text:
National Consumers League

Romance Scams Are the Hot Topic at iDate2011 in Miami

By John Breyault, Vice President of Public Policy, Telecommunications and Fraud The explosive growth of online dating sites in recent years has certainly been a boon to many singles turned off by the traditional bar scene. In fact, according to research commissioned by, 1 in 5 single people have dated someone they met on an online dating site. What goes less reported is that many consumers go to these sites looking for love and only to find scam artists waiting to separate them from their money.  In a typical romance scam, the con artist reaches out to a prospective victim via an online dating site.  If the victim responds to these initial outreaches, the relationship generally “blossoms” with amazing speed. The scammer will very quickly begin professing love for the victim in an effort to create trust. Ultimately, the scammer will begin to ask for money to cover a range of fictional expenses such as hospital bills, travel expenses, lawyer’s fees or other reasons. The demands for money tend to escalate over time.  Victims of these scams reported an average loss of more than $7,000 to NCL in 2010, with some of the largest losses reaching into six figures. The online dating industry is aware of the problem and is taking steps to address the issue. It was with this goal in mind, that NCL was invited to participate in a panel discussion about romance scams at the iDate2011 conference in Miami. The event, which brings together many of the top companies in the online dating industry, was an opportunity for us to share our knowledge about these scams from our Fraud Center. Joining me on the panel was Gene Fishel, the Senior Assistant Attorney General and Chief of the Computer Crimes Division with the Virginia Attorney General’s office and Ron Plesco, CEO of the National Cyber-Forensics & Training Alliance. My presentation discussed the latest trends in romance scams, drawn from our 2010 complaint data.  Our recommendations included urging the online dating industry to improve information sharing to spot suspicious users more quickly, reaching out to victims of romance scams and to liaison more closely with law enforcement to help track down these con artists. Gene Fishel’s presentation focused on the role that the Virginia Attorney General’s office has played in tracking down these scammers and the benefit of private sector cooperation with the Attorney General’s office. What was especially chilling about Gene’s presentation was his description of criminal registered as sex offenders using online dating sites to meet victims, generally despite court orders to stay off social networking sites or the Internet altogether. Ron Plesco gave a fascinating presentation about the incredibly sophisticated ways that cyber-criminals, particularly members of organized crime syndicates, are targeting online dating sites. These groups, according to Plesco, harvest user data and sell it on international black markets in stolen data. This data can then be used to commit financial fraud or worse. In the world of online dating, consumers should always be on their guard.  In particular, be wary of the following “red flags”:

  • Requests to communicate via e-mail or instant messaging (instead of via online dating sites’ messaging services) unusually soon after first making contact
  • Immediate or instant feelings of love
  • The “match” claiming to be from the U.S. but currently overseas
  • Plans to visit but travel is halted by an unexpected or tragic event
  • Requests to wire money to the “match”
  • Refusal of the person you meet to communicate by phone
  • Persistent errors in spelling of common words or grammar
  • Requests to ship merchandise to a third party
For more information on online dating scams, check out the FTC’s Online Dating Scams tip sheet. Consumers who feel they’ve been approached by or are victims of a romance scam should report it via NCL’s online fraud complaint form at


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The NCRI Consumer Forum

Do you have personal experience of cancer?

We are looking to recruit patients, carers and others affected by cancer to join the National Cancer Research Institute (NCRI)’s Clinical Studies Groups (CSG).

View the consumer recruitment page for more information

» NCRI Consumer recruitment (internal webpage)

NCRI invites patients, carers and others affected by cancer (also known as ‘consumers’) to participate in all aspects of NCRI’s work. At any one time, up to one hundred consumers will be involved in our activities; making contributions to the setting of our strategy and, through involvement in NCRI activities, shaping actions at national level as experts in the experience of cancer.

All consumers involved in the NCRI are members of the NCRI Consumer Forum. The forum aims to foster a vibrant and collaborative community to work with NCRI as partners in cancer research; exchanging knowledge and expertise in a coordinated way.

» Further information on the NCRI Consumer Forum (internal webpage)

Resource library

The main purpose of this library is for NCRI Consumer Forum members to access key reference information related to their roles in NCRI activities. It also serves as a platform to showcase consumer involvement in cancer research. Most of the resources have been developed by consumers themselves.

The National Cancer Patient Experience Survey (NCPES) is an annual survey commissioned by NHS England, which gives responses from over 68,000 recently treated cancer patients (across types of cancer and groups of patients, both locally and nationally) detailing their experiences of care. The 2012 NCPES introduced questions about research and NCRI consumers helped bring this about. Findings drawn from the NCPES can be found below.

Other Consumer-related sources

» Patient Involvement at Cancer Research UK (CRUK website)

Contact the NCRI Consumers

Email us at

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Toll Free 1.866.636.2487

CGW Abrasives - 34771 - 12X11/2X5 (71/2X1/2) WA46-J-V White Aluminum Oxi, EA

CGW Abrasives - 34771 - 12X11/2X5 (71/2X1/2) WA46-J-V White Aluminum Oxi, EA
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12X11/2X5 (71/2X1/2) WA46-J-V WHITE ALUMINUM OXI

Each unit order contains quantity 2

See other products in some related categories (click to browse): is where business goes shopping. With over 5 million products from 10,000+ manufacturers, we offer the largest B2B catalog on the internet (to our knowledge). We cater to the needs of all major verticals, small to large businesses, government, education and healthcare markets, as well as consumers. Through our extensive, carefully developed supplier and logistics network we have instant access to over $100 billion worth of inventory in hundreds of stocking warehouses nationwide. We ship to every state and to nearly 100 countries worldwide.

Our categories include Industrial & Scientific, MRO Products & Supplies, Laboratory & Science, Electronic Components, Occupational Health & Safety, Electronics, Computer & Photo, Access Control & Security, Wireless Carrier Infrastructure, Test & Maintenance, and thousands more. That said, the best way to find products on our website is via search. We are always expanding our catalog, with thousands of new products added daily. If you need something you don't see here, email us at , or call toll free 1.866.636.2487. Prospective new suppliers, please email .

We can send formal quotes or bids upon request. Please submit this form to request a quote. We often have volume discounts, government & education discounts and loyalty discounts. We accept purchase orders from government and public education entities, as well as publicly traded corporations. CAGE Code: 3P0S1.

We are continually investing in people and systems to offer excellent customer service. See some customer testimonials here. You can reach our Customer Care team via email at , or call toll free 1.866.636.2487. The best way to request a return or order cancellation is to submit this form.

Also see: Categories, Products, Brands and Top Searches.

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Gnorbu Shearing Guide
Light and fun, just like the castle itself. This is the 4th NC Collectible from the Ritzy Real Estate series.
Roo Island Castle Dress
Now how did that single pepperoni piece end up looking like an Aishas face?
Aisharoni Pizza
A dusting of snow and this pine cone wreath is a holiday must-have!
Frosted Pinecone Wreath Garland
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Gnorbu Shearing Guide
Light and fun, just like the castle itself. This is the 4th NC Collectible from the Ritzy Real Estate series.
Roo Island Castle Dress
Now how did that single pepperoni piece end up looking like an Aishas face?
Aisharoni Pizza
A dusting of snow and this pine cone wreath is a holiday must-have!
Frosted Pinecone Wreath Garland
» More Items
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All of the best Kreludite is found in caves.
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Sanity is forbidden Circulation: 113,598,787 Issue: 227 | 10th day of Awakening, Y8
Home | Archives Articles | Editorial | Short Stories | Comics | New Series | Continued Series

Totally - Beach Bum

by _kristina_anne_

Search the Neopian Times

Great stories!

Sweet Dreams
*hint hint*

by plaquenil

Offline - Hiding From the Meepits: Part One
I'm a detective. Mostly small jobs, but every so often something strange crops up.

by lightninglover34

As the Clouds Clear: Part Four
"We have a new matter on our hands to deal with tonight. These two pets, Nilika and Jacob, have returned to our island. We must decide how to deal with them."

by puppy200010

The One that Got Away
As Dr. Yelp led her down the sterile halls, Xweetiepea noticed that there weren’t very many patients; most of the rooms were empty...

by arthursmom

Submit your stories, articles, and comics using the new submission form.


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Nestlé inaugurates major Dairy Farming Institute in China

Oct 16, 2014
NESTLÉ MILK DISTRICTS: Download the infographic (pdf, 3Mb).

Nestlé has inaugurated the Dairy Farming Institute in Northeast China, in one of the company’s biggest dairy investments that will help modernise Chinese dairy farming practices to enable farmers to meet the country’s fast-growing milk demand in a sustainable manner in the years ahead.

The institute, located in Shuangcheng in Heilongjiang Province, is part of Nestlé’s long-running efforts to share its technical know-how and to improve dairy farming around the world through training, responsible practices and partnering with stakeholders, including governments and universities.

“We have a history of developing milk districts and the Nestlé Dairy Farming Institute is an extension of this,” said John Cheung, Nestlé China Chairman and Chief Executive.

Multiple benefits

The institute reflects Nestlé’s belief that for a company to be successful over the long term and create value for shareholders, it must create value for society.

With dairy operations in China for over 25 years, Nestlé has already established three milk districts in China, in Shuangcheng, Laixi in Qingdao and Hulunbeier in Inner Mongolia.

Nestlé is investing around CHF 30 million in the Dairy Farming Institute.

China is one of the fastest growing markets for milk products globally and the market could almost double in volume by 2020 from current levels.

“Milk is becoming a vital part of the Chinese diet, so the institute represents our commitment to helping China move its dairy sector to the next stage of development in a sustainable and efficient manner,” said Hans Joehr, Nestlé’s Head of Agriculture.

The principles and practices for Sustainable Dairy farming, within the Sustainable Agriculture Initiative Platform (SAI), will serve as a basis for the institute’s teaching curriculum and training activities; in addition to the expertise of Nestlé and its partners.

Dairy Farming Institute
SUSTAINABLE DAIRY FARMING: The institute will help modernise Chinese dairy farming practices.

The SAI principles and practices are aimed at responsible production of safe, quality-assured dairy products. They cover a wide range of dairy management disciplines, including animal health and welfare, milking hygiene, animal nutrition, environmental protection, and socio-economic management.

The institute will include classrooms, laboratories, dormitories, and three different sized training farms to facilitate the training courses. The institute expects to train around 700 students annually through 17 different course offerings.

The Dairy Farming Institute’s business partners are Alltech, Alta Genetics, Avery, Boehringer Ingelheim, East Rock, Elanco, Foester Technik, GEA, Goke•Storty, IFCN, Land O’Lakes, SCR, Zoetis, as well as our academic partners at the University of Wisconsin Madison and Northeast Agricultural University in Heilongjiang Province. Other partners are likely to join in the future.

Related information
Nestlé and rural development
Nestlé milk district model
Nestlé milk districts infographic

Related stories
Insight: why business can learn from agriculture
Nestlé, Global Good partner to help East Africa small dairy farmers
Nestlé leads dairy development in China with new training institute

Media enquiries
Tel: +41 21 924 2200
Email: Nestlé Corporate Media Relations


text:
Heart risk factors linked to brain function

People with increasing risk factors for heart disease may experience a decline in their brain function, even if they are only in their mid to late 30s, a new study suggests.

Researchers at the University Medical Centre in Groningen, The Netherlands, looked at data on 3,778 people, aged 35 to 82 years, who underwent cognitive and memory function tests.

They were also assessed to determine their risk of cardiovascular events - such as heart attack and stroke - over the next ten years.

Analysis revealed that people with the most risk factors for heart disease typically achieved 50 per cent poorer results on cognitive tests than those with the least heart risk factors.

Poor scores on cognitive tests were linked with increased age, smoking, cholesterol imbalances and diabetes.

Overall, smoking and diabetes seemed to have the closest links with poor cognitive function.

Lead study author Dr Hanneke Joosten, whose findings are published in Stroke journal, said: 'Young adults may think the consequences of smoking or being overweight are years down the road, but they aren't.'

Figures from the Stroke Association show that around a quarter of all strokes occur in people under the age of 65, while over a thousand 35 to 44-year-olds die from coronary heart disease each year.

View the abstractADNFCR-554-ID-801581054-ADNFCR

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When it comes to vitamin and mineral supplements, how, when and what you take makes a big difference


text:
Website Worth - Web Stats and SEO Tools
3.10 SEO Rating has alexa rank of #97,845 in the world, with roughly 9834 daily unique visitors. This website has a Google PageRank of 4/10. It is a domain having .com extension and is hosted in United States. estimated worth is: $84,960.00 and have a daily income of around $118.00. This website is also listed on Dmoz. Furthermore the website is generating income from Google Adsense. As no active threats were reported recently, is SAFE to browse.

Traffic Report

Daily Unique Visitors: 9,834
Daily Pageviews: 59,004

Estimated Valuation

Income Per Day: $118.00
Estimated Worth: $84,960.00

Search Engine Indexes

Google Indexed Pages: Not Applicable
Yahoo Indexed Pages: Not Applicable
Bing Indexed Pages: 21

Search Engine Backlinks

Google Backlinks: Not Applicable
Bing Backlinks: Not Applicable
Alexa BackLinks: 691

Safety Information

Google Safe Browsing: No Risk Issues
Siteadvisor Rating: No Risk Issues
WOT Trustworthiness: Excellent
WOT Privacy: Excellent
WOT Child Safety: Excellent

Website Ranks & Scores

Google Pagerank:
Alexa Rank: 97,845
PageSpeed Score: 70 ON 100
Domain Authority: 46 ON 100
DMOZ Listing: Yes

Web Server Information

Hosted IP Address:

Hosted Country:

United States US

Location Latitude:

Location Longitude:

SEOprofiler SEO software

Social Engagement

Facebook Shares: 10
Facebook Likes: Not Applicable
Facebook Comments: 2
Twitter Count (Tweets): 16
Linkedin Shares: Not Applicable
Delicious Shares: 206
Google+: 2

Page Resources Breakdown

Homepage Links Analysis

Webmaster Forum - Web Design, Programming and SEO forums - Powered by vBulletin
TalkFreelance - Webmaster forum for web designers and freelance developers interested in website design, programming, search engine optimization (SEO), html, php, css, databases and all things relating to great web design.

Website Inpage Analysis

H1 Headings: Not Applicable H2 Headings: Not Applicable
H3 Headings: Not Applicable H4 Headings: Not Applicable
H5 Headings: Not Applicable H6 Headings: Not Applicable
Total IFRAMEs: 1 Total Images: 72
Google Adsense: pub-0117070881729725 Google Analytics: Not Applicable

Backlink History Chart from Majestic SEO

Referring Domains Discovery Chart from Majestic SEO

HTTP Header Analysis

Http-Version: 1.1
Status-Code: 200
Status: 200 OK
Date: Tue, 10 Sep 2013 11:29:01 GMT
Server: Apache
Expires: 0
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Content-Encoding: gzip
Content-Length: 14351
Content-Type: text/html; charset=ISO-8859-1

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Domain Alexa Pagerank Worth 97,847 $ 87,091.20 97,849 $ 84,960.00 97,851 $ 84,960.00 97,852 $ 84,960.00 97,852 $ 87,082.56 97,853 $ 84,960.00 97,854 $ 84,960.00 97,854 $ 84,960.00 97,854 $ 87,082.56 97,854 $ 87,082.56

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• 05/15/2012
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Private, Public and Hybrid Clouds Will All Need an IT Service Culture

As more companies move to the cloud, one thing is becoming clear: IT must develop a service culture to keep end users happy.
Whether IT focuses on a public, private or hybrid cloud computing strategy, it's going to be measured on service like never before. As a result, more and more IT executives are focusing on service culture development.

Servicing the systems and the applications you deploy would seem to be second nature, but it never has been for IT. All too often, new systems and applications have such demanding requirements that no sooner do you wrap up one project than you're off to the next one. At the end of the day, your feet get held to the fire by upper managers who want IT quickly deployed so the business can reap the benefit. There are few penalties if you skimp on support and service.

To further compound things, the IT skill set traditionally comes up short in so-called "soft skills" like people management, teamwork, written and verbal communications, and service. By nature, IT professionals tend to be task- rather than people-oriented--and the IT culture rewards technical and project management performance more often. As a result, CIOs have their work cut out for them because the cloud is going to require excellence in service.

What makes cloud computing different? For starters, outside cloud vendors are pitching to end-business managers, not IT. "It seems that every month, I get word about a new cloud application that the company is considering," says an IT director at a Fortune 500 manufacturer. "Sometimes I get word of an offering after the contract has already been signed with an end-business department, and I'm simply being told to assist the cloud provider in onboarding our company, and to manage the contract and the service agreement."

The service-level agreement lists what the company should expect from the vendor. If these service levels aren't stated, companies are increasingly demanding that they be added to the agreement. The best companies meet quarterly with vendors to review service performance.

While all of this is going on, there has also been a notable shift toward private clouds. During the past two years, companies have become comfortable with cloud solutions and what they can deliver--but there have been few improvements to eliminate security concerns surrounding public cloud providers. The security concerns are so pronounced that even very small businesses are implementing private clouds, thanks to a plethora of vendors offering "cloud in a box" solutions that are practically plug and play.

End users, however, expect the same service culture from a company's private cloud that outside providers promise.

Next: Service and Collaboration Challenges

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text:
Statement by Foreign Minister Westerwelle on Comprehensive Test Ban Treaty

Sep 23, 2011

(as delivered at the 7th conference on facilitating the entry into force of the Comprehensive Nuclear Test Ban Treaty)

Your Excellency, Mr. Secretary General,

Distinguished colleagues,

Ladies and gentlemen,

After ten years of stagnation, the disarmament process now has the opportunity to move forward with a new dynamic.

We all welcomed the outcome of the 2010 Nuclear Nonproliferation Treaty review conference. The ratification of the New Start Treaty by the United States and Russia is an encouraging step. NATO's decision to make the vision of a „world free of nuclear weapons“ part of its New Strategic Concept is a good basis to build on.

Within NATO Germany is working hard for a speedy resumption of disarmament talks with Russia, which should lead to a substantial reduction in substrategic nuclear weapons in Europe.

The German Government is pursuing a world free of nuclear weapons and free of nuclear threat. „Global Zero“ is our long term vision.

The early entry into force of the Comprehensive Test Ban Treaty (CTBT) would represent an important contribution to this end.

In five decades of nuclear testing we have seen more than 2,000 nuclear tests. The level of radiation set free by these tests has been many times higher than that set free by the nuclear power plant accidents of Chernobyl and Fukushima.

The decision whether to sign and ratify the CTBT or not reveals the true intentions of a state. To sign and ratify the CTBT serves as an important confidence building measure. It could help to overcome regional tensions especially in the Middle East and East Asia.

Over the last years the CTBTO in Vienna has proven to be an strong pillar in the disarmament architecture. Germany is the third largest contributor to its budget. And we will continue to support the excellent work of CTBTO in the future.

A comprehensive legal ban on all nuclear testing is long overdue. Existing nuclear test moratoria are important, but not sufficient. Germany is confident that the nine countries that still have not ratified the CTBT will finally assume their responsibility. The entry into force of the CTBT will strengthen global peace and security.

We welcome the joint declaration by US President Barack Obama and Chinese President Hu Jintao of January this year stating that „... both sides support early entry into force of the Comprehensive Test Ban Treaty“. This is an encouraging signal not only for those two countries, but also for all other states that are still hesitating.

Let us use this year's Article XIV conference to collectively push for an early entry into force of the CTBT.

© GermanyUN


text:
Adirondack Sandal

(reg )
Set her on the path to be a future explorer in the kids’ Adirondack Sandal. With a trail-ready, durable outsole and water-friendly upper, it’s the perfect shoe for any outdoor activity.

Adirondack Sandal

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This trail shoe for pre-school girls has an easy-on, easy-off bungee closure and it’s available in wide widths to offer a great fit for all shapes of feet.
  • Adjustable upper with bungee toggle closure
  • Closed toe sandal for toe protection
  • Durable and flexible TPR outsole
  • Molded EVA (Ethyl Vinyl Acetate) footbed for additional comfort
  • Water friendly, synthetic PU upper with Lycra® liner. LYCRA® is a registered trademark of INVISTA. All rights reserved.
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    1 Reviews

    100% of reviewers recommend this product

    Size 3 of 5

    Runs Small
    Runs Large

    Fit 0 of 5

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    Comfort 4 of 5

    Oct 17, 2016

    Great kids sandal

    - Central, FL

    MyNB Gold Member

    MyNB members may earn NB points for writing product reviews

    "Bought a pair for my 5.5 year old. She has gotten some great use out of these so far, between school and walking around the attractions. Still holding up strong and she loves wearing them!"


text:
New CommonsNew CommonsNew CommonsNew CommonsNew Commons

Think.  Link.  Do.

New Commons is a whole new kind of think tank - one that goes beyond analysis and reporting. Through our facilitation services, event hosting, published works and speaking engagements, we deliver tangible results by helping clients first move from thought to action (THINK), then build a network with the right capabilities (LINK), and then mobilize that network to get the job done (DO).

Some current projects...

Shaping the Next Economy

  • Fostering a renaissance of manufacturing in RI “a culture of makers" with the Chafee Center at Bryant University and other partners

Fostering a Digital Culture

  • Determine the benefits and uses of broadband in shaping the next economy with Broadband RI
  • Planning for an online, state-wide digital repository for RI with "HELIN", the Higher Education Library Information Network

 Focusing on Teaching and Learning

  • Process for developing "a high-leverage" policy for the schools of South Kingstown, RI with the first policy on student achievement
  • Future space and technology needs for fostering a twenty-first century community, teaching and learning, and religious life at the Union Theological Seminary in New York city (in partnership with Newman Architects in New Haven, Ct.)

Making Cities Resilient

  • Co-creator of Retrofitting for Resilience: Cities "a 6 session track" at the Building Energy conference in 2013 and upcoming in 2014 for the Northeast Sustainable Energy Association.


text:
Bonne Bay Marine Station

Norris Point

Discover the amazing sea life living in Bonne Bay fjord. Take an interactive tour of Bonne Bay Marine Station's salt water aquarium and touch tank. For family fun take a 'Marine Station Family Boat Tour' of Bonne Bay. An interpreter will help you sample the cold, deep waters of Bonne Bay, and collect plankton, some of the smallest creatures in the ocean. Then it's back to the marine station for a closer look at some or the larger marine life living below the waves.

Location data provided by the operator. Please confirm location before departure.

Get Directions

Aquarium tours, knowledgeable interpreters, touch tank, spectacular scenery, marine themed souvenirs.

Helpful Information

Up to 60 People
$3.50 - $27.50

Contact Information

1 Clarke's Lane , Norris Point
49.5172, -57.8767 (Download GPX)
May 18 - Sep 29
+1 (709) 458 2550
+1 (709) 458 2874
+1 (709) 458 2605

Print Directions

Driving distances and calculations derived using Google Maps. Actual driving times may vary. GPS coordinates have been provided by tourism operators. Please confirm location with operator before departure.

Special Offers from this Operator

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 Obamacare enrollment rises by 1 million in January | New Hampshire
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Obamacare enrollment rises by 1 million in January

WASHINGTON (MCT) — About 3 million people have now enrolled in health insurance plans sold through marketplaces created by President Barack Obama's health care law, the administration announced Friday.

The milestone indicates nearly a million additional people have signed up since the end of December. It also suggests that the marketplaces are continuing to recover from a disastrous launch on Oct. 1.
Administration officials expressed optimism Friday that enrollment would increase through the end of March, when the open enrollment period for 2014 coverage closes.

"As our outreach efforts kick into even higher gear, we anticipate these numbers will continue to grow, particularly as we reach even more uninsured young adults," Medicare and Medicaid chief Marilyn Tavenner, whose agency is overseeing the rollout, said in a blog post.
The state-based marketplaces — a centerpiece of the Affordable Care Act, commonly called Obamacare — were created so that Americans who do not get coverage at work could select among plans that offer at least a basic set of benefits and cannot turn away sick people.
Americans who make less than four times the federal poverty level — or about $94,000 for a family of four — qualify for government subsidies to offset the cost of their premiums.

Even with the rising enrollment, it is unclear if the administration will hit its target of 7 million enrollees this year. But most experts believe there will be another surge in March, as people rush to get insurance so they will not be hit with a penalty for not having coverage.
It also remains unclear how many of the new enrollees were previously uninsured and how many are healthy, key metrics that will determine the effectiveness of the new marketplaces. The Obama administration has not released this information.

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Man charged with DWI

FLORHAM PARK A Dover man was arrested on Sunday, May 27, and charged with driving while intoxicated (DWI), after allegedly driving through a red light on Park Avenue, police Lt. John Forlenza said Tuesday, May 29. Forlenza said Patrolman Geoff Rothrock arrested Martin Robins, 31, of Dover, after observing him travelling through a red light on Park Avenue, for which he also received a summons. In other police business, Patrolman Joseph Orlando arrested Harold Vann, 42, of East Orange, on an outstanding warrant as the result of a motor vehicle stop on the Route 24 Expressway, Forlenza said. He said the warrant, issued by the Essex County Sheriff's Department, was for a violation of probation.

Forlenza said the Newark Police recovered a Honda automobile that was reported stolen from Fairleigh Dickinson University in Florham Park on Friday, May 15.

During the week of Tuesday, May 22, through Monday, May 28, the Florham Park Volunteer Fire Department responded to nine emergency calls, while the Memorial First Aid Squad was called on seven times.

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Celebrating Noah Creshevsky

Noah Creshevsky at Klavierhaus,
3 November 2005.
Photo by Nancy Hager.

Charles Amirkhanian
Fractured Sounds

Dennis Bathory-Kitsz
The Illusive Surface

Thomas Buckner
A Sound Like No Other

Nancy Hager
Random Recollections
of Noah Creshevsky

Robert Carl
A New World in Sound

George Brunner
Hyperrealism and the Unexpected: Some thoughts about Noah Creshevsky on his 60th birthday

On November 3, 2005 the Brooklyn College International Electro-Acoustic Music Festival presented a concert to celebrate the 60th birthday of New York composer Noah Creshevsky. The concert took place at Klavierhaus in midtown Manhattan and featured performances by Vahagn Avetisyan (piano), Dennis Bathory-Kitsz (voice), Thomas Buckner (baritone), and Beth Griffith (soprano).

A retrospective of works by Creshevsky were presented along with compositions written in his honor. The concert program is reprinted below along with links to play or view selected compositions.

The Institute for Studies in American Music invited colleagues and close friends of Noah Creshevsky to offer their insights on his music and share their experiences with him. These may be found in the Fall 2005 ISAM Newsletter available on their Website at http://www.bcisam.org/.

They are also reprinted below by permission of the Institute for Studies in American Music. The links in the left-hand column may be used to navigate to each article.

14th Annual International Electro-Acoustic Music Festival
George Brunner, Director

60th Anniversary Celebration of the Music of Noah Creshevsky

Thursday, November 3, 2005     7 PM
Klavierhaus, 211 West 48th Street, New York City

Tania León

solo piano
pianist:  Vahagn Avetisyan

Noah Creshevsky
Psalmus XXIII
voice and electronic playback
soprano: Beth Griffith

Douglas Cohen
Welcome 2005

electronic playback
for Noah Creshevsky and David Sachs

Noah Creshevsky
Once (Psalm 150)

voice and electronic playback
soprano: Beth Griffith

Amnon Wolman
electronic playback

Dennis Bathory-Kitsz
Memento Mori, for Noah Creshevsky
extended voice and electronic playback
Dedicated to an inspiring composer
voice: Dennis Bathory-Kitsz

Michael Kinney
finders keepers

electronic playback (based on samples by Noah Creshevsky)
to my good friend and teacher, Noah Creshevsky, on the occasion of his 60th birthday

Virgil Thomson
Noah Creshevsky: Loyal, Steady, Persistant

for Noah: longtime good friend--affection, Virgil
solo piano
pianist:  Vahagn Avetisyan

George Brunner
The Call

electronic playback
for Noah Creshevsky

David Gunn
Pianomadic (das nomadische Klavier)

(view) (listen)
solo piano
a cool piece for solo piano for the hyper-cool Noah Creshevsky
pianist:  Vahagn Avetisyan

Robert Voisey
TainTed T

electronic playback (based on music and samples by Noah Creshevsky)
T is for Tape.  All bad things must come to an end; so in honor of a good friend, Noah Creshevsky, this composition will complete the series that is tainted.

Hyperrealism in Music:
Excerpts from Electroacoustic Music by Noah Creshevsky (1992-2005)
1. Antipasto (2005)
2. Private Lives (1992-1993) excerpt: first half of "Portrait of H. Wiley Hitchcock"
3. Try (2003)
4. Canto di Malavita (2002) excerpt
5. Canto di Malavita (2002) ending
6. Born Again (2003) opening + ending composite

Noah Creshevsky

voice and electronic playback
baritone: Thomas Buckner

Noah Creshevsky

Trained in composition by Nadia Boulanger in Paris and Luciano Berio at Juilliard, Noah Creshevsky is the former director of the Center for Computer Music and Professor Emeritus at Brooklyn College of the City University of New York.

His musical vocabulary consists largely of familiar bits of words, songs, and instrumental music which are edited but rarely subjected to electronic processing.  The result is a music that obscures the boundaries of real and imaginary ensembles though the fusion of opposites: music and noise, comprehensible and incomprehensible vocal sources, human and superhuman vocal and instrumental capacities.

Creshevsky's most recent hyperrealist compositions explore the fragmentation and reconstruction of pre-existing music in combination with original synthetic and acoustic materials.  Moments suggest musical environments of indeterminate ethnicity--simultaneously Western and non-Western, ancient and modern, familiar and unfamiliar.

Hyperrealism is an electroacoustic musical language constructed from sounds that are found in our shared environment ("realism"), handled in ways that are somehow exaggerated or excessive ("hyper").

Hyperrealistic music exists in two basic genres.  The first uses the sounds of traditional instruments that are pushed beyond the capacities of human performers in order to create superperformers--hypothetical virtuosos who transcend the limitations of individual performance capabilities.  These are the "supermen" who appeared in a number of my compositions, beginning with Circuit (1971) for harpsichord on tape.  The compact disc Man & Superman (Centaur CRC 2126) was largely connected to my interest in the ambiguous borders between live performers and their impossibly expanded electronic counterparts.

The idea of superperformers has numerous precursors, including the violin music of Paganini, the piano music of Liszt, conventional music for player piano, and the fully realized player-piano music of Conlon Nancarrow.

Fundamental to the second genre of hyperrealism is the expansion of the sound palettes from which music is made.  Developments in technology and transformations in social and economic realities have made it possible for composers to incorporate the sounds of the entire world into their music.  Hyperrealism of this second genre aims to integrate vast and diverse sonic elements to produce an expressive and versatile musical language.  Its vocabulary is an inclusive, limitless sonic compendium, free of ethnic and national particularity.

Essential to the concept of hyperrealism is that its sounds are generally of natural origin, and that they remain sufficiently unprocessed so that their origin is perceived by the listener as being "natural."  Since the sounds of our environment vary from year to year, generation to generation, and culture to culture, it is impossible to isolate a definitive encyclopedia of "natural" sounds, but there are a great many sounds that are familiar to nearly all of us.  These are the most basic building blocks in the formation of a shared (if temporary) collective sonic reality.

The development and incorporation of expanded palettes consisting of natural sounds also has precursors, most notably the work of Pierre Schaeffer, Pierre Henri, and the overall tradition of musique concrete.

Hyperrealism celebrates bounty, either by the extravagant treatment of limited sound palettes or by assembling and manipulating substantially extended palettes.

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Charles Amirkhanian - San Francisco
Fractured Sounds

The fractured sounds of a broken world recover their unity in the kaleidoscope of your music.
Thank you, Noah, and happy birthday.

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Dennis Bathory-Kitsz - Northfield, Vermont
The Illusive Surface

Musical ambiguity is doubly mysterious when its surface appears obvious. In the case of Noah Creshevsky’s music, the surface seems cluttered with the obvious—grunts and groans, crashes and scrapes, words and cries, and even ordinary instruments. For this listener, it was first unclear whether to engage in mental association-stripping, or let myself laugh at strings of gargles and snorts. So I laughed.

Not much time passed, though, before my cheap idea of the joke had flattened, and what remained was the sonic detritus of meaning. Yes, the modernists had done that. But they’d scratched away meaning and familiarity at once. Creshevsky’s music instead magnifies the reality of the sounds, creating an unexpected level of integration between the familiar in sound, the familiar in meaning, and the familiar in composition.

Indeed, this composer’s work is compositionally clear, leaning on the erstwhile avant-garde without ever needing it. Stylistically unprejudiced, his work might as easily suggest Dowland or Des Prez or Presley as it would Boulez or Ligeti or Xenakis.

The mystery deepens, though, because Creshevsky in fact rejects compositional, theoretical and even philosophical obligations to predecessors or contemporaries. His work is traditional in structural integrity, postmodernist in sonic plundering, and pan-modernist in its simultaneous expanding and shrinking of expectations.

One might expect this to present the more typical modern music problem of grammatical misunderstanding—where the listener must learn a composer’s grammar before grasping a composition, and then must re-hear the work with that grammatical understanding: That is, the how-do-I-listen? / just-listen! dichotomous dialog between composer and potential listener is anticipated.

And here is where Creshevsky’s use and amplification of familiar sound sources clarifies that dialog. The sounds—noises, even—that are part of the listener’s environment help to internalize the music’s substance before the disassociation from meaning takes place. In other words, the metaphor exists before it is heard, and long before it is grasped. The double mystery again.

Once this amplification has begun, it magnifies itself. The composition’s melody, harmony, rhythm, texture, architecture—indeed, all the traditional elements of composition that Creshevsky uses freely and unabashedly—step forward over the clutter of noises. And on a further listening, the piece becomes familiar and the noises step forward over the musical formalities.

Rather than a struggle ensuing, the magnification is synergistic, melding so that the composition may no longer live in an independent, orchestration-free world of the Renaissance consort or the Baroque keyboard. The grunts and groans must be where they are; the subsequent noises inherit their positions from the previous. This magnified realism becomes unique to each composition in the underground and over-flight views.

It is not a way of composing that enchants the critical world. To the careless, Creshevsky’s music can be seen as a one-trick pony—here comes that string of noises again, outlining and then invading traditional forms.

If that were so, then this music would not find its way into dreams. We whistle the cheap and analyze the obscure, but suspect the engaging. How is it we can like this music? Why do we awaken with Noah Creshevsky in our minds?

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Thomas Buckner - New York
A Sound Like No Other

I spend my life singing, and presenting new music. People often ask what are my criteria for choosing a composer with whom to work. The best answer I have come up with is this: You can teach almost any musically talented person to make music that sounds like music; what interests me are people who make music that sounds like themselves. Noah Creshevesky is certainly a composer whose music sounds like no other.

I listened to Noah's music on the recommendation of our mutual friend Annea Lockwood, another original composer with whom I've worked for years. On first hearing, I was struck by the unique sound palette, the rhythmic vitality, and the technical expertise. I was also moved and entertained-and intrigued as to what this composer proposed to do with my singing.

The first thing he did was listen to all the CD's on which I sing and select samples. Then we went into the studio at Brooklyn College and he asked me to sing as accurately as possible imitations of the various samples. I then improvised freely. From samples of this material, Noah made the tape part of the psalm, Jubilate. Singing this piece is a joy. The combination of the traditional vocal melody with the "hyperreal" accompaniment works on multiple levels and has been a favorite with audiences wherever I have performed it, in the U.S. and Europe. It is music which could be made in no other way. Audio technology is at the service of a wide-ranging musical imagination, redefining as it reconfirms elements of our musical tradition.

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Nancy Hager - Brooklyn College
Random Recollections of Noah Creshevsky

Noah is working on a new piece.

Noah sends in the list of courses he would like to teach next term. Without looking I know ear training will be there. He believes in its importance in training young musicians and is our ace ET teacher.

One year I decide to commute to school in my minivan. Noah and I ride back to Manhattan together twice a week. We gossip about everything under the sun.

Someone calls the music office with an invitation to a filming at the Kitchen of a documentary on John Cage. Noah and I round up a bunch of students, pile into my van, and head uptown. Following performances of several works, Cage is joined by Merce Cunningham to answer questions from the audience. I bought a copy of the documentary, which I show every semester in my intro to music class, pausing when the camera pans over the audience to point out my friend Noah who is sitting in the middle of the first row.

Noah is working on another new piece.

Noah gives me a copy of his latest CD. I add it to my already impressive Creshevsky collection. He tells me that one of the pieces, Talea, came out of a conversation we had about a medieval compositional practice of organizing a borrowed melody. For Noah, the whole world of ideas, sounds, and experiences is a potential source of inspiration and he encourages the same openness in his students. Two annual awards that recognize student composers whose works exhibit cross-cultural influences and continue the experimental traditions of John Cage were established and anonymously funded by Noah.

We are on winter break. I join the hordes heading to the sunny Caribbean where the competition for lounge chairs on the beach is fierce. Noah goes for a cruise through the Norwegian fjords and returns to describe scenes of majesty and timeless tranquility.

One of the worst days of my life. On Friday the chancellor has announced an early retirement incentive. On Monday Noah submits his letter of resignation and by Wednesday has emptied out his office.

Noah occasionally comes out to the college for a concert, but we mainly keep in touch by phone and e-mail. I have saved all his e-mails and periodically re-read them when my spirits need lifting. Like e.e. cummings, he never uses capitals.

Noah is coming by for lunch and to visit my cats. He arrives with a bag of goodies from Balducci's. He totally charms my antisocial but glamorous cat Sophie, who lets him carry her around in his arms.

Noah and I encounter each other at a concert. We catch up on things and he asks about my cat Sophie.

I talk to Noah on the phone. He reports he is in his studio all day working on a new piece.

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Robert Carl - Hartt School of Music
A New World in Sound

I came to know Noah Creshevsky in the very best way one composer can encounter another – through his music. Reviewing one of his CDs, I discovered a world I had never before experienced, even imagined. Here were sounds that hadn't occupied the same musical space, now somehow co-existing, and creating an integrated music that seemed to transcend style, time, and place. It was one of the most imaginative and natural uses of technology for aesthetic aims I’d heard, and it gave me hope that electro-acoustic music was not forever doomed to be a marginalized subset of the art music world. And there was pleasure, athletic joy, and a sly wit throughout; the music never took itself too seriously, even when carving out new territories for all of us to follow.

arly on after meeting in the flesh, Noah mentioned to me that he was a hermit. Well, if he is, he’s certainly one of the most sociable around. I find him a man of enormous good spirit, generosity, and life-loving kindness. I'm honored to be a friend, I am so happy to wish him a happy 60th birthday, with perhaps the greatest pleasure being I know that he is just warming up, to astonish us further with his upcoming work.

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George Brunner - Brooklyn College
Hyperrealism and the Unexpected: Some thoughts about Noah Creshevsky on his 60th birthday

I’ve known Noah for more than 20 years and think about him in a few different ways. As a composer/musician, as a friend and as a colleague. First as a composer: Noah integrates that often rare combination of creativity and technique that allows him to achieve his compositional goals with every work he completes. His work is principally in the area of electroacoustic music. Early works dealt with recording sound samples on tape from records, radio or other tape sources. These samples were manipulated by standard techniques of cutting, splicing, looping and changing speed etc. Pieces of tape ranging from very small (less than ½ inch) to very long (several feet) were assembled. There would be several hundred or more of these pieces of tape. All had to be organized and assembled into a coherent whole. This process was always accomplished with great skill and aesthetic integrity. Noah never liked electronic sound i.e. the sound of oscillators. He followed in the original tradition of the Musique Concrete of the French Studios of Pierre Schaeffer and Pierre Henri rather than that of the Electronic Music of the Cologne Studios of Herbert Eimert, Robert Beyer and Karlheinze Stockhausen.

When digital systems evolved Noah became interested in sampler technology with computer control. Generally MIDI systems approach music from the starting point of pitch, which for many electroacoustic music composers, or for that matter any composers, that is the last rather than first component in a composition. Therefore, historically MIDI has a greater appeal in popular music than it has in contemporary art music. Sometimes a composer looks at a certain technology and sees it in a way that is not how it was designed. This is the case with Noah and samplers. He assembles several hundreds or more of pre-recorded sounds and imports them into the samplers. Pitch assignments have no relevance e.g. C4 (middle C) could be the sound of a violin glissando (with no connection to middle C) in Noah’s sound world. The focus is on sound not pitch. His approach is one of the most imaginative I’ve experienced in all of MIDI implemented music and, in fact, all of electroacoustic music. The result of this intensive and vast world of samples is the creation of “super” ensembles that can do things that could not be done with acoustic ensembles. This is what Noah has called Hyperrealism.

As a friend, Noah has offered guidance, advice, support and always humor. Dinner in Chinatown is best when ordering is left up to the master and there will never be a disappointment. Discussion outside of music is very interesting. I have not known too many composers who were interested in sports events. However, one time we were talking about nothing in particular and I mentioned something about the Olympics and asked Noah if he liked sports. I expected a negative response but it was not the case. He said, “Yes, one sport”. “Which one?” I asked. He said, “Professional boxing”. I was surprised by this answer for no particular reason that I could think of at the time. But I suppose I thought that composers would prefer games where strategy was central. Not knowing much about boxing, I realize that there may be strategy involved but it seems so violent to me that it does not appeal. I asked him why he liked boxing and he said because of the violence. Noah could always be counted upon for the unexpected.

As a colleague, students came first and his devotion to teaching was unparalleled. If a student struggled with theory or ear training he would offer additional help even to the point of calling students at home. Students always imitate teachers. If a teacher has characteristic mannerisms students sometimes take the imitation to a great degree. Noah has some unique mannerisms. Several years ago three students, Matthew, Mark and Paul were taking a class with Noah and may have been wrestling with a concept. For fun and mischief, these students would call each other at night and, claiming to be Noah Creshevsky, might say, “Mark, this is Noah Creshevsky, and I am calling to let you know that you are not doing well and are failing your theory class which will not be good for your future”. The string of mischief went on for months and since they were quite adept at imitating their teacher’s voice on the phone it was often very convincing to the one receiving the call. One evening Noah called Matthew and said, “Matthew, this is Noah Creshevsky calling and I wanted to discuss your work in the class”. Matthew responded, “Yeah right, I know it’s you Mark, stop fooling around I’m trying to go to sleep”. Noah responded, “But Matthew, this is Noah Creshevsky”. Matthew, “quit f____ing around, Mark, I don’t wanna do this tonight”. Noah, “But Matthew this is Noah Creshevsky”. Matthew, “Screw it…OK, OK NOAH CRESHEVSKY, just let me tell you something…whenever I sit in class I look at you and I think to myself what a beautiful, bald head you have…I would love to get up and walk over to you right in class and rub my hand on your beautiful, bald head…so smooth…I bet it feels great…so what do you think of that?” Noah “But…But…Matthew, How can this be?” Matthew, “What??? This is really Noah. Oh my God, what have I done…?”

Noah was on the receiving end of the unexpected.

Hyperrealism, providing the unexpected, receiving the unexpected…the many years Noah spent in the Conservatory of Music at Brooklyn College were vibrant, exciting, interesting and full of the unexpected for the students, faculty and all of his colleagues. It has been and continues to be a great pleasure to know my friend, Noah Creshevsky.

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Gloria Coates: Beyond the Spheres

Gloria Coates: Beyond the Spheres

Trevor Hunter: Music on Open Strings, composed between 1972 and 1973, was appropriated eventually as your first symphony and was premiered just before your 40th birthday at the Warsaw Autumn Festival. But it was written five years prior to that.

Gloria Coates: It was an unpaid commission for a chamber orchestra in 1972. I went to a rehearsal of the piece and realized that it needed a conductor. The orchestra refused having one, in spite of the fact that I found a young Polish conductor who wanted to do it. I took the work off the program. I waited five years before it was finally premiered. Even then, the premiere had problems, for the orchestra did not want to do the scordatura that was required in all the instruments—one of the movements had the musicians retune the strings in a cascade of canons. I had written in a mosaic pattern of the instruments which built to a climax, and they pointed out that playing on the open strings, they could not crescendo the opening. The day before the final rehearsal, I had the idea of loosening the bow hair and tightening it in the rests which might create the crescendo when played. I needed to check out my idea. Looking out of my window at the old Paderewsky Hotel at 5:00 a.m., I saw a man with a case. I was on an upper floor, so hurried down the winding flight of stairs and found him. It was a viola case and a musician was waiting for a bus to take him to Krakow. With the help of the night doorman, he understood my problem of having to try out the crescendo with the bow. It worked. Thus, the piece was performed as written. It turned out to be a breakthrough. Throughout the papers of Europe it was cited as one of the three high points of the festival.

TH: That premiere was in 1978 at the height of the Cold War. Even living in Munich, you lived on this border of East and West. And you were the first commissioned American at the East Berlin Festival.

GC: Right. Somebody from East Berlin heard Music on Open Strings in Warsaw and asked me to write a piece for the East Berlin Festival.

TH: But it must have been quite the experience, living almost on both sides of the Iron Curtain.

GC: There was always unease in the air–especially in Munich, because that was the spy capital of Germany, and the Russian rockets were targeted on Munich. I went back quite often to Poland. I was there three times for the festival, and then East Berlin. I was invited to Russia for the First International Festival for New Music in the spring of 1980. It was very exciting actually; there were orchestras from all over Russia. Leo Brouwer was there and had a composition done which was very modern. Nicholas Slonimsky was there, too, and his nephew had a ballet performed. I met Alfred Schnittke there, and other avant-garde Russians who were not performed then. But our American composer who then was head of Juilliard, Peter Mennin, had a symphony on one of the concerts I attended. It was beautifully done. After Peter Mennin came forward for his bow, the whole crowd gathered around him, and suddenly he was lifted up into the air and onto the shoulders of this group and carried out of the hall with the crowd following. I’ve heard of this happening, but I’ve never seen it before. It was really an exciting experience to be there.

After this festival was over, there were articles that came out, and I asked someone if I could write one for the United States. They answered, “Oh no, it’s being taken care of.” I did write an article for Musica, but it’s the only one of its kind that came out. The others stated that this festival was only for propaganda purposes, and that there was nothing contemporary on the festival. This wasn’t true at all.

In 1970 I told some German friends that I thought the Cold War would be over in about 20 years, and that the [Berlin] Wall would fall. My reasoning behind this theory was that the people who were involved in World War II would be old or gone, and the young people would come to power. That’s exactly what happened. They are the ones who marched through the wall and brought it down. I think it was a very heroic thing to have done, because they came with their families, little children and wives, walking through that wall; they could have been shot down at any point.

TH: Do you consider yourself to write music that is in any way political? A number of pieces bear dedications having to do with major world events like the fall of the Berlin Wall or September 11.

GC: The fall of the Berlin Wall was a major event and changed the course of history. It had been a war of nerves, and the dramatic coalescing of many factors ended it. Symphony No.7 is dedicated “to those who brought down the wall in peace.”

Another work that leans towards politics is a cantata, WWII Poems for Peace, that I wrote in 1972 with texts by women who were writing during World War II. It was done many times during the peace movement, although I had a totally different motivation when I wrote it. I took tours for the American Army in Munich; one tour was to Dachau. During that time, I had a commission to write a chamber work. I used texts by four women writing during WW II; two German and two American. Of the Germans, one was the third-grade teacher of my daughter, who had given me a little poem she had found in a newspaper during the war, “Rinne, regen, rinne auf den Sand und auf die Steine, rinne allerwegen und weine,” which translates to “Run, rain, run on the sands and the stones, run everywhere and cry.” I used that as an aria, and her note to me as the recitative. The other German was a lady with a pension who helped us when we first arrived. She had taken care of children during World War II in the Berlin underground. Her husband had died in a concentration camp. She wrote a very beautiful poem which I used, “Young Widow”. Then I found two American poets writing during that war and superimposed them between the German poems.

My Musical Landscape

Beyond the spheres that
Orbit our sun
Across the stars
Through black holes that
Lace the inner realm,
Shapes like dippers, kites and
Strings of pearls–

Sounds that echo–
Crusts of dried
Whizzing, whirling, twirling,
Swirling through
Timeless space in
Circles round, oblong and

Through the
Vortex of my
Singing Soul
Transformed from
Sounds and
Shapes of
Into my

Transformed to

Gloria Coates
October 2002

TH: You’re most well known for your symphonies and string quartets, but you’ve actually written a great deal of vocal music. What is it that attracts you to the voice? Is it the means of conveying text?

GC: Well, I’ve always sung. I used to sing on radio programs when I was three and four. If it weren’t for stage fright, I’d probably be a singer, and I might not have composed as much. I still know several operas and literature for the voice, and I’ve taught voice privately. I think that when I compose even orchestral music, the expression comes from an ur schrei (primitive cry) which comes from a deeper part of me in singing. This is the origin of my use of glissandi.

TH: When you set text, is clarity important to you?

GC: With some songs that are lyrical, the text is important. However, I use the voice in other ways that express the text’s meaning without any vocal clarity. It can become a part of the texture, color, or rhythm in a work and not be understood except a syllable here and there perhaps. This is true for the Leonardo fragment and Indian Sounds. The Emily Dickinson songs use the texts in various ways. Even the general colors are derived from the text.

TH: You’ve set 15 of Emily Dickinson’s poems. What attracts you to a text?

GC: Those songs were written over a period of more than 30 years. I’ve always felt a spiritual kinship with Emily Dickinson. At the time that I started with “I’m Nobody,” there weren’t that many Emily Dickinson songs written. Now there are hundreds, maybe thousands by American and British composers. It seems that when somebody dies who’s close to me, and I need comfort, I find reading her poems gives me solace. Then suddenly something touches me, and I can write the music. There is an exchange with her poetry.

TH: You’ve sung your whole life and you know all this vocal literature, but you’ve never written an opera.

GC: That is what I should have done at the very beginning, and I’m not sure why I haven’t. I started writing an opera based on “Fall of the House of Usher” back around 1962. And then I thought, “No, I’m not ready,” so I went back to writing chamber pieces and orchestral music. I felt I had to really be ready. Now here I am, and I’ve written still another libretto, and I have other librettos that I’d like to use, but there has been no time for opera.

TH: Have you written many of your texts?

GC: Some. I began writing music using my own texts and poems as a teenager, but that didn’t really work for me since I didn’t feel I wanted to reveal my inner feelings that directly. Eventually I clothed them in expressions by Emily Dickinson, Mallarme, Paul Celan, my daughter, Leonardo da Vinci, and Native Americans. My own poetry is private, but sometimes I have used this form of expression as I did for a book by Peter Sheppard. He asked me to write a chapter about my musical landscape in composing. I condensed it into a poem.

In 2004 I created a musical text poem from Abraham Lincoln’s Cooper Union Address which was performed in the Great Hall of its origin 150 years later.

TH: You mentioned how in Germany there was no women’s movement when you arrived there. Did you ever feel like your gender was a barrier to your success as a composer?

GC: I had a German-American Music Series from 1971 to 1983, subsidized by the Munich Ministry of Culture and a grant from the Ditson Fund of Columbia University. I played many American composers and also women composers on this series; I think I presented one of the first European performances of Joan Tower’s work in 1972, a flute solo called Hexagons. I also presented an electronic piece by Ann McMillan. There weren’t many German women composers at that time. I never felt personally at a disadvantage because I already had had performances in the U.S., and there were no problems in Germany. I enjoyed being a pioneer in promoting women composers and performers. Sometimes I would hear jokes made about women composers, but that ceased as they proved themselves. The movement in Germany started around 1978, and women’s groups formed that were able to get financial subsidies from the German government. This created a type of ghetto at first. I felt the women should integrate and not separate. I disagreed with their separateness philosophy, and therefore was not very active in those organizations. In a series of radio broadcasts for the WDR Cologne on music called “Open House Broadcasts,” and other radio invitations, I played as many recordings by women composers and American composers as I could find on my visits to the U.S.. In time, women composers became part of the concert world in Germany, as did American composers.

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text:
Ingram Marshall: Today’s Music Tomorrow

Ingram Marshall: Today’s Music Tomorrow

FRANK J. OTERI: To return to live performance, going back to what is the beginning in terms of what’s on record, let’s talk about Fog Tropes. Here’s a piece that involves a live brass ensemble and has gotten played quite a bit and I imagine is still getting played.

INGRAM MARSHALL: Yeah, it’s by far my most played piece. So you want to hear the story of Fog Tropes?

FRANK J. OTERI: Yeah, I do.

INGRAM MARSHALL: O.K. 1980. A friend of mine was a performance artist in San Francisco, that’s where I was living at the time, asked me to put together what she called a sound score. Not really a piece of music, so much as a bunch of environmental sounds and some electronic music that she could use for a performance piece she was putting together, which had to do with the weather in San Francisco. So we went aroundóthis is the summer time, when it is very foggy in San Franciscoówe went around and recorded fog horns, I think in maybe four different places. And, I don’t think I had a really high-end recording thing. I used to tell people that I recorded it on a Nagra, but I think I actually just used a Sony. I don’t really remember, but the main thing is that it was not hi-tech. So I recorded all of these fog horns and went back to my studio and started making tape loops and basically created a kind of collage of different pitches of fog horns. And some other sounds got in there, you know some buoy ringing, some birds. Lots of birds. Wind sounds. And she did this performance and it was about an hour long and it had one section in the middle of it, about 10 minutes that, to my ear, was really good. So I said, this is too good to just let kind of disappear into the fog, so to speak, so I kind of work on it a little more and just created a tape piece, a ten minute tape piece. And I used to, I played it as a prelude to the live electronic work I was doing then, The Fragility Cycles. And it was just a tape piece and I called it Fog. So the next year, 1981, my friend, John Adams, who had just become the composer-in-residence with the San Francisco Symphony, had a series of new music concerts that he was supposed put on. And it was going to be very hip; it was going to be in the Galeria, which is kind of a downtown place for people to sit around and drink and eat and, you know, enjoy themselves. As it turned out, my concert was not there, it was in the Japan Center Theater, but what happened was he asked me to do my piece Gradual Requiem, which is the work I had composed with a mandolinist and myself, the mandolinist being Foster Reed, and he said, this is John’s suggestion, why don’t you take the piece Fog, which is a really wonderful piece, and kind of juice it up with some trombones and tubas. We can stick ’em up in the balcony and make a great effect. So that just got me going, so for about a week I just worried how I was going to do this using just a couple of low brass and suddenly it occurred to me one day that I could write it for high brass too. I could just write a brass quintet. Oh, it was actually a sextet, so I did that. I just simply wrote parts out for six brass instruments. And Fog Tropes was born. And it was played that first time by students from the San Francisco Conservatory. They did a pretty good job. It was pretty effective. And then not too long after that the San Francisco Symphony brass players played it on a symphony concert actually, one of their regular concerts. And then somebody else picked it up. I can’t remember who it was. Pittsburgh? Or St. Louis? One of those orchestras… You know, this was the time that orchestras were just beginning to have those composer-in-residence things. And they were all doing new music concerts. John Harbison was in Pittsburgh, I remember he did it there. Libby Larson was in Minneapolis. And Joan Tower, I guess, was in St. Louis. Or maybe it was Joe Schwantner? Joe Schwanter was still there. But Fog Tropes was being played at all these new music venues at these different orchestras. So that’s how it got around.

FRANK J. OTERI: So you didn’t necessarily work with the players for these performances, they just…?

FRANK J. OTERI: You did.

INGRAM MARSHALL: I mean it was all written out in regular notation, but I kind of had to tell them what the idea was… For example, the French Horn parts are these interweaving lines that they actually have to phase, very much like in a Steve Reich piece where one of them gets faster and faster and kind of gets a beat ahead. You know, you really have to talk them through it and say this is the way it goes. And that’s still true today when I get recordings of the piece…without my being there often they don’t do it right.

FRANK J. OTERI: So, this question of legacy once again: two hundred years from now, you know when they decide they don’t want to play the Beethoven symphony or the Haydn symphony for the three millionth time and they want to do Fog Tropes…?

INGRAM MARSHALL: Well, there have been a lot of strange performances of it that I had nothing to do with. I’ve heard recordings and they’re just somewhere else, you know. Somebody once did it on a barge floating down a canal in Germany. When the brass players were on the barge and I guess the audience was on the bank. I don’t know where the speakers were for the tape part. It’s had an interesting history.

FRANK J. OTERI: I guess when we look at the music, when we look at your music now and hear the performances and think of projecting it into the future, it really in some ways calls into question how valid the performances now are of the music of the past, since all we really have are imprecise scores. We can’t really know a lot of the inner workings of a lot of these pieces and certainly the older the music you get the less precise the notation is and certainly for a lot of the music being created today, having very precise notation is, you know, unless it’s sort of very academic serial music where everything is really well worked out, a lot of the aesthetic of this music is for it not to be worked out and for it to just happen.

INGRAM MARSHALL: Well, the mid-century modernist take on all of this is that the score is the text and the text must be adhered to; this is the composer’s wish. This is Stravinsky, you know, this is Boulez. The whole early music movement grew out of this, where they were trying to recreate the sounds of the Baroque period and the Renaissance period, but there’s so little in the text giving the information. They had to go back and read treatises and stuff, and even then, as Richard Taruskin points out, they ended up creating a kind of modern music based on old music notation. And it’s wonderful! I love working with old music people. You know, I’ve worked with Paul Hillier and his Theatre of Voices and they all have this early music sound and whether they’re doing twelfth century stuff, Perotin or Ingram Marshall, you know, I love that sound, that’s a modern sound.

FRANK J. OTERI: Yeah, there are all, there is so much music being created, in fact we’re going to dedicate a whole issue of NewMusicBox, the one after this one to the whole notion of composers writing music for early music ensembles and early music ensembles doing it. There’s a Bay Area-based early music group, American Baroque, which was even one of the winners of the Chamber Music America/ASCAP Adventurous Programming awards this year. And, you know, you never think period instrument group = new music, but the connection really is there. Certainly in your music, in works like Hymnotic Delays which is essentially written for an early music group… What was the experience of working with them like?

INGRAM MARSHALL: Well, first of all, with Hymnodic Delays, the four pieces are based on early American psalms, three of them by composers that were active in the early 1700s. One from New Haven: Daniel Read. Then one from Vermont; two of them actually from Vermont: Ingalls and Morgan. So, in those piece the four singers actually do sing the originals in one form or another and they just sing it so great, but what I do with it after that, they take off on, but I’m using that sound that they have. And I was inspired to do that by hearing a recording that Paul had done some of that material actually a few years earlier. I think it was His Majesties Clerkes, which is a Chicago early music vocal ensemble. And now I’m in the midst of writing a piece that’s a Mass, it’s a setting of a mass text for a chamber choir that Paul Hillier is conducting. It’s not the Theater of Voices, but it’s a chamber choir from Denmark that specializes in early music. Well, early music and John Cage.

FRANK J. OTERI: Oh, is this the group Ars Nova?

FRANK J. OTERI: Yeah, they did that disc on Mode of the choral music of John Cage.

FRANK J. OTERI: Yeah, they’re great.

INGRAM MARSHALL: And so I’ve got all those voices in my mind now that I’m working on this electronically processed version of the Mass, so…


text:
Weather Forecast

Investigators unable to keep pace with exploitation tips, newspaper reports; DNR issues invasives reminder to fishermen; more state news

MADISON -- The number of tips about online child sexual exploitation tripled in Wisconsin while the number of state Department of Justice investigators never expanded to keep up.

The Wisconsin State Journal wrote about the trend, after DOJ supervisor Willie Brantley and agent Anna King, both of the Milwaukee office, were let go in March amid reports of lagging child sex investigations.

The Madison newspaper said the numbers of state investigators for Internet crimes against children remained the same at 31. That was after the National Center for Missing and Exploited Children passed on 909 tips of child sexploitation to the Justice Department in the 2012 fiscal year, up from 366 the year before.

New state cases rose from 145 in fiscal 2011 to 450 the year after. Information for the 2013 fiscal year is not yet available.

Brantley's attorney, former top Justice official Dan Bach, blames the booming case loads and system problems for a lack of action in cases that include child pornography and enticement.

Justice Department spokeswoman Dana Brueck disagrees. She said Brantley was responsible all Milwaukee agents.

Eagle injured in attack on moving boat

A male bald eagle is doing well at last word after he crashed through the shrink-wrap of a boat being towed on I-94 near Menomonie, Friday.

Scott Kregness and his wife were towing a rescue boat from Florida to the Breitung (Minn.) Fire Department when the eagle approached them as they sped across the Red Cedar River east of Menomonie.

Kregness said the eagle was coming toward him and he ducked. He assumed the bird just missed the vehicle when a motorist to the rear saw it inside the boat through a tear in its shrink wrap.

Kregness stopped at a rest area and called the DNR. Wildlife rehab expert Patti Stangel of Colfax was notified, and the eagle was later transported to the University of Minnesota's Raptor Center in St. Paul with a bloody beak.

Center director Julia Ponder said the eagle had some eye damage with mild head and internal trauma. She expects the bird to recover enough to be released in the wild.

Breitung, Minn., is located near Tower. The boat will eventually be used for rescues and recoveries on Lake Vermillion.

Online voter registration possible but still shunned by lawmakers

MADISON -- Wisconsin still refuses to let voters register online while more states are allowing it.

Experts recently told lawmakers that online systems are cheaper, easier and more accurate than paper systems like Wisconsin's. Government Accountability Board director Kevin Kennedy said his agency has the technology to sign up voters online, but lawmakers need to approve it.

They've failed to pass it twice in the last three sessions.

The Associated Press says 18 states have online registration while four others have approved it and are working on their systems.

Wisconsin was among 15 others considering online voter registration until lawmakers adjourned for the year almost a month ago. Lawmakers of both parties have advocated online registration for Wisconsin.

Assembly Democrat Terese Berceau proposed a bill to allow the signups and check the legitimacy of the new voters with their information from other state databases.

Assembly Republican Kathy Bernier of the Eau Claire area said she favors online signups as long as concerns about voter fraud are addressed.

Majority Republicans tried but failed to pass a bill in the last session that would have combined online registration with campaign finance changes.

Big Bend Assembly Republican David Craig is among those favoring online registration only if Wisconsin ends its longtime provision to let voters register at the polls on Election Day.

Rain continuing through the week

SULLIVAN -- It looks to be a wet week across Wisconsin.

The National Weather Service says one- to three more inches of rain will fall in the early part of the week and more minor flooding is possible.

The Mississippi River near Prescott, the Fox River at Berlin and the Baraboo River at Baraboo are expected to rise above their flood stages between Thursday and Saturday. Other rivers in the state could get flood warnings later in the week.

The Weather Service in Green Bay says local heavy rains Monday could cause minor street flooding. Most of the state got a good soaking Sunday.

Places in southwest Wisconsin got close to an inch of rain, including River Falls, which recorded .92 of an inch up until 5 a.m. Monday.

Winds hit 55 mph near La Crosse last evening, and 45 at Prairie du Chien. Also, parts of northern La Crosse County had quarter-inch hail.

More strong winds were predicted Monday for much of Wisconsin with gusts of up to 40 mph.

The Weather Service says cool and rainy weather is expected all week, thanks to a slow-moving low-pressure system that was stalled overnight in Nebraska.

Senator, Badger star headline student council gathering

MADISON -- Over 2,000 Wisconsin high school and middle school students spent their Sunday morning in the State Capitol, learning how to become better leaders.

The state Association of School Councils held its 80th annual conference in Madison and the first in Madison in 48 years.

WKOW TV said over 200 communities were represented.

The group received pep talks from state Senate Democrat Jon Erpenbach and UW Badger basketball star Sam Dekker, who attended the conference when he went to Sheboygan Lutheran High School.

The event featured a variety of seminars and activities aimed at teaching leadership skills.

Officials urge 'Caution!' for roadside pickers

Wisconsin homes aren't the only thing that's getting a spring cleaning. About 3,000 groups have volunteered to pick up trash along about 8,000 miles of Wisconsin highways.

It's the first of three cleanups this year as part of the state's long-running Adopt-a-Highway program.

State coordinator Christa Wollenzien asks drivers to be extra careful when they see the roadside volunteers. She says they're covered under the state's "Move Over Law," which requires drivers to slow down and veer as far enough away from the workers as safely possible.

Wollenzien is also asking for more volunteers. She says about 30% of the available miles in the Adopt-a-Highway program still need people for this year.

-- Raymond Neupert, WSAU, Wausau

Fisherman reminded to guard against spreading invasives

Wisconsin's inland fishing season begins on Saturday, May 3, and the Department of Natural Resources is telling anglers to clean their boats and gear to prevent the spread of invasive species and fish diseases.

State law requires fishing boats to have plants and other species removed before leaving any boat landings and all the water must be drained.

The DNR also cautions people not to move live fish from one body of water to another.

Catholic church burglarized, damaged early Sunday

EAGLE RIVER -- Authorities are investigating a weekend fire and burglary at a church near Eagle River.

It was reported around 1 a.m. Sunday at St. Peter the Fisherman Catholic Church.

Vilas County sheriff's deputies said they found a small fire when they arrived plus criminal damage to the property. The fire was quickly put out, and it's being considered suspicious.

Other details were not immediately disclosed. A K-9 officer from the Lac du Flambeau tribal police was called to help with the investigation.

-- Raymond Neupert, WSAU, Wausau

Pardeeville man feared drowned

WISCONSIN DELLS -- Authorities have been looking for a southern Wisconsin man missing in Wisconsin Dells.

Columbia County sheriff's officials said Mitchel Blanchard, 21, of Pardeeville was last seen about 2 a.m. Sunday, running near the Kilbourn Dam and the Hwy. 13-16-23 bridge over the Wisconsin River in the Dells.

The Wisconsin Department of Natural Resources was assisting the search along with state and local officers and rescue divers.

Stabbing is fatal for Two Rivers man

TWO RIVERS -- A man who was stabbed and then drove into two parked cars in Two Rivers before he died early Sunday has been identified as Koyoko Perry, 34, of Two Rivers.

A 54-year-old Two Rivers man is in custody while possible charges are pending. Police Chief Joseph Collins said Perry was stabbed around 3 a.m. Sunday.

After he drove away, Perry struck two vehicles parked in the driveway of a house on Columbus Street, which was closed for several hours.

Authorities found Perry there and took him to a hospital where he later died. An autopsy was planned for Monday.

Officials said the victim and alleged killer knew one another so there's no danger to the community.

-- Damon Ryan, WOMT, Manitowoc


text:
After eagerly anticipating the latest arrival of the long awaited fifth instalment of the X-Men series, this prequel to the earlier films “X-Men: First Class” most definitely does not disappoint the inner geek.

Directed by Matthew Vaughn (who, yes, you’ve got it, directed Kick-Ass.) takes the audience back to the origins. His personal take on this iconic series does not just stand on its own, but it surpasses its future predecessors making it quirky, entertaining and above all else enjoyable to both comic fans and non-comic fans alike.

Set during the backdrop of the 1960s this film revolves around the significant relationship between Professor X and Magneto, and the origin of their conflicting groups: The X-Men and the Brotherhood of Mutants.

So if you don’t do anything else this week, make sure you check out this film.

I am the Founder and Editor-in-chief of New Rising Media. You can follow me on Twitter @MrJasonEngland.


text:
Jamie Durie

RED-faced green-thumb Jamie Durie has said he has "nothing to hide" after he was pictured cosying up with his ex-girlfriend last week.

The celebrity gardener has hit back after Woman's Day published snaps of him lunching in Sydney with Sophie Scarf, from whom he split last year after an almost three-year relationship.

With current girlfriend interior designer Lisa Christie nowhere to be seen, the mag screamed foul play, saying he was "canoodling with his ex - while his girlfriend's away!"

But a normally private Durie was candid , saying they had it all wrong.

"There is nothing to hide here," he told Confidential.

"I have a very close relationship with Sophie and I care about her and always will, and I am well within my rights to have lunch with her.

"Lisa is aware of it and everything is fine.

"I have a great relationship with all my ex-girlfriends. I don't have a bad word to say about any of them, actually.

"Bear in mind, this is someone I lived with in Los Angeles for almost three years - of course we are very close and we have always supported each other over the years, so there is nothing to hide."

Durie, who designed the Lexus Birdcage marquee, said he was loving the Spring Racing Carnival.

He said Christie would be back on his arm today at the Cup after the pair were pictured together on Derby Day on Saturday.

Actress Rose Byrne will be the star guest at the Lexus marquee today.

Originally published as All my exes and I are cool


text:
Pick n Pay may sell Australian stores via tender

2010-10-11 09:38

Pick n Pay may sell its Franklin stores in Australia individually or in groups via a tender process, the JSE retailer said.

This, however, would be carried out only if the sale of the stores to Metcash Trading was not approved by the Australian Competition and Consumer Commission (ACCC).

The company said it would continue to “work closely” with the ACCC to secure approval of the proposed sale to Metcash as its preferred option, and was “confident in its arguments” to persuade the ACCC to approve it.

“On September 22 2010, the ACCC released its Statement of Issues as part of its review of the proposed sale of Franklins to Metcash.

“Given the concerns raised in the ACCC’s Statement of Issues and the fact Pick n Pay has received no other offers for the business since the strategic review was announced in April this year, Pick n Pay considered it appropriate to initiate the alternative exit strategy.”

The ACCC was expected to make its final decision on or before November 11 2010.

“Following the strategic review announced earlier this year, Pick n Pay took a decision to exit the Australian market,” chairman Gareth Ackerman said.

The company’s preferred option to achieve this was through the sale of Franklins to Metcash.

“While our first priority is to complete the sale to Metcash, we considered it prudent to put in place an alternative exit strategy in the event the ACCC does not approve the sale to Metcash.”

Ackerman said the decision to sell Franklins was not taken lightly.

“Without the benefits of scale in the market and in the face of unprecedented discounting by Woolworths and Coles we consider it essential to start this process immediately as any further delay in selling the business would not be in the best interests of our shareholders, Franklins employees, suppliers and other interested groups.”

Ackerman said he had been encouraged by Metcash’s reports of the strong interest in acquiring Franklins stores since the proposed sale to Metcash was announced in July.

“While the Franklins business as a whole has not generated an acceptable return on capital employed, Franklins stores individually have strategic value to existing grocery operators within Australia, including but not limited to independent retailers supplied by Metcash,” he said.

Pick n Pay expects to receive initial offers for the stores and brands by October 26 2010.

In conjunction with its advisers, Pick n Pay would then assess offers received for stores and brands so that it could move to complete the alternative exit strategy in a timely fashion, should the proposed sale of the Franklins business to Metcash not proceed.

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text:
Accident: six hurt after tyre busts

2009-11-30 00:00

POLICE and emergency services had their hands full dealing with road accidents this weekend.

Six people were hurt on the N3 near the Mooi toll plaza yesterday afternoon when the rear tyre of a bakkie burst, causing it to roll and flinging out the passengers in the load box.

On Friday evening, a 13-year-old Pietermaritzburg boy was knocked down and killed by a bus in Sinathingi Road in Edendale.

Local police had to detain a driver who rear-ended a bakkie in Khan Road in Northdale on Friday when members of the community wanted to take the law into their own hands.

People at the scene said the driver tried to overtake the bakkie, but lost control, stopping a few metres from a house after veering off the road and crashing into a bush. The occupants sustained neck and back in juries.

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