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Ingbert Michelsen (1917-1991)
Ingbert Michelsen was the leading horn player in Denmark and the teacher of a generation of Scandinavian horn players.
Michelsen was born in Skanderburg, Denmark in 1917. His father was a carpenter and amateur musician. Even before entering school, Michelsen started playing on an old tenor (alto) horn, then switched to trumpet. At age 10, he was admitted to a new Conservatory of Music in Århus. The teacher, Ejnar Knudsen of the Jutlandian Dragoons, arrived at the first lesson in his uniform, carrying his horn in a sack. He unpacked the horn and asked Michelsen, who had never seen a horn before, to try it. Michelsen did not dare refuse the imposing figure, and so horn became his instrument. Lessons were taken standing, with the military teacher also standing. Michelsen started playing third horn with the Århus Symphony Orchestra at age 12.
After four years at the Conservatory, Michelsen started training to become a builder since music was not considered to be a safe way to make a living. However, he paid for his education by playing wherever he could, and then, in quick succession, won an audition for the Royal Opera Orchestra in Copenhagen, was offered solo horn in the Århus Symphony, and finally won an audition for the Danish Radio Symphony, the position he held for 27 years (1942-1969). In 1949, he received a scholarship to study for four months with Gottfried von Freiberg in Vienna. He taught at the Royal Conservatory of Music in Copenhagen from 1956 to 1984.
In addition to his outstanding orchestral work, Michelsen was highly regarded as a soloist and chamber musician. He performed many Danish premieres (Britten Serenade, Hindemith Sonata and Concerto) and solos dedicated to him (Niels Viggo Bentzon Sonata and Launy Grøndahl Concerto) as well as performing standard concertos throughout Europe. "[His] fabulous technique and outstanding flexibility over the whole range of his instrument, combined with his brilliant musicianship, made him one of the most loved chamber musicians of the country." He was also heard on soundtracks in Swedish films.
Few recordings of Michelsen are known, but admirers have collected tapes of his radio performances; Ib Lanzky-Otto played some of these at a Scandinavian Horn Club gathering. Michelsen was held in high regard by many conductors and visiting soloists. Rostropovich insisted that Michelsen share the solo bows after a performance of the Shostakovich Cello Concerto No. 1.
Michelsen's first horn was a Gottfried F horn dating from the 1880s; in later years, he found it in a second hand shop and bought it back. After leaving the conservatory, he acquired in double horn. Later he had a D descant horn made for him by Alexander, intended for the Bach B minor Mass but used for many other works in D, for its lighter, elegant tone quality rather than for ease of playing. He also designed mouthpieces and was a skilled furniture maker.
Michelsen was elected an IHS Honorary Member in 1978. A tribute appears in the April 1992 issue of The Horn Call.
Richard Moore (1914-1988)
"Whether lasting through a Salome, pounding out a Long Call, backing up NBC script shows, or playing in Xavier Cugat's orchestra, Dick served his Art well. Loyal to his colleagues and dedicated to his students, Dick Moore demanded much of himself in maintaining the highest standards of teaching and performance."
Richard Moore studied with Lorenzo Sansone during his last year of high school. During his college years in Los Angeles, he studied with Georg Hofmann, played in a repertoire orchestra, and worked as an usher at the LA Philharmonic. "I was so interested in music that even though nobody had any money during the Depression, I'd go to a store that had miniature scores that were badly printed, seconds that were yellowed and old so they cost just pennies." He also worked summers at the Hollywood Bowl as a stage guard. He used the opportunities to listen to great musicians and learn from what he heard, marking the scores with his observations.
Moore returned to New York for graduate work at Juilliard, studying horn with Josef Franzl, his most influential teacher. He also took a few lessons with Anton Horner. He played in the National Training Orchestra. In 1936 he was offered his first professional contract as second horn with the Chautauqua Orchestra.
In quick succession, Moore played principal in the National Symphony, assistant first in Pittsburgh (where he spent his time practicing), then Radio City Music Hall and free-lance work in New York City. In 1940, he was accepted into the NBC Symphony, which included various other work such as brass band. A euphonium player in the brass band was also personnel manager of the Metropolitan Opera Orchestra, and he recommended Moore to the Met.
Even while playing full-time at the Met (1942-1985, principal 1942-1964), Moore continued to free-lance and play television shows. He was justifiably proud of his accomplishments with the Met, especially the recordings of Humperdink's Hansel and Gretel (1947, no splicing), Mozart's Cosi Fan Tutti (with Stiedry), and Strauss's Salome (with Welitch and Reiner). He appreciated working beside Gunther Schuller at the Met. "I was lucky to have such a sensitive musician who knew the scores that completely as a colleague." He felt that much musicality was lost in later years as horn players seemed concerned with playing higher, louder, faster. "Today we are getting players who are far better instrumentally prepared, better technicians, but not musically prepared."
Moore taught for 22 years at the Manhattan School of Music. He wrote methods (A French Horn Primer and French Horn Method I & II), a warm-up book (Master Horn Warm-up and Flexibility Studies), Operatic French Horn Passages, and Anthology of French Horn Music (excerpts with detailed comments, published in 1993). He was a demanding but inspiring teacher. He listened to live and recorded music, especially of singers, and studied scores to know what everyone else was playing, and he recommended such studies to his students. "I'd study how singers phrased things, especially in opera, since I often played the same phrase with them before, during, or after they sang it."
Moore was elected an IHS Honorary Member in 1987. A tribute on the occasion of his retirement from the Met appears in the April 1986 issue of The Horn Call, and another, after his death, in the April 1989 issue.
Reginald Morley-Pegge (1890-1972)
Picture reproduced with permission
of the University of Oxford
Reginald Morley-Pegge's book The French Horn (Benn, 1960) is one of the finest and most scholarly texts on the history of the instrument, although long out of print. His vast collection of wind instruments is housed in the Bate Collection (www.bate.ox.ac.uk) at the University of Oxford.
Reginald Frederick Morley Pegge was born in London in 1890. Morley, the name most used by his friends, was originally a given name that eventually muted into his surname. The family moved to Brighton and Morley-Pegge was sent to school at Summerfields in Oxford and Harrow, where he was a member of the school orchestra. Here he came into contact with Tom Busby and through him W.F.H. Blandford; correspondence with Blandford is a source of much horn lore.
France played an important part in Morley-Pegge's life. He was sent there to learn the language, spent a short time as an estate agent in Essex, and then returned to France at age 21 to study at the Paris Conservatoire. He studied horn with Brémond and hand-horn with Vuillermoz, laying the foundation for his tremendous control of the instrument. He was admired for the style and integrity of his performance, although he never had great physical strength or endurance.
In 1917, he married Anne Taylor of Paris, and his son was born in 1918. Morley-Pegge served in the British Forces in both World Wars. After World War I, he served with the army of occupation in France until 1919, then with the Reparation Commission until 1925, during which time he had leisure to play the horn and investigate its history. He then worked in the advertising department of Citroen in Paris until he secured posts as a professional musician in 1927. When the Germans invaded in 1940, the family fled to Edinburgh, leaving most possessions, including his instrument collection, behind. His son later returned to the house in France and found the collection mostly intact.
From 1927, Morley-Pegge played with the Orchestre Symphonique de Paris, then the Colonne (Paris) Orchestra, Association des Concerts Poulet, and the Paris Radio Orchestra. During world War II, he played for the Reid Orchestra in Edinburgh (while also working in military transport) and later for the Ballet des Champs Élysées and the International Ballet. While in Edinburgh, he developed a friendship with Lyndesay Langwill, and their correspondence is also a trove of lore. At this time, he became a historian of the serpent and of other brass and woodwind instruments in addition to the horn.
During all this time, Morley-Pegge added to his knowledge of the history and theory of the horn, examining, playing, and photographing every example that came his way. He built up an encyclopedic body of knowledge that was the basis for his authoritative book, articles for Grove, and a vast correspondence. In the 1930s, he was invited to recatalogue the wind instruments in the collection of the Paris Conservatoire, a mark of the esteem in which his scholarship was already held. He also became an accomplished photographer and frequently exhibited at the Paris Salon. He was known as a genial man, a wit, and a connoisseur of wine and food.
Morley-Pegge was friends with Philip Bate from 1939, first by correspondence and then in person. Most of his instrument collection and all of his papers went to the Bate Collection at Oxford. Morley-Pegge was a founder and active in the Galpin Society from its inception in 1946. This brought him into a wider musicological circle. He also had many correspondents, including many from the US, and he was meticulous in replying.
During most of his playing career, Morley-Pegge was faithful to the French type of horn on which his technique had been formed, although later he used a Kruspe double horn and finally a Berlin Schmidt B-flat horn with an added valve and supplementary slides. This last horn was bought by Harold Meek of the Boston Symphony Orchestra after Morley-Pegge's death (the two had corresponded but never met).
Morley-Pegge was elected an IHS Honorary Member in 1971. Tributes appear in the November 1972 issue of The Horn Call and at the Bate Collection website.
Max Pottag (1876-1970)
Max Pottag's methods, exercises, and excerpt books have been the foundation of many hornists' studies. He was also one of the first to write for and lead large horn ensembles, including 148 horns at the first horn workshop in 1969.
Pottage was born in Forst, Germany in 1876. He started music with a toy violin at age five and the accordion at seven. He took up trumpet at 14, playing in the city band as an apprentice and changing to horn after a year. At 19, he joined the band of the German Navy in Wilhelmshaven and traveled extensively with Kaiser Wilhelm on his private yacht.
In 1899, Pottag entered the Leipzig Conservatory as a scholarship student, studying with Friedrich Gumpert, and graduated with honors in 1901. He played first horn with the Hamburg Symphony for a short time before emigrating to the US.
In the US, Pottage became second horn in the Philadelphia Orchestra (1901-1902), Pittsburgh Orchestra (1902-1905), and the Cincinnati Symphony Orchestra (1905-1907). He was a member of the Chicago Symphony for 40 years (1907-1947), playing second horn until 1944, then fourth horn until his retirement. While in Chicago, he was also associated with the Little Symphony Orchestra of Chicago and taught horn at Northwestern University (1934-1952). He gave clinics and conducted large horn ensembles all over the US.
Pottag wrote and arranged music for the horn throughout his life. His three volumes of excerpts was one of the first compilations of the standard orchestral horn passages in the US, an invaluable aid to generations of horn students. His publications also include daily exercises, a method book with Nilo Hovey, and numerous arrangements for horn and horn ensemble. He wrote articles on various aspects of horn playing in The School Musician, The Instrumentalist, Symphony, and Woodwind World.
Pottag designed a horn for Reynolds, with a design similar to the Holton Farkas model, that was known as the Pottag Model. He also helped redesign the Conn 6D and developed several mouthpieces for each company.
Pottag was honored as an honorary member of Pi Kappa Lambda and the Horn Club of Los Angeles. He was cited by Ball State University (Muncie IN) as "Master Musician, Master Teacher, Teacher of Master Teachers."
Pottag was a founding member of the IHS and was elected an IHS Honorary Member in 1974. A tribute appears in the Fall 1971 issue of The Horn Call.
Lorenzo Sansone (1881-1975)
Lorenzo Sansone is known to many horn players for his publications and his innovative designs of equipment, especially the five-valve B-flat horn. He was also highly regarded as an orchestral player and a teacher.
Sansone was born in 1881 in Monte Sant'Angelo, Italy. Despite disapproval from his father, Sansone began playing flugelhorn in the town band at age 10. At 13, he was hired by a band in another town to play horn and also played in the town orchestra. Because no horn teachers lived in the area, he taught himself, and he was proud of this fact.
In 1903, Sansone emigrated to the US and started playing in the Chiafferelli Italian Band. After three years, he became conductor of the Ventura (CA) City Band. He arranged, edited, and composed music for that band and taught various instruments in Oxnard CA.
Sansone's orchestral career included virtually all the major orchestras in the US in the first half of the 20th century (some now defunct); Los Angeles Symphony, Denver Symphony (1909-1910), St. Paul Symphony (1910-1911), St. Louis Symphony (1912-1915), Chicago Symphony (1914 summer), Cincinnati Symphony (1915-1918), Detroit Symphony (1918-1919), New York Symphony (1920-1922), Beethoven Symphony (1927), National Broadcasting Orchestra (1929), Metropolitan Opera (1931-1933).
Sansone was on the faculty of Juilliard School from 1921 to 1946, where he taught nearly 300 students. He also taught privately at his shop and later at his home. He often said, "You are your own best teacher." He taught primarily from method books and stressed learning transposition by clefs rather than intervals. He often played for his students to illustrate his ideas. Sansone published etudes, two method books, editions of standard repertoire, and French Horn Music Literature with Composers' Biographical Sketches. Southern Music took over his publications. He published a series of articles in The International Musician in the early 1940s.
Sansone played a Kruspe double horn for 11 years but switched to a five-valve B-flat horn in 1914, while he was playing in St. Louis, and stayed with the B-flat horn for the remainder of his career. The horns were manufactured to Sansone's specifications by Wunderlich in Chicago from 1914, by Kruspe from 1916, and finally, from 1954, by Sansone at his shop, Sansone Musical Instruments, in New York City. The shop was established in 1925, with most of the business in publications in the early years. After 1954 he manufactured the five-valve B-flat horn, other brass and wind instruments, mouthpieces (metal and Lucite), woodwind reed tools, and mutes. His son Lawrence, who was also a professional horn player, eventually took over the business.
Sansone was elected an IHS Honorary Member in 1971. A tribute appears in the November 1975 issue of The Horn Call and an article on his life and accomplishments in the February 2005 issue.
James Stagliano (1912-1987)
James Stagliano was best known for his expressive style of playing and his great high register, and he was the first hornist to record the high baroque music of Steinmetz, Barsanti, Handel, and Telemann. For a time, he held the record for the highest note recorded on a horn, an E-flat (concert A-flat) in the cadenza of a the Mozart Concert Rondo. He was a great lyrical player and truly representative of the style of cantabile playing taught by the fine Italian musicians of that period.
Stagliano was born in Italy in 1912 and emigrated to the US as a child. He first learned piano, then studied horn with his uncle. His father, a trumpeter, also gave him some training. At age 16, Stagliano joined the Detroit Symphony as assistant principal horn to his uncle. He moved to the St. Louis Symphony as principal horn, then in 1936 to Los Angeles, where he played in the Los Angeles Philharmonic until 1944 and became a leading player in the studios, especially Fox Studios. His movie credits include Gone With the Wind and Fantasia.
He left Los Angeles to play in the Cleveland Orchestra under Leinsdorf, but after a year was persuaded by Koussevitzky to join the Boston Symphony, where he stayed for a remarkable reign from 1947 to 1973. He founded Boston Records and, with Sarah Caldwell, the Opera Company of Boston.
Stagliano reached many players through his recordings and broadcasts, although his recorded legacy suffers from primitive recording techniques and little or no splicing. He was a natural player and had few students, but he did have some advice. He recommended standing up while practicing because of the natural support this provides. He felt that the best horn playing has "repose," by which he seemed to mean savoring each tone to the maximum, avoiding any sense of urgency or compulsion to get through. He refused to let a poor performance bother him, and he advocated relaxing when away from the horn.
Stagliano played an Alexander double horn for nearly everything except Bach, for which he used a Kruspe single high F horn. He was elected an IHS Honorary Member in 1981.
Louis Stout (1924-2005)
Louis Stout was a highly-regarded orchestral player (he never lost an audition), a revered teacher with scores of successful students, and a renowned collector of brass instruments. He had inexhaustible energy and curiosity, learned solfège early, memorized all the horn excerpts, and was always willing to share his expertise and stories. His teachers were Elaine Kessler, Marvin Howe, Mason Jones, and Robert Schultz.
Louis was born in 1924 in Hallisport NY, a village of 75 people with a two-room schoolhouse. There he studied piano with a fine teacher, learned solfège, and developed a love for literature and the arts that led to his vast collection of books, music, recordings, and instruments. He learned to play the trumpet, trombone, violin, clarinet, and guitar in high school, taking up the horn as a high school sophomore.
By the age of ten, Louis was listening to the Chicago Symphony on the radio. He vowed that he would one day play in the orchestra, a vow that he was able to fulfill. During high school, a friend died and the friend's mother asked Louis to play for her son. Many times over the years, Louis would face difficult solo passages with a sense of perspective that made the passages less important than other elements of life.
Louis graduated from high school at age 15 and spent most of the following year playing horn solos with a pianist friend. Then he enrolled at Ithaca (NY) College, where his horn teacher made a major change in his embouchure, which he later said was the best thing for his career even though it was difficult at the time. It was also at college that his teacher insisted he learn the B-flat side of the horn, and he became primarily a player of the B-flat horn. During his junior year, Louis borrowed money to buy his first "professional" horn, a 45-year-old Schmidt that he later said was the best horn he ever owned, and played an audition for first horn in the New Orleans Symphony. He had won the audition and signed the contract when it was discovered that he was not a union member; however, the manager wanted Louis enough to arrange the necessary membership.
In New Orleans, Louis learned to fly an airplane and found his wife, flutist Glennis Metz. The orchestra season was only 20 weeks, so Louis toured with the North Carolina Symphony and played with the Virginia Symphony for additional income. After two years, he went to New York City and joined the orchestra at Radio City Music Hall. In 1950, when a new conductor took over and brought his own players, Louis went back to Ithaca College to finish his bachelor's degree. During his senior year, he taught all the horn students plus other brass students and became a flute major (since he couldn't teach himself), playing his wife's flute.
Ithaca College wanted Louis to continue teaching, but he need more income to support his family and took a job with Kansas City. After four years, with a growing family, Louis was looking for an orchestra with a longer season. He auditioned for Chicago and got a contract as associate principal for a 36-week season and a salary of $100 more per week. He asked to take lessons from Philip Farkas, the first horn and his idol. He was refused but felt that he got his lessons by sitting next to his "teacher" in the orchestra.
Louis played in Chicago for five years (1955-1960) under Reiner, then applied for a position at the University of Michigan at Ann Arbor. At the audition, he played from memory for two hours and was accepted in spite of not having a master's degree. He taught at Michigan for 28 years, and was known as a demanding teacher, with a thorough and tough regimen, combined with fatherly concern. Even after retirement, he taught privately.
During his Chicago and Michigan years, Louis acquired an amazing collection of instruments, with which he toured the US and Europe in a lecture/demonstration called "The Horn: from the Forest to the Concert Hall." The collection is one of the largest private collections in the world and is now in the Franz Streitweiser's Trumpet and Horn Museum at Schloss Kremsegg in Linz, Austria. Louis's interest in historical horns led to his pioneering use of natural, single B-flat, and descant horns for early music performance.
Louis served on the Fulbright committee, and he and Glennis taught in Taiwan for two years on a Fulbright grant after his retirement. Louis participated in many IHS symposiums, often surrounded by adoring students. He was given the Punto award in 1991 and was elected an Honorary Member in 2005.
A tribute to Louis appears in the October 1989 issue of The Horn Call and a remembrance in the February 2006 issue.
photo courtesy of Holton
Willem A. Valkenier (1887-1986)
Valkenier is recognized as one of the "founding fathers" of horn-playing in the United States. He came from the European (Czech and German) tradition, and his tenure in Boston influenced players and his many students.
Valkenier was born in 1887 in Rotterdam, The Netherlands. He had piano lessons as a child and started horn with a military clarinetist, who, when Valkenier was 14, sent him to Edward Preus. Preus was a natural horn player from Bohemia (Czechoslovakia) who had played first horn in a German opera company in Rotterdam and settled there. He was a strict taskmaster, sparing with praise, who taught the Czech cantabile tradition.
After two years studying with Preus, Valkenier started playing in a vaudeville theater orchestra. In the summer, he played in a Civil Guard symphonic band with Preus playing first horn, a continuation of his education. His first major professional job was third horn in a symphony orchestra in Gronignen (Netherlands), then a year as first horn in Haarlem. Wanting a better living than he could attain in the Netherlands, he found a job as first horn in the Collegium Musicum in Winterthur, Switzerland. After a year, he saw an advertisement for first horn in Breslau (Silesia, later part of Poland), a larger city, where he won the job and got an excellent grounding in opera.
Valkenier applied for a summer engagement in Bad Kissingen, Germany, where the Konzertverein Orchestra from Vienna played. After he had performed the Aria from the Bach B Minor Mass, Valkenier was offered the permanent first horn position; the orchestra bought out the remainder of his Breslau contract. In Vienna, Valkenier played a lot of Mahler (Mahler had died the year before) as well as chamber music. World War I wreaked havoc with the orchestras in Vienna, so in 1914 Valkenier found a position as first horn with the Berlin State Opera, where he stayed nine years and played under Furtwangler and Richard Strauss, among others.
In 1923, Valkenier, a pacifist and still a Dutch citizen, began to see that conditions in Germany were going to "go wrong" in response to the Treaty of Versailles that ended World War I. He was friendly with cellist Pablo Casals and considered settling in Barcelona, but finally decided to try America. Valkenier talked with conductors in New York and Chicago, but both had six-month union waiting periods, so he went to Boston (a non-union orchestra until 1942) as first horn of the second horn section.
Valkenier was a member of the Boston Symphony Orchestra from 1923 to 1950. His first year was under Pierre Monteux, then Koussevitsky took over for 25 years. Around 1950, Valkenier started having trouble with his teeth and so decided to stop playing. He had not liked playing under Koussevitsky, so he stayed long enough to play a season under Charles Munch.
While in Boston, Valkenier delighted in performing chamber music, in both professional engagements and informal pick-up sessions with his colleagues in the BSO or with visiting artists such as Arthur Schnabel, Arnold Schoenberg, and Paul Hindemith. He also played viola and cello parts on his horn.
Valkenier taught many students at New England Conservatory during his BSO tenure and others on Cape Cod during his retirement. He had high standards and insisted on everything being played correctly, but he was also gentle and encouraging, and he was an advisor and confidant to his students, taking a paternal interest in them.
Valkenier started playing on a hand horn, then a Slot single horn. His first double horn was a Kruspe, and the second a Schmidt. Later he used a Kruspe single B-flat horn for operas and a Schmidt single high F horn for high Bach cantatas.
Valkenier was elected an Honorary Member in 1971. A profile of him appears in the October 1983 issue of The Horn Call, a memoriam in the October 1986 issue, and a transcription of an interview in the February 1994 issue. Additional photos of Boston Symphony Orchestra sections appear in the April 1988 issue.
James Winter (1919-2006)
Hermann Baumann
Bernhard Brüchle (1942-2011)
Peter Damm
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From the Heian Period (794 - 1185), the cherry blossom (sakura) has been revered by Japanese. The word 'Sakura' is believed to be a corruption of the word 'Sakuya' (blooming) from the name of Princess Kono-Hana-Sakuya-Hime who is enshrined on the top of the Mount Fuji.
The cherry blossom is the most important flower for the Japanese. Its brief blooming time and fragility represents the transience of life. The life of the samurai was compared to the short life of the cherry blossom as the samurai was always ready to die for his master.
The 'Sakura' is a very common motif on kimonos, lacquerware, pottery and other decorative items and is one of the favorite theme of artists.
Japanese also admire the beauty of falling petals falling like snow in the spring breeze. People organize picnics with drinks, music and songs. The jox of viewing the sakura is called 'hanami'.


Now and again the Bar-B-Q pit-pros at Zarda roll out a new item that has become an "off the menu" favorite with the Zarda family and staff. But be warned, supply may be very Limited, so try these wonderful creations today – they may be gone tomorrow!
Where it began? With our tender & juicy hickory-smoked pulled pork – piled high of course! We added our tangy, southern-style Cole Slaw and drizzled it all with our Suh-weet Carolina mustard sauce. Good times never tasted so good!
We've gone pig crazy with this one pig lovers! Bring your appetite because this one's piled proud and high. First level: Juicy, tender ham. Second Level: Our world famous pulled pork. Third Level: You didn't think we've leave out the bacon?! Top Level: Melted provolone – because everything is better with cheese! Our fresh Roma buns can barely contain their enthusiasm! Hog Wild – the pig lovers delight!
Some ribs are so irresistibly delightful that enjoying them every day would be truly decadent. Come Mondays though, we invite you to treat yourself to Limited Reserve Rib perfection and get your week started on a high note. Special seasoning, and even more tender than our regular ribs, these babies are fresh – from the first pull from the pit. Don't wait though, we only prepare these beauties in small batches and we usually run out! Available in three serving sizes to suit every appetite.
We deep fry our whole turkey breasts just right until the outside is a crispy golden-brown. We slice the turkey up and pile it high on a fresh Roma bun and add a slice of savory provolone and our oh-so-crispy bacon. Then we melt it all down and serve it to you hot – with a side of chipotle mayo . Voila! Turkey Crunch, the Ltd. Reserve turkey sandwich – with an edge!
Tender chunks of pit-charred, expertly prepared beef brisket, lightly dusted with Zarda's distinctive sweet & spicy dry rub. Served up on a Roma bun, or open face on a plate. A special Ltd. Reserve un-sauced alternative to our regular burnt ends.
Available 7 days a week – until we run out!
Beef fans of KC, you're gonna love 'em!


Bryony has a first class degree in experimental theatre from Brunel University & attended the Ecole Jacques Lecoq in Paris.
She has been performing & directing professionally for the last 10 years, with recent work at The Liverpool Playhouse, The Young Vic, The Waterloo Vaults & The Arcola Theatre.
She is also an experienced workshop leader & has run workshops in Bronzefield women's prison & lectured at the University of Kent, Canterbury.
She is Artistic Director of KimBo Theatre Company.


text:
U.S Prepared Hitler for War With the USSR (Part 15)
By Ollie Richardson Last updated Feb 19, 2018
Translated by Ollie Richardson for Fort Russ
Tvzvezda
Part 1 / Part 2 / Part 3 / Part 4 / Part 5 / Part 6 / Part 7 / Part 8 / Part 9 / Part 10 / Part 11 / Part 12 / Part 13 / Part 14
The website of the TV channel "Tvzvezda" has published a series of articles on the great Patriotic war of 1941-1945 by writer Leonid Maslovsky, based on his book "Russkaya Pravda", published in 2011.
In his opinion articles, Maslovsky reveals "the myths of the imaginary foe, Russia, and the events of the great Patriotic war, showing the greatness of our Victory." The author notes that in his articles he is going to "show the US' unhelpful role in West Germany's preparations for war with the USSR".
A solemn meeting on 6th November and the parade on Red Square on November 7th, 1941.
All of the country, with bated breath, was worried about the Moscow Battle. The most difficult was the month of October. The harsh face of our capital city in the fall of 1941 evoked love and pride of the majority of the Russian people. Moscow was closed with sandbagged shop windows of the buildings, balloons in the sky, sirens howling, columns of military and militias walking to the front, the harsh Red Square and the Kremlin simply will forever remain in the memory and in the heart of every person who has seen documentary footage of Moscow in autumn 1941.
Stalin decided to celebrate the 24th anniversary of the great October socialist revolution as it was adopted in 1918 – the ceremonial meeting on November 6th and the parade on Red Square on 7th November. During these days Stalin often appeared on the streets of Moscow. He said: "It will be our street festival!" And the head of security, Vlasick, who was concerned about possible bombings, was told: "Vlasick, don't worry. Our bombs will not pass us".
At that time Moscow was the largest industrial and cultural center of not only the USSR but also around the world. It was a city-worker, producing a huge number of products – both high-tech products and products of light and food industries. Products of the Moscow enterprises were characterised by high quality and sold in all the cities of the Soviet Union.
Today Moscow is perhaps even more hard working, but for such a huge city it almost does not produce anything. On 15th October the decision was taken on the departure of Moscow People's Commissariats (Ministries). People from Moscow continued to be evacuated (2 million people), as well as art and other valuables, and even the sarcophagus with the body of Vladimir Lenin was sent to the distant Tomsk.
In this regard, there is one interesting fact that shows the difference between the Soviet, national and liberal States. When Stalin, at a meeting, asked the remaining People's Commissars and Politburo members "How are things in Moscow?", A.I Shakhurin said that in one company, workers resented the non-payment of wages, which the plant manager took. But actually because of the evacuation there was not enough money in the state bank. "Where is Zverev?" – Stalin asked Molotov. "In Kazan," said Molotov. "Immediately bring money by plane," Stalin ordered. And it was, when the enemy was near Moscow.
At that time there were cases of the detention of the heads of state authorities for illegally traveling from Moscow, stealing products from stores and other offences that indicated a panic, but there was no big panic in Moscow. Despite the evacuation of a significant number of people, work was quickly established in all spheres of urban life even when the enemy hordes were near the city.
In Moscow there was the GKO supreme command and the minimum necessary administration for operation of the country and the army party, government and military apparatuses. The evacuation was caused by the fact that, according to Stalin, the Germans were ahead of us and brought reserves to break through the front near Moscow. The threat to Moscow was real, but I think that still the Germans would have been defeated in street battles.
But they were prepared just in case, adopting a decision to build a defensive line of three strips: on the District railway, on the garden district and the Boulevard district. Stalin allowed Zhukov to move the headquarters of the Western front from Perkhushkovo away from the front line in Moscow to Belarusian station or to Arzamas, and the military said: "The headquarters will remain in Perkhushkovo, and I'll stay in Moscow. Goodbye."
On October 17th the urban radio network appealed to Muscovites Secretary of the Central Committee and Moscow city Committee (MGK) of VKP(b), A.S Shcherbakov, who reported on the situation at the front near Moscow and declared that Moscow will fight stubbornly, fiercely, until the last drop of blood. He also brought to the attention of the Muscovites the very significant fact that contributed to the stabilization of the situation in the city: Stalin in Moscow.
After this message the Muscovites were not so fearful of the Panzer divisions of Guderian and Hoth, located near Moscow, and went to fight as volunteers in the militia, working day and night to protect the capital. Whoever says that Moscow could have handed it over to the enemy does not understand that in 1941 Moscow was the capital of the USSR, which, in the event of capture, Hitler promised to wipe off the earth together with the people inhabiting it.
In 1812 the capital of Russian Empire was St. Petersburg, and references to the decision to move it to Moscow, adopted in the 19th century, do not correspond to the realities that existed in different times.
Stalin, as always, was seasoned, calm and demanding. After receiving the report of Zhukov that the Germans suffered heavy casualties, were forced to regroup and replenish their forces, to pull back, and so could not advance any further, Stalin took the decision on holding a solemn meeting and a parade. The adoption of this decision was facilitated by the fact that by this time, near Moscow, our aircraft were not inferior to the Germans and together with the air defenses could guarantee that no German plane will attack Red Square.
The proposal of Stalin to hold a parade shocked many officials; Commander of the Moscow military district Lieutenant-General P.A Artemyev spoke out against holding the parade, but the GKO was supported by Stalin, and a final decision was taken for its implementation.
For the solemn meeting on 6th November 1941, in the metro station "Mayakovskaya", a room was prepared for two thousand seats. Members of the State Defense Committee (GKO) came by train via the subway. The radio all over the country declared: "Moscow speaking! Spread the word of the solemn meeting of the Moscow Soviets…" The country heard that Moscow was still standing and is fighting the enemy.
A presentation was made by Stalin; he talked about the huge losses of people and territory and that the German plan of blitzkrieg, meaning lightning war, torn, about the intention of Hitler and Goering to destroy the Russian people and other Slavic people, about the appeal of the German command to the soldiers to exercise extreme violence against the people of the USSR.
Stalin said: "These people, devoid of conscience and honour, people with the morals of animals, have the audacity to call for the destruction of the great Russian nation, the nation of Plekhanov and Lenin, Belinsky and Chernyshevsky, Pushkin and Tolstoy, Glinka and Tchaikovsky, Gorky and Chekhov, Sechenov and Pavlov, Surikov, Suvorov and Kutuzov! The German invaders want a war of extermination with the people of the USSR. Well, if the Germans want to have a war of extermination, they'll get it. Now our task… will be to exterminate every single Germans man who made his way to the territory of our Motherland as an occupier. No mercy to the German invaders! Death to the German invaders! Our cause is just – victory will be ours!"
On November 7th, 1941, at 8 o'clock in the morning, Stalin, the party and the government climbed onto the Mausoleum for the historical parade on Red Square in Moscow. The parade started two hours earlier than usual. On the square were Marines, Cadets of the artillery school, the Navy, NKVD troops, militia units, cavalry, artillery, and tanks all lined up. The parade was directed by the Commander of the Moscow military district, General P.A Artemyev, who headed the Moscow defense zone simultaneously.
On the morning of 7th November, Stalin got up early, before dawn. Because of the blackout lights were not burning, and you couldn't see the snowflakes rushing along the street, but only hear the howling wind and feel the breath of the cold outside the window. Stalin thought about the soldiers that carry all the hardships in the frozen trenches. The day dawned, the wind died down. Stalin and Vlasik went to Red Square. It was snowing. It covered the Spasskaya tower, Kremlin wall, Red Square cobblestones, and in that white outfit it was even more beautiful.
They didn't want to believe that there is a war at that moment and that very close to Moscow guns were firing on the advancing German tanks, and a young dashing Lieutenant wearing a fur cap commands: "Fire!" Only a cuckoo knows how long this lieutenant had left to live, but it is speechless in this stone-deaf and frozen forest, and we'll never know the fate of the lieutenant.
At this time in the snowy fields near Moscow, machine and assault guns fired bitingly, artillery guns. It was the sacred battle for our Homeland, for our children, for our wives and mothers, brothers and sisters, for the life of future generations.
The fighting had killed the good Russian people, men, many of which had not yet become fathers, had never known the happiness of being loved, the light of joy to touch the delicate little hands of a child and hearing the word "daddy". And the people living on the land who defended it, never, in a thousand years, should we forget their sacrifice, of their heroism. If we forget about them, they will die. That is the law of life.
In my poem "Ninth of May" are these lines: "And Russia without them was empty, and the earth groaned with tears, and prayer from the Church flew past gentle Russian birches. They lived to reach Berlin and to take revenge on Germany in the battle for their deceased brothers and sons, and their grief in their eyes."
Only the people standing in a fight to the death have the right to live on the territory of Russia. Such people will never forget their compatriots who died for freedom and independence of their country. And if you forget, you lose the right to life, and would be weak and helpless in the face of the advancing enemy. It is because the Soviet soldiers fired the machine guns, poured out gunfire on the enemy with rifles, that Moscow lived.
At eight o'clock in the morning the striking of the Kremlin's chimes were heard. With the last kick of the gates of the Spasskaya tower, Marshal of the Soviet Union S.M Budyonny left on horseback. That parade, as in the past before the war, with Semyon Mikhailovich Budyonny, strengthened faith in the power of the Soviet Union.
Lieutenant-General P.A Artemyev, who, as was mentioned above, commanded the parade, reported on the readiness of troops for parade in honor of the 24th anniversary of the great October socialist revolution. Budyonny was inspecting the troops and congratulating the officers and soldiers on the holiday. Our soldiers in unison answered and dearly shouted: "Hurrah!" To show their determination and willingness to fight and sacrifice for the Motherland they spoke the Russian word for Hurrah.
The morale of the soldiers, their sincerity, youthfulness, generosity and belief in their power had passed onto Muscovites, guests of the capital, members of the party and the government. Then a fanfare played the cue "Listen up!" According to tradition, Budyonny was supposed to speak at the parade, but the floor was taken by Stalin. At first, for security reasons, they planned to broadcast the parade only on radio Moscow, but at the last minute Stalin changed his mind and asked to broadcast the parade throughout the Soviet Union, and the world.
He spoke from the rostrum of the Mausoleum, referring to the inhabitants of the country: "Comrades, Red Army and Red Navy men, Commanders and political instructors, working men and women, collective farmers, workers, intellectuals, brothers and sisters in the rear of our enemy, temporarily fallen under the yoke of the German brigands, our glorious partisans and guerrillas are destroying the rear of the German invaders!
In his speech, Stalin remembered the Civil war and said: "Our country's industry, food and raw materials are many times richer now than 23 years ago… the Enemy is not as strong as some portray them as frightened intellectuals. They are not the devil they are painted as… the German invaders are straining their last forces. There is no doubt that Germany cannot withstand this strain for long. Several months, six months, maybe a year, and Hitlerite Germany must burst under the weight of their crimes" – (exactly one year later, in November 1942, the victorious offensive of the Red Army began at Stalingrad and ended in Berlin).
He confidently said that the Red Army would soon liberate Europe, the oppressed people of Europe and the whole world look at our soldiers, "As the force capable of destroying the predatory hordes of German invaders," and continued, addressing the participants of demonstration: "The great liberation mission requires your part. Be worthy of this mission!
The war, which you lead, is the war of liberation, a just war. Let the brave image of our great ancestors inspire you in this war – Alexander Nevsky, Dmitry Donskoy, Dmitry Pozharsky, Kuzma Minin, Alexander Suvorov, Mikhail Kutuzov! Let the victorious banner of the great Lenin overshadow you!"
The parade began. The orchestral division named after Dzerzhinsky, under the baton of the conductor of the military intendant 1st rank A.V Agapkin, who wrote the famous March "Farewell of Slavianka", played at the military marches. The sounds of those marches took place on Red Square with the 2nd Moscow rifle division, cavalry, artillery, tanks and other troops. Most participants of the parade departed from Red Square straight to the front.
The orchestra fell silent, and the most sincere, the most Russian march "Farewell of Slavianka" for a long time sounded in the hearts of those who were returning from a parade of citizens and members of the party and the government. Before their eyes were open, kind, courageous people leaving for the front of great sons and a great country. Mothers, wives, sisters, children performed the clean sounds of the march "Farewell of Slavianka" on the front, in a terrible battle with the hated enemy of their sons, husbands, brothers and fathers! Millions.
The airwaves of big stations and small stations were soaked in the sounds of the glorious Russian march. Thanks to him, Agapkin, we low bow to all whose hearts remember and honor those hard times of hard trials and great victories. Our whole country, the whole world knew that Moscow did not give up, that Russia was alive and determined to defeat the cruel and powerful enemy. The Soviet people ecstatically listened to the words of Stalin and the news about the parade and solemn meeting in Moscow! Hitler's gang of criminals, listening to the celebrations on Red Square, went into a rage! The German conquerors were cringing in fear when they heard the words of Stalin: "Death to the German invaders!".
HistoryHitlerMoscowStalinU.S
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redpajama_set_name: RedPajamaCommonCrawl


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False Idol is the sixth studio album by American metalcore band Veil of Maya, released on October 20, 2017, through Sumerian Records. The instrumental parts of the album were produced by Max Schad, while vocal parts were produced by Brandon Paddock.

Track listing

Personnel

Veil of Maya
 Lukas Magyar – vocals
 Marc Okubo – guitars, programming
 Danny Hauser – bass
 Sam Applebaum – drums

Crew
Max Schad – production (instruments)
Brandon Paddock – production (vocals)
Cason Fredrikson – art and design
Daniel Braunstein – mastering

Charts

References

2017 albums
Veil of Maya albums
Sumerian Records albums

redpajama_set_name: RedPajamaWikipedia


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October 27, 20214:48 PM UTCLast Updated ago
Enterprise software firm Informatica valued at $7.5 bln in stock market return
People pass by a banner celebrating the Informatica IPO on the front of the New York Stock Exchange (NYSE) in New York City, U.S., October 27, 2021. REUTERS/Brendan McDermid
Oct 27 (Reuters) - Shares of Informatica Inc (INFA.N) fell nearly 5% in their stock market return on Wednesday, fetching a valuation of $7.5 billion for the enterprise software firm that was taken private six years ago.
Redwood City, California-based Informatica's shares opened at $27.55. The company sold 29 million shares priced at $29 apiece, at the bottom end of its price range, raising $841 million.
Founded in 1993, the company offers subscription-based data management services over the cloud and also helps automate tasks for more than 5,700 active customers, including the U.S. Air Force, automaker Nissan, supermarket chain Kroger and biotech firm Amgen.
Informatica was taken private in 2015 for about $5.3 billion, by a consortium that included private equity firm Permira Advisers Ltd and Canada Pension Plan Investment Board.
Informatica's weak start in its second stint as a publicly traded firm further underscores the falling appetite for IPOs, which have globally slowed in the third quarter of 2021 from their frenetic pace in the three months prior. read more
Although tech listings remain investor darlings, their valuations have come under increased scrutiny.
The U.S. IPO market has had some recent hiccups as well, with NordicTrack-owner iFIT Health & Fitness Inc and Allvue Systems Holdings pulling the plug on their listings earlier this month, citing adverse market conditions.
Goldman Sachs & Co and J.P. Morgan are the lead underwriters for the IPO.
Reporting by Manya Saini and Noor Zainab Hussain in Bengaluru; Editing by Ramakrishnan M. and Shounak Dasgupta


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Career Turkey Hunter at Age 20
Twenty-year-old Hunter Wallis of Greenfield Township, Pennsylvania, started hunting turkeys when he was 4 years old and won the 2018 Intermediate Division of the National Wild Turkey Federation Grand National Calling Contest. This was the last year for him to compete in the Intermediate Division. He won the Intermediate Division four times, and the Junior Division three times in the Grand Nationals. He also won the Senior Division of the U.S. Open, the World Junior Championship, the World Intermediate Championship, the Pennsylvania State Open in both the Junior and Intermediate Divisions, and the Open Pennsylvania Championship three times.
Hunter Wallis | Mossy Oak ProStaff
Currently, I work with Zink Calls, Avian-X decoys, Mossy Oak, and I participate in turkey calling contests all over the nation. In high school, my friends thought it was kind of neat that I was in calling contests and working with these outdoors companies. But in college, hardly any of my friends know what I do. My dad Jeff and my mom Nancy have been my major supporters. They understand why I do what I do as far as turkey hunting and turkey calling. They always have been and are today my biggest supporters. My dad more or less has pushed me in the direction of doing what I really want to do and what I love to do. I think my dad wants success for me just as much as I do.
Hunting Different States
Where I live is not far from New York. So, I've always hunted Pennsylvania and New York, and last year I hunted Florida. Zink Calls has been very good to me as far as helping me find and go to hunts. I also hunt in the Midwest, usually in Kansas or Texas, and I've been hunting Alabama now for quite awhile. Last year I went to Nebraska. I shot my first single season turkey Grand Slam last year, but I had already taken my Grand Slam before last year. I finished my first Grand Slam when I was 12 years old.
Turkey Hunting Equipment
My shotgun is a Browning Maxus, and I shoot BXD turkey shotgun shells. I use Avian-X decoys on just about every hunt. I like to use male turkey decoys. Usually, I'll set up a jake and a hen when I'm hunting.
I believe that there are two major ingredients for a young person who wants a career in the turkey hunting industry, but I guess this information is true for the outdoors industry as a whole.
Find a good mentor or several mentors who will help you learn what you need to know to be a successful hunter and to be able to work in the hunting industry.
Stick with it! You're going to have days when turkeys don't gobble and days when you're not a successful hunter. In the calling contests, you'll have days when you call lousy, and days when you call pretty good. But as long as you don't quit, you have a chance to win.
To learn more about turkey hunting, check out John E. Phillips' Kindle eBook and print book, "Mossy Oak Pros Talk Turkey Tactics." For a free copy of John E. Phillips' "The Turkey Gobbler Getter Manual," download here.
My Toughest Offshore Fishing Trips
Mark Davis from Lexington, South Carolina, uses his Pure Bay boat to fish from Montauk, New York, to Brownsville, Texas, for all saltwater species. Each year Davis films seven shows in the U.S. and six shows from destinations all over the world for his TV show, " BigWater Adventures " on the Outdoor Channel. Davis has been on the Outdoor Channel for 11 years, and he's filming for year 12 right now. I've been hunting
Fishing, Mossy Oak Elements
Getting Started as a Turkey Hunter and a Contest Caller
Twenty-year-old Hunter Wallis of Greenfield Township, Pennsylvania, started hunting turkeys when he was 4 years old and won the 2018 Intermediate Division of the National Wild Turkey Federation Grand National Calling Contest. This was the last year for him to compete in the Intermediate Division. He won the Intermediate Division four times, and the Junior Division three times in the Grand Nationals. He also won the Senior Division of the U.S. Open, the World Junior
Turkey, Mossy Oak Obsession
Hardest Turkey, Easiest Turkey
One of the toughest turkey hunts I've ever been on, without hesitation, is any turkey hunt in Alabama. The birds down there have been hunted for many, many years, and they receive a lot of hunting pressure. In the early season, you can have a sunshine one day, snow or hail the next day, rain the next day and high winds on the following day. So, when you put the weather and bad birds together,
A Memorable Hunt for a First-Time Turkey Hunter
One of my most memorable hunts was in the 2017 turkey season. My friend and fellow Mossy Oak ProStaffer Josh Grossenbacher came up here to Pennsylvania to hunt with me. We enjoy being together as much as we do hunting. Josh has been turkey hunting most of his life, but his dad, Bruce Grossenbacher, had never turkey hunted. For the last couple of years, Bruce had been trying to take a turkey without being successful.
Become a Better Turkey Hunter with the Help of Mentors
I was 10 years old the first year I won the NWTF Grand National Calling Championship in the Junior Division, and I met Nate Hosie who lives about 10 minutes from my house. Nate and I have been friends ever since I was really young. He's always helped me with my turkey calling, and I've bagged a couple of gobblers with Nate. He got me to the point that I had a pretty good calling


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Resources » Customer Stories » Enabling global business with Travelex
Enabling global business with Travelex
Telecommunications Specialist Travelex
Its global availability and the ease-of-use for both audio conferencing and screen sharing were key factors in our selection of LoopUp.
Global conferencing solution
Ease of use, modern technology, cost management
44% increase in active users globally over the first 10 months
Travelex, one of the leading foreign currency exchange companies in the world, serves over 37 million customers every year across 26 countries. For Travelex, enabling global collaboration is a top priority – and employing a streamlined, easy-to-use conferencing tool is critical to their success.
"Our internal users are spread across the globe and include everyone from our executive and senior management teams, to individual users in a variety of roles throughout the organization," said Ian Stewart, Telecommunications Specialist at Travelex. "They all need to have regular conversations with people around the business, our partners and external suppliers, and conferencing is one of our primary communication tools."
Dissatisfied with their traditional audio conferencing provider, Travelex was looking for a more modern solution with a better user experience and a global footprint to match their own. After a trial that garnered positive feedback from early users, Travelex selected LoopUp.
"The most important criteria for us in selecting a new conferencing provider were reliability and their global presence. We need a single solution that can be accessed from anywhere around the world, in all the countries we trade in," continued Stewart. "Its global availability and the ease-of-use for both audio conferencing and screen sharing were key factors in our selection of LoopUp."
Travelex was particularly impressed with the ability for users to click a link to join their meetings and have LoopUp call them on a phone number of their choice. According to Travelex, this unique capability makes entry into meetings far easier for their global user base and means that the majority of people no longer need to remember dial-in numbers and access codes.
"LoopUp has addressed the basic issues of conferencing in a very straightforward way that gives users the features they need, when they need them," said Stewart.
At Travelex, users rely on Outlook as their primary email and calendar tool, and the majority of users now leverage the LoopUp tool for Outlook to schedule and join their meetings. In addition, Travelex users click to join rather than dial in to the majority of their meetings. Travelex users also use LoopUp's one-click screen sharing for interactions with multiple people at the same time. This feature has been used for activities like conducting basic employee training to when executives present to the business.
For Travelex, account administration has improved since switching to LoopUp, including provisioning and de-provisioning users. "We've found that once we set up a LoopUp account we really don't have to do anything, everything's in hand," added Stewart. Additionally, Travelex, which runs its own internal service desk, has noted that the number of recorded issues with LoopUp has been very minimal.
"I believe that the way LoopUp operates – as a global service that is easy for everyone to use – it just makes doing business easier," continued Stewart. "LoopUp really is the easiest way to bring people together into a conference from anywhere around the world."
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What fun David and I have been having. I have posted about my Dancing Red Sticks here and here, and I have posted about our incredible woodland paths here. This week, we combined the two. We collected another batch of "dancing sticks" from fallen trees, spray painted them bright red, and have been installing them in hidden scenic glens and forest niches around the area. They are there for walkers to discover and enjoy.
Here is a pair of dancers on a leaning tree. Your eyes need to be sharp as you hike by, but there - between the trees you can spot the pair.
This is a great project because it is quick with maximum impact. We collected about a dozen figures from tree branches, and because weather threatened, we hung them in the garage to paint. It was definitely a spooky site.
We continue to paint them all red, although have discussed other options. The contrast of the complementary colors of red and green in the forest is such a rich combination.
Once dry, we loaded up our arms, grabbed some tools and headed out looking for special spots. We found one on a sun speckled hillside covered in woodland grass. We had left one leg branch longer and just stuck it down into the earth. He gives the appearance of skipping through the grass.
I wonder if they will be seen or not? Wonder if it will make people smile. I hope so.
Notes: I posted step-by-step instructions on how to locate and make these dancing sticks in an earlier post. Check it out here. The idea of sharing them with other hikers is new. If you make any, let us know and send pictures! If you find ours, let us know also!
Me too! As I wander I am looking up - like a tourist in NYC, only no buildings!
These are darling and magical. If I walked along and spotted one, I'd laugh and my heart would be light.
Magical is a great word for them! We have people that often leave rock towers and other sculptures behind as they roam. We enjoy the discovery. Thanks for commenting.
Magical is a good word but I also like Whimsical for these dancing guys. What a great to find while out on a walk. I love this!
Thank you for the smiles and inspiration. Hope you are enjoying your week!
Btw, I found you by way of Take It On Tuesday Blog Hop.
I live in Connecticut. Spread the concept through out the Florida woods! Send photos. As I have said in the post, this is a quick and easy project. Leaving them in the woods is just fun. Doesn't really matter if folks move them. It is just good to spread the smiles!
I love these red dancing sticks. I especially love that they are red - I'm sure someone will notice them in the woods.
Thanks for sharing this at Romance on a dime!
David and I have decided the red is important. I expect yarn bombed might be a good idea as well.
They are absolutely whimsical. They just make everyone smile and that is a good thing.
Thanks Larry. Yes, they are fun, so much so I have another batch drying in the garage right now. We have identified more leaning logs to be decorated.


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Home » News » Xcel Energy clarifies wind energy position after lobbyist implies doubt
Xcel Energy clarifies wind energy position after lobbyist implies doubt
Source: By Leslie Brooks Suzukamo, Pioneer Press • Posted: Tuesday, January 8, 2013
Xcel Energy, long the nation's top wind energy provider, had to do some damage control Monday, Jan. 7, after its chief Washington lobbyist implied the Minnesota utility was considering a split with its wind energy allies.
Company officials told state wind energy advocates the Minneapolis-based utility is not abandoning wind power and chalked up its lobbyist's statements to frustration and fatigue over a last-minute tax credit extension inserted in the New Year's Day fiscal cliff bill.
Xcel had been disappointed that the one-year extension of the production tax credit for wind energy, known as the PTC, did not include the utility's suggestion for something called a "consumer renewable credit" to help utilities.
The lobbyist, John O'Donnell, was quoted Friday in the National Journal, a Washington, D.C., publication, saying "we are in the process of reviewing our relationship" with the American Wind Energy Association. Xcel is a member of the association.
O'Donnell also told the Journal that Xcel may not buy more wind power because the tax credit did not do enough to benefit wind energy customers like Xcel.
On Monday, Xcel CEO Ben Fowke issued a statement saying his company continues to believe wind energy is an important part of its energy future.
The PTC is paid to developers to offset the cost of building a windmill farm, but the proposed consumer renewable credit would go to utilities like Xcel to offset some of the costs of using wind energy, such
as having natural gas power plants ready to take up the slack when the wind dies down, Xcel officials explained.
"While that proposal was not enacted, we are pleased to see the PTC extended," Fowke said in his statement.
Fowke added, "we will continue to consider additional wind resources for our systems as we always have." The utility is under a state mandate to make sure 25 percent of its electricity production comes from wind energy by 2020.
However, Xcel won't need more wind energy until 2019 at the earliest, because it has built up a sufficient storehouse of wind energy, Xcel spokeswoman Mary Sandok said.
Xcel will revive its idea for a consumer renewable credit with Congress this year when lobbying begins anew on extending the production tax credit beyond 2013, said Chris Clark, Xcel's regional vice president for rates and regulatory affairs.
"We continue to think it's a good solution," Clark said. "But at the end of the day, we recognize the legislative process. Sometimes it takes a few tries before something is enacted."
The American Wind Energy Association also papered over the spat, releasing a statement Monday.
"We've worked with Xcel on their concerns and will continue to. The tax credit already flows to utility customers and they also benefit from wind energy's very low operating costs, but we're always open to discussion," it said.
"Xcel has been very important to (the association) as a participant, because you need to be working with utilities with great amounts of wind on their system," said Beth Soholt, executive director of Wind on the Wires, a regional wind energy association.
Michael Noble, executive director of Fresh Energy, a nonprofit advocacy group, said he understood why tempers boiled over. The one-year extension of the PTC ensured another battle for the tax credit on Capitol Hill at the end of this year.
"What I want is thoughtful, sustainable public policy that robustly develops wind power, because it's by far our lowest-cost, carbon-free new energy resource," he said.


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IFF Names Dennis Maroney Master Perfumer
30.11.2022 22:20:00 CET | Business Wire
IFF (NYSE: IFF) has named Dennis Maroney Master Perfumer, an honor recognizing his career achievements, entrepreneurial contributions and record of commercial excellence in the global perfumery industry. Maroney is a 32-year industry veteran and IFF's ninth Master Perfumer, a distinction reserved for those who have demonstrated exceptional leadership and measurable impact in perfumery.
"Dennis has demonstrated a unique ability to bring together science and creativity, with a strong, undefeatable sense of purpose," said Frank Clyburn, CEO, IFF. "He is a humble leader and an inspiring mentor who has created milestone scent signatures in the beauty and home care world. His unique contributions to the products we use every day in our beauty and home care routines are truly inspiring, and this Master Perfumer recognition is more than deserved."
Commenting on his Master Perfumer appointment, Maroney said: "Perfumery is about transporting the consumer to a time and place where they are happy. It is about bringing a positive impact to someone's day with something I have created. It is about making them smile, making their life smell better, and making that experience last long enough that when they come back to real life, the sunshine is still there in the air, vibrant with peace and courage."
Maroney was born in Elmsford, NY, and as a child, was driven by a desire to solve problems. After earning a bachelor's of science in Psychology from the University of Connecticut, he joined Kato, a fragrance house, as laboratory assistant, where he was trained in the art of perfumery by senior perfumers. After holding perfumer positions of increasing responsibility, Maroney joined IFF predecessor Bush Boake Allen in 1998. Since then, he has created globally recognized signatures in hair and beauty products, and across home consumer products. Additionally, Maroney is a five-time winner of the American Society of Perfumers "Perfumer Choice Awards," and served as the organization's president and chairman of the board between 2010 and 2014.
"Dennis' innovation-driven mindset, leadership and creativity have helped develop groundbreaking scent solutions with breakthrough technologies, bridging A.I. and scientifically driven wellness research," said Christophe de Villeplée, president, Scent, IFF. "Over the years, Dennis has created some of the most iconic fragrances and signatures across multiple categories. He has played an instrumental role in mentoring IFF junior perfumers and perfumery students, ensuring the next generation of perfumers have the creative, technical and innovation skills to create novel, memorable fragrances consumers desire."
Welcome to IFF
At IFF (NYSE: IFF), an industry leader in food, beverage, health, biosciences and scent, science and creativity meet to create essential solutions for a better world – from global icons to unexpected innovations and experiences. With the beauty of art and the precision of science, we are an international collective of thinkers who partners with customers to bring scents, tastes, experiences, ingredients and solutions for products the world craves. Together, we will do more good for people and planet.Learn more at iff.com, Twitter, Facebook, Instagram, and LinkedIn.
© 2022 by International Flavors & Fragrances Inc. IFF is a Registered Trademark. All Rights Reserved.
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More Than Half of Visitors to teamLab Planets in Toyosu, Tokyo Now Come From Overseas. Starting in March, Artworks Featuring Cherry Blossoms That Bloom Across the Space Will Be on View for the Spring Season Only27.1.2023 18:00:00 CET | Press release
Approximately 100,000 people from overseas visited teamLab Planets in Toyosu, Tokyo, between December 9, 2022 and January 9, 2023. (*1) Of the visitors across one month, around 60% , or 1 in 2 visitors, were non-residents visiting Japan (*1), and the number of visitors from overseas has tripled compared to the same month in 2019 (before COVID-19). This press release features multimedia. View the full release here: https://www.businesswire.com/news/home/20230126005440/en/ teamLab, Floating in the Falling Universe of Flowers © teamLab Furthermore, according to a survey conducted by the museum, about 70% of the visitors from overseas knew about the museum before considering their trip to Japan, and there was a trend of the museum being one of the main purposes to visit Tokyo. (*2) *1 From the official website tickets purchaser data (survey period: December 9, 2022 - January 9, 2023) *2 From the visitor survey data (survey period: December 17, 2022 - January 10, 2023) We will continue to p
Global Processing Services Appoints Former Visa Executive Jim McCarthy to Lead Global Sales and Product27.1.2023 11:01:00 CET | Press release
Global Processing Services ("GPS"), a fast-growing next-gen global payments technology platform, today announced the appointment of Jim McCarthy as Executive Vice President – Global Head of Sales and Product, and Kevin Fox as the company's new Chief Revenue Officer. In this newly created role, Jim will lead GPS' global commercial and product teams in close collaboration with Kevin on sales acceleration. Jim is a highly accomplished payments veteran with over 30 years of experience, including 18 years at Visa where he held senior roles in sales, risk and authentication, consumer credit, digital products and product innovation. As Visa's EVP of Innovation and Strategic Partnerships, Jim was responsible for the development of Visa's product and technology roadmap, innovation efforts, and led business development for strategic partnerships. While at Visa he was responsible for the introduction of 3D Secure and Visa Token Service, which have become industry standards, and also contributed t
Major Landowner Federations to Support AMR Against Nordic Mining ASA (NOM) in the Norwegian Supreme Court27.1.2023 10:59:00 CET | Press release
Key landowner federations declare 3rd party intervention in support of Arctic Mineral Resources' appeal to the Supreme Court in the case against Nordic Rutile AS (NRU), a wholly owned subsidiary of Nordic Mining ASA (NOM). Arnold Rørholt, lawyer and AMR's Chairman, welcomes the 3rd party intervention in favour of AMR: "The intervention will ensure that the Supreme Court, as opposed to the courts of lower instance, appreciates the principal nature of the case and the Constitutional issues underpinning it, and interprets the Mineral Act in light of these – to the favour of AMR." "The Western part of the Engebø garnet and rutile province contains around half of the proven reserves in the Engebø deposit, as well as a majority of inferred resources and will support a highly profitable 50 years plus fully underground mining project without a need for deposits on land or in the sea" continues Rørholt. Arctic Mineral Resources (AMR) and the federations argue that the two mineral categories – o
Ipsen Receives CHMP Negative Opinion for Palovarotene as a Treatment for Fibrodysplasia Ossificans Progressiva in E.U.27.1.2023 07:00:00 CET | Press release
Regulatory News: Ipsen (Euronext: IPN; ADR: IPSEY) announced today that the Committee for Medicinal Products for Human Use (CHMP) of the European Medicines Agency (EMA) has recommended not to grant marketing authorization for investigational palovarotene as a treatment for the ultra-rare bone disease, fibrodysplasia ossificans progressiva (FOP). In the E.U. there are currently only symptomatic treatments for FOP, which do not reduce the formation of extra-skeletal bone in patients with the condition. Ipsen will be requesting a re-examination of the CHMP opinion, based on scientific data available from the existing palovarotene clinical trial program. FOP causes permanent and continuous new bone formation in soft and connective tissues, like muscles, tendons and ligaments, a process known as heterotopic ossification (HO).1 Once formed, it is irreversible.1 The average age of diagnosis is 5 years old2 and ultimately FOP shortens the median life expectancy to 56 years as untimely death is
Green Steel Technology Company Boston Metal Announces $120M Series C Financing Led by ArcelorMittal27.1.2023 06:01:00 CET | Press release
Boston Metal, a company developing technology to fully decarbonize steel production, today announced the $120 million first close of Series C fundraising led by multinational steel company, ArcelorMittal S.A. (NYSE: MT). Microsoft's Climate Innovation Fund and SiteGround Capital also joined as new investors in this round, alongside current investors. ArcelorMittal's lead investment was made through its XCarb® Innovation Fund. Commenting, Aditya Mittal, CEO, ArcelorMittal, said, "In Boston Metal, we are investing in a team that has made impressive progress over a relatively short period of time, developing a technology that has exciting potential to revolutionize steelmaking. In our extensive discussions with them, we have been impressed by the passion and vision they have to contribute to the decarbonization of steelmaking. They are an exciting and welcome addition to the XCarb® Innovation Fund's portfolio." Boston Metal's patented Molten Oxide Electrolysis (MOE) process is being comme
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Q: MUI v5 Property 'fullWidth' does not exist on type 'IntrinsicAttributes & { theme: Theme; } & { children?: ReactNode; }'. TS2322 I am using MUI v5 and have a simple FormControl as below
I know that the property fullWidth is valid as outlined in the documentation.
import React, { PropsWithChildren } from 'react'
import { Theme } from '@mui/material/styles'
import styled from '@mui/material/styles/styled'
import InputLabel from '@mui/material/InputLabel'
import MenuItem from '@mui/material/MenuItem'
import MuiFormControl from '@mui/material/FormControl'

interface SelectProps extends MuiSelectProps {
  id: string
  label?: string
  options?: { text: string; option: string }[]
}

const FormControl: React.FC<{ theme: Theme }> = styled(MuiFormControl)(({ theme }) => ({
  color: theme.palette.nav.links,
  borderRadius: 30,
  width: 180,
}))

export const Select = ({ label, id, children, options }: PropsWithChildren<SelectProps>) => {
  return (
    <FormControl fullWidth hiddenLabel>
        <InputLabel>
          {label}
        </InputLabel>
    </FormControl>
  )
}

TS Error
Failed to compile
/var/www/target/component-library/src/components/Select/index.tsx
TypeScript error in /var/www/target/component-library/src/components/Select/index.tsx(24,18):
Type '{ children: ("" | Element | undefined)[]; fullWidth: true; hiddenLabel: true; }' is not assignable to type 'IntrinsicAttributes & { theme: Theme; } & { children?: ReactNode; }'.
  Property 'fullWidth' does not exist on type 'IntrinsicAttributes & { theme: Theme; } & { children?: ReactNode; }'.  TS2322

    22 | export const Select = ({ label, id, children, options, ...props }: PropsWithChildren<SelectProps>) => {
    23 |   return (
  > 24 |     <FormControl fullWidth hiddenLabel>
       |                  ^
    25 |       {label && (
    26 |         <InputLabel id={`input_${id}`} shrink={false}>
    27 |           {label}

A: Remove the type React.FC<{ theme: Theme }> when declaring the FormControl:
const FormControl = styled(MuiFormControl)(...);

The resulted component created by the HOC from styled() can infer the prop type from the original component like fullWidth or hiddenLabel, but you assert the type again in your variable. This type:
React.FC<{ theme: Theme }>

Means a functional component that accepts a prop with the type { theme: Theme }, it doesn't have the fullWidth property so Typescript is complaining.
If you want to extend the props type in your custom styled component:
const FormControl = styled(MuiFormControl)<{ yourCustomProp?: string }>(...);

<FormControl yourCustomProp='...' />

redpajama_set_name: RedPajamaStackExchange


In Krasnoyarsk, Russia a brutal slapping competition took place. It was the first official slapping tournament to be held in the Russian Federation. Vasily Kamostky, weighing 168 kgs, won the contest and got rewarded with a medal and 30,000 rubles (460USD) in prize money.
Pyramid Schemes Are Funny, When You're Smart Enough Not To Fall For One.
Check out this pyramid scheme song about high-school friends trying to pitch you the latest pyramid scheme they got duped into.
There were a ton of viral videos that caught our attention in 2018 but this is Newsflare's top 40 for 2018.


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Rio 2016: Why aren't we vomiting with rage over the Women's Sevens ref who robbed us?
Madeleine Chapman | Contributor
Getting upset at terrible refereeing calls is a Kiwi tradition. So why aren't people foaming at the mouth in fury over the terrible calls in this morning's Women's Sevens gold medal game?
I remember watching the 2007 Rugby World Cup quarterfinal between New Zealand and France. I remember the controversial calls from referee Wayne Barnes. I also remember the national outrage that followed, complete with death threats both to Barnes and to anyone who dared utter that maybe the All Blacks lost for other reasons too.
Barnes still feels the disdain of a nation for what he did that day almost a decade ago, and many more refs have since become the target of our scorn after a few dodgy calls. We love our rugby teams and if a ref in any way jeopardises their chances of glory, we'll be sure to let them know what we think.
So it is with some surprise that I seem to find myself in the minority of New Zealand sevens fans upset about the refereeing of the women's gold medal match this morning. The New Zealand Sevens Sisters lost 24-17 in a match heavily influenced by poor refereeing.
First there was the (no) try. Australia's Emma Tonegato stretched for the corner and appeared to score. The referee, Alhambra Nievas, consulted with her in-goal touch judge who confirmed the ball was grounded. However the replay (which played in the stadium) clearly showed Tonegato losing control of the ball short of the line.
This crucial call was followed by a series of inconsistent decisions at the breakdown. In the minutes leading up to Australia's third try, Nievas' whistle remained frustratingly silent as Australia knocked the ball on (again), kicked the ball out of a New Zealand ruck, and then failed to release the ball in their own breakdown.
Nievas then penalised the New Zealand team for not releasing in their own 22 despite an Australian player obstructing the ball off her feet. This too led to an Australian try.
In a game of 10-minute halves, the sheer number of calls that fell Australia's way were inevitably a huge factor in their victory. While there's no denying that they are a great team who played well and took full advantage of the first half yellow card to New Zealand's Portia Woodman, that has never stopped the New Zealand public from piling onto a referee before.
In what can only be described as an Olympic miracle, all of a sudden the New Zealand sporting public seems to have learned the phrase "beaten fair and square" and decided to use it ad nauseum. It seems a little suspicious that this attitude only makes an appearance after the women's team loses.
Compare the standard Facebook comments about Wayne Barnes' refereeing earlier this year when he disallowed an All Blacks try in a game which they went on to win comfortably…
…to the comments on an article questioning the calls in this morning's match.
Even Twitter, the home of armchair criticism, seemed awash with 'hard lucks' and 'simply outplayeds'. Ironically, it was largely the IRL rugby players who felt compelled to point out the influence that the ref's decisions had on the outcome.
When a controversial All Blacks loss is met with fury towards the ref but a controversial Sevens Sisters loss is met with 'it's okay (but also your fault), you did your best', it's hard not to feel like the public attitude towards the women's team might be a little condescending.
Don't get me wrong, I'm all for pride in defeat and pride in silver. Silver at the Olympics is incredible. I only hope that the next time a ref makes a questionable call in an All Blacks game, or even a men's sevens game later this week, the New Zealand public will continue to react so graciously.
Our World Cup football team is better than you think
Steve Tew is leaving NZ Rugby. Here's a novel suggestion for his replacement
Trevor McKewen
Cancel the prizegiving, but don't discourage competitiveness
Madeleine Chapman


text:
Location: Seattle, Washington
Type: Full-time
Cures Start Here. At Fred Hutchinson Cancer Research Center, home to three Nobel laureates, interdisciplinary teams of world-renowned scientists seek new and innovative ways to prevent, diagnose and treat cancer, HIV/AIDS and other life-threatening diseases. Fred Hutchs pioneering work in bone marrow transplantation led to the development of immunotherapy, which harnesses the power of the immune system to treat cancer. An independent, nonprofit research institute based in Seattle, Fred Hutch houses the nations first cancer prevention research program, as well as the clinical coordinating center of the Womens Health Initiative and the international headquarters of the HIV Vaccine Trials Network. Careers Start Here.
At Fred Hutch, we believe that the innovation, collaboration, and rigor that result from diversity and inclusion are critical to our mission of eliminating cancer and related diseases. We seek employeeswho bringdifferent and innovativeways of seeing the world and solving problems.Fred Hutch is in pursuit of becoming an antiracist organization.Weare committed to ensuring that all candidates hired share our commitment to diversity,antiracism, and inclusion.
The Termini Lab is recruiting a highly motivated Research Technician II/III to join our team in early summer of 2022. Our lab focuses on understanding how hematopoietic stem cells regenerate after stress and how these pathways are manipulated during disease. The Termini Lab combines basic cell biology with translational applications using pre-clinical mouse models and primary patient samples to evaluate hematopoietic stem cell regeneration from a multitude of scales. Specifically, we utilize flow cytometry, super-resolution imaging, and basic biochemical techniques coupled with in vivo stem cell transplantation assays to quantify stem cell function.
This is a new lab, and the candidate will assist the Principal Investigator (PI) in setting up the lab, supervise other laboratory personnel and facilitate daily laboratory operations. The successful candidate will work with the PI and other lab members to perform cutting-edge research rooted in cell biology, molecular genetics, glycobiology and immunology to evaluate stem cell function at the nano, cellular, microenvironmental, and organismal scale. The Research Technician II/III will perform experiments, contribute to manuscripts/grants/abstracts, receive mentorship from the PI, and be a part of an inclusive environment that supports creativity, professional development, and scientific discovery.
This position works independently under the guidance of, and in conjunction with the Principal Investigator in accomplishing the goals of the laboratory, including:
The candidate will perform experiments and assist with establishing and maintaining daily laboratory operations/organization.
Support research operations through administrative responsibilities related to laboratory safety, ordering supplies, performing basic laboratory and equipment maintenance, and maintaining databases.
Perform bench-level experiments that involve operating analytical instruments (flow cytometer, cell sorter, qRT-PCR machine), recovering, compiling, and verifying the accuracy of research data, performing calculations, preparing graphs and performing statistical analysis.
Perform mouse handling, including coordinating basic animal care, breeding, weaning, genotyping, etc.
The successful candidate will be involved in the following experimental techniques:
In vivo mouse models of hematopoietic stem cell regeneration (transplants, peripheral blood analysis, irradiation, chemotherapy treatment)
Basic cell culture of mammalian cell lines and primary human cells
Tissue isolation of hematopoietic and niche cells
Flow cytometric immunophenotyping and fluorescence activated cell sorting of human and mouse cells
Tissue preparation for histological analysis using microscopy (brightfield, confocal)
Immunofluorescence for microscopic analysis (confocal, STED imaging)
Basic biochemistry (protein isolation, Western blotting, immunoprecipitation, ELISA)
RNA expression analysis (RNA extraction, qRT-PCR analysis, RNA sequence analysis)
Flow cytometric analysis (protein expression, cell cycle status, cell death status, etc.)
Lentiviral transduction of primary mammalian cells and cell lines
Basic molecular genetics (plasmid preparation)
Perform other duties as required
Research Technician II Minimum Qualifications
BA/BS in a scientific discipline required or BA/BS with a proven record of completed scientific coursework and research experience
At least two years of research laboratory experience
Experience working with mice
Proficient in using Microsoft Office Suite
Research Technician III Minimum Qualifications
BA/BS in a scientific discipline required or BA/BS with a proven record of completed scientific coursework and research experience / Masters degree is preferred
At least four years of research laboratory experience
Experience using GraphPad Prism and Adobe Illustrator
Knowledge or experience maintaining and ordering materials is preferred in addition to excellent record keeping skills.
Fred Hutch has a mandatory COVID-19 vaccine requirement, with exceptions only for approved medical or religious accommodations.
As a condition of employment, newly hired employees must provide proof of vaccination or initiate the accommodations process before their first day of employment.
A statement describing your commitment and contributions toward greater diversity, equity, inclusion, and antiracism in your career or that will be made through your work at Fred Hutch is requested of all finalists.
We are proud to be an Equal Employment Opportunity (EEO) and Vietnam Era Veterans Readjustment Assistance Act (VEVRAA) Employer. We are committed to cultivating a workplace in which diverse perspectives and experiences are welcomed and respected. We do not discriminate on the basis of race, color, religion, creed, ancestry, national origin, sex, age, disability (physical or mental), marital or veteran status, genetic information, sexual orientation, gender identity, political ideology, or membership in any other legally protected class. We are an Affirmative Action employer. We encourage individuals with diverse backgrounds to apply and desire priority referrals of protected veterans. If due to a disability you need assistance/and or a reasonable accommodation during the application or recruiting process, please send a request to our Employee Services Center at hrops@fredhutch.org or by calling 206-667-4700.
Not ready to apply? Connect with us for general consideration.
About Fred Hutchinson Cancer Research Center
At Fred Hutchinson Cancer Research Center, teams of world-renowned scientists and humanitarians work together to prevent, diagnose and treat cancer, HIV/AIDS and other diseases. Researchers are discovering new ways to detect cancers earlier, improve treatments, and learn how to prevent cancers from growing. Although Fred Hutchinson opened its doors in 1975, its history began about 20 years before that. In 1962 Fred Hutchinson envisioned a center devoted to studying cancer, a disease that took his brother's life. Today Fred Hutchinson is contributing to the next waves of breakthrough treatments and prevention strategies. Fred Hutchinson collaborates with the Seattle Cancer Alliance, the National Cancer Institute, and the University of Washington.
Connections working at Fred Hutchinson Cancer Research Center
https://careers.ashg.org/jobs/15889521/research-technician-ii