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Welcome to Floor Coverings International Katy! We are the premier flooring company serving the Katy area. We provide high quality design and installation services and carry the latest flooring products including hardwood, carpet, stone, and tile flooring! Take the guesswork out of getting new floors and schedule your free estimate in-home consultation today!
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Bigg Boss 14 will begin from October and the makers held a live virtual conference yesterday. During the conference, Salman Khan shared the pictures of the new house. However, this season is different and yesterday, the makers introduced the first contestant of the season. Kumar Sanu’s son Jaan Sanu was introduced as the first contestant of the season. However, this was not liked by former contestant Sofia Hayat. She has been in the news for various controversies and has linked Jaan Sanu’s entry to the on-going nepotism debate. She has said that nepotism who took Sushant Singh Rajput and Bigg Boss 14 is promoting nepotism and hence has asked fans to ban this season of the show. She posted a video on Instagram about the same.
She said, “I am sure all must have heard the name of Jaanu Saanu who has just been announced as the Bigg Boss house contestant. He is Kumar Sanu’s son, who is again a star child. And with that I am personally very disappointed. Because in the last few months we have seen the whole case of Sushant Singh Rajput’s play out in front of our eyes in the media. A young life was lost due to the industry’s mistreatment. A mistreatment to the people who are not born in star families. Now, Bigg Boss has no regard for what’s happening in India. India has stood up to support Sushant Singh Rajput. We all feel deeply his suicide is for no reason except nepotism. And Bigg Boss continues to play out the old story. You would remember when I was in Bigg Boss I was badly treated. I represented all the women in India who have been abused and not heard. Sushant Singh Rajput represents everybody who has been a victim of nepotism. His and others’ voices have been a waste of time? Aap log decide kar sakte ho Sushant Singh Rajput ki maut kiske liye hai? Agar aap Sushant Singh Rajput ke saath ho then you will break up with Bigg Boss. Bollywood is not about star children its about you. You control Bollywood nobody else does. You choose what you have to watch on television so you are the one who choose what becomes popular.”
She said that Bigg Boss must feel shameful for promoting nepotism. “Bigg Boss ko sharm aani chahiye ki wo pehla guest introduce karte hain Jaan Sanu who is another star kid. Let’s take nepotism out of the industry. Do not let Sushant Singh Rajput’s death be for nothing. You make all the difference. Boycott Bigg Boss and end nepotism. India has evolved and progressed but shows like Bigg Boss are keeping you in lower vibration of state. Now, show the power of Boycott Bigg Boss and then they will see the boss is the viewer, “she ended.
Source: Read Full Article

domain: celebrity


Springfield XD 45acp 4" Compact Black
Guns International #: 100376677 Seller's Inventory #:
Category: Springfield Armory Pistols - .45 ACP Pistols
When emailing or calling sellers direct, please mention that you saw their listing on GunsInternational.com
Seller: Cheap Guns 4 You
Member Since: 9/16/13
Country: United States
Phone: (386) 310-7993
Fax: (888) 898-0501
Number of Active Listings: 0
Total Number of Listings: 580
Seller: FFL Dealer
Return Policy: 3 day inspection and return policy on used guns.
Payment Types Accepted: ALL MAJOR CREDIT CARDS, MONEY ORDER, CASHIER CHECK
BRAND NEW IN THE BOX!!! SPRINGFIELD XD 45ACP 4" COMPACT BLACK
The new 45 is a 4 inch barreled pistol with a shortened grip frame for easier carry. But each gun comes with two magazines. A 10-round compact magazine and a 13-round Service Model magazine with XD Gear X-Tension™. That means a simple change of the magazine converts this 10 + 1 round compact into a 13 + 1 round service model.
Magazines:1 - 10 Round Compact, 1 - 13 Round w/ Grip Extension
Barrel:4.04” Steel, Melonite, Fully Supported Ramp
Slide: Forged Steel, Melonite Finish
Sights:Dovetail Front and Rear (Steel) 3 -
Trigger pull: 5.5 - 7.7 lbs.
Frame: Black Polymer
Recoil System:Dual Spring with Full Length Guide rod
Height: 5” w/ Compact Mag, 5.75” w/ Extended Mag
Weight w/ Empty Magazine: 29 ozs. w/ Compact Mag, 30 ozs. w/ Extended Mag
****Please read the entire text before purchasing this item.
**Please make sure that this gun is legal to own in your state of residence. We do not modify guns in any way to make them legal in different states.
**Payment information: We accept Visa, MasterCard, Discover, American Express, Cashier’s Check, and Money orders. We DO NOT charge any extra credit card fees.
**Please allow 1-3 business days for guns to ship once FFL is received. FFL's can be emailed, faxed, or mailed to us.
**Long guns and accessories ship UPS ground, Hand guns ship USPS priority mail
**Once payment and FFL are received we will email you a tracking/ delivery confirmation number.


China Replacing Aging Fighter Jets With Advanced J-16s in All Five Theater Commands, Report Says
© Chinese Ministry of National DefenseTwo Chengdu J-16 Fighters of China's People's Liberation Army Air Force (PLAAF)
© Chinese Ministry of National Defense
The People’s Liberation Army Air Force (PLAAF) has stepped up its efforts to replace aging fighter jets with top-of-the-line J-16 fighters, according to reports in Chinese media. The advanced aircraft has most recently been deployed in Tibet and Xinjiang, meaning all five PLA commands are now using it.
One of China's newest fighters is being rapidly integrated into front-line air forces, allowing the PLAAF to phase out older aircraft like the J-7 and J-8, both of which are based on updated versions of the 1950s-era MiG-21, built by the Soviet Union.
"Chinese old generation military aircraft like the J-7 and J-8 are not enough to deal with the increasing security challenges around its periphery," Fu Qianshao, a retired PLAAF equipment specialist, was quoted as saying in Chinese media on Friday.
"Aircraft replacement is not taking place just in the western border, as China needs more long-range advanced warplanes to deal with increasing provocations from the United States and its allies in the South and East China seas, where the PLA’s key strategic focuses are," he added.
The J-16 is one of numerous aircraft derived from the Sukhoi Su-27, many of which form the backbone of the Chinese air forces. The J-16 is the newest member of the family, entering service in 2016 with a host of advanced equipment, including AESA radar, long-range missiles, and in the newest D-variant, electronic warfare capabilities. It can serve as both a strike aircraft and an interceptor.
Although it is considered a 4.5-generation aircraft, the J-16 is intended to be a key partner for China’s fifth-generation J-20, a true stealth aircraft, in future air operations. The PLAAF has already built at least 245 J-16s, with reported intentions to obtain at least 300 to meet anticipated threats from the United States and its allies in the region.
As such, China’s J-16 is easily the equal of the US’ F-15 Eagle fighter jets and could pose a threat to stealth aircraft like the F-35, too.
The J-16 has been spotted across China’s eastern commands in recent years, including near Taiwan, but the most recent news shows the strike jet being deployed in the west, where Chinese troops have been engaged in violent exchanges with Indian forces in the high-altitude Ladakh region along their ill-defined border.
In the event of a shooting war with India, the J-16 would find itself facing advanced aircraft from the US, Europe, and even Russia, including Sukhoi Su-30s, Dassault Rafales, Lockheed Martin F-16s, and the indigenously-designed HAL Tejas. India has also incorporated Russia’s advanced S-400 air defense system into its military, which would be a potent threat to the J-16.
"Increased air activity by [the] Chinese is being monitored. We have increased the presence of radars and air defense networks. Appropriate non-escalator measures have been taken in time," Indian Air Force Chief V. R. Chaudhary told Indian media in October, adding that the IAF was “expediting the operationalization of recently inducted systems,” including S-400 and Rafale.
A similar dynamic is in play in the South and East China Seas, where US military forces have stepped up their presence in recent years amid claims Beijing has expansionist ambitions in the region. Washington has in particular begun selling new jets to Taiwan, an autonomous island Beijing considers to be a Chinese province in rebellion, as well as upgrading their existing fleet of F-16s. The PLAAF has used J-16s for naval patrols and to provide other aircraft, including their powerful Xi'an H-6 bombers, with a screen of electronic jamming during their patrols across the waterways.


HIGHFINE SMA Male Plug
Connector type: SMA Male (Pin) to RP-SMA Female (Pin).
- Material: Copper(Not Alloy), Surface treatment: Gold-plated, Impedance: 50ohm, Low-loss
- Package includes: 2x SMA adapter (the Extension Cable in the picture is Not included)
- Use the adapters could make your RP-SMA Male connector become SMA Male, or SMA Female connector become RP-SMA Female. Compatible ...
- Brand New and High Quality -- sma to rp sma adapter
- Connector type: SMA Male (Pin) to RP-SMA Female (Pin)
0.01'' x 0.01'' x 0''
0 cm x 0 cm x 0 cm
13.75 lb (6.237 kg)


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Avondale, Ariz.-based mattress manufacturer King Koil has announced that company executives recently filled 240 bags with school supplies, books and small toys for underprivileged children near its corporate headquarters at a special team-building event.
International Market Centers (IMC) has announced Monique Honaman as its new chief human resources officer (CHRO), joining IMC’s Executive Leadership Team with responsibility for all aspects of Human Resources strategy.
The Las Vegas Market Preview Guide, a comprehensive 145-page planning tool for buyers and designers preparing for the forthcoming Las Vegas Market, April 11 – April 15, 2021, is now available online.
The Sustainable Furnishings Council (SFC) has announced the election of its incoming board of directors for 2021, which also serves as the board of Sustainable Furnishings Education Fund, the nonprofit organization’s 501(c)(3).
Walker Edison has announced the completion of its new 125,000-square-foot corporate headquarters in West Jordan, Utah.
Sleep product category leader Intellibed has announced new partnerships with Furnitureland South and Mathis Brothers, expanding its retail footprint.
For the first time ever, the High Point Market Authority has launched a virtual educational series called IdeaStreams. Given the ongoing restrictions on indoor gatherings, this monthly series will replace the Market Authority’s in-person programming for the Spring 2021 Market, scheduled for June 5-9.

domain: news


Beginning in 2012-13, the University of Minnesota athletic department stopped producing media guides for all sports, except football, men's basketball, women's basketball and men's hockey.
Coach's Corner With Brandon Eggum Dec. 12
12/12/2017 - Wrestling
This past Sunday the University of Minnesota wrestling team earned their third dual victory of the season over Fresno State.
Highlights: Fresno State
12/11/2017 - Wrestling
The University of Minnesota obtained their third dual victory of the season on Sunday.
Gophers Take Down Bulldogs 38-7 at Home
12/10/2017 - Wrestling
The University of Minnesota \dominated Fresno State 38-7 to earn their third dual victory of the season.


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His own cooking show after Dancing with the Stars
The rugby star admits he has bitten by the TV bug and would love to land his own cooking show in the future after becoming a fan favorite on Dancing with the Stars
When Dancing with the Stars ends, Jordan Conroy plans to introduce his own cooking show.
The Rugby 7s star is well known in the sports world, but his profile has actually risen since appearing on the hit RTE show.
Jordan was on RTE 2’s celebrity edition of the dating show Pulling with My Parents last year, and this, combined with his presence on our televisions every Sunday night, means he has been bitten by the TV bug.
Jordan says he’s “absolutely” open to more TV work and would love to lead his own cooking show in the future.
“I’ve gotten a taste for TV after doing Pulling with my Parents and Dancing with the Stars,” he told RSVP Live.
“To be honest, the next thing I’d like to do is host a cooking show.”
Jordan’s TV ambitions will have to wait a little longer, as he is still a competitor on Dancing with the Stars.
People offering a maximum of 30 points on Sunday night’s show, he placed in the bottom two. However, since Grainne Seoige and John Nolan resigned from the competition, the judges decided to save him and fellow partner Salome Chacha.
Jordan said he wasn’t shocked to be in the dance-off after his incredible contemporary dancing performance, because he knew how unpredictable performances like Dancing with the Stars can be at times.
“Last week, after seeing Erica [Cody] and Missy [Keating] in the dance-off, I got the impression that it’s a highly unpredictable show, so you have to expect the unexpected,” he said.
“But it’s not a nice place to be.” Grainne was one of my favorite actors, so going to contend with her was just not fun at all. That is the terrible part of the show.
“Obviously, I’m happy to make it another week, so I can’t really complain.”
The dance-off may place a lot of pressure on contestants, and Jordan says his athletic background helped him deal with it.
He said to us: “Yes, that definitely helped a lot because there are moments when it’s done or dies – you have to win a match, you have to win that final. It’s a feeling I’ve had so many times before.
“Salome was also a great help; she advised me to keep relaxed and just pull it out of the bag.

domain: entertainment


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HACKETTSTOWN, N.J. Masterfoods USA gas rolled out white chocolate M&M's with the introduction of M&M's White Chocolate Pirate Pearls candies. Launched in conjunction with the July 7 release of the new Walt Disney Pictures/Jerry Bruckheimer Film's Pirates of the Caribbean: Dead Man's Chest, M&M's has introduced its first white chocolate candy in the United States.
These M&M's reflect the tone, colors and imagery of the movie, including changing-color M&M's Minis Sunken Treasure Mix, M&M's Milk Chocolate Pirate Gems and M&M's [image-nocss] Peanut Chocolate Captain's Gold varieties. White chocolate M&M's are a custom pearl/Caribbean color blend including white, cream, pastel yellow and light-blue candy shell colors and the candies have special pirate images, such as a pirate ship and nautical spyglass, imprinted on them.
The packaging will also showcase the M&M's characters in a variety of pirate costumes alongside actor Johnny Depp as Captain Jack Sparrow.
Michele Kessler, vice president of marketing at Masterfoods USA, said, "White chocolate has grown in popularity, and we're proud to bring another delicious choice to our consumer fan base."
White chocolate is the fastest growing variant in the chocolate category with a 24% growth over the past year, according to Information Resources Inc. (IRI).
M&M's Brand White Chocolate Candies, M&M's Milk Chocolate Jack's Gems and M&M's Peanut Chocolate Captain's Gold varieties are available nationwide for a limited time in food, mass, convenience and drug stores. They are available in either 1.5-oz. singles, 5.3-oz. peg pack, 12.5-oz. or 18.6-oz. bags and retail for 55-cent, $1.39, $2.69 and $3.99, respectively.
M&M's MINIS have a special "under the sea" Sunken Treasure color blend that feature a range of new colors, including sea green lentils that turn to gold when eaten, due to innovative color-changing technology. M&M's MINIS are being sold at a retail price of 55 cents in 1.08-oz. tubes.
The M&M's and Pirates of the Caribbean: Dead Man's Chest promotion brings consumers a themed website, traditional TV and print advertising spots and a NASCAR pirate-themed specialty car. Online at www.mms.com/pirates, M&M's fans have a chance to enter the M&M's White Chocolate Bahamas Give-away in conjunction with Woman's World magazine. Additionally, consumers can play pirate-inspired games, create e-cards and watch animated webisodes with the M&M's characters.
As part of the promotion, a full-scale marketing effort from Hackettstown, N.J.-based Masterfoods USA as the sole confectionery promotional licensee includes promotions for its Skittles brand, Starburst brand, M&M's Minis, M&M's Ice Cream and NASCAR. Specifically, Skittles and Starburst feature new tropical flavors to celebrate the Caribbean adventures of Captain Jack Sparrow. The new tropical Skittles flavors are Pineapple Passionfruit, Strawberry Starfruit and Mango Tangelo. New Starburst flavors include Royal Berry Punch and Pi aa Colada.
Members help make our journalism possible. Become a CSP member today and unlock exclusive benefits, including unlimited access to all of our content. Sign up here.

domain: food


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TOKYO, JAPAN, 9 15, 2016
There were media reports such as in The Nikkei this morning about the tender offer by Mitsubishi Corporation for shares of Lawson’s common stock and making Lawson a consolidated subsidiary by raising its ownership ratio from 33% to 51%. These reports were not based on an announcement made by Lawson, Inc.
We are in the process of studying a tender offer made by Mitsubishi Corporation for the purpose of making Lawson a consolidated subsidiary with a precondition of maintaining its listing of shares; however, nothing has been decided at this time.
Should any facts pertaining to this matter are decided, we will promptly make an announcement.

domain: economics


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This information can change, please double-check sources for information, and continue to monitor sources or back here for updates.
Oregon Business, the state's small business department, has resources for small businesses providing financial assistance in the event of local, regional, or statewide economic impacts due to identified disasters.
For more information about their programs, visit Oregon Business coronavirus web page.
AGRICULTURE: The Food Security & Farmworker Safety Program ended on November 6, 2020. Other information on Oregon grants, loans and technical assistance for agricultural business can be found on the Oregon Department Of Agriculture website.
CHILDCARE: On August 30, the Early Learning Division announced a grant funding opportunity through the federal Coronavirus Response and Relief Supplemental Appropriations Act. Child care providers who stopped providing services between March 1, 2020 – June 30, 2021, and reopened after June 30, 2021, or are interested in reopening, are invited to apply for a grant. The deadline to apply is November 30th, 2021. Please visit Early Learning Division COVID-19 Grants for more information on how to apply.


text: Maybe not, but almost always, social use advances to the more serious stages of abuse and “medication” addiction. People start using substances for many reasons. During the initial stages, they do it to be accepted by peers. But people who continue substance use will undoubtedly accelerate usage and climb into the physical stages of addiction where treatment will be necessary. Remember that substance use is a symptom of something seriously going wrong with the person and the family. As soon as you discover that your loved one is using drugs, immediately seek professional advice. The sooner the problem is addressed, the lesser the damage and the greater the chance of full recovery.

domain: sociology


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Oval Andal Antique Finish Tanjore Painting
Rs. 5,500.00 + Shipping charge
Authentic hand painted Tanjore art from south India Made by high quality 24 carat gold foil work on handmade paper It is used to decorate the walls of Temples, Palaces and Homes Unique Handmade artwork using paints on handmade paper 25 years warranty
About : Tanjore painting is a classical south Indian painting style, which originated from Tanjore in Tamil Nadu back in the 17th century. The paintings are painted by expert artisans who give great thought to precision and attention to detail. These paintings are mainly based on ancient themes of Veenai
Elegance : This is an special series of paintings which makes your wall very beautiful and gives a royal touch. Tanjore paintings are believed to be auspicious and preserved as valuable antiques. Ideal gifting option for any occasion.
Size: 7 x 11 inches

domain: artistic


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Seminar on Edu-communication
Buenos Aires (Argentina)
Buenos Aires (Argentina). A Seminar on "Edu-communication in the New Scenarios and Facing the Challenges of Contemporary Times" was held on March 15-18 in Buenos Aires, Argentina. The event was part of an inter-institutional project that is being carried out by CELAM, SIGNIS, and the FMA Institute. The proposal to identify the edu-communication focus that animates some of the various experiences in act in Latin America and in the Caribbean was reached through a methodology that included participation, involvement, and enrichment.
Time for sharing and research after discussing the proposals made by edu-communicators from Uruguay, Cuba, Brazil, Columbia, Venezuela, Equador, Peru, and Argentina brought about the identification of the edu-communication focus that animates the experiences present in those countries.
The participation of some FMA who have experience in the field of edu-communication in the Institute was very significant: Sr. Sara Cecilia Sierra presented "An Edu-communication Look at Patio 13", a pedagogy for chilren and young people in vulnerable situations, which she has been carrying out for more than ten years with the personnel of the MA Normal School of Copacabana, Columbia; Sr. Rosa Mollo shared "The Edu-communcation Methodology Prassi in the Salesian School" beginning with the expereince carried out for nine years at Barrios Altos, Peru; Sr. Tony Aldana presented the genesis and development of the "Proposal of the Communication Team of Latin America" (ECOSAM) and of the "Degree for the Formation of Latin American Edu-communicators", placing these experiences in the journey that FMA Institute has traveled to face the challenges of the new culture. Sr. Julia Arciniegas participated as the representative of the Communications Department and member of the Coordinating Commission for the Project.
The FMA present at the Seminar was purposely reduced in the numbers participating, but was highly meaningful for their quality. They thanked CELAM, represented by Dr. Susana Nin, and SIGNIS, in the person of Asunta Montoya, for the enriching opportunity to share this edu-communication partnership that will thereby have a broader repercussion in the educating communities of the Institute.

domain: geography


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Sharing good practice
Promoting Innovative Practice
Our ‘Promoting Innovative Practice - PIP’ initiative seeks to identify new developments in care of pancreatic cancer in the UK. We will be working with the pancreatic cancer community (patients, carers and health professionals) to identify new developments in care and treatment that can potentially improve patients’ outcomes. We will highlight and share these examples among health practitioners and we will call for their adoption across the NHS in the UK.
We would like to hear about new developments you have implemented or you are planning to take on so we can highlight them and promote them.
Our Star Awards recognise and celebrate our dedicated supporters who, whether they’ve been affected by pancreatic cancer in some way, or just want to change the odds for people in the future - work tirelessly to make a difference to people affected by the disease.

domain: medical


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All about Eva: a Desperate Housewife in the corridors of power
SHE shot to fame as a sultry seductress in Desperate Housewives, regularly features on glossy magazine lists of "hottest women", is producing a dating reality show in Los Angeles and has been romantically attached to sports stars.
But Eva Longoria has now taken on a new role – reinventing herself as a political activist on the national stage, a champion of immigration reform and Hispanic causes and a confidante of Barack and Michelle Obama.
During celebrations for the president's second inauguration in Washington last weekend, the 37-year-old actress seemed ubiquitous among the wide-eyed celebrities that swirled around the first couple. Yet she is also playing an increasingly serious part in American public life: using her profile to push for greater recognition of the contribution made by the country's largest minority to culture, the economy and to politics.
Last night, she chaired a Q&A session in Los Angeles with Justice Sonia Sotomayor, the first Hispanic person to sit on the Supreme Court, a woman who began life in a poor district of New York but clawed her way up through education and hard work to the highest court in the land.
Longoria is far from the first Hollywood celebrity to be attracted by the glamorous aspects of American politics.
But she had earned her formal position as co-chair of Mr Obama's inaugural committee – with a seat on the platform for his swearing in and an invitation to the private party at the White House after the public events – by her work during his election campaign. S
he helped to channel millions of dollars towards his campaign at fundraising parties and emerged as an articulate spokeswoman for the president on the stump.
Now she is campaigning to persuade Americans that the country's immigration laws need reform, to make it easier for the children of illegal immigrants to become US citizens and to provide a pathway to citizenship for their parents – something for which Mr Obama will be pushing as part of a new package of legislation he has promised to unveil.
Republicans have previously tried to block any such reform, but, since Mr Obama won three-quarters of the Latino vote at the election, they are now considering how to reshape their own policies: a moment of opportunity, Longoria believes.
"I think the Republicans are going to realise that if they don't do it because it's morally imperative, they have to do it because it's politically imperative," she told an interviewer.
To underline her point, last week she co-hosted a brunch in Washington, attended by senior figures from both sides, aimed at increasing co-operation between Democrats and Republicans in policymaking.
Longoria emerged last summer on to a national political stage with an assured performance at the Democratic National Convention.
She produced one of the convention's most quotable putdowns when she attacked the Republican candidate Mitt Romney for supporting tax cuts for the rich.
"The Eva Longoria who worked at Wendy's, flipping burgers – she needed a tax break," she said. "But the Eva Longoria who works on movie sets does not."
by Philip Sherwell in Washington © telegraph.co.uk


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Showing 43,490 results for: Ballet Hispanico?rss=1
Ballet Hispánico’s world premieres at the Joyce Theater were inspired by Federico García Lorca — one by a play, one by his friendship with Dalí.
This documentary about the dancer Marcelo Gomes was completed before he left American Ballet Theater in December after allegations of sexual misconduct.
“Playlist (Track 1,2),” on the program “Voices of America,” doesn’t imitate hip-hop but lets its spirit infuse the choreography.
An exhibition of decorative arts opens in New York, and Al Pacino plays the Penn State coach in an HBO movie.
While City Ballet waits for a successor, its history has gone on developing in performance. Roman Mejia, 18, made his presence felt.
BalletX presents full-bodied and engaging new ballets, while Pennsylvania Ballet offers a superficial “Swan Lake.”
The British pop duo, whose ballet “The Most Incredible Thing” has its American premiere this week, have always been interested in the classical arts.
Ms. Koesun epitomized the company’s early eclectic profile as a lyrical Romantic ballerina who could also surprise with dramatic ferocity.
Patricia McBride, a New York City Ballet luminary, recently returned to the company to coach a Balanchine ballet she created in the 1970s.
The company, whose season at the Joyce begins on April 18, has become less easy to define, as its vision of the Spanish-speaking world has grown more fluid.


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For the printing museum in Antwerpen Haute Technique developed a digital interface to experience sixteenth century old books in an authentic manner. Three touchscreens placed in antique desks enable visitors of the museum to browse through these medieval books and explore additional background information regarding their typography, illustration and history.
The interface was designed to create an intuitive and non-obtrusive user-experience. With it’s fluent three-dimensional movement of bookpages, and zoomable high-resolution content, the interface really invites it’s users to take a closer look at the detailed prints and etchings.
Furthermore, tappable bookmarks refer to additional information and imagery. When tapping a bookmark, the book gracefully slides to the side, letting the viewer focus on the page in question. In the remaining screen area the interface will reveal a new layer containing in-depth information with rich text and beautiful imagery.
Plantin-Moretus is a museum honouring the famous printers Christophe Plantin and Jan Moretus. The museum is situated in their former sixteenth century home in the city centre of Antwerp, and contains thousands of ancient books, letterpresses and typefaces.
For the exhibition ‘Anatomy Dissected’, the original print of Juan Valverde’s “Vivae imagines partium corporis humani" was digitised by taking extremely high resolution pictures of each of it’s pages. It was this collection of photographs that would eventually become the heart of the three-dimensional digital book.
Preserving the authentic character of the print in a digital 3D version was quite challenging. To avoid any compromises on visual quality, we decided early on that every small stain, fold and crack from the original book should be preserved in it’s digital counterpart. Which meant digitally cutting out every photograph of every page by hand. This resulted into the beautiful photorealistic end-result as it stands today.
In collaboration with

domain: design


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It's time for The Paper Players Challenge! Your task this week is to have Fun with Fabric! According to the Players' definition of fabric, anything woven will qualify...ribbon, lace, crochet trim and more, as well as traditional fabric itself! As for me, I used all three patterns of the new Springtime Vintage Designer Fabric. I hope you enjoy my "Fabric Friends" card and the three fabric techniques that I am showcasing today!
Technique One: Fabric with Adhesive Roll! To make the fabric Lattice, I simply ironed the adhesive onto the fabric and zipped it through the Big Shot with the Lattice Die. Next, I peeled off the transfer sheet, and ironed the Lattice onto Not Quite Navy card stock. The texture is phenomenol!
- Techique Two: Fabric Yo-Yo! Making yo-yo's are a breeze when using the Big Shot and the 3" Circle Originals Die! All it takes is a simple running stitch around the edge, pulled tight to pucker, and the yo-yo is complete! I topped mine with a Rose Red Big Designer Button and accented it with Always Artichoke and Rose Red Seam Binding and Victoria and Chantilly Crochet Trim.
- Technique Three: Tear and Fray! A 1-1/4" strip of fabric was ripped from a larger piece. Using a needle to separate the fibers, I simply removed a few threads of fabric at a time to achieve the frayed edge. I then adhered part of the strip to the card, and with the remainder I made a simple bow which I attached with Mini Glue Dots.
- Glitz and Glam! A trio of Basic Pearls adorn the lattice, while a quartet accents the sentiment. A Trinket Key adds the finishing touch!
I hope you enjoyed today's card. My favorite part is the fabric bow. Won't you please leave me a comment and let me know what fabric element you like the best? And remember, if you ever have a question about the cards that I create or the techniques that I use, I am only an email away!
Hopefully Blogger has resolved the issues that have been a problem over the past few days. You can imagine how panicked I was when I went to check my blog Saturday morning, and it was gone!!! Can you say "Heart Attack"? Luckily the problem resolved itself around noon. Whew! Until next time...
Stamp Set: You're a Gem (W 122268, C 122270); Inks: Not Quite Navy (103008), Soft Suede (115657); Card Stock: Rose Red (102544), Naturals Ivory (101849), Baja Breeze (111352), Always Artichoke (105119); Tools: Big Shot (113439), Lattice Bigz Die (115958), 3" Circle Originals Die (122125), Square Lattice Textured Impressions Embossing Folder (119976), 1-3/4" Scallop Circle Punch (119854), 1-3/8" x 5/8" Oval Punch (119863), 3/4" x 15/16" Oval Punch (120908); Glitz and Glam: Victoria Crochet Trim (118481), Chantilly Crochet Trim (118480), Always Artichoke Seam Binding (121000), Rose Red Seam Binding (121884), Linen Thread (104199), Springtime Vintage Designer Fabric (121817), Springtime Vintage Big Designer Buttons (122301), Basic Pearls (119247), Trinket Keys (121892), Big Shot Fabric Adhesive Roll (122194)

domain: hobby


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My dear friend "L" came over tonight and we were trying to figure out what to make for dinner. She mentioned she was craving something like the pasta she had last time we went to Callaway's, my favorite Italian place in Utah. (I am picky about Italian food, probably my East coast upbringing, but I love their food. A little pricey, but easy to share an entree or take some home for another meal.) We had both tried new dishes, Gorgonzola sauce for me (YUM!), and spicy sausage for "L". She was craving this creamy and spicy red sauce. A few minutes on the internet brought up a recipe for us to modify to taste. (I even used their measurements for most of it!)
In a pan melt one tablespoon of butter, over medium heat add 1/4 cup of minced onion and 1/8 to 1/4 teaspoon of red pepper flakes (that little amount makes a big heat difference), cook for 5 minutes. In the mean time start 1/2 pound of rigatoni and 1/2 pound of hot sausage cooking. (Obviously, the kind of sausage is easy changed to suit your tastes.) To the onions, add 1 1/2 to 2 cups of pasta sauce and 1/2 cup of petite diced tomatoes, drained, simmer for 7 to 10 minutes. This time is dependent on how think you want your sauce, the longer you cook it the thicker it will be. Add 1/3 cup of whipping cream and browned sausage, allow to boil for one minute. Ladle this creamy deliciousness over the pasta, makes 3 hearty portions, serve with cheesy garlic bread (which we bought from the store).
I loved this meal! Definitely easy and fairly quick. I am thinking that a combination of pasta sauce and Alfredo sauce would produce a similar creaminess with a cheesiness rather than spiciness.
Thanks to "L" for bringing this wonderful meal to my menu!!!


The content of this report will be updated with the latest scenarios based on the global COVID-19 Pandemic
“The number of vehicles in operation and growth in HVAC systems is projected to drive the overall growth of the antifreeze/coolant market .”
The global antifreeze/coolant market size was valued at USD 5.4 billion in 2020 and is projected to reach USD 5.9 billion by 2025 at a Compound Annual Growth Rate (CAGR) of 1.8%. The global antifreeze/coolant industry will be driven primarily by the increase in the number of vehicles in operation worldwide. The growth in the HVAC systems and construction equipment industry are the other key factor contributing to the steady growth of the antifreeze/coolant market.
“Automotive segment to lead the antifreeze/coolants market.”
The automotive segment dominates the antifreeze/coolant market. The increase in the number of vehicles in operation at the global level is one of the factors driving the antifreeze/coolant market. This growth in the automotive sector can be attributed to growing population, improved socio-economic conditions, emerging economies, expanding e-commerce industry, improved infrastructure, increasing vehicle fleet, and other factors. The growth of the automotive engine coolant in the antifreeze/coolant market is directly related to the increase in the number of motor vehicles operating and total miles driven per year, as they play a mandatory role in the engine cooling system of a vehicle.
“Ethylene glycol is projected to be the fastest-growing segment from 2020 to 2025.”
Growth of ethylene glycol as a base fluid in the antifreeze/coolant industry is primarily attributed to its cost-effectiveness and its ability to be used in all climatic conditions, making it the most preferred base fluid across the globe. It is used as antifreeze in automotive engine cooling and is also used in many industrial cooling applications. Recycling of ethylene glycol from processes such as distillation, reverse osmosis, and ion exchange is also gradually making its mark in the market for utilization as engine coolant.
“OAT technology is projected to be the fastest-growing segment in the antifreeze/coolant market from 2020 to 2025.”
The OAT technology is projected to witness significant growth by 2025. Organic acid technology (OAT) is based primarily on carbon-based molecules, typically organic acids, to protect cooling system components. This technology has a life of about 5 years or 250,000 km in automotive applications. The technology is generally safe for both aluminum engines and rubber parts.
“The antifreeze/coolant market in the Middle East & Africa (MEA) region is projected to grow at the highest rate during the forecast period.”
The Middle East & Africa (MEA) region is projected to grow at the highest rate from 2020 to 2025. The demand from the automotive and heavy construction equipment is a key growth factor for the antifreeze/coolant market in the region. Major construction projects such as Etihad Rail, infrastructure for the FIFA World Cup 2022, and expansion of existing transportation networks are all expected to be completed during the forecast period. These infrastructural projects taken up in the MEA require heavy equipment which consumes antifreeze/coolant. This is expected to boost the growth of the antifreeze/coolant market in the region.
- By Company Type: Tier 1: 54%, Tier 2: 23%, and Tier 3: 23%
- By Designation: C-level: 61%, D-level: 23%, and Others: 16%
- By Region: Asia Pacific: 33%, Europe: 27%, North America: 25%, Middle East & Africa: 10%, and South America: 5%
The global antifreeze/coolant market comprises major manufacturers, such as BP Plc (UK), Royal Dutch Shell Plc. (Netherlands), Chevron Corporation (US), ExxonMobil Corporation (US), Total S.A. (France), LUKOIL (Russia), Petronas (Malaysia), BASF (Germany), Valvoline Inc. (US), and Cummins Inc. (US)
The market study covers the antifreeze/coolant market across various segments. It aims at estimating the market size and the growth potential of this market across different segments based on application, base fluid, technology, and region. The study also includes an in-depth competitive analysis of key players in the market, along with their company profiles, key observations related to their products and business offerings, recent developments undertaken by them, and key growth strategies adopted by them to enhance their position in the Antifreeze/coolants market.
Key Benefits of Buying the Report
The report is projected to help the market leaders/new entrants in this market with information on the closest approximations of the revenue numbers of the overall antifreeze/coolant market and its segments and sub-segments. This report is projected to help stakeholders understand the competitive landscape of the market and gain insights to improve the position of their businesses and plan suitable go-to-market strategies. The report also aims at helping stakeholders understand the pulse of the market and provides them with information on the key market drivers, restraints, challenges, and opportunities.


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Kāpiti-Mana Police have charged a 17 year old male with two charges of wounding with intent to cause grievous bodily harm for the serious assault of an elderly couple in Waikanae.
He will also face two charges of burglary for this incident as well as burglary that occurred earlier in the evening near He Awa Street when he appears this afternoon in the Porirua District Court.
The elderly victims of the assault remain in hospital in a stable condition.
Detective Senior Sergeant Grant Ferguson, Kāpiti-Mana Investigations Manager, says “This incident has caused significant concern in the local community and we are pleased to have it resolved swiftly.”
“I hope the Kāpiti community is reassured that this cowardly person will face the consequences of his actions.”no


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Meet football stars at Wet 'n' Wild Hawaii
Monday is NFL Day at Wet n Wild Hawaii, where more than 20 football players will be in attendance and special discount tickets will be available at two for $40.
The noon to 2 p.m. event will be hosted by 97.5 KHCM Countrys Dita Holifield and will include an opportunity to meet players including Chris and Maçaka Kemoeatu of Hawaiçi. In addition to the regular water park attractions, there will be carnival games, player autograph signing and a charity dunk tank.
Proceeds from the event will benefit the Kemoeatu Brothers Foundation.
For additional information and to purchase tickets, visit www.wetnwildhawaii.com or call 808-674-WAVE.


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ALBANY – Change-NY, the conservative anti-tax group that helped elect Gov. Pataki eight years ago, will go out of business today – frustrated by Pataki’s big-spending policies.
“I think it’s clear to the average taxpayer that politicians in New York are back to their old Mario Cuomo-like habits of higher taxes, higher spending and dreaming up new gimmicks to fund it all,” Change-NY President Brian Backstrom said yesterday as he made the unexpected announcement.
Comparing current state policies to those of former Gov. Cuomo is as tough an attack as Change-NY could deliver.
Change-NY, founded 11 years ago by several wealthy Manhattan businessmen, once claimed a statewide membership of 100,000.
But in recent years, leaders of the group have expressed growing unhappiness over the direction New York was heading under Pataki, who has embraced traditional Democratic constituencies and backed record increases in state spending and debt.


Between a Heart and a Rock Place: A Memoir - Pat Benatar (2010)
Chapter 11. IN THE BALANCE
IN 1999, EMI RELEASED Synchronistic Wanderings: Recorded Anthology 1979–1999, a three-CD box set of our music to mark the twentieth anniversary of our first release, 1979’s In the Heat of the Night.
This was a project we believed important after several years of EMI putting out one compilation after another. Sometimes the songs were put together in an inappropriate sequence, and sometimes the song choices were just off. But to the company’s credit, EMI approached us about how we’d like to be represented for a twentieth-anniversary release. As long as we had some say in it, we were on board. One thing we insisted on was the use of certain material we’d done that they didn’t own and had no access to. That way we could show the entire career and not just what Chrysalis had been involved with.
To celebrate the milestone we set out on another big tour and made a few changes in our usual set. During the mideighties we’d cut back on doing so many of our oldest hits. I believed in looking forward, in playing new music and trying new styles. Also, it gets old singing the hits like “Hit Me with Your Best Shot” every night. But now we brought back the whole hit parade, and the audiences loved it.
The box set was a collector’s item. For example, the box-set version of “I Need a Lover,” from 1979, was recorded at the Bottom Line just a couple of weeks after we put the live band together. It wasn’t the best version of that song in existence, but it was raw and authentic, which is what we wanted. “Love Is a Battlefield” is an original demo version with only one vocal, whereas in the final version, I recorded several. We included some things no one had heard. “New Dream Islands” was an unreleased outtake from Seven the Hard Way, the first song Spyder and I wrote for the album. But in the end, it did not make the cut. “Run Between the Raindrops” was recorded live in Philadelphia in 1988 and had been used only in one radio show. “True Hearts” was another previously unreleased recording, as was 1978’s “Crying,” the Roy Orbison song that I’d performed at my first (and only) showcase. I found an old cassette tape of “Crying” in a box of material that I used to take around to pitch myself to labels before I ever got a deal. It was amazing to find it and to be able to let the fans hear what had initially been turned down! We also included a song I’d done for an Edith Piaf tribute, “The Effect You Have on Me,” and “Rescue Me” from the Speed soundtrack.
There was talk of adding some of the old material I’d recorded with Coxon’s Army, but in the end we decided it was just too different from our music’s evolution. It was definitely cabaret-type music, and even though it played a role in my getting started, it had never been a part of my ultimate career.
Unlike the earlier retrospectives that EMI had issued, this process felt cathartic and well produced. It was a good encapsulation of everything that we’d done—everything that we were proud of. In talking about the record it was also a chance to clear the air about the vital contribution that Spyder had been making since day one. As we looked back at twenty years, it was the perfect time to eliminate the long-held misconceptions about how our collaboration functioned. When Jim Moret of CNN interviewed us about Synchronistic Wanderings, he introduced Spyder as “producer/collaborator/songwriter/guitarist and husband.”
“That’s too many titles,” Spyder said.
“You just have ‘entertainer,’ Pat,” Moret said to me.
“That’s because I’m smart,” I said with a laugh. “I’ve got one job. I like it. It’s good.”
AFTER FINISHING OUR LEARNING experience with CMC International, we thanked Tom Lipsky for the caring job he’d done and we moved on. We began writing material at our own pace. Eventually we’d put out another new album, but in the meantime, we would concentrate on touring, merchandise, and brand extension—all building up to the launch of an independent record label for our albums. Since 1995, we’d been touring consistently every summer, but now the goal was to raise our profile, increase our exposure, and rekindle the love affair with our fan base. The diehards were loyal (God bless ’em) and they never strayed, but looking to the future, we also wanted to capture a new audience.
With this in mind, we refined our set lists and made it a point to play songs that would get different kinds of listeners out to the shows. We wanted to focus in on the sound that had helped get us to where we were in the first place. The tour wasn’t a way to help sell millions of records or sell out the biggest venue in every city we went to. We wanted to play to audiences that knew us and give them a show that they wouldn’t forget.
And every summer without fail our kids came with us, along for the ride no matter where we were. It turned into a family tradition—every summer was a two-month-long road trip. And while being rock stars didn’t preclude being parents, ever, it did help when you had girls who were obsessed with teen bands. Just because we were rockers didn’t mean that we were above aiding and abetting our daughters’ teen pop obsessions. Every summer Haley and Hana would get on the bus armed with their favorite bands’ touring schedules, our itinerary, and an atlas, and then proceed to map out the number of shows they could attend while we were touring. Spyder and I each had to pay our parental dues, accompanying both girls to see everyone from Hansen and N*SYNC (Haley) to Miley Cyrus and the Jonas Brothers (Hana). Only kids can make you grovel to get backstage passes. We both spent many of our evenings off during those summers being trampled by hormonal, squealing twelve-year-olds.
For a short time during the boy band craze, Haley and two of her friends, Erin Potter and Molly Torrance, thought it would be great to have an all-girl band à la N*SYNC, so they formed a group called GLO. Molly was later replaced by Natasha Porlas. Spyder wrote a couple of songs for them, they got a choreographer, and they practiced day and night. After a little bit they got really good and we decided they should open for us in the summer. It would be a gentle introduction; they’d perform about three songs. They were always working on their stage personas, changing hairstyles and outfits constantly. They all wore those low-cut jeans; I always said that during that tour I saw more butt crack than there was at a plumber’s convention.
These consecutive summers on the road had exactly the kind of impact that we’d hoped for, so much so that by the time the millennium began, we were ready to be on our own completely, and we formally parted ways with our manager. From now on, we would be self-managed. We felt that after twenty-one years of making music there was no point to having someone guiding us. If we weren’t able to take charge of things after all this time, then we had no reason to be in the business anymore.
Armed with that, in 2001 we set out to change the way we did business. We would now take an active role in every aspect of our professional career. Back in 1993, we’d formed a company called Bel Chiasso to handle our eventual publishing program. Now that would become the name of our new label. “Chiasso” in Italian means “noise,” “uproar,” and “bel chiasso” means “beautiful noise,” which was what we planned on making after Innamorata. We had our business manager Gary Haber and our agent Brad Goodman to help us navigate. Spyder and I would be the CEOs of the company, and our trusted friend and tour manager John Malta would oversee to the day-to-day. The plan was to grow the brand that was Pat Benatar and Neil Giraldo.
And throughout 2001, that plan was in place and moving forward, but like most of America, all that we were doing came to a screeching halt for us on the morning of September 11, 2001.
We were on the road and had a gig up in Napa Valley that night. We were staying at an area hotel to be ready for an early sound check, and I woke up to a frantic call from my mother: “Patti, wake up, we’re under attack! Turn on the TV!”
It was one of those moments in everyone’s life where you never forget where you were when it happened, like Pearl Harbor or Kennedy’s assassination, pivotal moments in history that impact your life forever. We woke up, turned on the television—and were horrified at what we saw. It still seems surreal to think back on it all. There was my city—New York—attacked, smoke billowing from the streets, people screaming. How was this possible? I was trying to calm down our crying daughters and their friends who were traveling with us. I stared in disbelief at the images of the city I’d grown up in. Half of my family lived less than two miles from Ground Zero. It was too much to comprehend. We sat glued to the television, listening to the reports, trying to make sense of what had happened. As terrifying as it was, I felt, as many people did, a camaraderie with all Americans that morning. I knew we were all feeling the same shock, fear, revulsion, anger. It was one of those things that are so huge, so horrific, that you feel like the entire world has just been stopped in its tracks. I assumed everything would stop, including the concert. Surely the show was canceled.
The phone rang; it was John Malta telling us the promoter still planned on doing the show that night. Were they insane? How could they possibly think it was appropriate to go on with a planned performance in light of what had happened? Our country had been attacked! I went crazy.
“Absolutely not! There is no way that I’m going to perform after all this; it’s disrespectful! And who would come anyway? The answer is no!”
It made no sense to me that anyone would hold a concert on this of all nights. They had to cancel. Everyone was going to stop doing everything. But the promoter had a list of reasons why the show had to go on, none of which made a goddamn bit of difference to me.
“It’s completely inappropriate,” I told him. “I won’t participate.”
When the follow-up call came, the answer was the same. The show was going on.
“The guy says he’ll sue you if you don’t play.”
“So many Americans have died today! How can he do this?”
I didn’t know what to do and still hadn’t decided when I got another call. This time the tone had changed. The promoter had had a change of heart, and he was about to cancel the show when the phones started ringing off the hook. People were calling and asking if the show was still on, because they wanted to come. They wanted to be out together with other Americans; they didn’t want to go through what they were feeling alone. They wanted to mourn together, even if it was only for a few hours.
While a part of me thought he was full of shit and making it up so I’d play, if there was even a remote chance that what he’d said was true, I couldn’t walk away from people in need. I agreed to go on. Once the decision was made, I had to figure out how I was going to manage this. I was heartbroken, sickened by what had happened, and I was afraid. I was afraid for the people of New York, my family, America, and the impact of this on the world. How on earth was I supposed to justify something so trivial in the face of something so profound? How was I going to go out there and jump around and sing stupid love songs? I still couldn’t believe it. I kept thinking, Oh my God, don’t make me do this. I’m not that cool, not that good. Don’t give this to me while I’m feeling so torn apart. I just shook involuntarily at the thought of what I had to do.
I still hadn’t pulled myself together by the time I got to my dressing room. I paced and paced, praying I could make it through this show and trying to figure out how. What about the set list? Christ, every song seemed to have a reference to either war (“Love Is a Battlefield,” “Hit Me with Your Best Shot”) or fire (“Fire and Ice,” “All Fired Up”). I’d have to take everything out. But then I started thinking, What about “Invincible” and “We Belong”? These are positive songs about survival and brotherhood. What about “All Fired Up”? If this was done by terrorists, well, they can just kiss my ass. They can kiss all of our asses. You bet I’ll do “All Fired Up.”
Then I started to think maybe I could do it. It wouldn’t be business as usual; I’d have to talk to the audience first, get a few things worked out. We’d do this show together: if I felt uncomfortable with a song I’d stop; if they did, they could ask us to stop. We would go one step at a time and see how far we’d get. Maybe this could work after all.
I am never nervous about shows, but when I walked on the stage that night I was shaking. My teeth were chattering so bad I didn’t know if I could talk. I went to center stage and sat down on the stool I’d requested. It was a beautiful night. The stars were out. It was in a vineyard in Napa Valley—one of the most beautiful places. I’d played it so many times, and it had never looked any more spectacular. I asked that they turn the lights up at the venue, so I could see the audience better. I needed to see their faces.
When I looked out my heart broke, for all of us, for America. People had brought flags, hundreds of them in all sizes, and they waved furiously. They’d made banners out of sheets and spray paint that said “God Bless America.” I could see people in the front rows, and they had tears running down their faces. There was a collective weep that went out across the crowd. People were sobbing, and so was I. We all were.
The hairs rose on my arms and even more than ever, I believed I might not be able to speak to them or sing. My emotions were wound too tight. When I finally pulled myself together, I began to talk to them. I was so upset and worried that I wouldn’t be able to say anything that would be relevant or sufficient. I felt so anxious that I wasn’t up to the task at hand. Knowing how awkward I probably appeared only made me feel even worse—how could I let an audience see me like this? I normally have a boundary line that I keep between an audience and me so that I don’t get too emotional and lose control of the situation. In order to take them on a journey, someone has to be able to steer the boat, and that someone was always me. That night, I crossed the line. We sat there, the band, the crew, the waitstaff, and the audience, and we put our trust in each other and tried to make sense out of a senseless act.
I should also say here that I am personally a pretty political person. I have strongly held political beliefs. But I don’t talk about them publicly, and I certainly don’t try to influence anyone to think like I do. For one thing, I don’t want to put people off just because we think differently on one thing or another. For a second thing, it’s not my job to go onstage and be political. I don’t like the idea of people picking their politics because of a favorite star. For me to give a speech was the most remote of possibilities.
But this was not about politics; this was about the collective loss that America had just suffered. When I spoke, I tried to be as honest as I could. I’m not a big talker onstage. I’ll introduce songs and tell a story now and then, but I’d much rather be singing. I told them that I didn’t know what to say. I didn’t have a plan. I was feeling just like they were—shocked, confused, and afraid. I told them that doing this show was going to be very difficult for us, but we would do our best. We might make mistakes, choose songs that might be inappropriate, and that we’d stop if we felt weird.
We began the show with “America the Beautiful” they all joined in, and the words never seemed more fitting. As I looked at their upturned faces on that pristine early fall evening, I began to feel strong and defiant. I was sad but I was angry. Who were these people who did this, who’d murdered civilians? I told them we must stand up against the ones who did this. People who threatened democracy and freedom. This was the United States of America and we would not stand down. That our forefathers had a dream of freedom for all and nobody was going to destroy that. They could crash planes and knock down buildings but not our spirit. The people who died that day didn’t die for nothing.
As I said the words, I could feel a shift taking hold. Everyone started to rally; the energy was changing and we were moving from fear to pride. And just as the transformation of the crowd seemed at its pinnacle, we launched into “Invincible,” and the lyrics took on a whole new meaning: “We can’t afford to be innocent / Stand up and face the enemy / It’s a do or die situation / We will be invincible.”
We continued in that way for the rest of the evening, playing songs and discussing how everyone was feeling. So many of them worried that we wouldn’t be able to get back to normalcy any time soon. They worried about the upcoming holidays, Thanksgiving, Hanukkah, Christmas, and whether we’d be able to celebrate as a country.
“How are we gonna have Christmas? How will anyone feel like celebrating?” one person called out.
“Oh, we’re gonna have Christmas,” I shouted back. “We’re going to do what we do best: pick ourselves up and move forward. We are going to have Christmas!”
That night, when we got back to the hotel, the genesis of a song started rolling around in my head. The lyrics would come from the conversations we had with the audience at the Napa show. I would call it “Christmas in America.” Part of the song goes like this:
So keep your babies close tonight
Hug your husband, kiss your wife
Be thankful for this way of life,
We’re fortunate to share
And not forget the ones we’ve lost
Their memory lives on in our hearts
They’ll be forever in our thoughts
And always in our prayers
Unto this world a child is born
His gift was meant for everyone
The light of peace shines on and on
And never fades away
America, America indivisible we are
One nation under God
And that will never change
Coz it’s Christmas in America
Let the angels sing
It’s Christmas in America
Let freedom ring
Let peace resound throughout the world
Especially on this day
It’s Christmas in America
God bless the USA
That night, I was awed by the healing power of music. It wasn’t so much anything I had done as it was the crowd’s willingness to go along with me, to open and come together. Standing up there that night, I felt an intense sense of pride that our music had helped ease the pain of a terrible situation, if even for just a couple of hours. The whole thing was cathartic. I had never done any kind of a sit-down with an audience. To have that conversation on that night was exhilarating and healing.
As fate would have it, we played four more shows in quick succession, and for each of those shows, I repeated the give-and-take. I needed it and the audiences needed it. Every time it was the same, an audience filled with flag-waving, heartbroken Americans who rallied and stood strong as the night went on. What those shows taught me is that we do have a collective American soul. It was important for that audience to have a place to come on the night of 9/11, a place where they could interact and show their love of their country. Even as I write this almost nine years later, the memory of those days is so vivid and uplifting.
Most Americans acted with grace and exemplary behavior in the face of this tragedy, but there is always a group who just can’t seem to get with the program. This group usually needs a two-by-four across the face to get the point, and the promoter of our final show was precisely one of these people.
One of the conditions of our summer tours is that we always have to be home and off tour by September 15, because that’s when school starts. I’m a hands-on mom when it comes to the girls’ schools and so I’d always made that a priority. After those four dates following September 11, we had gone home to California so Hana would be there for the first day of school. We had a few days to unwind, and then we were scheduled for a final show in Florida that would have required us to fly. Of course, after 9/11 there was a ban on flying for several days. This fact was publicized in every newspaper and on every TV and radio station. You would have had to have been living underground not to know about it. It was assumed we would not perform, because no one was flying, the skies were not safe, and there wasn’t enough time to drive across the country and make the show.
Well, apparently the promoter in Florida didn’t care about any of that. The moment the ban was lifted, he demanded we do the gig. When John called me to tell me the news, I was incredulous.
“No way. You tell the promoter we fly with our children, and I’m not getting on a plane with them a week after terrorists attacked our country. Tell him we’ll reschedule when things calm down. When we can be sure it’s safe to fly. We’ll honor the contract and make up the date. This guy has to understand the situation.”
He didn’t. He was adamant that we play and threatened to sue us if we didn’t fulfill our obligation. What is it about human beings? Disasters either bring out the best in us or show the ugliness that we’re capable of. I was stunned but not surprised. So I decided what I was willing to do. I told our agent Brad Goodman to call the promoter and ask him if he had children. If he did, I asked him to put his wife and one child on a plane, not a private jet but a commercial airliner, so they could fly across the country to California to pick me and my family up. If he was willing to do that, then I would fly to Florida and do the gig.
You know what happened then. That was the end of it. He didn’t ask again, nor did he sue me.
One thing that I believe 9/11 did for people was to make them see just how precious and fragile life is, and to make family a priority. At least I hope it did. We’d tried hard to put our family first, and 9/11 simply reinforced the importance of those choices.
WHILE 9/11 LEFT EVERYONE reeling in emotion, I had no doubt that we would all emerge a stronger, more resilient country as a result of what we’d been through. But as it turned out, it wouldn’t be long until my personal resilience was tested again by tragedy.
On December 2, 2002, my brother, Andy, died suddenly of a heart attack at the young age of forty-six. He was driving my father-in-law and Haley when it happened, and even in the middle of it, he had the wherewithal to slow down the car so they wouldn’t crash. The instant Spyder and I heard what had happened, we sped over to my parents’ house and told them there’d been an accident. We all rushed to the hospital. I can still see the emergency doors swinging open and Haley leaning forward and shaking her head no. He didn’t make it.
My family was heartbroken. Andy had been my best friend since childhood. He was one of the great joys of my life—his humor, his gentle demeanor, his love of family. Just because we were all grown up didn’t mean that I’d lost my feelings of responsibility toward him. I was still on the lookout for him at all times, and now he was gone in an instant. Even now, all these years later, I still have dreams about Andy. In my dreams he’s alive and laughs at my surprise at seeing him. He’s still the joker, still my baby brother. He tells me that he is fine. I miss him every day.
In the aftermath, I just couldn’t stand it. Nor could my parents. It nearly killed them. I couldn’t make sense of how something like this could happen, how someone so special could be taken from me with such swift resolution. It was so awful that I found myself wanting to spend more time in Hawaii, wanting to get as far from the familiar as possible. When he died we were still building our house there, and though initially it was just meant to be a getaway, it was our dream to live there full-time. After Andy died, I started thinking a lot about the impermanence of life, and eventually Spyder and I agreed that we should stop talking about living in Hana and actually do it. And after all that happened, we decided that it would be the right time to just do it. We ended up staying for four glorious years.
Perhaps it was partly because we were looking for a way to channel our sadness over Andy’s death into our music, but in the year following his death, Spyder started wanting to get in the studio again. We hadn’t made a studio album since 1997’s Innamorata. So he said, “Why don’t we make a record?”
“I don’t know,” I said. “I’m feeling kind of lazy.”
“Come on, come on.”
“I don’t know. I’ve decided now that I’m an old woman in my fifties, I’m just gonna be opinionated and lazy.”
“You were a pain in the ass when you were young! Now you want to be an old pain in the ass?”
And so we ended up laughing and making a record titled Go. It’s a guitar-driven record, something we’d moved away from on Innamorata. It was great to be bashing again. It was the first album that we recorded completely digitally—no tape whatsoever. While I was intrigued by the new process, I was a little freaked out as well. All the tracks, all the vocals, weren’t on the twenty-four-track tape; they were numbers stored on air. It was strange to think that there was nothing physical that existed to prove what we’d actually made. It was all just space on a computer.
Making Go was a unique experience. It was the first time after twenty-four years of recording that we would make a record totally unencumbered. We weren’t just musicians anymore. Of course, the workload was enormous at times. There was no strolling into the studio at one P.M., Starbucks in hand. We were in charge of financing, distribution, marketing artwork, and while it was a daunting responsibility, it was exciting to finally realize the goal we’d been working toward for so long. All of the lessons we’d learned from our experience with Innamorata were put to incredibly good use, and they really supported our decision to learn the indie business from the outside before diving in ourselves.
We worked round the clock, and when we weren’t recording, we were doing any number of other necessary tasks, from writing to choosing artwork for the cover to making distribution deals. It was busy but gratifying. The idea that we were responsible for our own destiny was extraordinary. If things went south it was our doing. Likewise, if things were a success, that would be our fault too. Either way, it was so much easier to live our fate knowing that we weren’t at the mercy of someone else’s whim.
Recording was fun for me, although Spyder says that he got too deep into making it and couldn’t climb out—couldn’t wrap it up. Then when he did finish it, he scrapped parts and redid them. Consequently, he’s not a big fan of Go, but I think this all happened in part because our focus was spread out into so many areas. A big part of that record was learning how to manage and delegate duties when we were running the whole show. With a lot of that learning done, we’d have a better sense of things next time. In the end I think we made a good, solid record with some great stuff on it, but more important, we created the model for all future projects. We put “Christmas in America” on as a bonus track, and all the proceeds from the sale of the single were donated to a 9/11 charity organization.
After Go, we went on our annual summer tour, of course, but we also took on other projects as we kept ourselves visible. Of these, my absolute favorite was CMT Crossroads, a show on Country Music Television that pairs country artists with artists from other genres, and the two come together for a performance. We were set up with Martina McBride, whose work I was familiar with and had high regard for because of her vocal talent. As it turned out, I was even more impressed by her down-to-earth, no-nonsense personality. This was a woman I could relate to. She was much younger than me but was basically dealing with all the issues I’d dealt with throughout my career, save the sleazy program directors (there were laws against that now). But she, too, would pack up her daughters and take them with her, and she reminded me that juggling home, family, and career was alive and well. We spent an interesting and enlightening weekend together, comparing notes and swapping tips. The close bond that we shared ended up coming through in our performance, which went better than I could have ever anticipated, becoming the second-highest rated in the show’s history.
COMING OFF THE POSITIVE experience of the Crossroads performance, during the next several years, we concentrated on one thing: achieving balance. Discovering and then implementing a schedule that worked for us instead of against us. It was important to stay in the public’s consciousness and we had to stockpile cash to fund future projects. We knew what we wanted and that was to not have to deal with the pressure to record. If wanted to record, great, but if not, we wanted that to be great too. So we went about implementing a strategy that could help us achieve that.
The cornerstone of this plan was rethinking the way we toured in the summer. Touring would become the financial anchor subsidizing all our creative projects, but it would be done in a time frame that benefited our family life. It needed to be on an annual basis, but on our terms. And with kids in school that meant the summer—every summer. It wasn’t easy at first; agents and promoters balked, saying it couldn’t be done, that neither we nor anyone else would make any money. But in the end, it did work, and everyone profited both financially and on a much more basic level.
Part of the key to touring was making sure that my voice could go the distance. If touring was going to be the centerpiece of our plan, I needed to make sure my voice could make it. I didn’t want to be one of those singers who had to create totally new arrangements of her songs just so she could hit the notes. I knew that people came out to shows to hear their favorite songs, and while it’s one thing to inject new life into those songs, it’s another to revamp them completely. I wanted these songs to take people back. To remind them of what rock and roll sounds like. To do that I would have to take care of my vocal cords.
My classical voice training and my discipline over the years had given my voice longevity, and of course not smoking and not drinking had only helped my chances. (Not partying may have made me boring by rock star standards, but at least I could still sing.) While we always packed the tour schedule to the brim, we also made sure to build in days off so that I could give my throat a rest. I knew I had the stamina to keep singing like I wanted to. I just needed to be smart about it.
Touring by itself, though, would not be enough. We had to diversify, and so we branched out, doing more TV and more endorsements. A couple of years ago we’d shot an episode of Dharma and Greg, playing ourselves. We get stranded in an airport with Dharma and Greg and a couple that is going to get married. Dharma decides to throw a wedding for them, so Spyder and I perform the Carpenters’ “We’ve Only Just Begun.” Spyder got a kick out of the fact that the only other music person who’d appeared on the show was Bob Dylan. It was fun working with Jenna Elfman because she was such a nut, just as funny offstage as she is in character.
That experience went well enough that I thought I should do some more—not because I was looking to transition into an acting career at age fifty, but because it was an easy way to show people that I was out there. If they saw my face on VH1’s Behind the Music or A&E’s Biography, there wouldn’t be that same question mark about what I was up to now the next time they looked in the local paper and saw that I was coming to town.
We ended up doing a bunch of TV guest spots, usually playing ourselves. We were guests on The Ellen DeGeneres Show and on an episode of Charmed, with an assortment of music specials mixed in. Spyder and I also appeared as ourselves in a 2008 episode of The Young and the Restless, singing at the Indigo Club. Our buddy David Kurtz writes the music for Y&R (as it’s affectionately known) and he’d been asking us to come on the show for years. Finally, we agreed to do it. TV is such a strange medium, not really my thing. But everyone in the cast and crew was very sweet, and we did have a good time.
When we weren’t making assorted TV appearances, we were cross-marketing our recorded music, live performances, merchandise, and anything else we could throw in the pot. I let my entrepreneurial spirit take over and just ran wild with the possibilities now that we were calling the shots. We licensed our music, and looked for new ways to put it out there. With total power, I could keep the reins as slack or tight as I wanted. I soon discovered that while I made a pretty good rock star, I made an even better businesswoman.
All sorts of different opportunities popped up. We put out a few different video retrospectives that contained all of the videos we’d released. “Love Is a Battlefield” was featured in the movie 13 Going on 30, much to the delight of Hana, who was nine at the time. In 2007, we heard about an interesting opportunity coming our way: a video game called Guitar Hero wanted to use “Hit Me with Your Best Shot.” Never one to shun new ways to promote and market, I was excited not only that a whole new generation of fans would be listening to our song, but that for four minutes, everyone would get to be Spyder, playing onstage at one of our shows. I must say, it was not what either of us envisioned when we first sat down in that studio together, but it was pretty damn cool.
Spyder also started to branch out beyond music, beginning a new business venture, On the Rock Nutrition. Spyder is Sicilian and most Italians have terrible stomach issues; “acido” is a common ailment. After years of searching for a natural remedy, he decided to make one himself. His mission was to improve his health and vitality, which years of touring had compromised. He hired a group of chemists and they began formulating, under his guidance, a natural, food-based product that supports energy and digestion. The product Burn Out was born. Spyder currently runs a brisk and successful online site for his products and this year will begin retail distribution.
This wasn’t about squeezing every last drop out of our career; it was about making smart business decisions so that we could continue to create music out of passion, not necessity. A lot of people who’ve been in the music business as long as we have don’t always have the luxury of that choice. Sometimes it’s because of mismanagement, sometimes it’s because of recklessness, and sometimes it’s because of addiction, but more often than not, it’s simply that even with all the money you can make as a top-selling musician, a lifetime is a long thing to prepare for. Combine that with pop culture’s notoriously fickle nature, and it’s rare for any musician, save those in the absolute top tier, to simply kick back and rest on their laurels once their heyday has come and gone.
Since Spyder and I view our body of work as something that will provide for our family for years, we have long told our girls that when we’re gone from this world, they must look on what we’ve accomplished as their future. We’ve worked incredibly hard to establish a sound and image that are unique to us. If Haley and Hana are smart they will perpetuate that for their children. They should always have integrity about their choices for our music, but they should not be afraid to create new ways to expand access to our music for the public.
I often refer to Priscilla Presley and her brilliant reconstruction of Elvis’s legacy as an example for how to handle these things correctly. Priscilla, concerned for their daughter Lisa Marie’s future, took a hands-on approach to managing the estate. When Elvis Presley died in 1977, his estate was worth $4.9 million. Last year, Elvis Presley Enterprises generated $55 million. She was a mother who saw the potential for huge financial success that would benefit her child and made it happen. This is the model I use to teach our girls about business. I tell them, “Make it bigger than it was while protecting and preserving everything your father and I worked for.”
Years ago, when I first met Priscilla, I told her she was my hero. As it turned out, I was Lisa Marie’s favorite singer when she was growing up. Every now and then an interviewer will ask me to name some of the cool and crazy things that have happened to me over the years and I always tell them that being the King’s daughter’s favorite singer ranks right at the top.
Ultimately our plan was simple: to take our career and turn it into a successful family business, one we could pass on to our children and their children. As the decade came to close, it became increasingly clear that we’d not only met but exceeded this goal. And we’d accomplished this because we’d put our family first, not in spite of it. Our values and our love for each other had made everything possible. We’d picked our priorities and stuck with them. In Anna Quindlen’s book A Short Guide to a Happy Life, she says, “Don’t ever confuse the two, your life and your work…get a life, a real one.” And that’s what we did. We got a real life, one with time for barbecues, birthday parties, soccer games, and of course breathing.


text:
Kris Jenner has denied an explosive claim that she made “unwelcome sexual advances” towards her former bodyguard.
01st Oct. 2020 9:10 AM
Following Forbes’ claims Kylie Jenner spun a “web of lies” around her billionaire status, reports now suggest the reality...
01st June 2020 10:06 AM
“Strongarm tactics” are being used to stop a former Kardashian family confidant from publishing a book based on the family.
23rd March 2020 7:03 AM
O.J. Simpson has taken to social media to slam longstanding rumours that Khloe Kardashian is his love child with Kris...
18th June 2019 11:06 AM
KIM Kardashian has admitted her mum was terrified she was becoming a “crazy drug addict” after a string of concerning...
11th Dec. 2018 7:12 AM
Kris Jenner has given Khloe Kardashian's new boyfriend the seal of approval.
12th Sept. 2016 4:09 PM
Kendall Jenner turns to her mother and manager Kris Jenner for advice when she gets stressed.
18th May 2016 8:05 AM
Kylie Jenner and Blac Chyna have announced via social media they are "best friends" as they happily pose for a selfie...
23rd April 2016 3:04 PM
KRIS Jenner has cut her holiday short to be with Rob Kardashian.
31st Dec. 2015 8:12 AM
KRIS Jenner's daughters recorded a musical tribute to their mother for her 60th birthday.
09th Nov. 2015 9:11 AM


text:
A new look at Mary
The mother of Jesus is not someone to pack away after Christmas
By Cynthia L. Rigby
Presbyterian author Kathleen Norris makes the wry observation that Protestants have a limited attention span for Mary, the mother of Jesus. We unpack her from the box at Christmastime, she says, and then pack her back up again, with our other decorations, after the holidays are over.
One reason we Protestants hold Mary at arm’s length is because we associate her with our own vague discomfort about the role of saints in Christian spirituality. As Protestants we remember that Luther and Calvin criticized the Roman church of the 16th century for compromising, in their understandings of Mary, on the basic Christian conviction that Jesus Christ is the one Mediator between God and humanity. Not wanting to make the same mistake, however, we inadvertently make another: We relegate Mary to the sidelines.
This may be changing. Publications as diverse as The Economist and Christianity Today have published articles about Mary. The time has come for Protestants to recognize Mary’s place at the heart of the Christ event and consider what she has to offer to our theology and spirituality.
Roman Catholic and Protestant theologians alike have argued that Mary is the model Christian believer, the symbol of the church in relationship to God. Consistent with this belief, Christmas sermons often lift Mary up as one of the great cloud of witnesses who respond faithfully to what God calls them to do. But these messages are incomplete. Certainly Mary is one among many people of faith the Scripture bears witness to and we celebrate. But she is also the only one who is identified as the “God-bearer.” And it is in this distinctive vocation that she serves as a model for the church in relationship to God. She reveals what it means for us, in turn, to bear God to the world.
The idea that Mary is “God-bearer” (theotokos, in Greek) was affirmed by the church in 451, at the Council of Chalcedon. This is the Council that formulated the Christology we still confess today: that Jesus Christ is “fully human and fully divine.” To confess that the young woman named Mary is the bearer of God is consistent with this affirmation. Born to a human woman, Jesus Christ is as fully human as every baby ever born. His birth to a human woman who is uniquely God-bearer reminds us that this human son is also fully divine.
Recognizing Mary as God-bearer leads us to ask questions about the character of our relationship to God. What does it mean to say that Mary — and we — are the bearers of God?
Not just a “God thing”
Not long ago a pastor friend of mine was telling me about a very successful ministry that she had conceived and implemented in her church. In response to my complimenting of her efforts, she replied: “It’s a God thing.” Of course she was right in giving all the credit to God. But she was only half right.
For further reading
Barth, Karl, “The Miracle of Christmas,” #15, Church Dogmatics, Vol. 1/2. T. & T. Clark, 1956.
Gaventa, Beverly Roberts and Cynthia L. Rigby, editors, Blessed One: Protestant Perspectives on Mary. Westminster John Knox Press, 2002.
Johnson, Elizabeth A., Truly Our Sister: A Theology of Mary in the Communion of Saints. Continuum, 2003.
Pelikan, Jarislov, Mary Through the Centuries. Yale University Press, 1998.
Rusch, William and Richard A. Norris, editors. The Christological Controversy. Fortress, 1980.
As the story of Mary shows us, to recognize the sovereign activity of God does not mean we need to minimize or deny our own participation in the divine work. To say that God is in control does not mean that God contributes 100 percent and we contribute nothing. On the contrary, the story of Mary shows us that God’s work includes us—not as worker bees who are brought on the scene to bring to fruition the druthers of the master, but as God’s creative partners in the ministry of reconciliation. The work associated with the coming of the Kingdom is all God’s, and also ours.
The idea that human beings are called to creative partnership with God is bound to make us uncomfortable. Even if we acknowledge Mary as “God-bearer,” it may be difficult for us to believe that we, like her, play integral roles in the coming of God’s Kingdom. There are good reasons to be skeptical that we have the capacity to “bear God.”
As believers in the Reformed tradition, we may embrace some version of “total depravity” — the idea that, in and of ourselves, we are incapable of knowing God, let alone representing God to the world. Mary’s story confirms our suspicions. Her self-identification as “virgin” has been understood by Protestant theologians to symbolize the incapacity of all human beings, in and of themselves, to participate in the work of God.
It might have been tempting for Mary, and it might be for us, to exempt ourselves from the mission to which we are called. “Sorry, Gabriel,” we might say, “I’d like to . . . but it’s simply not within my power.” Rather than withdrawing from the work at hand, most of us “can do” American Presbyterians either reject the notion of total depravity altogether or water it down. While we might technically concede ourselves to be woefully inadequate, our practical position is that we must nevertheless be able to dosomething if we really set our minds to it. A bumper sticker version of this philosophy offers the pithy advice: “Do your best, and God will take care of the rest.”
This is not a slogan Mary would promote. On the contrary, the story of Mary teaches us that, when we think we are contributing a little something to what is predominantly God’s work, we have not grasped what it means to be a believer responding to God’s call. In and of ourselves, we contribute nothing. But this is not the end of the story.
An “us thing” too
Another popular Christian motto, recognizing how little control we have over the circumstances of our lives, advises us to “Let go and let God.” But such a motto would also be rejected by Mary. As Christian believers we are called, not to passivity or waiting for God to compensate for our inadequacies, but to join in the work of God as those who have been made capable. As Paul puts it, we who can do nothing in and of ourselves “can do all things” through Christ who strengthens us (Philippians 4:13).
This tension between our incapacity to participate and our integral place in the work of God is seen in the dialogue between Mary and Gabriel (Luke 1:26-38). “How can this be?” Mary asks, upon hearing the news that she will give birth to a child. “There is no way, in and of myself, I can pull this off.”
“Of course you’re right,” Gabriel agrees. (Contrary to our cultural expectations, Gabriel does not try to talk Mary out of her negative view of herself, recommending self-help tapes, etc. We would never hire him as a pastoral counselor.) Then he adds: “But nothing is impossible with God.”
So often we miss out on participating in the grace-full work of God because — unlike Mary — we refuse to acknowledge its impossibility. Instead, we work to make it manageable.
Key biblical players were often similarly resistant to the impossibility of grace. “What?!” Moses exclaimed (in so many words). “You want me to lead your people out of Egypt? At first glance that seems impossible, so let’s come up with a more manageable strategy, shall we? I’ll need a spokesperson, a miracle or two to perform … ”
Strikingly, Mary does not try to negotiate her way beyond the impossibility of what God is calling her to. Neither does she fold under the weight of it. “Nothing will be impossible with God,” Gabriel tells her. And Mary accepts this. “Let it be with me according to your word,” she says. “Here am I, the servant of the Lord.”
It is precisely Mary’s recognition of the impossibility of her participation in God’s work that gives way to her complete involvement. She knows she is utterly incapable, but she is convinced that, with God, she can and will participate in this divine work. She travels to Elizabeth, bursts forth with the prophetic words of the Magnificat, and ponders the significance of the Christ event and her place in it. “The Mighty One has done great things for me,” she rejoices, “and holy is his name” (1:49).
Risk-takers, poets, philosophers
Reformed theologian Karl Barth wrote extensively in Church Dogmatics about what Mary has to teach us, both about the character of God’s self-revelation to us and the character of our response to God. Barth refers to the birth of Jesus Christ as “the miracle of Christmas.” The miracle is twofold: First, it is an inconceivable thing, from the standpoint of human logic, that God would enter fully into human existence. God did not simply pay us a visit, arriving at Christmastime and staying around for 30-some-odd years. Rather, God revealed to us, in and through God’s birth to Mary, that God has entered fully into the human condition; God is human in Jesus Christ.
The second miracle is precisely that we are included in it. Despite our incapacity to contribute, we are real participants in the work of God in the world. Barth goes so far as to say that we, in and through shared humanity with Jesus Christ, are partners with the God who has claimed us.
Mary shows us what this partnership looks like. It is not a matter of our being equal to God or contributing equal parts to the divine work. It is not a matter of us signing on to a contract or a proposal that God has set before us. Mary did not “sign up” to be the bearer of God, nor was she consulted about the terms of her commitment. Her partnership with God was accomplished by way of faithfulness, by being true to who she was as one named, known and used by God. In embracing this, Mary did not contribute something to God’s work, but was instead caught up and included in what God was about.
And so it is with us — not that we “do our best,” giving what we can muster up to God and trusting it will be increased and used for some positive outcome. Rather, we recognize that we can do nothing, contribute nothing, and that we also enter fully into what God is up to.
What would our lives look like if we were to live in recognition of our identity as genuine participants in the coming of the Kingdom, bearers of God to a needy world? Our lives would be marked not only by peace and joy, but by profound creativity. As Mary shows us, to be a Christian believer is more than to respond to specific tasks God wishes to assign to us. One of the benefits of God’s grace is that we are made capable of being creative agents in God’s work.
As Mary traveled to Elizabeth, proclaimed the Magnificat, and pondered the circumstances around her, we are free to bear God to the world by being risk-takers, poets and philosophers. To know Mary as a creative agent, rather than as a passive vessel, makes it impossible to pack her away in a box. She teaches us that Christian service is more than perfunctorily responding to what God would have us to do. We who are called to share Life with the world are first invited to enter in and celebrate it.
Mary Heard the Angel’s Message
By Carolyn Winfrey Gillette
Mary heard the angel’s message:
“Greetings, Mary, favored one!
Do not fear, for God is with you;
You will one day bear God’s Son.”
Filled with questions, filled with wonder,
She proclaimed her faith in God:
“May it be as you have spoken;
I’m the servant of the Lord!”
When she heard her cousin’s greeting,
Mary’s heart was filled with joy,
So she sang of God’s great blessing
Promised in her baby boy:
“God has looked on me with favor,
So I sing this song of praise.
God has worked, the proud to scatter . . .
Humble, hungry ones to raise.”
Mary heard the shepherds’ story,
Words she treasured with delight.
Then an angel gave the warning:
“Flee with Jesus in the night!”
Mary wondered in her anguish,
What would be the pain he’d know?
Fleeing then, she held him closely . . .
One day she would let him go.
Mary heard, “Who is my mother?
Who is in my family?
All who do my Father’s bidding —
All these ones belong to me.”
Later, on the hill she heard him,
“Woman, see your new son there!
You, my friend, behold your mother!”
So Christ formed new bonds of care.
When they learned the Lord had risen,
Christ’s disciples met to pray.
Mary was among the faithful,
Bound in love, on Jesus’ Way.
God, we see her, Christ’s disciple,
Loving, learning, serving, too.
Like her, may we hear and answer,
“We, your servants, live for you.”
Hymn copyright © 1999 by Carolyn Winfrey Gillette (to be sung to BEECHER 188.8.131.52 D, #761, Glory to God, The Presbyterian Hymnal). All rights reserved. From Gifts of Love: New Hymns for Today’s Worship by Carolyn Winfrey Gillette, Geneva Press. 2000.
This article originally appeared in the April 2004 issue of Presbyterians Today.

domain: literature


text:
'When [you ask me why] I sing, I get a wonderful release, a release of stress, an emotional release. I also I like the giving to people and I like making them feel goosebumps. I like making them feel emotional, want to cry or want to throw something. I like eliciting an emotional response from them.'
"The characters are flawed, but some take those flaws and make their world better, and others use it to the detriment of others. Power doesn't have to be evil, but the intersection of power, greed, and relentless injustice is terrifying."
"When I started giving my pieces silly titles and putting them all in lowercase, it took the pressure off me to be a genius, and then I could concentrate on just writing my music."
"Puccini really captured the raw emotionality of a mother. He always wrote his ladies so well but specifically, with Suor Angelica, there's a deep sorrow there that makes it very interesting to portray. Being a mother now, it gives me a new perspective on it. It connects on a deeper level. Frankly it's a very hard aria to get through with dry eyes."
"Frida is very well portrayed in this music, which is fabulous," says Paz. "The music reflects the pain that she was suffering. It reflects the great courage that she had in life. She was a kind of mischievous, rebel woman. That's very clear in the score and musically."
"This production of Roberto Devereux will be a really intimate performance for the audience," says King. "In this format, you'll really feel the emotions Donizetti has woven so brilliantly in his music."
“When you think of the voice as having, like, the sound of an emotion instead of just sounding pretty, that's a really exciting thing to do. It makes it more like a mime performance than just lip syncing.”
"After years of creating work after work, it becomes your life," he says about why he is an artist. "Initially, I was drawn to things just because I was fascinated by ideas. The traditional world was not where I belonged. I knew I wanted to be in the arts and I had an impulse to perform."
"I think the way that I've approached it has been a little bit more of thinking about time expanding and thinking about the things that happen, not happening in real time, so that we take and use da capo arias, we just take a real dive into people's emotional states."
“My answer was always the same, and I think confinement has just strengthened it,” Dupuis says. “It's because, emotionally, we need to share something communally.”