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Captain's Corner

Captain's Corner: Red and gag grouper heating up in preparation of winter

Dave Zalewski

Dave Zalewski

What's hot: Recent cold fronts have made fishing for several species red hot. Both red and gag grouper have begun their heavy feeding activity in anticipation of a long winter, with a lack of baitfish that will have migrated from our area seeking warmer water. Frozen squid and Spanish sardines are effective in getting the feeding activity started. Once that occurs, use a variety of live baits to trigger a strike from the larger fish that will be drawn in by the commotion. Pinfish, hardtails and squirrelfish are effective, but right now a small blue runner with part of its tail removed to slow it down seems to be working the best. Long runs are not necessary as the best activity is in 40-60 foot depths.

Tips: Kingfishing has been disappointing, with small scattered schools being encountered. Most kings that we have been catching have been on stinger-rigged flatlines deployed with a frozen sardine while bottom fishing. Spanish mackerel and barracuda fishing have filled the gap caused by the lack of kings. The larger mackerel are being caught within a mile of shore near the passes by using small spoons trolled behind No. 1 planers or freelined white bait or shrimp. The barracudas are feeding aggressively on slow-trolled blue runners on all of the artificial reefs.

Dave Zalewski charters the Lucky Too out of Madeira Beach. Call (727) 397-8815.

Captain's Corner: Red and gag grouper heating up in preparation of winter 11/12/13 [Last modified: Tuesday, November 12, 2013 6:39pm]
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[aprssig] Airborne APRS

Robert Bruninga bruninga at usna.edu
Fri Oct 28 16:34:52 UTC 2005

If the aircraft is going to digipeat the downed balloon,
make SURE that it can be set to IGNORE DCD so
that it will transmit as soon as it hears the balloon
independent of all the other QRM on the channel.

Otherwise, it will never transmit at altitiude.  Bob

>>> mckeehan at mckeehan.homeip.net 10/28/05 11:22 AM >>>
In participating in some balloon chases where we had difficulty finding the
ballon once it landed, some of the guys thought it would be nice to fly an
airplane over the area with an APRS station on board the airplane, thus giving
it line-of-site with the low power balloon beacon and getting a position.

The guys have a pilot/airplane, but we are wondering how to setup the APRS
station in the airplane. The plane will generally be a Cessna 172 - a
high-wing monoplane.

Has anyone on this list tried this? How did you position the antenna? What
type of antenna did you use?

Thanks for any ideas/input.
William McKeehan
Internet: mckeehan at mckeehan.homeip.net

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[aprssig] Perl socket programming

Andrew Rich vk4tec at people.net.au
Thu Apr 10 12:52:12 UTC 2008

Any one good at socket programming ?

I am trying to UDP some hex characters.

Something so simple is turning out to be hard to find.

Here is how to do it as a string, I just want to send hex instead

#!/usr/bin/perl -w
# clientIO.pl - a simple client using
# IO::Socket
use strict;
use IO::Socket;
my $host = shift || 'localhost';
my $port = shift || 30003;
my $sock = new IO::Socket::INET(
                   PeerAddr => $host,
                   PeerPort => $port,
                   Proto    => 'udp');
$sock or die "no socket :$!";
foreach my $i (1..10) {
    print $sock "hello, world: $i\n";
sleep 1;
close $sock;
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[aprssig] Newbie APRS object question

Lynn W. Deffenbaugh (Mr) ldeffenb at homeside.to
Fri May 22 02:31:59 UTC 2009

Please clarify "I can send APRS messages from my PC to RF".  Is that
DIRECTLY to RF?  Or via APRS-IS?  If it is directly (you've got your own
TNC, radio, and antenna) then you can certainly send objects directly
out over the local RF (with appropriate software like xastir) that will
be digi'd (assuming a path that calls for digi and that the local digi
can hear your station).

If you "send APRS messages from my PC to RF" via APRS-IS (the Internet),
then you cannot directly get an object onto RF.  IGates have special
software that "remembers" stations "recently" heard "locally" (quotes
representing arbitrary concepts) and monitors the APRS-IS feed for
messages destined to one of those stations.  If it sees one (and it is
set up to gate Internet to RF), it will transmit the message over RF
along with the most recent position packet heard from the originating
station.  However, the IGate software will NOT do this for objects heard

So, I'm still trying to clarify your words to make sure they mean what
others are assuming they mean.  The words themselves ("send APRS
messages") actually have two possible meanings as outlined above.

Lynn (D) - KJ4ERJ - Clarifying APRS over RF as opposed to APRS-IS and
the transparent roles of IGates and the "magic" that they do...

Fred Eckert wrote:
> Lynn (D) - KJ4ERJ wrote:
>> One question that no one has asked yet.  Are you AT the Digi?  Or are
>> you trying to put an object onto APRS-IS (the Internet) and expect
>> that, with the proper path, some IGate or Digi will pick it up and
>> send it out over the "local" RF?  If it's the latter, I'm afraid
>> you're out of luck unless you're close friends with an IGate operator
>> where you'd like the object to be transmitted.
> I am not at the digi. I was hoping to do the latter. I can send APRS
> messages from my PC to RF. Why can't I send objects? Do I need some
> sort of authorization to transmit objects to RF from the local IGate
> operator?
> Thanks for the enlightenment.
> Fred
> _______________________________________________
> aprssig mailing list
> aprssig at tapr.org
> https://www.tapr.org/cgi-bin/mailman/listinfo/aprssig

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TASO team joins thanks giving Service at All Saints Cathedral Nakasero

On 16th September 2012. TASO together with the congregation of All Saints Cathedral Nakasero held a Thanksgiving service to thank God for the 25 years of service that TASO has offered to the people of Uganda.

TASO staff attended all three services that is, 7.30am, 9.30am and 11.00am. They took part in readings, the choir, intercessions and a general thanksgiving offertory.

The sermon was given by Dr. James Magara who thanked TASO for the great ministry of comforting those is need of comfort. He reminded the congregation that God does not force healing upon us. Rather we have to seek it, the way we seek the help of a doctor. Dr. Magara reminded us that it is our responsibility to take care of the disadvantaged just as the founders of TASO reached out to AIDS patients who were being left to die.

Other activities during the day included HIV counseling and testing as well as a stall for information.

Appreciation to All Saints Cathedral for being part of the TASO Jubilee celebrations.

A few milestones in the 25 years of TASO

The year was 1982 when the first cases of AIDS were identified in Uganda. However, it was not until 1986 that the new Government came up with a vibrant campaign against HIV and AIDS. The drum was heard on the radio, in 1989 Philly Lutaaya publicly declared he was HIV positive and a small group of people affected and infected by HIV started meeting in Mulago Referral Hospital.

This small group included a radiographer, physiotherapists, doctors, nurses, patients and their families. They met informally on the ward and at their homes. Eventually, they were given a room in which they met to share ideas, unburden to each other and offer comfort to those who needed it. The small group became a family united by a common enemy. This is the foundation on which The AIDS Support Organization (TASO) was built.

In 1987, the small group had grown. While more patients were registered, Dr. Elly Katabira opened the first Immuno Suppression Syndrome (ISS) clinic where Mama Noerine Kaleeba together with the other founder members discovered the need for them to be equipped with counseling skills.  They were supported by ActionAid Uganda to be trained them in counseling.

Calling on the spirit of voluntarism and selflessness, the members started reaching out to other patients in Mulago Hospital, in the communities in which they lived and their places of work.

From an almost unknown informal group, word spread all over the country that a new organization was offering hope to those suffering from AIDS. It was built on the following values:

  • Human Dignity: To uphold the rights of people living with HIV/AIDS and believe in living positively and dying with dignity.
  • Obligation to people infected and/or affected by HIV/AIDS: Commitment to the creation of an enabling environment and to facilitating the provision of quality care to the people infected and affected by HIV/AIDS.
  • Equal rights, shared responsibilities, equal opportunities: To ensure that people should be protected from stigma and discrimination, regardless of their sero-status.
  • Family spirit: To promote unity, mutual support and concerted action of all stakeholders.
  • Integrity: Honesty, transparency and accountability must be achieved if we are to gain and retain the confidence of the service beneficiaries and partners.

Action AID Uganda offered TASO the first support for counseling and health care services. A Memorandum of Understanding was signed between the Ministry of Health and TASO where a room off the Polio clinic was given to TASO to carry out its services.

TASO centers were then started in various parts of the country-operating within the vicinity of government hospitals; beginning with training of existing healthcare workers. These were Masaka in 1988, Tororo and Mbarara in 1989, Mbale in 1990, Entebbe and Jinja in 1991. By  this time the majority of healthcare workers within these hospitals had been trained in   HIV counseling and clinical care for AIDS patients and their families. Communities were also being sensitized on how to care for their members and how to protect themselves against HIV.By 1991, after the organization was registered as a Non-Governmental Organization; it started offering counseling, medical, home care services and material assistance to clients. A Day Center was set up where clients met and supported each other while they waited for services. This year also saw the formation of the AIDS Challenge Youth Club, a group made up of children of clients and a few of their friends. They went out to carry out peer education of adolescents and youth in schools and other youth clubs.

In 1992, TASO trained the first HIV counselors in Uganda and also rolled out its services into the communities. In 1993, TASO adopted music, dance and drama as a way of community education and sensitization.  People living with HIV/AIDS receiving care from TASO were voluntarily taking up the challenge of using their experiences to appeal to the community to stop stigma and discrimination of persons living with HIV or AIDS to avoid contracting HIV.  Communities were taught about HIV transmission and prevention, how to live positively with HIV and the services they could receive at a TASO Center.

The introduction of Aromatherapy and reflexology to the TASO package of care services to its clients began in 1994. It was during this year that TASO began offering services in Arua Hospital-testing out the model of “TASO like initiative” within a public health facility.

In 1995, several milestones were made such as a training curriculum of HIV/AIDS counselors was developed and TASO began training counselors. This year will always be remembered as the historical year when the TASO Founder and first Executive Director of TASO handed over leadership to Ms. Sophia Mukasa – Monico. TASO also began to air programmes on “Living Positively” on the radio.

In 1997, TASO became one of the first organizations to incorporate stress management into its programmes.

During 1999, TASO started the community outreach programme. Through this programme TASO was able to take the services that it offered at the Services Centers to specific places in the communities where clients could easily access them. This cut down on the costs they incurred to travel to the Service Centers.

 It was not until 2000 that TASO was able to respond to the needs of children affected by HIV in a systemic manner by initiating  the Child Survival program for Orphans and Vulnerable children, and in 2001 a systematic approach to improving nutrition for PLH/A was added to the TASO comprehensive package. This year also saw the expansion of the Community initiative with support for apprenticeship and Income Generating Activities.

Members of the TASO Drama group in Mulago center  were the  first within the TASO family to benefit from the life  saving  Antiretroviral drugs-supported by a well wisher. Entebbe and Tororo clients received their first Antiretroviral drugs in 2003. While the rest of the TASO Centers rolled out Antiretroviral Therapy in 2004. Peadiatric ART was started in 2005.

2006 ushered in the years of consolidation and accountability. From 2007, programmes such as research on discordance and sero conversion, strengthening of HIV counseling training, offering experiential attachments and internship came on board.

By 2011, TASO had eleven centers, had carried out several research projects, shared out knowledge with various stakeholders both national and international.

It is especially important to note that before the coming of ARVS, clients survived mostly on the Positive Living philosophy. Before the introduction of ARVs in TASO, clients were encouraged to “Live positively. This meant that they had to take care of themselves and those around them to share whatever time they had left and also to prepare to die in dignity. Although, TASO still encourages clients to live positively, it now encourages them to live healthy, stress free lives to avoid premature death.

Within the next 25 years, TASO is committed to contributing to the National prevention goal to reduce HIV incidence and also contribute to the improvement of the quality of life of PWA by mitigating the health effects of HIV and AIDS. TASO also reaffirms its commitment to work with the Government of Uganda and the entire nation to achieve a world without HIV.

As we celebrate 25 years of great service, we would like to extend our sincere gratitude to all those who stood by us during these years and to encourage our clients and everyone else to keep the candle burning.

Silver Jubilee newspaper supplements

TASO had a Special Supplement for the Silver Jubilee in the New Vision on Saturday 22nd September 2012.

It highligted a few milestones in the TASO history, an interview with Mama Noerine Kaleeba, words from Prof. Elly Katabira and Mr Peter Ssebanja - Founder members,  Mr Robert Ochai - ED TASO, Dr. Alex Coutinho - Former ED TASO, Prof. Vinand Nantulya - Chairman, UAC as well as testimonies from Dorcas Ndagire and Mama Ntege (RIP). It also highlighted the role Action AID has played in the history of TASO over the years.

TASO Reaches out to over 4450 Persons during Uganda Martyrs Day Celebrations

The Pilgrims to this year’s Uganda Martyrs day had a unique opportunity to access HIV/AIDS services while they sought greater inspiration from their ancestors in faith, the Uganda Martyrs. TASO in partnership with Hardware World took part in the martyr’s day celebrations at Namugongo by providing HIV prevention public awareness education and free voluntary HIV counseling and testing services, reaching out to over 4550 individuals.

Over 200 Access HIV Prevention Services during the Buganda Road Race

Over 200 persons accessed HIV prevention services during the 2012 Buganda Road Race held on Sunday 13th May 2012 at Lubiri Palace play grounds. The AIDS Support Organisation (TASO) was invited by Buganda Kingdom to participate in this annual event that has gained a lot of following and draws participants and competitors from near and far, including the neighboring countries.

TASO’s participation in this event involved providing the attendees with HIV prevention awareness education, information on access to HIV care and support services and free HIV Counseling and Testing (HCT).  TASO was represented at this event by three (3) TASO units, TASO Advocacy and Networking Team, TASO Entebbe and TASO Mulago Service Centres. Participation in this event was in line with the various activities TASO has planned to celebrate the successes recorded over the 25 years TASO has existed and provided great service to the people of Uganda and other parts of Africa since 1987.

The participation of TASO at this event provided an opportunity to over 170 persons to access free HIV counseling and testing and this was greatly appreciated by these individuals who took a noble decision to know their HIV status. All the persons who took an HIV test were provided with tailored information on HIV prevention and positive living. Appropriate referrals to related HIV prevention, care services and support were also done by the counselors.

TASO salutes Buganda Kingdom for the opportunity created for people to get access to HIV prevention, care and support services. By working together we shall achieve more in the national response to HIV and one day we shall  get to the TASO Vision of “A World Without HIV”

aa buganda 2june 12 pics 247.jpg - 6.57 Mbaa buganda 240.jpg - 7.51 Mb


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Removing the Can from Grilled Chicken

The trickiest part of can cooking is removing the chicken from the grill. Carefully slide a wide grilling spatula under the can while grasping the chicken with tongs.
Remember, the liquid in the can is hot, so allow the chicken and can to cool slightly before removing the can. Using tongs or insulated gloves, grasp the can and gently twist the chicken slightly while pulling upward to release from the can.
To make this grilling method easier and safer, you may want to invest in a manufactured grill helper that holds or replaces the can. They can range in price from $7 to $20.


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Baked Reuben Dip Recipe
Baked Reuben Dip Recipe photo by Taste of Home

Baked Reuben Dip Recipe

Read Reviews
4.5 16
Publisher Photo
I love a Reuben sandwich, and this recipe combines all of its flavors into a great party dip. —Jeffrey Metzler, Chillicothe, Ohio
TOTAL TIME: Prep: 10 min. Bake: 25 min.
MAKES:32 servings
TOTAL TIME: Prep: 10 min. Bake: 25 min.
MAKES: 32 servings

  • 1 jar (32 ounces) sauerkraut, rinsed and well drained
  • 10 ounces sliced deli corned beef, chopped
  • 2 cups (8 ounces) shredded sharp cheddar cheese
  • 2 cups (8 ounces) shredded Swiss cheese
  • 1 cup mayonnaise
  • 1/4 cup Russian salad dressing
  • 1 teaspoon caraway seeds, optional
  • Rye crackers

  1. In a large bowl, mix the first six ingredients; stir in caraway seeds, if desired. Transfer to a greased 13x9-in. baking dish. Bake at 350° for 25-30 minutes or until bubbly. Serve with crackers. Yield: 8 cups.
Originally published as Baked Reuben Dip in Taste of Home August/September 2012, p36

Reviews for Baked Reuben Dip

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Reviewed Mar. 4, 2014

"I prepared this recipe for the first time! I used: 2 round greased 7" foil pans to bake the dip in! I also used: 2 cups of well-rinsed and drained sauerkraut, 8 thinly sliced pieces of pastrami, finely chopped, 2 cups Mozzarella cheese, shredded, 2 cups finely shredded Swiss cheese, 1/4 cup 1000 Island salad dressing, and the 1 tsp. caraway seed! This appetizer should definitely score high-I plan to use it at the hospital for my volunteer stint on Wednesday/Thursday of this week! I bought a loaf of Jewish Rye Bread, a package of Everything Bagels and a package of Rye/Pumpernickel Swirl Bread. as dippers. I also had a deli-style cold cut/deli-style cheese challenge this week on the Cook's Corner for TOH! This dish was PERFECT to use! Thank you, Jeffrey Metzler, for sharing your recipe! I guarantee that I'll be using it again when the time is right! delowenstein"

Reviewed Feb. 11, 2014

"I made this as a trial run for St. Patrick's Day, and it was delicious! Will make this again!"

Reviewed Feb. 3, 2014

"First time making it and it was a hit!"

Reviewed Feb. 1, 2014

"I have made a similar version of this for years. I use an 8 oz. package of cream cheese, and only 1/4 cup of mayonnaise. I put it all in my small crockpot and usually serve with rye crackers, or rye cocktail bread. I never have any leftovers to bring home! The cheddar cheese just adds to the consistency and does not really affect the great reuben taste. If you only use swiss cheese, you get strings of cheese hanging when you try to dip out of it. It is definitely worth trying."

Reviewed Apr. 26, 2013

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Back to Grandma's Christmas Brittle

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Grandma's Christmas Brittle Recipe

Grandma's Christmas Brittle Recipe

Whenever my grandmother was in the kitchen, everything had to be "just so" to guarantee her time-tested results. Watching her make this brittle is one of my favorite memories, and I'm glad I can pass on this delicious recipe.
TOTAL TIME: Prep: 15 min. Cook: 15 min. + cooling YIELD:20 servings

  • 3 cups sugar
  • 1/2 cup light corn syrup
  • 1 cup water
  • 1/4 cup butter, cubed
  • 1 teaspoon salt
  • 1 jar (16 ounces) unsalted dry roasted peanuts
  • 1-1/2 teaspoons baking soda
  • 1 teaspoon water
  • 1 teaspoon vanilla extract

  • 1. Grease two baking sheets and keep warm in a 200° oven. In a large saucepan, combine the sugar, corn syrup and 1 cup water. Cook over medium heat, stirring constantly, until a candy thermometer reaches 240° (soft-ball stage). Stir in butter, salt and peanuts. Continue heating, stirring constantly, until the mixture reaches 300°.
  • 2. Meanwhile, combine the baking soda, 1 teaspoon water and vanilla. Remove saucepan from the heat. Stir in baking soda mixture. Quickly pour half the mixture over each baking sheet. Spread with a buttered metal spatula to a 1/4-in. thickness. Cool. Break into pieces. Store in an airtight container. Yield: about 2-1/2 pounds.

Nutritional Facts

1 serving (1 ounce) equals 292 calories, 14 g fat (3 g saturated fat), 6 mg cholesterol, 247 mg sodium, 41 g carbohydrate, 2 g fiber, 5 g protein.


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Pear Raspberry Crisp Recipe

Pear Raspberry Crisp Recipe

We grow our own luscious red raspberries and feast on them fresh and freeze them for winter. This recipe combines the berries with fresh pears and a crunchy cereal topping. —Fancheon Resler, Bluffton, Indiana
TOTAL TIME: Prep: 15 min. Bake: 25 min. + cooling YIELD:6 servings

  • 2 cups sliced peeled fresh pears
  • 2 cups fresh or frozen raspberries
  • 3/4 cup packed brown sugar, divided
  • 1 teaspoon ground cinnamon, divided
  • 1/2 cup all-purpose flour
  • 3 tablespoons cold butter
  • 1 cup cranberry almond whole grain cereal, lightly crushed
  • Vanilla ice cream, optional

  • 1. In a large bowl, combine the pears, raspberries, 1/4 cup brown sugar and 1/2 teaspoon cinnamon. Spoon into a greased 9-in. pie plate.
  • 2. In a small bowl, combine the flour and remaining brown sugar and cinnamon; cut in butter until mixture resembles coarse crumbs. Stir in cereal. Sprinkle over fruit.
  • 3. Bake at 375° for 25-30 minutes or until filling is bubbly and topping is golden brown. Cool for 10 minutes. Serve with ice cream if desired. Yield: 6 servings.
Editor's Note: If using frozen raspberries, use without thawing to avoid discoloring the batter.

Nutritional Facts

1 serving (1 each) equals 282 calories, 7 g fat (4 g saturated fat), 15 mg cholesterol, 102 mg sodium, 55 g carbohydrate, 5 g fiber, 2 g protein.


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Peppered Ribeye Steaks Recipe
Peppered Ribeye Steaks Recipe photo by Taste of Home

Peppered Ribeye Steaks Recipe

Read Reviews
5 2
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A true Southerner to the core, I love to cook—especially on the grill. This recipe is one of my favorites! The seasoning rub makes a wonderful marinade, and nothing beats the summertime taste of these flavorful grilled steaks! —Sharon Bickett, Chester, South Carolina
TOTAL TIME: Prep: 10 min. + chilling Grill: 25 min.
MAKES:8 servings
TOTAL TIME: Prep: 10 min. + chilling Grill: 25 min.
MAKES: 8 servings

  • 4 beef ribeye steaks (1-1/2 inches thick)
  • 1 tablespoon olive oil
  • 1 tablespoon garlic powder
  • 1 tablespoon paprika
  • 2 teaspoons dried gound thyme
  • 2 teaspoons dried ground oregano
  • 1-1/2 teaspoons pepper
  • 1 teaspoon salt
  • 1 teaspoon lemon-pepper seasoning
  • 1 teaspoon cayenne pepper
  • 1 teaspoon crushed red pepper flakes

  1. Brush steaks lightly with oil. In a small bowl, combine all seasonings. Sprinkle seasonings over steaks and press into both sides. Cover and chill for 1 hour.
  2. Grill, covered, over medium heat or broil 4 in. from the heat for 7-8 minutes on each side or until meat reaches desired doneness (for medium-rare, a thermometer should read 145°; medium, 160°; well-done, 170°).
  3. Let stand 5 minutes before slicing. Place on a warm serving platter; cut across the grain into thick slices. Yield: 8 servings.
Originally published as Peppered Ribeye Steaks in Taste of Home June/July 1993, p31

Full-Bodied Red Wine

Enjoy this recipe with a full-bodied red wine such as Cabernet Sauvignon, Merlot or Syrah.

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Reviewed Jun. 28, 2012

"I made the rub as specified but used it on 3 rib-eyes instead of 4, so I used too much rub. They were delicious nonetheless, just a tad bit *too* seasoned. Next time, I will read the directions better. Will definitely make again. Even though hubby and I kept stating "there's too much rub on these steaks", we continued to eat all three, so tasty it was."

Reviewed Feb. 22, 2010

"I used these seasonings on some New York Strip steaks and they were delicious! Every time I've made steaks before, I always thought they seemed bland. But you could definitely taste the seasonings on these. My husband said they were better than any steak he'd had even at restaurants."

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New Belgium Brewing tour + interview with CEO Kim Jordan

Inside look at Kim Jordan's beer factory

LAUNCH PHOTO GALLERY: New Belgium Brewing tour + interview with CEO Kim Jordan

Twenty years ago, New Belgium Brewing was a two person operation in Fort Collins, Colorado brewing the first Belgium beers in the U.S. Now they employ 410 workers and produce 700,000 barrels a year. Our host Jace Milstead sat down with New Belgium’s CEO, Kim Jordan, to discuss beginnings, collaborations, and a company that just might be receiving an application from yours truly.

New Belgium Brewing

500 Linden Street
Fort Collins, CO 80524

Ready your résumés

Entering New Belgium is a special experience that Jace compares to “Willy Wonka’s Chocolate Factory.” People want to be here. It’s no wonder when your CEO never refers to you as an ’employee’ but a “co-worker.” You don’t work ‘for’ Kim, you work ‘with’ her.

That’s not just a catchphrase, since 1995 New Belgium employees own 41% of the company through an employee stock ownership plan (ESOP). Why give away a a percentage? Kim’s just not comfortable with all the equity going to the owners. All 410 employees participate in the annual strategy process and know where the money goes by means of the “open book management” policy they employ.

Kim feels, “you have a choice in what you want to do in life.” And she wants to make the most of her co-workers’ choice.

Human value

Kim wasn’t always a savvy businesswoman. Prior to New Belgium, she paid her bills as a social worker. This is one element that set the tone of the work environment. When confronted with expansion prospects, Kim didn’t really see a need to grow bigger until she realized that her co-workers would “have the opportunity to grow and do different things.” Saying that it was like “a flip of the switch.”

But she also decided that “we’re not going to say ‘we’re too big to care about one another.'” New Belgium has seemingly found the balance between people and profits through a genuine interest to the well being of their co-workers.

Green brewing

Business is a powerful tool in making the kind of world that we want to live in.

- Kim Jordan
When conceiving New Belgium, Kim asked the question “what do we want this baby company to be? What’s it going to stand for?” One was, as she puts it, an “environmental steward.”

Kim explained the heat exchange energy conserving process she uses in her brewery, “roughly 10% of thermal and electrical energy comes from our anaerobic digesters, which take the nutrients out of our beer processed water and turn those into methane. We pipe the methane back to the brewery and use a combined heat and power plant to turn that into energy.”

Not your typical wind and solar alternatives, but she’s got those too. Also, “in 1999, New Belgium Brewing became the country’s first brewery to purchase 100% of its electricity from wind power.” Kim feels that, “business is a powerful tool in making the kind of world that we want to live in,” and puts her theory to practice by serving as an example.

‘Kick’ collaboration

Dick Cantwell, head brewer and co-owner of Elysian Brewing Company, and Kim joined forces giving birth to beer-child, ‘Kick,’ a seasonal pumpkin brew.

Kim describes it as “earthy in the best sense of the word. Not muddy, not dirty, but a mouthfeel/solid note on the bottom, rounded out by the sour with a splash of cranberry. While Jace enjoys the “residual pumpkin” and “nice balance.” Here’s some stats on the beer.

ABV – 8.5%
IBU – 14
Calories – 254
Hops – Target
Malts – Pale, Carapils
OG – 21
TG – 3.4

The U.S. is the greatest place to drink craft beer in the world right now.

- Kim Jordan
When addressing the collaboration concept, Kim says it’s about “showing your craft,” and that brewing “is an ancient art form.” Teaming up allows them to share perspectives and explore the art further. It’s about camaraderie, “people are very kind to one another.”

Because of this openness in sharing, Kim believes “the U.S. is the greatest place to drink craft beer in the world right now, which is pretty exciting.”

What Kim drinks

There’s no one beer for Kim, she drinks “for the moment.” “Beer for me is pretty much always drunk in a context.”

During Winter, she likes the higher alcohol beers like a Tripel. Abbey is a choice to have in the evening. Of course, “Fat Tire’s approachableness when I just want to have a beer and not try too hard.”

Full Interview

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  • http://twitter.com/JamesAprill James Aprill

    Great article but come on that video is way too long. Awesome stuff in it, but how about editing it down. And buy the crew a tripod. Either way, I really dig what you’re doing.


text:
The Art of the Sublime

ISBN 978-1-84976-387-5

Listening for the Sublime: Aural-Visual Improvisations in Nineteenth-Century Musical Art

Charlotte Purkis

The late nineteenth century saw the development of a new aesthetic of decadence and the beginnings of modernism. Charlotte Purkis explores here music's capacity to reveal the contradictions that emerged in understandings of the sublime in this period.
This paper explores the nature of the subjective aesthetic experience in which nineteenth-century visual artists were engaged when the sublime and music became twinned in their imaginations. This subjective experience is considered as an aesthetic response to the world and to the experience of being in the world. In nineteenth-century thought it became a way of perceiving that depended upon a certain understanding of music, which placed it apart and above all the other arts.1
Arguably, music can be seen as the ‘keynote’ to the sublime. The keynote of any piece of music is the fundamental tone to which music ‘resolves’. But by the 1890s, within British culture, the term had come to denote, more controversially, newness. This was due specifically to John Lane’s Bodley Head series called ‘Keynotes’, which, together with its companion series of books known as ‘Discords’, stood for literary tendencies that were consciously anti-bourgeois and relished the pejorative designation ‘decadent’. These John Lane books, by George Egerton (Mary Chavelita Dunne) and others, were constructed and received as challenging in their style and content, appearing to revel in displacing moral and literary certainties.
Just as the paradoxes and contradictions set up by such texts and the debates surrounding them identified double-edged ambiguity as a key characteristic of late nineteenth-century thinking, so, too, certain musical works, and the critical controversies they provoked, were crucial to contemporary reception of programmatic narrative arts. An ideological battleground between defenders of absolute music (instrumental compositions with generic titles or numbers, exhibiting purely musical methods and techniques of composition, for example, symphonies) and supporters of programme music (evocatively titled instrumental works with associations with other art forms and extra-musical experiences, emotions and sensations, for example, symphonic poems and opera) was established in the mid and later nineteenth century.
These differing perspectives have since permeated accounts of how musical style developed during the years when Romanticism became seemingly confused and exhausted.2 As tonality was regarded as entering into a state of ‘crisis’, newer music inevitably became classified as degenerate compared to the relative purity of the eighteenth- and nineteenth-century classical canon. The contemporary commentator Max Nordau’s 1895 diatribe against contemporary culture, Degeneration, was typical in this respect, and his book became a classic compendium of the trends of his time. Recently, the renowned pianist and writer on music Charles Rosen has commented that Nordau’s claim that all modern art was ‘produced by moral degenerates’ is part of ‘perhaps [the] oldest continuing tradition’ of classical music. As the ‘displacement of one music by another’ is ‘an eternal part of history’, so complaints and laments about the loss of past perfections are an inevitable consequence.3
There was not necessarily more sublime music in the nineteenth century than later, but notions of the sublime were particularly significant in critical discussions then and informed artistic practice. Nineteenth-century musical enthusiasms are identifiable from concert programmes and the publication of salon music, as well as from reviews and references in novels. How far British taste connected to philosophical aesthetic thinking on the sublime can thus be assessed in the various ways in which contemporary musical compositions were discussed.
Felix Mendelssohn’s Hebrides Overture, also known as Fingal’s Cave, embraced the drive towards the programmatic and the narrative within early to mid nineteenth-century music, using the tonal idiom colouristically and atmospherically. Mendelssohn encountered the island of Staffa in a storm. The resulting music can be ‘read’ as drawing upon his experience of the island and its cave. The music recalls the amazing acoustics of the place with resounding crashing waves, a sense of powerful climax as the waves strike the cave in the storm, the rising and falling of the sea followed by moments of deep calm, and the soaring echoes of seagulls. This type of reading of the self back into nature is still current, and many commentators, particularly in notes about recordings, refer to the philosopher Edmund Burke’s passion for nature – astonishment, suspense of emotion, even horror in the awe with which body and mind are filled, revealing the listener, like the perceiver and like Mendelssohn himself, overwhelmed yet exhilarated. Writing of Mendelssohn’s musical landscapes, the academic writer Thomas Grey has dwelt upon the accepted ‘pronounced visual orientation to Mendelssohn’s cultural background’, that is, the fact that he was also an amateur artist. The influence of this exploration of visual art, Grey notes, has ‘long been perceived as an influence on his musical production’, and notably on the Hebrides Overture, which ‘evokes the heroic sublime tradition of Ossianic painting from the Napoleonic era’.4 For another recent writer Michael Steinberg who has made a study of the role of music in nineteenth-century cultural life, Mendelssohn’s music embodies aspects of the natural world yet constructs these into ‘a metaphoric landscape of inner life’. The Hebrides seems to set a physical scene, but its overriding musical power lies in its sweeping melody and thus its vision is of ‘absolute’ not ‘programmatic’ music. Just as a Romantic landscape is not merely a depiction of the external world but is ‘a way into inner nature’, so this work ‘engages a scene’ and ‘is born as music’.5 To Steinberg, the big melodic string theme liberates the music from mere mimesis; this melody functions dramatically in the work, as a musical not merely representational voice.6
The way that the work seems explicitly evocative of nature recalls discussion of Beethoven’s Sixth Symphony (‘Pastoral’, 1808). As an expression of feeling about being in the countryside, rather than as an illustration of the rural, Beethoven’s symphony seems to go beyond the absolute into the realms of the programmatic: the emotions expressed are responsive to the experience of nature. The music depicts both a storm and the sensation of being in a storm. The genre of the symphony, an example of ‘absolute music’, was strongly associated with the sublime after the critic E.T. Hoffmann’s famous 1810 review of Beethoven’sFifth. Hoffmann, who opposed programmatic music (and ignored the ‘Pastoral’ Symphony), appreciated the solemn grandeur of the heroic he identified in the Fifth, and referenced the ‘monstrous and the immeasurable’ and the ‘level of fear, horror, revulsion, [and] pain set in motion by Beethoven’s music’.7
The impact of the notion of the sublime within critical perception of music showed particularly in the privileging of the non-associative qualities of music. Hoffmann’s identification of sublime qualities became a key descriptor for expressing the impact of emotion in abstract terms. Although there is much ‘programmatic’ narrative music in the later nineteenth-century, ‘tone painting’ as a compositional technique was openly disparaged by many critics for whom abstract instrumental ‘absolute’ music remained the ideal.
J.M.W. Turner Staffa 'Fingal's Cave' exhibited 1832
J.M.W. Turner Staffa
Fingal's Cave exhibited 1832
Yale Center for British Art, Paul Mellon Collection
J.M.W. Turner’s painting Staffa, Fingal’s Cave (fig.1) was exhibited in 1832 and Mendelssohn’s overture was performed in London in the same year, a fact that has led to the two works being seen as linked historically.8 Many of Turner’s images show a tendency to dissolution and project the beginning of an abstract painterly aesthetic, which, according to Edward Lockspeiser and others writing about music and painting in the later twentieth century, can be seen as stemming from the aspiration to a musical state.9 Mendelssohn’s piece has tended to be categorised and valued as ‘music for music’s sake’, as absolute and not programmatic music. Lockspeiser, however, has seen in the work the beginnings of musical ‘impressionism’, referring to contemporary critical responses that spoke of the music’s veiled and blurred quality.10 Interestingly, in more recent times, a newspaper review of a performance of the Scottish composer Thea Musgrave’s 2005 Turbulent Landscapes, the second movement of which, ‘Shipwreck’, is a conscious homage to Turner’s Staffa, questioned the relevance of paintings for an appreciation of music, challenging the need for music to have any kind of associative ‘prop’.11
Towards the latter part of the nineteenth century, many artists and creative writers across Europe sought to depict sound and to capture the essence of music’s perceived mysteries, insights and truths. This tendency to ‘improvise’ with music’s non-imitative qualities and to enter into the ‘condition’ of music is expressed in the nineteenth-century writer and aesthetician Walter Pater’s essay ‘The School of Giorgione’ in Studies in the History of the Renaissance (1873) which set out to explore the interrelations of the arts. Pater did not seek a merger of all art forms within music’s keynote. ‘It is a mistake,’ he wrote, ‘to regard ... all the various products of art as but translations into different languages of one and the same fixed quantity of imaginative thought’. And he went on to propose that ‘the sensuous material of each art brings with it a special phase or quality of beauty, untranslatable into the forms of any other. Each art ... having its own peculiar and incommunicable sensuous charm, has its own special mode of reaching the imagination’.12 For Pater, music was more than a form; it was an artistic principle, one that sustained an ideal marriage of form and matter in the suspense of a perfect moment in which the subject and its expression ‘inhere in and completely saturate each other’.13 In such moments, he said, ‘life itself is conceived as a sort of listening’.14
In the second half of the nineteenth century music remained a Romantic art in an age dominated by positivism and realism. According to the academic Carl Dahlhaus who, writing in the 1970s, characterised the music of this time as ‘neo-romantic’, it was music’s ‘very dissociation from the prevailing spirit of the age’ that ‘enabled it to fulfil a spiritual, cultural and ideological function of a magnitude which can hardly be exaggerated.’15 For the nineteenth-century philosopher Schopenhauer, music remained above the positivism that connected art to the external through historical or environmental influences. Only music, he felt, was able to reveal absolute reality and ‘could in a sense, still exist even if the world did not, which could not be said of the other arts’, because ‘it is quite independent of the world of appearances’.16
In his 1870 essay on Beethoven the composer Richard Wagner, following the philosopher Schopenhauer, asserted that the category of the sublime was crucial for understanding music, declaring:
Surveying the historical advance which the art of Music made through Beethoven, we may define it as the winning of a faculty withheld from her before: in virtue of that acquisition she mounted far beyond the region of the aesthetically Beautiful, into the sphere of the absolutely Sublime; and here she is freed from all the hampering of traditional or conventional forms, through her filling their every nook and cranny with the life of her ownest spirit. And to the heart of every human being this gain reveals itself at once through the character conferred by Beethoven ... on Melody, which has now rewon the utmost natural simplicity ... Melody has been emancipated ... and raised to an eternal purely-human type. Beethoven’s music will be understood throughout all time.17
Wagner’s essay revealed how for him music excited the highest of ecstasies such that by means of music it was possible to go beyond the self, into a state of boundlessness. The inner world, then, was the realm of the ear, which listened for the sublime; music became a form of revelation – a philosophy of deeply inward experience. For Wagner, music itself thus had a sublime calling.
The reputation of Beethoven remained colossal into the end of the nineteenth century, and it is significant that it was Beethoven’s music which gave rise to Wagner’s expression of characteristics of the sublime. The Ninth Symphony, particularly, was claimed by Wagner as a precursor of his own vision for the arts. Wagner’s work, like the music of Beethoven, was also simultaneously historicised and admired as modern by fin-de-siècle commentators.18 Premiered in 1865, his opera Tristan und Isolde had a massive impact, and, more than any of his other works, was responsible for turning him into a cult figure.19 Wagner was not only a composer but also a philosopher whose writings (translated into English in several volumes that appeared from 1892) set out notions of the ‘art work of the future’, and Gesamtkunst (the total work of art) that dominated new trends across the arts in the second part of the century. In ‘The Art Work of the Future’ (1849) and ‘Music of the Future’ (1860) he declared that the all the arts had a natural alliance, and that this alliance would serve to free both art and the artist to ‘the glad consciousness of his oneness with nature’.20
In Britain the cult of Wagnerism became particularly fervent in the 1890s, and ‘Tristanism’ took a strong hold. Tristan and Isoldeset itself apart from Wagner’s other operas because it seemed to demand a private and personal response.21 The long drawn-out chromatic harmony served to slow time down, as if there was some kind of eternal hiatus springing from the love-making of the characters Tristan and Isolde. The music created a sensation of endless bliss surrounding the dying lovers. The opera was notorious for its overwhelming effects, and critical reception in words and other creative responses, such as illustration, fiction and poetry, emphasised the work’s striking modernity. The American critic James Huneker, whose books were published in Britain as well as in North America, declared Tristan and Isolde to contain ‘the seeds of the morbid, the hysterical, and the sublimely erotic – hallmarks of most great modern works of art’.22
Aubrey Beardsley 'Wagnerites' 1894
Aubrey Beardsley
Wagnerites 1894
Victoria and Albert Museum; Photo © The Board of the Trustees of the Victoria and Albert Museum
Aubrey Beardsley’s depiction of women in an audience listening to Wagner’s music, Wagnerites 1894, suggests the interior gaze talked about by Schopenhauer and Nietzsche (fig.2). Music is internalised within the listener as exciting a purely private and silent experience, an intense physicalised response, with the music being worshipped as revelatory of ultimate truth. In her recent study of 1890s Wagnerism Emma Sutton asked of Beardsley’s image whether it was a representation or a critique of the erotic tension in a Wagnerian audience, or perhaps both, since Wagner’s work ‘was frequently – controversially – productive of introspective, solipsistic aestheticism’.23 This ‘erotic sublime’ was connected to a pre-Freudian idea of art as de-sublimating, as evidenced in the sexologist Havelock Ellis’s discussion in his 1898 essay, ‘Casanova’. For Ellis, Tristan and Isolde was an example of how modern art had taken over a role from Saturnalian orgies of earlier eras:
We have lost the orgy, but in its place we have art. Our respectable matrons no longer send out their daughters with torches at midnight into the woods and among the hills, where dancing and wine and blood may lash into their flesh the knowledge of the mysteries of life, but they take them to Tristan, and are fortunately unable to see into those carefully brought-up young souls on such occasions.24
George Frederic Watts 'Love and Death' c.1885-7
George Frederic Watts
Love and Death c.1885–7
Tate N01645
Music was particularly important to the visions of the painter George Frederick Watts. In a recent re-assessment of the painter, the art historian Hilary Underwood has contextualised Watts’s musicalised art with the work of other aesthetic and symbolist painters to whom ‘music was the supreme art: non paraphrasable, non realistic, it conveyed profound emotion through its form.’25 From the late 1850s into the 1870s Watts was associated with a group of artists and writers around Rossetti and Whistler characterised by a desire to produce ‘art for art’s sake’. They aimed to communicate visually through what came later to be thought of as the ‘abstract’ means of line, form and colour, even when the human figure remained the basis. Pater’s ‘Conclusion’ to The Renaissance which speaks of the balance between the ‘desire of beauty and the love of death’, can be seen reflected in Watts’s Love and Death 1885–7 (fig.3), a work that became a key symbolist image after its first appearance in Paris.
English symbolist painters were drawn to the writings of the nineteenth-century French poet Baudelaire, also a Wagnerite, in this period. Baudelaire’s poetry and other writings became known in England by various routes, notably the admiration of the English poet Swinburne. Not only had Baudelaire developed a notion of synaesthesia in sympathy with Wagnerian ideals, which he called ‘correspondence’, but also he invoked a sense of the sublime in his reflections on the experience of listening to the music of Wagner:
When I heard it for the first time, with my eyes closed, feeling as though transported from the earth ... I felt freed ... and recaptured the memory of the rare joy that dwells in high places ... Then, involuntarily, I evoked the delectable state of a man possessed by a profound reverie in total solitude, but a solitude with vast horizons and bathed in a diffuse light ... Soon I became aware of a heightened brightness, of a light growing in intensity so quickly that the shades of meaning provided by a dictionary would not suffice to express this constant increase of burning whiteness. Then I achieved a full apprehension of a soul floating in light, of an ecstasy compounded of joy and insight, hovering above and far removed from the natural world ... No musician excels as Wagner does in depicting space and depth, material and spiritual ...He has the art of rendering ... all that is excessive, immense, ambitious in both spiritual and natural man. Sometimes the sound of that ardent despotic music seeks to recapture for the listener, against the background of a shadow torn asunder ... the vertiginous imaginings of the opium smoker ... I had undergone a spiritual ... revelation. My rapture had been so strong, so awe-inspiring, that I could not resist the desire to return26
Dante Gabriel Rossetti 'Veronica Veronese' 1872
Dante Gabriel Rossetti
Veronica Veronese 1872
Delaware Art Museum, Samuel and Mary R. Bancroft Memorial, 1935
Delaware Art Museum, Samuel and Mary R. Bancroft Memorial, 1935
In seeking alternatives to narrative descriptive painting several British artists from the 1860s onwards used music to suggest new subjects and compositions, and, in particular to explore femininity. Whilst not overtly addressing the sublime, the art historian Suzanne Fagence Cooper has reflected upon the ‘trance-like state often associated with musical images’, considering, for example, the ‘rêverie produced by listening to music’ as a key aspect of sensuality in Rossetti’s Veronica Veronese 1872 (fig.4).27 Here a female musician is seen not as a passive listener but as an artist within a creative process, in a state of absorption: Rossetti himself called this a ‘musical painting’. His observations about listening in pictures and poems reveal his involvement with music as lived experience, in a way which extended the Romantic tradition.28 In her study of Rossetti and song, the writer, Elisabeth Helzinger has recently suggested that Rossetti explored listening visually and poetically because of his intellectual fascination with the effects of the listening, paintings and poems being the means ‘in which aesthetic cognition and creation itself could be studied.’29
George Frederic Watts 'Hope' 1886
George Frederic Watts
Hope 1886
Tate N01640
Images of women with musical instruments were a feature of Rossetti’s later works. In La Ghirlandata 1873, for instance, female allure is associated with music, specifically a harp. Echoing this connection, in ‘Two Fine Flowers of Celticism: Encores’ (1897), Israfel, the aesthetic writer Gertrude Hudson, used a painter as protagonist in the story to explore musical experience as a form of ecstasy. Losing ‘consciousness with the thought of music’, the fictional painter goes to Tristan and Isolde for inspiration. ‘As he heard the divine first orchestral sighs of “Tristan”, he shivered – they held a spirit. As the music rose, passion of love, passion of death, he saw the face, the mouth of music. His soul dilated’.30 His resulting work was a portrait of music, a ‘languishing Orpheus’ represented as a woman, because ‘music is feminine’ and because ‘music became his only picture.’31 Was Watts’s Hope (fig.5), with its despairing central female figure and one-stringed lyre, being evoked here?32 Or was it Simeon Solomon’s painting and Swinburne’s commentary on his musical works which were being called to mind for turn-of-the-century readers?
The painter Whistler’s aspirations to musicality were articulated in the musical designations, such as symphony and nocturne, which he experimented with in the titling of his works. In the 1850s Whistler was a member of the painter Gustav Courbet’s circle in Paris, a group that included Baudelaire and Gautier who encouraged him to explore art in musical terms. Baudelaire’s remark that the ‘right way to know if a picture is melodious is to look at it from far enough away to make it impossible to understand it subject or to distinguish its lines’ is indicative of this.33 As a result of hostile criticism of Whistler’s painting (that involving the critic John Ruskin in particular), the association of the term ‘musical’ with ‘painterly’, as opposed to ‘literary’, was consolidated. Whistler’s titles signified that, for him, colour relationships had become abstract rather than mimetic, and that the qualities of tone, line and shape were tools for communication of subjective states.34 What Whistler wanted his viewers to do was not to read narrative into the paintings, but to feel the beauty and harmony of the colours and tones. Art could not deliver emotions or ideologies, according to Whistler. Art should appeal only to the artistic sense, not to emotions like love or patriotism; paintings were to be evocative like music.
James Abbott McNeill Whistler 'Nocturne: Blue and Silver - Cremorne Lights' 1872
James Abbott McNeill Whistler
Nocturne: Blue and Silver - Cremorne Lights 1872
Tate N03420
Nocturne in Blue and Gold: Cremorne Lights 1872 is Whistler’s most empty of the night-time London paintings (fig.6). The composition’s subtle harmonies are intended to convey a state of mind. From 1872 Whistler started to re-title past works in order to emphasise their tonal qualities and de-emphasise the narrative content. At this time audiences for art were becoming attuned to these comparisons, led by their reading of critics who were contributing more than merely aping fashionable musical terminology. The theme of musicalised art became a dialogue between artists and critics.35 Were Whistler’s paintings ‘modern’ in the way they sought to suspend meaning? If aesthetic pleasure, rather than emotion, was Whistler’s understanding of the sublime, do his works defer resolution, like atonal music or even abstract painting? The disguising, even masking, associated with Whistler’s works is enhanced by the element of mystery provided by his musical titles. The critic Arthur Symons writing in Studies in Seven Arts (1906) suggested that Whistler’s works opened up the potential of art to the perceiver in a new way, because the paintings seemed to approach the viewer, rather than the viewer approaching the painting. Symons’s opinion appears inspired by Walter Pater yet embodies almost a postmodern sense of spectatorship: ‘Look around a picture gallery, and you will recognise a Whistler at once, and for this reason first, that it does not come to meet you. Most of the other pictures seem to cry across the floor: “Come and look at us, see how like something we are!” Each out-bids his neighbour, promising you more than your money’s worth. The Whistlers smile secretly in their corner, and say nothing. They are not really indifferent; they watch and wait, and when you come near them they seem to efface themselves, as if they would not have you even see them too closely. That is all part of the subtle malice with which they win you. They choose you, you do not choose them.’36
In The Lute of Apollo (1896) the reciter and writer Clifford Harrison suggested ‘there is a more interesting line of thought in the acknowledged association of colour and music than the development of a possible new art. It lies in the idea that – in some mysterious way ... music and colour are in reality one and the same thing; that they are capable of transposition and interchange; and possibly possess, to some unknown but conceivable percipience, a unity – in sound that is seen and colour that is heard.’37 There are many examples of early twentieth-century composers who explored colour, both literally and metaphorically. Just before the outbreak of World War One, Scriabin’s Prometheus: Poem of Fire (1911) was played in successive years in London.38 This massive orchestral work featured an unusual use of choir, a four-part ensemble who vocalised on specific vowels with occasional ‘aspirate’, and attempted to express philosophical and theosophist ideas in music. It was seen as a natural progression of Wagner’s idea of a Gesamtkunst, and musically it developed late Wagnerian chromaticism and experiments with atonality. In Prometheus a ‘mystic chord’ made up of fourths permeates virtually the whole piece, and is treated like a tonal centre, that is, not as a discord seeking resolution, but the fundamental tone of the piece. The Promethean focus here links back to Beethoven’s The Creatures of Prometheus about the creation of mankind, and to the Romantic enthusiasm for the Titans’ rebellion against the gods. Scriabin said: ‘I am inclined to ascribe the enthusiasm for my Prometheus in England not so much to its music as to its mysticism’.39 An interesting example of the impact of Scriabin on British art, Duncan Grant’s Abstract Kinetic Collage Painting with Sound 1914 (fig.7) was inspired by the colour-music dynamics and the media interest in the ideas behind the composer’s work.40
In his essay on ‘The Art Work of the Future’ Wagner used the sea as an extended metaphor for music, speaking of a sea of harmony and referring to the attraction of the depths: ‘Man dives into this sea ... His heart feels widened wondrously, when he peers down into this depth ... whose seeming bottomlessness thus fills him with the sense of marvel and the presage of Infinity’.41 There are resonances of Wagner’s Tristan und Isolde with its sailing voyage and tragic plot, in Delius’s Sea Drift, composed in 1903–4, which confronts sublime tropes of mortality, loss and death through a musical seascape bounded by a profound sense of solitude. Furthermore, there is a connection to British visual artists’ fascination with seascapes and Turner’s immersion in the waters of the nautical sublime. Delius’s work is far from being merely representational of nature; an emotional response to the sea lies at its core. Its pantheistic pessimism reveals the influence of the German philosopher Friedrich Nietzsche. Towards the end of Sea Drift, the bonding of a boy and a sea-bird almost becomes apocalyptic, expressing a moment of sublimity when the gull-cries become the boy’s cries as he sings ‘High and clear I shoot my voice over the waves’. And in Delius’s 1899 ‘Song of the High Hills’, the opening descending strings awakened the despair of the lowland, whereas the higher plane was conveyed by use of a wordless chorus in the section ‘The Wide Far Distance – The Great Solitude’ to suggest transcendent and non-human powers. The musicologist Christopher Palmer has striven to capture what for him lay at the heart of Delius’s aesthetic, describing this as the sensation of being suddenly gripped in a nocturnal setting by distant and unseen voices sounding from across the landscape – poignant and distant sounds expressing undefined longing and Weltschmerz.42 In another ‘religious’ and pantheistic work from the same year, the Mass of Life, the rarity of high places where the ego dissolves and is sublimated in the natural is expressed by Delius in a chromatic harmony derived from Tristan and Isolde and through the Dionsyian celebrations of Nietzsche’s Zarathustra, the dancing superman. There are also parallels between Delius’s vision and the early twentieth-century experiments of Scriabin, with his proposed multi-dimensional total work of art ‘Mystery’.
In the same period in which he observed anaesthetised Wagnerite matrons, Beardsley also illustrated Oscar Wilde’s play Salome. Wilde’s symbolist reading of the biblical story of the femme fatale dancer was transplanted to the field of music with Richard Strauss’s 1905 opera, first performed in London in 1910. Wilde had written his play when Egerton had been writing Keynotes. Her story from that collection, ‘A Cross Line’, concerns the apparent liberation of an unnamed woman with a fetishistic need for attention indulging in a fantasy dance with snakes. Similarly, for the character Salome, a dominant figure across the turn-of-the-century arts – unlike the more anonymous and communal Wagnerite audience – participation in the ecstatic sublime was a public exhibition of out-of-control delirium resulting in murder. There seems here to be a relationship worth exploring between what happens to the feminine as it encounters the sublime and the ways that by the early twentieth-century musical language was characterised. Was atonal, colouristic and highly-textured ‘painterly’ music veering into the abyss of abstraction, chaotic and disorderly like the female; was it merely strange and exotic in its decadence; or was it rather a new ‘modern’ sense of art which was slowly liberating itself from romantic shackles?
The comparative cultural historian Brad Bucknell has recently commented that ‘the move towards music seems part of a tension within modernism itself which seeks both to abolish and preserve its romantic past at one and the same time’.43 And the art historian Karin von Maur has explored examples of twentieth-century painting which employ music as image, technique and metaphor, as a means of challenging existing artistic practices.44 For the writer and arts critic Christopher Butler, what defines a work as modernist ‘is not just the loyalty of its maker to the aesthetic of an evolutionary or disruptive tradition ... but its participation in the migration of innovatory techniques and their associated ideas’.45 The sublime in music, the sublime and music, are within that ‘changing framework of ideas’ or ‘conversation’ among artists and critics which formulated subjective concepts to articulate and inspire stylistic change in modernist work in all the arts, work which in turn both conspired with and provoked audiences.46 Understanding the contemporary taste for particular sorts of music, how that taste was defined and notions of what music itself signified, and to whom, are meaningful to any discussion of thinking about the sublime in the later nineteenth century. The topos and techniques of music, explored in and through painting, delineated the sublime itself as a concept in the control of the receiver as much as the creator of art.
Today, the term ‘sublime’ has been and continues to be applied widely and enthusiastically to musical works of diverse character and genre.47 In common usage, it is applied where the experience of a work has any kind of overwhelming impact upon an individual.48 Postmodern theory has defined this impact as dealing with what lies somehow ‘beyond’, using concepts which embody absence – the unknown, the unspeakable, the unthinkable. This terminology is not so far removed from earlier conceptualisations, although it appears more tinged with negativity than the ecstatic language of previous centuries. In the catalogue for the end-of-the-twentieth-century Arts Council touring exhibition Sublime: The Darkness and the Light (1999) Jon Thompson stated that: ‘While traces of “sublime” experience are to be found in the art and literature of almost every period, the aesthetic category of “the sublime” as we know it today, was essentially an invention of the late eighteenth century’.49 There are, he comments, typical sublime subjects, but it is not works themselves which can be named ‘sublime’, rather, that the experience of the sublime can be re-presented in art works and consequently the receiver can gain access to sublime experience. Recently, for example, the contemporary philosopher Aaron Ridley, has expressed his conviction that empathetic response to music remains valuable, saying, ‘A state of soul ... can be expressed in music – the state of a persona constructed in the musical experience of a responsive listener’.50
The eighteenth-century emphasis on individual aesthetic response as autonomous experience, thus, connects to the recent postmodern re-articulation of the subjective. The postmodern sublime carries a similar desire for the human to overpower the natural as had been expressed by the eighteenth-century philosopher Kant, and demonstrates a belief that an individual might, through such an experience be able to merge with the universal. This is how Judy Lochead conceives of it in a 2008 debate with James Currie concerned with ‘Theorizing Gender, Culture, and Music’. Lochead points out the consequences of the continuing polarisation of the beautiful and the sublime, because of the association of the beautiful with the feminine and the gendering of the nature of knowledge which continues to privilege the dominance of ‘concepts that are contrary to the philosophical and political goals of feminism’.51 This is a concern in relation to nineteenth-century music history because of the way that the philosophical expression of the notions of the beautiful and the sublime became gendered in the reception of music.52 The various re-inscribings of meaning by successive generations of listeners went largely unchallenged until late twentieth-century re-readings. Lochead and Currie have both showed concern that the concept of the sublime continues to be used in ways which retain what it sought to overcome, and that its use continues to avoid the construction of ‘a critical perspective on subjective aesthetic experience’.53
Recently Tate Liverpool’s website promoting its 2008 Gustav Klimt exhibition referred to the 1902 exhibition of the Secession as ‘a sublime realisation of the Gesamtkunstwerk in which the different arts ... were united under a common theme.’54 In the late nineteenth century, although there were connections between the English Arts and Crafts movement and the Viennese secession, Klimt’s Beethoven Frieze, which was made for the 1902 Secession exhibition, would barely have been known about in Britain. Built into the ‘gilded cabbage’ exhibition hall in Vienna, it could not travel. For Tate Liverpool’s major retrospective it was considered sufficiently important a work to be reconstructed. Today in Britain, Klimt’s work, which was inspired by Wagner’s response to Schiller’s ‘Ode to Joy’ from Beethoven’s Ninth Symphony, provides perhaps the supreme example of how musical art linked the nineteenth-century idealisations of the sublime to the avant-gardism of the Austrian Jugendstil magazine Ver Sacrum(Sacred Spring).
Klimt is now one of western art’s best known and most commercially valued artists. His Beethoven Frieze consists of a series of panels that together create an impression of a temple to art. The perceiver is compelled to participate interactively with the work by moving around it, and to view it in conjunction with other related exhibits honouring Beethoven. The staged narrative of the painting depicts the Arts fulfilling a yearning for happiness, symbolised by five women who lead the perceiver or listener into an ideal state. Poetry is a woman playing a lyre; and the final image is erotic – an angel choir and a couple welded and wedded in a kiss. The ‘aspiration’ to musicality spoken of by Walter Pater, so influential in the late nineteenth century, can now be accessed very explicitly by means of the accumulated knowledge and reputation of Klimt’s work. Thus, the state of being in music and the imbuing of the self with the spirit of music found in Klimt’s images enable re-reading of the history of the sublime in and around nineteenth-century music to continue.

Michael P. Steinberg, Listening to Reason: Culture, Subjectivity, and Nineteenth-century Music, Princeton and Oxford 2004, pp.7–8.
In 1985 Peter Franklin wrote about the way that ‘the first apologists of modernism’ pressed ‘the nineteenth century’s post-Darwinian notion of evolutionary progress’ into service and constructed a narrative of the disintegration of musical language as inevitable. Franklin’s analysis had a provocative effect on the refiguring of perspectives about modern music, on the acknowledgement of the key role for criticism in the construction of history and on the development of critical musicological thinking about the significance of music as idea as much as form, technique, work or style. The Idea of Music; Schoenberg and Others, Basingstoke 1985.
Charles Rosen, Critical Entertainments: Music Old and New, Cambridge MA 2001, p.295.
Thomas S. Grey, ‘Tableaux vivants: Landscape, History Painting, and the Visual Imagination in Mendelssohn’s Orchestral Music’, 19th-Century Music, vol.21, no.1, Summer 1997, p.41. See also Thomas S. Grey ‘Fingal’s Cave ad Ossian’s Dream: Music, Image, and Phantasmagoric Audition’, in Marsha L. Morton and Peter L. Schmunk (eds.), The Arts Entwined: Music and Painting in the Nineteenth Century, New York and London 2000, and Leon Botstein, ‘The Aesthetics of Assimilation and Affirmation: Reconstructing the Career of Felix Mendelssohn’, in Mendelssohn and His World, ed. by R. Larry Todd, Princeton 1991, pp.26–30.
Steinberg, Listening to Reason, p.98.
In 1850 Wagner praised the work as a masterpiece of a landscape painter of the first order, but in so doing aligned it with the programmatic and restricted it to mimesis. He also expressed this as evidence of the limitation of Jewish composers.
Mark Evans Bond, Music as Thought: Listening to the Symphony in the Age of Beethoven, Princeton and Oxford 2006, p.45.
Edward Lockspeiser, Music and Painting, London 1973, p.11.
Ibid, p.51.
Lockspeiser, p.11.
See the London Evening Standard review, 21 July 2005 of the work’s Proms premiere, and other reviews, accessed 26 October 2010.
Graham Hough and Eric Warner (eds.), Strangeness and Beauty: An Anthology of Aesthetic Criticism 1840-1910, Volume 2: Pater to Arthur Symons, Cambridge 1983, pp.24–5.
Ibid, p.28.
Walter Pater, The Renaissance: Studies in Art and Poetry, London 1873, p.151.
Carl Dahlhaus, Between Romanticism and Modernism, trans. by Mary Whittall, London and California 1980, p.5.
Raymond Furness, Wagner and Literature, Manchester 1982, p.4.
Richard Wagner, Beethoven, trans. by William Ashton-Ellis, London 1870, pp.103–4.
See Emma Sutton’s reading of Symons’s 1906 essay, for example, in Aubrey Beardsley and British Wagnerism in the 1890s, Oxford 2002.
See: David C. Large (ed.), Wagnerism in European Culture and Politics, Ithaca and London 1984.
Richard Wagner, Prose Works, vol.1, trans. by William Ashton-Ellis, London 1892, p.71.
Elliot Zuckerman, The First Hundred Years of Wagner’s Tristan, New York and London 1964, p.30.
James Huneker, Overtones: A Book of Temperaments, London 1904, pp.330–1.
Ibid., p.89.
Havelock Ellis, Affirmations, London 1898, p.115.
Hilary Underwood, ‘Watts and Symbolist Art in the Nineteenth Century’, in Veronica Franklin Gould (ed.), The Vision of G.F. Watts, Salisbury 2004, p.30.
Hough and Warner (eds.), Strangeness and Beauty, vol.1 Ruskin to Swinburne, pp.206–7. See also chapter 2 of Simon Shaw-Miller, Visible Deeds and Music, New Haven and London 2002.
Suzanne Fagence Cooper, ‘Aspiring to the Condition of Music: Painting in Britain 1860–1900, in Jeremy Dibble and Bennett Zon (eds.), Nineteenth-Century British Music Studies, vol.2, Aldershot 2002, p.259.
Elizabeth Helsinger, ‘Listening: Dante Gabriel Rossetti and the Persistence of Song’, Victorian Studies, vol.51, no.3, Spring 2009, p.420.
Ibid., p.412.
Israfel Mondego, Impossibilities: Fantasias, London 1897, p.166.
Ibid., p.161. I discuss this further in C. Purkis, ‘“You might have called it beauty or poetry or passion just as well as music”: Gertrude Hudson’s Fictional Fantasias’, Sophie Fuller and Nicola Loessef (eds.), The Idea of Music in Victorian Fiction, Aldershot 2004, pp.197–223.
Nicholas Tromans, G.F. Watts’ Hope: The Life and Times of a Victorian Icon, Watts Gallery, Compton 2011 (forthcoming).
J. Mayne (ed.), Art in Paris, 1845–1862: Salons and other Exhibitions, Oxford 1965, p.50.
Morton, ‘From the Other Side’, p.12.
Suzanne Fagence Cooper, ‘The Liquefaction of Desire: Music, Water and Femininity in Victorian Aestheticism’, Women: A Cultural Review, 2009, vol.20 no.2, p.187.
Arthur Symons, Studies in Seven Arts, London 1907, pp.146–7.
Clifford Harrison, The Lute of Apollo, London 1896, p.95.
Performances in London in 1913 and 1914.
Fabion Bowers, Scriabin: A Biography of the Russian Composer 1871–1915, Mineola 1996, p.266.
This work is more fully discussed in Richard Shone The Art of Bloomsbury, London 1999, pp.154–5.
Section 4 ‘The Art of Tone’ in ‘The Art Work of the Future’, in William Ashton Ellis, Wagner’s Prose Works, vol.I, London 1892, p.36.
See Christopher Palmer, Impressionism in Music, London 1973 and Delius: Portrait of a Cosmopolitan, London 1976.
Brad Bucknell, Literary Modernism and Musical Aesthetics: Pater, Pound, Joyce, and Stein, Cambridge 2001.
Karin von Maur, The Sound of Painting: Music in Modern Art, Munich, London, New York 1999. See also Peter Vergo The Music of Painting: Music, Modernism and the Visual Arts from the Romantics to John Cage, London and New York 2010.
Christopher Butler, Early Modernism: Literature, Music and Painting in Europe, 1900–1916, Oxford 1994, p.16.
Ibid., pp.16, 24.
See, for example, T. Armstrong, ‘Response: Music, Image and the Sublime’, Textual Practice, vol.22: no.1, 2008, pp.71–83, who discusses qualities in twentieth-century cinema music which give rise to the sublime, relating Enlightenment philosophy to modern day film examples.
A. Ridley, The Philosophy of Music: Theme and Variations, Edinburgh 2004, p.162: ‘I listen to Tapiola [Sibelius] and am simply ravished by its “purely” musical beauty (indeed its sublimity).’
Sublime: The Darkness and The Light (National Touring Exhibition from the Hayward Gallery London), London 1999, p.21.
A. Ridley, Music, Value and The Passions, Ithaca and London 1995, p.186.
J. Lochead, ‘The Sublime, the Ineffable, and Other Dangerous Aesthetics’, in: Women and Music, vol.12, 2008, p.63.
See, for example, Derek B. Scott’s discussion in From the Erotic to The Demonic: On Critical Musicology, New York and Oxford, p.43: ‘the ideology of the sublime and the beautiful...fenced off the category of greatness in music as a male domain.’
J. Lochead, ‘Experience, Borders “How therefore must we live?” A response to James Currie’, Women and Music: A Journal of Gender and Culture, vol.12, 2008, p.94.
See Tate Liverpool 2008 exhibition Gustav Klimt.

A version of this paper was first presented at the conference The Sublime in Crisis? New Perspectives on the Sublime in British Visual Culture 1760–1900, September 2009 at Tate Britain, organised by the AHRC funded research project ‘The Sublime Object: Nature, Art and Language’.
This essay was first published in issue 14 of Tate Papers in autumn 2010. Other papers relating to the project can be found in issue 13.
Charlotte Purkis is Principal Lecturer in Performing Arts at the University of Winchester

How to cite

Charlotte Purkis, ‘Listening for the Sublime: Aural-Visual Improvisations in Nineteenth-Century Musical Art’, in Nigel Llewellyn and Christine Riding (eds.), The Art of the Sublime, Tate Research Publication, January 2013,, accessed 01 September 2015.


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TIFECT was established in the 1960s to develop spiritual and educational excellence for the local people of Blackburn

Today it provides outstanding educational opportunities for thousands of young people throughout the UK, promotes community-led social and economic regeneration and funds educational, health and disaster relief for some of those most in need around the world.

Guided by values of faith, excellence and service, TIFECT continues to transform the lives of families and communities and ensures young people are best equipped to make an impact on the world.

Our website is currently being updated. In the meantime, please feel free to contact us on 01254 54021.


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Pickling / Tanning supplies

Submitted by Chris on 11/19/99. ( )

I am trying to tan my first hide (hair on). Where can I find some of the simple ingredients such as Borax and Alum?

Return to Category Menu

Tanning supplies

This response submitted by mike on 11/19/99. ( )

Borax can be bought at the grocery store, 20 mule team borax- not
Alum can usually be bought at a farm supply or plant nursery,
aluminum sulphate or ammonium aluminum sulphate( non-ferrous,
or "iron free"). The least expensive salt is also found at
feed stores or farm suppliers, fine milled feed salt.

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2013 Celebrate Pro Bono Wraps Up

Tennessee lawyers helped 1,800 state residents by providing free legal information and advice throughout the month of October as part of the TBA's 2013 Celebrate Pro Bono initiative. Now in its fifth year, Celebrate Pro Bono brings together bar associations, law schools, law firms, legal services providers and individual lawyers to offer free services to those unable to afford a lawyer. This year, more than 330 volunteers -- including lawyers, law students, paralegals, notaries and language interpreters -- held more than 80 events and activities across the state. These events included legal advice clinics, fundraisers for pro bono programs and community education presentations on topics such as wills, powers of attorney, bankruptcy, foreclosure and landlord/tenant law. A number of events were organized by young lawyers. Thanks to everyone who planned or participated in an event this year!


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Tuesday, Sep 01, 2015

Your opinion: Should Rays remove Rodney as closer?

TBO.com staff
Published:   |   Updated: May 23, 2013 at 01:39 PM

Should the Rays remove Fernando Rodney from the closer's role?

Total Votes: 274

Between defending American League Cy Young Award winner David Price's early struggles and eventual stint on the disabled list and an inconsistent bullpen, the Tampa Bay Rays have found their margin for error to be rather slim.

A recent winning streak has brought them above .500, but they still remain in fourth place in the AL East.

Which makes Fernando Rodney's latest collapse especially complicated.

Rodney blew his fourth save in 13 opportunities Wednesday, lasting only six pitches in the ninth inning of a 4-3 loss to Toronto. Rodney gave up a game-tying home run to Jose Bautista and a walk to Adam Lind before he was quickly removed.

That came less than a week after Rodney, ahead by two, walked the bases loaded with two outs in the ninth against Boston before giving up a two-strike, bases-clearing double for a 4-3 loss.

Manager Joe Maddon still gives Rodney a show of support, saying, "There's no other options."

Rays fans might disagree, and their reaction after the game indicates they might be eager for Maddon to remove Rodney from the closer's role.

Remember, Rodney was named to the All-Star Game last year and finished with 48 saves in 50 chances. His 0.60 earned-run average was a season record for relievers. It was a career year after two disappointing seasons with the Angels, mostly in a set-up role.

So what would you do? Stick with Rodney at closer, or spell him with Joel Peralta or another reliever until he can regain his form? Or should they remove Rodney altogether?

Tell us in the comments below.

Subscribe to The Tampa Tribune


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Air Transportation and the Environment

Transport Canada works with its partners and stakeholders, including the general public, the aviation industry, other federal government departments, provinces, territories and municipalities, as well as international organizations to prevent and or reduce the adverse environmental impacts of air transportation operations.

Transport Canada supports the work of the International Civil Aviation Organization (ICAO) to develop international standards and recommended practices for the reduction of greenhouse gas and air pollutant emissions from aviation sources. The department also participates in the work of the ICAO’s Committee on Aviation Environmental Protection (CAEP) concerning aircraft engine emissions, aircraft noise and land use planning.


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Field Experience

Field experience is an essential component of the Child Development Program and helps prospective teachers see the relationships between theory and practice.

You gain hands-on experience and have an opportunity to observe master teachers, develop professional and personal strengths, and acquire essential skills necessary to become a teacher.

Program Requirements

You must complete field experience and laboratory hours as stated in course documents.

If you do not meet the required field experience hours or required laboratory hours within a given semester, you will not pass the course.

Field Experience and Laboratory Site

The Children's Center, accredited by the National Association for the Education of Young Children, serves as an educational site for our Child Development and Education students, under the supervision of faculty and child development specialists.

Field Placement Office

The Field Placement Office supports you specifically with TECA and EDUC courses, offering the following services:

  • Processes background checks
  • Grants petitions on course restrictions
  • Schedules field assignments

Lisa Tilley, Instructional Associate
Field Placement Office
NFAC 1231

Updated June 29, 2015

Tarrant County College District 1500 Houston Street Fort Worth, Texas 76102 • Information Center: 817-515-8223 Hearing / Speech Impaired (TTY)
Online Institutional Resumes (per Sec. 51A.002, Texas Education Code) • An Achieving the Dream Institution
Report A Problem • Report Fraud


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To see complete information about athlete foot symptom, click the link below

The most complete database on Chinese herbal medicine

  Get a FREE account now and discover how to treat this symptom with Chinese medicine

Possible synonyms
Athlete's foot
Tinea involving the feet
Tinea pedis
Ringworm of the foot
Athlete feet

The following Chinese herbal formula(s) can treat or relief Athlete foot:

Chinese Formula Actions Indications Symptoms related to athlete foot
Xiao Feng San (1/3)
Eliminate Wind Powder
Disperses Wind; Clears Heat; Eliminates Dampness; Cools Blood.   Wind-Heat or Damp-Wind that invades the body and contends with preexisting Damp-Heat.  Athlete's foot; Contact dermatitis; Eczema; Mycosis; Psoriasis; Purpura; Severe itching (burning pain after scratching); Urticaria; Weepy, pruriginous, red rash; Excoriation with bleeding; Worsening due to Heat; Tongue with white or yellow coating (may be greasy); Floating-Forceful-Rapid pulse (Fu You Li Shu).
San She Jie Yang Wan
Anti-itching Three-Snake Pill
Eliminates Heat, Damp and Wind; Eliminates Toxicity; Clears Damp-Heat; Tonifies Qi and Blood; Moves Qi and Blood.   Damp-Heat rash.  Acne; Athlete's foot; Dermatitis; Eczema; Leukorrhea; Mycosis; Urticaria; Tongue with white or yellow coating (may be greasy); Slippery-Rapid pulse (Hua Shu).
Hua Tou Gao
Athletes foot Tujin Liniment
Eliminates Dampness and Damp-Heat; Disperses Wind; Calms itching.   Damp Wind rash.  Athlete's foot; Dermatitis; Desquamation; Eczema; Itching; Mycosis of hands and feet; Weepy, vesicular, red rash.

2 more Chinese medicine(s) can treat or relief Athlete foot.

To view them, join TCM Assistant and:


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Chalk talk: Holocaust survivor visits school

Seventh- and eighth-graders at Rosarian Academy, a private school on Flagler Drive in West Palm Beach, recently received an emotional lesson in history from Holocaust survivor Leon Rubinstein of Jupiter.

The students listened attentively to Rubinstein as he shared the courageous story of his experiences during World War II.

He is author of "Escape to Freedom," a personal recount of his family's dangerous flight from Germany to Switzerland during the war.

"It was a privilege and honor to hear him speak as he shared his first-hand accounts of the Holocaust with our students," said Virginia Devine, vice principal. "He is a remarkable and inspiring man. It's evident that the students were truly touched by his story."

Posted on

IMS student named

to Geographic Bee

Jonathan Elwell, an Independence Middle School sixth-grader, was notified by the National Geographic Society that he is one of the semifinalists eligible to compete in the 2009 Florida Geographic Bee.

Bees were conducted in schools with fourth- through eighth-grade students throughout the state to determine each school's Geographic Bee winner.

School-level winners then took a qualifying test, which they submitted to the National Geographic Society.

The 2009 Florida Geographic Bee will be April 3 at Jacksonville University.

The state winner will receive $100, the "National Geographic Collegiate Atlas of the World" and a trip to Washington, D.C., where he/she will represent Florida in the national finals at the National Geographic Society headquarters May 19-20.

Kiwanis to award

The Kiwanis Club of Jupiter-Tequesta will award five college scholarships to local high school seniors of at least $1,000 each.

Criteria include academic and extracurricular achievement, community involvement and need. Applicants must live in the area served by the club.

For an application, write to David F. Click, scholarship chairman, 810 Saturn St., Suite 15, Jupiter, Fla., 33477 or call (561) 747-7077.

Jupiter High SGA

events planned

Jupiter High School's Student Government Association will participate in the following events:

•On April 7, the SGA will host a student-versus-faculty basketball game where Jupiter's varsity boys will play against teachers and staff. Tickets are $5.

•On April 14, SGA members will host a student forum with student representatives to discuss happenings in the school.

•On April 22, SGA members will go to a local elementary school to assist teachers and mentor students.

Posted on

If you have school news items, e-mail jeff.alexander@scripps. com or post it on


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Boynton policeman sends handcuffed teen to ground with 'leg sweep'; former Martin County deputy didn't see need for act | Videos

Boynton Beach Police are investigating an incident involving a 13-year-old boy who was taken off of a school bus and handcuffed by an officer.

In a video taken by a student on the bus, the officer appears to kick the legs out from under the teen.

"I didn't see anything in that portion of the video that would lead me to believe in any way there was a reasonable need for that type of technique," said law enforcement expert Dennis Root.

Root has 21 years of police experience and testified in the George Zimmerman trial. He worked for the Martin County Sheriff's Office and Riviera Beach Police Department.

Because the teen in the video appears to be handcuffed, Root says the leg sweep could have hurt him.

"The thing I saw that really caught me is there was a leg sweep that caused the kid to fall straight back onto his restrained hands and the potential for injury is really great," Root said.

Root said it's important to note the teen does not appear to be completely cooperating with police.

"When he sat him on the ground he sat him flat on his rear end, but the first thing the young man did was try to get in the position he wanted to be in. Those small movements are indicators they are actually resisting," Root said.

Root also said it is impossible to get the full picture of what happened solely based on the video.

He said if he was an officer in that position, he would have moved the juvenile away from the bus where other students were yelling.

"One of the first things I personally would have done is I would have moved him from view and association with the other juveniles," Root said.

Root said the Boynton Beach Police chief is doing the right thing by launching an internal investigation.

"It most certainly warrants a thorough and complete investigation of the incident in its entirety," Root said.

A spokeswoman with the Boynton Beach Police Department said the chief could not comment because there is an internal affairs investigation underway. The officer is on administrative leave.


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2008 PARALYMPIC GAMES: Jennifer Schuble Wins First Cycling Medal, Sets New World Record

Sept. 08, 2008, 9:43 a.m. (ET)

BEIJING, China - In the Event Preview for the Women's 500m Time Trial (LC1-2/CP 4), Jennifer Schuble's (CP4/Homewood, Ala.) name wasn't even mentioned as those to watch. But when the race was complete, Schuble was the one everyone was talking about. Schuble took the 2008 crown in a time which left her closest rival, YE Yaping (CHN) two seconds behind.

With a time of 40.278, Schuble not only won the Paralympic gold medal, she also set a new record in the CP4 class.

"It just feels awesome to finally win a medal for the U.S. in the velodrome," said a thrilled Schuble, referring to the fact this was the first medal for both the Olympic and Paralympic Games in track cycling. "I knew to get to the podium; I had to break the world record. I'm just enjoying this moment."

Schuble has only been in the U.S. track cycling program for 18 months. At the World Championships last year, Schuble did not even medal in the event.

"I am very proud of her," said Head Coach Craig Griffin (Colorado Springs, Colo.). "She was riding a 45 second 500m last year and now seeing where she is this year is a testament to how hard she has worked and the sacrifices she made. It hasn't been an easy path but hard work pays off."

Schuble will take to the track again September 10 when she competes in the Individual Pursuit, possibly adding anther medal to the list.

"I really like this track," added Schuble. "It is a perfect track for me and it is very smooth. China really put a phenomenal velodrome together."

Greta Neimanas (LC1/Colorado Springs, Colo.) also competed in the LC1-2/CP4 Women's 500m Time Trial and with a time of 40.265 posted a personal best. In the LC3-4/CP3 Women's 500m Time Trial Allison Jones (LC3/Denver, Colo.) posted a time of 46.397 and Barbara Buchan (CP3/Bend, Ore.) finished with a time of 49.156. Both times were personal bests for them as well.

"Every athlete had a personal best today," commented Griffin. "As a coach that is all you can really ask for. I am really encouraged by today's races."

U.S. cyclists will take to the track again on Tuesday when Anthony Zahn (LC4/Riverside, Calif.) will compete in the Men's LC 4 Individual Pursuit, followed by the Women's B&VI 1-3 Individual Pursuit which will feature the tandem team of Karissa Whitsell (B&VI/Eugene Ore.) and Mackenzie Woodring (Pilot for Whitsell/Grand Rapids, Mich.). Mike Farrell (CP4/Colorado Springs, Colo.) will round out the competition as he competes in the 1 Km Time Trial.

For more information or to arrange an athlete interview, please contact Katrina Shaklee at 13910754730 (if calling from the U.S., dial 011 86 plus the local number).


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Three-Set Matches Provide Excitement in Hermosa

Sept. 24, 2011, 8:55 p.m. (ET)

B.J. Hoeptner Evans
Manager, Media Relations and Publications
Phone: (719) 228-6800

Men's Results * Women's Results

HERMOSA BEACH, Calif. (Sept. 24, 2011) – Three-set battles on the beach highlighted the first day of main draw play on Saturday at the Hermosa Beach Open, part of the Jose Cuervo Pro Beach Volleyball Series produced by USA Volleyball and IMG.

The third-seeded women’s team of Nicole Branagh (Orinda, Calif.) and Lisa Rutledge (San Diego, Calif.) survived a challenge from sixth-ranked Kristen Batt (Venice, Fla.) and Brooke Sweat (Estero, Fla.), 13-21, 21-19, 15-10.

The third-seeded men’s team of John Hyden (Sherman Oaks, Calif.) and Sean Scott (Redondo Beach, Calif.) was not as fortunate, falling to sixth-seeded John Mayer (Thousand Oaks, Calif.) and Matt Prosser (Ventura, Calif.), 16-21, 22-20, 15-13 in the winners’ bracket.

“We have been beaten by John and Sean over 10 times. So since we had nothing to lose, we decided to go aggressive rather than conservative and it worked,” Mayer said. “This is a high-class event and it has upped our level to play harder and entertain more.”

Mayer and Prosser will play second-ranked Matt Fuerbringer (Costa Mesa, Calif.) and Nick Lucena (Santa Barbara, Calif.) in the winner’s bracket quarterfinals on Sunday.

Hyden and Scott came back in the consolation bracket to defeat Ed Ratledge (Huntington Beach, Calif.) and Ryan Mariano (Lake Forest, Calif.), 21-16, 22-20. They will play fifth-seeded Billy Allen (Venice, Calif.) and Brad Keenan (Santa Ana, Calif.) in the consolation bracket on Sunday.

In the women’s bracket, Branagh and Rutledge will play second-seeded Lauren Fendrick (Carlsbad, Calif.) and Brooke Hanson (Woodland Hills, Calif.) in the winners’ quarterfinals.

Branagh and Rutledge had to fight back from a third-set, 5-0 deficit created in part by Batt’s serving.

“She did a great job serve,” Rutledge said. “(Coming back) was more will than anything else; not giving up and getting down on ourselves.”

 Rutledge said that although she has not played or even practiced much with Branagh prior to the Hermosa Beach tournament, she was enjoying the experience.

“She’s so physical and athletic. She makes plays happen,” Rutledge said.

Fendrick and Hanson, Branagh and Rutledge’s quarterfinal competition, survived two three-set matches on Saturday, defeating 15th-ranked  Michelle Moriarty (Houston, Texas) and Tracy Weamer (Corona del Mar, Calif.), 21-13, 19-21, 15-12 and then getting past seventh-ranked Emily Day (Torrance, Calif.) and Heather Hughes (Fallbrook, Calif.), 21-15, 17-21, 15-10.

In the other winners’ quarterfinal, top-seeded Jen Kessy (San Juan Capistrano, Calif.) and April Ross (Costa Mesa, Calif.) will play fourth-ranked Jenny Kropp (Hawthorne, Calif.) and Whitney Pavlik (Laguna Beach, Calif.).

Kropp and Pavlik defeated Kessy and Ross in the semifinals of the Jose Cuervo Pro Beach Volleyball event in Miami Beach and at the U.S. Open of Beach Volleyball in Cincinnati.

Play will begin on Sunday at 8 a.m. The women’s final will begin at 1 p.m. and the men’s final will follow at 3 p.m. and will be shown live on VERSUS.

Hermosa Beach Open
Date: Sept 24-25
Location: North side of the Hermosa Beach Pier
Format: 32 Team Double Elimination – 22 Automatic berths and two wildcards
Qualifier Format: Single elimination to qualify the final eight teams
Prize Money: $150,000 – All 32 teams paid

Sunday, Sept. 25
8 a.m. - 1 p.m.
Festival Area Open
9 a.m. - 3 p.m.
Women's Finals
1 p.m. - 3 p.m.
Men's Finals - LIVE on VERSUS
3 p.m. - 5 p.m.