been enjoying is about to end). Franck's ghost came along for the ride, maybe bringing Chopin along (it's unknown if the two composers knew each other – Chopin was at the height of his popularity just as Franck was graduating from the conservatory, but both were wallflowers so it's unlikely). Seated at the Small Beast (the 88-key spinet piano) doing his own Romantic thing was Botanica frontman Paul Wallfisch, who since he books Small Beast has received an enormous amount of ink here. Suffice it to say that his own individual blend of classical and gypsy influences, along with the rock and the honkytonk and the gospel, is something you ought to see if you like any of those styles. This time was characteristic: some new Botanica material (one a dead ringer for vintage Procol Harum), some noir cabaret and a soul song.
Marni Rice was next. The accordionist/chanteuse is a quintessentially New York artist, a throwback to a more dangerous, vastly more interesting, pre-condo era, around the time Bernie Madoff was president of the NASDAQ exchange (presumably because his Ponzi scheme was so successful). She opened solo with one of Edith Piaf's first recordings, Mon Pernod, a haphazard barroom narrative from 1926 that she'd transcribed from an old record. With a twilight feel on her accordion, Rice switched between a slightly menacing, noir cabaret delivery and a soulful alto, backed by former Pere Ubu bassist Michelle Temple (who also doubled on guitar) and Wallfisch on piano on one song. Another evocative narrative, Rice explained, she'd written after returning from Paris to her old stomping grounds near the old Second Ave. sidewalk sale, a reliable source of bargains run by a rotating cast of junkies and derelicts around 6th and 7th Sts. in the 80s and early 90s. "I'll be all right…til winter comes," one of them casually tells his sidewalk pal.
The duo also swung their way through the noir cabaret of Dripping with Blue, a spot-on rainy NYC street tableau and Priere, an original that gave Rice a chance to relate a hilarious anecdote about playing one of Louise Bourgeois' salons, Bourgeois giving her an earful about how the stuff she grew up listening to in Paris was "so much more elevated" than the old barroom songs in Rice's catalog…but did Rice know this one, and that one, and could she play it? They closed with Red Light, "about insomnia and spending too much time on the subway," and a fuzz bass-driven punk rock song. When the luxury condos all turn into crackhouses and the old days come back, we'll undoubtedly still have Marni Rice around to usher them in a second time.
Next on the bill: the Snow, rocker Pierre de Gaillande's main band these days when he's not doing his amazing Georges Brassens Translation Project, Melomane having gone on hiatus for the time being. This was a full-band show, drum kit down on the floor in front of the bar. Cesar Franck's ghost was still in full effect, the Parisian vibe more evident than ever in Gaillande's writing – in a lot of ways it makes sense that he'd be the one to introduce Brassens to English-speaking audiences because the two writers share a cleverness, a punk rock fearlessness but also a meticulous sense of craft. Frontwoman/keyboardist Hilary Downes, as usual, got to take center stage and keep the crowd entertained, but it was the songwriting that carried the night: the noir garage swing of Reptile, the subtly shifting, understatedly haunting Undertow, a swirling version of True Dirt (title track to the band's excellent debut cd), a soul duet and the hilarious Russians, an aptly snide look at what happens when a corrupt communist regime goes even more corruptly capitalist.
Hindsight being 20/20, it would easily have been possible to stick around and see what Christof Widholm of Morex Optimo was doing with his latest project Pharmacy & Gardens. However, in the interest of staying on top of the scene to the extent that there is a scene and there's a top to be found there, the game plan was to get over to Union Pool in time to see how Rev. Vince Anderson's first night there was going. Answer: another mobscene, even more delirously populated than closing night at Black Betty a week ago. Union Pool is a lot bigger than Black Betty, and the crowd filled it, a swirl of bodies in refreshingly diverse shades swaying and bouncing to the pulse of the band. They were celebrating baritone sax player Moist Paula's birthday, so there was a full horn section up with Anderson and the Moist One and the guitar and rhythm section and they were positively cooking, one of the jams going on for at least 25 minutes. While it's a safe bet that most of the crowd had no concern about how late the party went – this was Williamsburg, after all – the house was still full well past two in the morning. And it was clear that Cesar had come along along for the ride – though you won't hear any Franck in Anderson's fiery electric piano cascades or Billy Preston-inflected organ, it's safe to say that not only does Anderson know Franck's work, but it's quite possible he's played it on a church organ at some point. At least the vibe was the same – Anderson's gospel is the gospel of the heart, where emotion rules, where the rules are cast to the wind and the good guys always win. At least they did Monday night.
June 24, 2009 Posted by delarue | Live Events, Music, music, concert, New York City, review, Reviews, small beast	| cabaret music, concert, concert review, delancey bar, edith piaf, free barbecue nyc, georges brassens translation project, hilary downes, indie rock, kristof widholm, louise bourgeois, marni rice, melomane, michelle temple, moist paula, morex optimo, Music, new york bands, noir cabaret, noir music, paul wallfisch, pharmacy & gardens, pierre de gaillande, rev. vince anderson, review, rock music, romantic music, small beast, snow band | 1 Comment
Song of the Day 10/22/08
Every day we add a new song to the alltime top 666 (above, to your right), counting them down all the way to #1. Today's song is #643:
Melomane – O Mighty Orb
Arguably this is the New York art-rockers' most savagely beautiful, majestic epic – and they have many. The centerpiece to their brand-new cd Look Out! it's the most successful number in frontman Pierre de Gaillande's ongoing "disaster song cycle," this one about death via global warming. The satirical false ending adds characteristic black humor.
October 22, 2008 Posted by delarue | Lists - Best of 2008 etc., Music	| apocalypse, art-rock, disaster songs, melomane, Music, pierre de gaillande | Leave a comment
Counting them down from #666 all the way to the best one ever. The whole list, getting a little bit bigger every day, is at the top of the page. Today's song is #645:
Melomane – The Ballot Is the Bullet
The zeros' counterpart to #655 (Reagan Country by Shattered Faith), this one a dark, sobering minor-key art-rock anthem with a great organ solo and equally homicidal intent (the lyric sheet reads "assassinate the precedent," but that's not how the vocals go). Someday soon (1/20/09) this will be a period piece, a brave statement in the face of fascism. In the meantime, we can always hope for a miracle. From the 2007 cd Glaciers.
October 20, 2008 Posted by delarue | Lists - Best of 2008 etc., Music	| melomane, Music, reagan country, shattered faith | Leave a comment
Song of the Day 10/6/08
The countdown continues all the way to #1 (the full list is at the top of the page). Here's #659:
Melomane – Going Places
For a band who traffic in lushly orchestrated, majestically epic art-rock, this New York crew sure are funny. This is a nasty slap upside the head of a trendoid about to emerge from his luxury condo for a night on the town: "You have the most exquisite bedhead to go with your sleepy mind," frontman Pierre de Gaillande taunts. Unreleased and probably for that reason unavailable on the various sites where you get stuff, although there are live bootleg versions kicking around. A big audience hit, the band frequently plays it live.
October 6, 2008 Posted by delarue | Lists - Best of 2008 etc., Music	| melomane, satirical rock | Leave a comment
Concert Review: Melomane at Union Hall, Brooklyn NY 4/25/08
While Lucid Culture takes pride in spreading the word about the best under-the-radar happenings around town, it's always fun to revisit the A-list, to catch a show by one of New York's most exciting, popular acts. Tonight's show strikingly reaffirmed what a great band Melomane is, not just one of the best in New York, but in the entire world. And also a reminder of how much fun and visually entertaining their live show is, with everyone trading off licks, throwing in silly quotes from pop songs, orchestrating a little mayhem into their impeccably crafted tunes. And tonight they did it mostly with songs about the end of the world. The only bad thing about this show was that it ended: they called it a night after fifty minutes onstage, perhaps because their sizzling new three-piece horn section doesn't know any more songs.
Forget the Melomane you might have known when they first started out, the artsy, Mediterranean-inflected, somewhat Roxy Music-ish pop band they were around the turn of the century. This band is a whole lot darker, a LOT louder, more powerful than ever. They hit the ground running with the title track from their second album Solresol, a scorching, fast minor-key anthem that takes flight on one of frontman Pierre de Gaillande's signature eerie guitar hooks, anchored by multi-instrumentalist Quentin Jennings' ominous organ. Then they took a lengthy excursion through Gaillande's ongoing "disaster song cycle," including new songs about apocalypse by never-ending solar eclipse, flood, volcanic eruption, collision with an asteroid and more. The volcano song, Vesuvius was a gleefully morbid, cabaret-inflected number. Their sky-is-falling song caught the audience completely off-guard with two dramatic, false endings to its incongruously Stonesy boogie blues outro, capped by a dark minor chord that rang out majestically at the end. Two more of the end-of-the-world songs were blackly humorous, slow 6/8 numbers. In the country band that shares with her husband Jack, bassist Daria Grace is all about the swing and the sway: in this unit, she gets to play a lot of melody, including one gripping, soaring solo, a lot of slides and chords for extra impact. The horn section, whose name is still up in the air – the Brassholes? The Brass-ieres? The band can't decide – gave the crescendos extra fire and bite. They also played what was ironically the first song Paris-born Gaillande ever wrote in French – an amusing tune about the relationship between a cigarette and a match – bouncing along on Grace's Motown bassline. They closed with the weird, multi-part, Skyhooks soundalike This Is Skyhorse from their most recent and best album, Glaciers, one of our picks for ten best albums of 2007. Melomane plays June 13 at BAM Café: if you like sweepingly orchestrated art-rock, or just plain good fun, you would be crazy to miss this show.
April 27, 2008 Posted by delarue | concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music	| art-pop, art-rock, best bands brooklyn, best bands new york, best bands nyc, chamber pop, classical rock, daria grace, european rock, garage music, garage rock, Jack Grace, melomane, melomane band, melomane glaciers, melomane look out, melomane solresol, orchestrated rock, pierre de gaillande, quentin jennings, Roxy Music | Leave a comment
Saturday night's show at Pete's Candy Store was a quintessential New York experience, two solid hours of urbane, cosmopolitan tunesmithing. The Sweet Bitters opened, Sharon Goldman and Nina Schmir taking turns playing guitar and singing lead, Schmir doubling effortlessly on piano, each singing harmony on the other's songs. Goldman's been a star in the under-the-radar New York songwriter community for awhile now, but Schmir was the real surprise tonight. Two years ago, the former backup singer from Aimee Van Dyne's band was out of music completely; tonight, she held the crowd in the palm of her hand. Combining these two talents was something of a stroke of genius: both have a way with catchy hooks and eloquently witty lyrics which are often downright hilarious.
They opened with a Goldman song, Clocks Fall Back, the gorgeous opening track on the new Sweet Bitters ep with its rich harmonies and evocative rush-hour lyric. Schmir followed with the subtly satirical Rich Little Poor Girl, its sarcasm ever more apt as the New York that she and Goldman represent slides further into suburban torpor.
"I was an 80s girl before I turned into a folkie," Goldman laughed as she launched into a stripped-down cover of In Between Days by the Cure. What a revelation that was: like Melomane frontman Pierre de Gaillande's version of Overkill by Men at Work, or Ward White's cover of Abba's Dancing Queen, Goldman reached down deep into the song and pulled out a wellspring of emotion that she sent flying over Schmir's pointillistic piano work. In their hands, what could have been schlock was anything but. The rest of the show was all originals, reaffirming the two womens' singular sense of purpose: to cram as many catchy hooks into the set as time would permit.
"Now we're going to play a Roches song that's not by the Roches," Goldman deadpanned at the end of the show, and the two women ran through a spot-on parody, a chipper, cheery summer camp singalong about little aliens taking over the world. Sleepy little aliens, as it turns out. It wouldn't be fair to give away the rest of the joke.
Alice Lee was next on the bill, one of the best songwriters in New York before she was priced out of town like so many others. Soul music is her reference point – her 2004 album Lovers and Losers is one of the best in that style to be released in the last several years – but she's always had a fondness for Brazilian sounds. She's been living in Guatemala recently, and going deep into all kinds of tropicalia. Despite some technical difficulties (for some reason, it was impossible to get her acoustic guitar in the sound mix), she kept the crowd riveted throughout her hourlong set. Like the duo on the bill before her, Lee also has a devilish sense of humor, but her songwriting is stormy, passionate, frequently exasperated. She doesn't suffer fools gladly. Using a variety of guitar tunings and singing in four languages, she played a mix of mostly new material along with covers from Brazil and elsewhere south of the border. The best songs on the bill were an audience request, the absolutely brilliant, Nina Simone-inflected Where Are You My Love, and a slow, pensive new one in 6/8 time. Yet another reminder that we shouldn't take people like Alice Lee for granted: if you haven't seen your favorite singer or band in awhile, maybe you should while you still can.
April 7, 2008 Posted by delarue | concert, folk music, Live Events, Music, New York City, review, Reviews, rock music	| acoustic music, acoustic rock, aimee van dyne, alice lee, alice lee pete's candy store, bossa nova, brazilian jazz, brazilian music, cure cover, folk music, folk pop, indie pop, indie rock, jazz rock, jazz-pop, melomane, nina schmir, pop music, roches, rock music, sharon goldman, Sweet Bitters, sweet bitters pete's candy store, trip-hop, urban folk, vocal jazz, ward white | Leave a comment
The Top 20 New York Area Concerts of 2007
We've done the top 100 songs of 2007, and the top 20 albums of the year, and now it's time for what we like best, the live stuff. Since any attempt to rank these shows by sheer exhilaration factor would an exercise in futility, they're listed chronologically. If the show you saw, or the show you played isn't here, that doesn't mean it was bad, that just means that in all likelihood we didn't see it. There are more live gigs in New York in one evening than we saw all year long, and we were trying hard to go out as much as possible and to see the most diverse range of stuff we could, for the benefit of all you readers. Also keep in mind that a pandora's box of factors that have nothing to do with a band or artists's performance come into play here, from the sound system to the general comfort level of the venue to how well a club treats the musicians onstage. As with our other year-end lists, take this with a grain of salt: consider it a sounding of sorts, a general indication of what was happening last year in one small demimonde.
Mary Lee's Corvette at Rodeo Bar, 1/17/07
Two sets of old rarities and current classics from the greatest rock singer of our generation, and a scorching four-guitar edition of her band.
The Avengers at Bowery Ballrooom, 2/3/07
Classic punk done by the most crucial half of the original band (frontwoman Penelope Houston and guitarist Greg Ingraham), less of a nostalgia show than a clinic in good fun.
Justin Bischof at the organ at St. Thomas Church, 3/11/07
The scheduled organist cancelled at the last minute, so the former St. Thomas assistant organist did improvisations, including a symphony that he made up on the spot. Nothing short of phenomenal.
Big Lazy at Luna, 5/20/07
The cd release show for their latest album Postcards from X saw the band thrashing through the instrumentals on their most diverse album to date with predictably fiery, macabre results.
Melomane at Hank's, 6/7/07
The art-rock band at their majestic, epic best, sounding crystal-clear through the excellent PA at this Brooklyn country music bar
LJ Murphy at the Knitting Factory, 6/12/07
The rock world's reigning lyrical genius played a typically passionate, fiery show backed by a great Rickenbacker guitarist and rhythm section.
System Noise at Broadway and West 3rd St., 6/21/07
The high point of the first-ever Make Music New York citywide outdoor music festival – that we were able to see before the rain started – was these scorching female-fronted art/noise/punk rockers.
The Mingus Big Band and Orchestra at Damrosch Park, 8/26/07
The grand finale of the year's Lincoln Center Out of Doors festival was the single best show we saw all year, no contest. A dark, stormy, virtuosic and breathtaking performance by a crowd of great players who realize that Mingus might be the greatest American composer ever.
Amanda Thorpe, Randi Russo and Ninth House at Hank's, 8/26/07
The haunting Britfolk chanteuse followed by the equally haunting, chromatically inclined indie rock siren, and then the Nashville gothic rockers who at that point had just discovered improvisation, and were having a great time with it.
Chicha Libre at Barbes, 9/29/07
A wild, danceable, completely psychedelic performance of brilliant obscurities from the Peruvian Amazon circa 1972, as well as some originals that sounded completely authentic
Moisturizer at Black Betty, 10/10/07
Two sweaty, bacchanalian sets by the funnest instrumental band on the planet.
Mark Steiner at Otto's, 10/16/07
He may have played his one New York show of the entire year with a pickup band, but the chemistry of the group was adrenalizingly contagious to the point where the club's dodgy sound became a moot point.
Golem and Rasputina at the Music Hall of Williamsburg on Halloween
Deliriously danceable, oldtime orthodox Jewish dance music followed by a riveting show by the ever-darker, apocalyptically-minded chamber-rock trio.
Dina Dean at Rockwood Music Hall, 11/8/07
She's always been an A-list tunesmith, but having a band behind her to passionately deliver her beautifully soulful songs is one of the best developments we've seen lately.
The Greenwich Village Orchestra Plays Rimsky-Korsakov, Bruch, Lam and Richard Strauss at Washington Irving HS Auditorium, 11/18/07
A sweeping, majestic, virtuosic show by a world-class orchestra bringing out all the earthy danceability of Rimsky-Korsakov's Easter Overture, the longing and anguish of Bruch's Kol Nidre, and the fascinating timbres of a world premiere by Angel Lam. And then they pulled out all the stops for Strauss' Death and Transfiguration. And made it indelibly their own.
Paula Carino, Tom Warnick & World's Fair and Erica Smith & the 99 Cent Dreams at the Parkside, 11/28/07
The brilliantly lyrical-minded, very funny Carino, the even funnier and inspiring Warnick and the ever-more-captivating, jazz-minded Smith played what was probably the best triple bill anywhere in New York last year.
The Inbreeds at Banjo Jim's, 12/9/07
In a hilarious, somewhat stagy show that really ought to be brought to Broadway, the world's funniest country parody band made fun of every conceivable style of country music.
John Scott Plays The Birth of Our Lord by Messiaen at St. Thomas Church, 12/20/07
Attuned to every emotion in this complex, absolutely haunting suite, Scott brought each and every one of them to life with verve and passion.
James Apollo at Banjo Jim's, 12/20/07
The southwestern gothic songwriter impressed with a dusty, hypnotic set of one good song after another, not a single clunker. That doesn't happen often.
Rachelle Garniez at Joe's Pub, 12/22/07
The cd release for her new one, Melusine Years was a dark, terse yet devastatingly funny and entertaining affair. Just like the album
January 14, 2008 Posted by delarue | classical music, concert, jazz, Lists - Best of 2008 etc., Live Events, Music, music, concert, New York City, rock music, world music	| amanda thorpe, amanda thorpe hanks, avengers band, avengers bowery ballroom, best concert new york, best concert new york 2007, best concert ny 07, best concert ny 2007, best concert nyc 07, best concert nyc 2007, best rock concert new york, big lazy, big lazy luna, chicha libre, chicha libre barbes, dina dean, dina dean rockwood, erica smith 99 cent dreams, erica smith parkside, golem band, golem halloween, golem music hall of williamsburg, greenwich village orchestra, greenwich village orchestra lam, greenwich village orchestra strauss, inbreeds band, inbreeds banjo jims, james apollo, james apollo banjo jim's, john scott messiaen, john scott organist, john scott st. thomas church, justin bischof, justin bischof st. thomas, lj murphy, lj murphy knitting factory, mark steiner, mark steiner ottos, mary lee's corvette, mary lees corvette rodeo bar, melomane, melomane hanks, mingus big band, mingus orchestra, moisturizer band, moisturizer black betty, ninth house, Ninth House band, ninth house hanks, paula carino, paula carino parkside, penelope houston, rachelle garniez, rachelle garniez joe's pub, randi russo, randi russo hanks, rasputina halloween, rasputina music hall of williamsburg, system noise, system noise make music new york, tom warnick, Tom Warnick & World's Fair, tom warnick parkside | Leave a comment


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There's something to be said for the noise levels of a bike mob.
"This is, like, the quietest revolution ever," mused Rachel Lissner, while rounding the corner of Bloor Street East. She was among the 1,000 cyclists at Wednesday night's rally, a protest of the City's decision to remove a number of bike lanes. It was true: when entire lanes of car traffic are replaced by bicycles, the street becomes a mellower place. Bike bell choruses replace the din of low-groaning motors.
Which was probably the point.
Safety and civility were the driving messages of pre-ride speeches from councillors Mike Layton (Ward 19, Trinity-Spadina) and Paula Fletcher (Ward 30, Toronto-Danforth), Toronto Cyclists Union founder Dave Meslin, and the union's current director of advocacy Andrea Garcia. The revolution, in other words, will be a respectful one.
The result was a streetful of jubilant cyclists, passing spectators who both on foot and behind the wheel were unafraid to voice their solidarity. Horns were honked supportively; thank yous were pitched into the throng. And even the indignant battle cries of frustrated rally riders ("Door me now, Toronto!") were no match for the prevailing calm.
To borrow from a phrase from the bike union's Jared Kolb: it's time Ford Nation and Bike Nation get acquainted. The revolution may be a quiet one, but based on Wednesday's numbers, it's got some muscle.


text:
X-Men mark the spot where superhumans strut their stuff
Book review: 'Superhuman' by Rowan Hooper
Thulani Angoma-Mzini
The tagline of Superhuman is "Life at the extremes of mental and physical ability". Rowan Hooper, the author, is an evolutionary biologist.
Everything about this book said "X-Men" to me. In fact, one of the first things I did when I started reading was to google "Are there X-Men in real life?" Google instantly spat out a video titled "10 Real Life X-Men" which showed a ragtag group of wonderfully weird individuals, including a super strong baby, a man immune to electric shock and a man who hasn't slept in over 43 years.
It even had Ozzy Osbourne in there as someone with a gene mutation that helps him process alcohol like no other human. I don't know how. But it's pretty cool.
Superhuman is pretty cold though. Hooper introduces his book with the notion that while human genetics are practically similar to those of other primates such as chimps, humans have achieved some incredible feats that chimps haven't yet come around to. He then goes on to explore some of these traits and their origins. It's the classic battle of nature (the influence of genetic makeup) and nurture (environmental factors). What we've come to know as Malcolm Gladwell's infamous 10,000 hour rule (which turns out to be a misquoted idea from the work of Anders Ericsson of the Florida State University's department of psychology in Sweden) makes a cameo, pulling for the nurture team. For the most part Hooper finds, in an excruciatingly roundabout way, that genetics win the game. At least that's what I think he finds. It's hard to wade through the genetic acronyms and jargon.
Take intelligence for example. The book opens with an examination of three individuals supposedly at the height of intelligence – a master chess player, a Man Booker Prize winning author and a Nobel Prize winning scientist. The novelty in this list comes second only to its lack of interest and intrigue. And the main subject matter – IQ – betrays that lack. Not very Professor X.
Qualitative and self-help aspects are explored as sources of brilliance in these individuals. Such platitudinous observations as "… something that seems to be key to the way intelligent, or at least successful people function – ambition or drive" signal the scarcity of excitement in this investigation.
Besides leaving you with scary stats such as "… fluid intelligence, which relies on working out abstract problems, and speed of mental processing, both decline in efficiency after about the age of 30", you end the chapter still unsure if it's your genes or your drive that makes you super intelligent (or not).
To his credit Hooper has tried to make the notion of superhumans accessible. He's chosen elements of human nature that are relatively quotidian but has highlighted instances where their concentration exceeds expectation. He's set out to identify things that bring us closer to the superhumans he's put together, so we too can feel that we have it in us. It feels like an exercise in inclusion rather than in awe and amazement.
The topics explored are relatively uninspiring. "Bravery" (looking at a bomb detonator's courage, and a woman with a genetic disorder that means she feels no fear); "Longevity" (wherein he establishes that there's no direct line between healthy eating and exercise and a long life – rather an alphabet soup of genomes and DNA strands interacting together); and "Singing" (a stretch by any means, Ozzy Osbourne notwithstanding).
The problem is that this approach reduces to a sort of Dadaism of the extraordinary. If everyone is super, then no one is super. The book slumbers further along the basic in its final two chapters, which explore "Sleep" and "Happiness". Hooper seems to struggle with where he's taken the book. It's not clear, at first glance, what it means to be a good, let alone a superhuman, sleeper.
Hooper explores polyphasic sleep. This is opposite to our eight-hours-a-night norm which is called monophasic sleep. Polyphasic involves breaking sleep up into smaller "power nap" intervals. The chapter cites the Uberman system (a name with an etymology linked to Hitler, as described in Hooper's colourful inserts), which involves breaking up sleep into six 20 minute naps, one every four hours, with a total of two hours' sleep in a 24-hour cycle – "… a superhuman 22 hours' waking time altogether".
Superhuman is reduced to a "human beings are awesome and you can be awesome too" book. Well-meaning as it may be, it fails to inspire. If you watch that video of the real-life X-Men, though, you'll see some real superhumans. The one guy reads two pages at the same time – one page with each eye – and remembers everything. Now that's super. • Superhuman by Rowan Hooper (Little Brown), R295.
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SPORTS DAY: Naughty, Siya, butt bosses say no smackdown
By David Isaacson
Peter Jackson directing a WW1 film has a nice ring to it, doesn't it?
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Mater et magistra (łac. Matka i nauczycielka) − encyklika papieża Jana XXIII sygnowana datą 15 maja 1961 dotycząca współczesnych przemian społecznych w świetle nauki chrześcijańskiej. Jej ideą przewodnią jest uniwersalistyczny humanizm chrześcijański.

Charakteryzuje się przejrzystą budową i formą. Składa się z czterech części. W pierwszej papież Jan XXIII przypomina i streszcza nauki zawarte w poprzednich ważnych dokumentach Kościoła dotyczących kwestii społecznych, czyli encykliki Rerum novarum, Quadragesimo anno oraz w tekst przemówienia Piusa XII na Zielone Święta z 1941 roku.

W kolejnej części precyzuje te nauki tak, by odpowiadały na pytania i wątpliwości pojawiające się w jemu współczesnym czasie. Są to między innymi kwestie zakresu i sposobów interwencji państwa, własności, zagadnienie podziału dochodu narodowego, wynagrodzeń oraz reformy przedsiębiorstw.

W trzeciej części zamieszczone są zagadnienia, którymi do tej pory Kościół się nie zajmował. Papież pisze o dysproporcjach rozwojowych świata w dziedzinach gospodarki, kultury i polityki oraz wskazuje rozwiązania problemów z nimi związanych. Jest to najobszerniejsza część encykliki.

Ostatnia część zawiera krótkie pouczenia dotyczące życia codziennego oraz stosunku katolików do spraw doczesnych.

Pierwsze zdania i słowa, od których encyklika wzięła swoją nazwę to:MATKA I MISTRZYNI wszystkich narodów, Kościół katolicki po to został ustanowiony przez Jezusa Chrystusa, by wszyscy, którzy w ciągu wieków znajdą się na jego łonie i staną się jego członkami, osiągnęli pełnię doskonałego życia i zbawienia. Temu właśnie Kościołowi, "filarowi i podwalinie prawdy" (Tm 3, 15), powierzył Najświętszy Jego Założyciel dwojakie zadanie: by Mu rodził dzieci oraz by je nauczał i rządził nimi, otaczając macierzyńską troską życie jednostek i narodów.

— Jan XXIII, fragment Wstępu

Linki zewnętrzne
 Encyklika w oryginalnej wersji łacińskiej na serwerze Watykanu
 Encyklika w wersji angielskiej na serwerze Watykanu
 Encyklika w języku polskim na stronach Opoki
 Inne encykliki Jana XXIII

Encykliki Jana XXIII
Zwroty łacińskie
Utwory literackie z 1961