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Category — Flamenco Dancer La Argentina
Flamenco Dance Authority Teresa Martínez de la Peña on Trends from 1920 to 2000 – Translated by Brook Zern
Translator’s note: My very limited knowledge of flamenco dance led me to translate a long article by a noted dancer/dance authority, Teresa Martínez de la Peña, presented as a “ponencia” or lecture, during a course of flamenco studies in Spain and titled “The History, Theory and Aesthetic of Flamenco Dance”. It ran — around the year 2000 — in “Revista de Flamencología”, a serious periodical put out by the Cátedra de Flamencología in Jerez. I hope it will be useful or interesting to dancers, dance students and dance historians.
It divides the art into phases. I have not translated the sections which deal with early history of the dance. Instead, it begins with the section on Theatrical Flamenco, beginning in the 1920′s:
“What best characterizes this modern phase, which lasted until the 1970’s, is the appearance of flamenco in the theatre, where companies were formed; and also the creation of something totally original, called Ballet flamenco.
This was an important development, which placed flamenco dance at the same elevated level as that of the great European ballet companies. But it was also a difficult and problematic moment for traditional flamenco. The enormous scenic leap transformed flamenco dance almost entirely. It ceased to be the dance of an individual artist, changing into a collective dance form with an inevitable loss of spontaneity. It also lost the guitar as the key accompanying instrument, as the orchestra took that vital role. And the dance became subordinated to a general plot or theme, which took away flamenco’s traditional freedom of expression.
In exchange for this, the world of high culture gave flamenco a mis-en-scene that adorned the art and dramatized its action, along with lighting and stagecraft that produced powerful and surprising effects.
The way in which this new conception of flamenco was arrived at was a direct result of the intellectual and artistic life and styles of this time. No one knows why the elite circles of Paris suddenly cast their collective glances at the dance, though one reason may have been the presence of the Russian ballet company of Diaghilev. What is certain is that in Paris, Spain’s dancers found their ideas for renovation of the art.
Among all the flamenco activities of this epoch, the most important and fundamental is the creation of a ballet flamenco; and this stage inevitably was centered on that aspect of the art.
In April of 1914, a work called “Gitanerias” (Gypsy doings) debuted in Madrid’s Lara Theater. The leading figure was Pastora Imperio, who was accompanied by her brother Victor Rojas and the dancer Maria Albaicing. The genre of the work was never clearly specified; it simply appeared as a finale or “fin de fiesta” after the theatrical production, following the custom of wrapping up such works with a dance. But in accordance with its musical composition and other characteristics, it was really a ballet, carefully prepared, as would be expected when the production was overseen by Nestor de la Torre, one of the best designers in the theatre as well as an avant-garde painter; and the libretto was by Gregorio Martinez Sierra.
This was the first production of Manuel de Falla’s “El Amor Brujo”, though it was barely noticed by the public or the critics, perhaps because it was in such a secondary position in the evening’s proceedings.
But from that point on, the work would constantly be on stage and reinterpreted by major dancers, each offering their version as has continued right on to today.
The first to follow up on this was Antonia Merce “La Argentina”, who made an exhaustive study of the music and who was inspired by the dances of the Gypsies in Granada’s Sacromonte district. In 1925, at the Trianon Lyrique Theatre of Paris, her production of “El Amor Brujo” debuted to strong public and critical acclaim that Fernandez Cid called “a dazzling version”. But the greatest compliment the artist could hope to hear came from Manuel de Falla himself, who said “You and el Amor Brujo are one and the same.”
Immediately afterwards, all the outstanding dancers followed suit. Vicente Escudero debuted his version in the Trianon Lyrique in 1926; La Argentinita premiered hers in 1933 in Madrid’s Teatro Espanol; and Mariemma began dancing the work at age 16, though her best-known version debuted in 1947 at the Opera Comique de Paris. Pilar López opened her version in Madrid, though it is not known if her version used the same choreography as that of her sister La Argentinita [not related to La Argentina] as an homage in her memory. And Antonio Ruíz Soler, known as Antonio, also debuted his version.
Needless to say, the work had all the aspects to perpetuate itself since musically it was perfect for flamenco ballet. It had rhythms form the flamenco song forms known as zambra and bulerías in the Danza de Fuego, of the tanguillo in the Danza del Terror, and of the flamenco tango in other sections.
But one must return to Antonia Merce “La Argentina” to understand the real summit of the work, that which would revolutionize the basic mechanism of Spanish dance and take it in a more international direction. This dancer had not only cast her glance upon the ballet; there is another genre of dance that has been less studied and that nonetheless occupies an important place in the work of these seminal flamenco dance companies and their successors. I refer to those short dances that, due to their stylistic variety, have no specific overall name. The are sometimes called “danzas de concierto”, or “danzas de recital”, or “solistas”. They are short works by nationalist-minded Spanish composers which differ from ballet in being interpreted to piano accompaniment and in not having any sort of plot or story line. They are based on the sheer virtuosity of the steps involved, which punctually follow the variations of the main melody.
La Argentina looked closely at these because her object was not to make a great masterpiece, but to improve all of Spanish dance. She wished to offer a varied spectacle that was totally Spanish, one that “cupiera” [drew upon?] not just traditional flamenco but also stylized flamenco.
Building on this idea, in 1929 La Argentina debuted the first “Compañía de Bailes Españoles” or company of Spanish dancers in the Opera Comique de Paris. Its initial repertoire featured two brief ballets, one called “El Contrabandista” (The Smuggler) with music by Oscar Espla and a libretto by Cipriano Rivas Cherf, the other called “Juerga” (flamenco jam session) which was totally flamenco with music by Julian Bautista and libretto by Tomas Borras. Together with them was presented “Sonatina” by Ernesto Halffter, and Albéñiz’s “Triana”, which met the most public and critical success.
Within this style of concert dances, Vicente Escudero created truly advanced works that were very original musically, as his work would remain throughout his entire career. In the initial years, he could not connect with flamenco’s traditional system of rhythmics called the “compás”, and later he would challenge written music as well. In effect, he composed his recital pieces according to his own internal sense of rhythm – a confluence of sounds of zapateado (footwork), palmas (handclapping), metal castanets and a clicking of the fingernails. In this style he framed his “Ritmos sin música” (Rhythms without Music) and “Bailes de Vanguardia” (Dances from the Vanguard). He even danced to the rhythm of two separate motors working at different intensities. In this sense, it can be said that he was the artist of that epoch who was most restless and anxious to seek out new forms and approaches to the dance.
Mariemma followed the line of La Argentina in her solo dances, and there are even those who say that her way of dancing was very similar if not derivative. Of course, the two had in common the fact that they had turned away from classical dance only to integrate themselves into the Spanish style of dance.
Carmen Amaya also danced to orquestral music; in those works, the dance step that was most frequently employed was the “destaques” – but the sheer impetus of her powerful natural dance style could not be subjected to bland formats and between one destaque and another the effect was that of authentic flamenco.
Argentinita danced in a style that was open, clear and finely balanced. The effect was harmonious, which was just what this style of dance demanded. But her vocation and inclination was toward flamenco and thus almost all of her works go in that direction. Paradoxically, the last dance she interpreted was “Capricho Espanol”, which drew upon the concepts of highly stylized dance;
In the work of Pilar Lopez one readily sees her passion for flamenco, but she brought this same lucidity to all types of dance. The number and variety of her choreographies is incalculable; she arranged works the music of all nationalist Spanish composers, but her best works were totally flamenco, such as “Los Caracoles”, the first version ever to use this type of dancing, full of flamenco elements and at the same time carrying a strong Madrid accent. [Of all flamenco styles, the one called “Caracoles” is most closely associated with Madrid.] “La Cana” [the name of a venerable old flamenco form] was another of her unforgettable flamenco creations, in which a duo dance between her and Alejandro Vega was the prototype of stylized flamenco, and perhaps the finest work ever conceived in this style.
The spectacle created by the dancers Antonio and Rosario, and their form of working together, was the most fitting approach to developing these dances. Their technique was applied to a dance style that was agile, smooth and brimming with vitality. The steps were inlaid into a choreography full of art, where their Seville-style charm and grace shone through the classic norms, notably in Sarasate’s “Zapateado” where their extraordinary virtuosity was complemented by their sheer, innate sparkle. Just like Pilar López, they soon exhausted the repertoire of the nationalistic Spanish composers, joining these to Andalusian romances that were purely traditional.
Other dancers followed, of course, notably Luisillo, Maria Rosa, Roberto Iglesias and José Greco, each one imprinting Spanish dance with their personalities.”
Contemporary Ballet Flamenco
For thirty years, the Spanish ballet had remained unchanging with respect ot its formal orientation as a spectacle, because the innovations of each new director did not affect its structural foundation.
For many years, a technical line was maintained that distance this art from the changes that were operative in other forms of dance and in society itself. Spanish flamenco ballet was working in exhausted fields, becoming impoverished, and beginning to repeat itself endlessly.
As a reaction to the evident deterioration of these spent forms, there would be a spectacular change in the way flamenco ballet was performed. New elements were added, some so daring and far-out that it was hard to know if one was watching dance or theatre. In reality, this is not so strange. It is simply a matter of flamenco drawing close to today’s worldwide current that fosters productions where theatre, dance, light, color, mime, sound and other components are blended or fused, with none subordinate to any others and with the effect of creating a large artistic range to the proceedings.
Mario Maya, Antonio Gades and José Granero form the vanguard of this contemporary phase of the art. The three originally belonged to classicism, but each would break with this style in his own way.
With the debut of “Bodas de Sangre” (Blood Wedding) , and “Camelamos Naquerar” (in Gypsy language, “We Wish to be Heard”), by Antonio Gades and Mario Maya respectively, appearing in 1974 and 1976, there undoubtedly dawned the contemporary phase of ballet flamenco that has remained the key force to our day.
The first innovation came in the choice of the libretto. In contrast with the charmingly likeable content of previous ballets, which were almost always concluded with a happy ending, these works chose dramatic texts, most of which focused on a social message pointing out injustice and discrimination, or satirizing antiquated customs and attitudes. The culmination of this may be the production of Garcia Lorca’s “Amargo” (“Bitterness”) by Mario Maya, which is charged with the premonition of death. One must note that this tendency is international in its scope.
The setting is spartan in its austerity, although this does not seem to derive from the plot line but rather from theatrical ideas that were first seen outside of Spain. Wooden framed props and backgrounds are used, with schematic symbols that allude to the content of the work; or there may be just a simple black curtain, upon which the silhouettes of the artists themselves are cast as the décor. Upon a narrow area at the bottom of the stage are the musicians, singers, and in some cases the dancers themselves, profiling their art as a picture of great plastic beauty. This became the most common approach, and it remains so today.
As for the other props, they are virtually non-existent. Only a chair and perhaps a table appear, not as ornaments but as functional elements for the dancers. In these rudimentary forms, we are taken back to the simple surroundings – taverns and private rooms – of the very first flamenco artists.
Lighting technique may lean toward darker elements. From that remarkable 1970’s version of the notable man’s flamenco dance called the Farruca as done by Antonio Gades in Madrid’s Zarzuela Theatre — where his dark suit and the curtain blended together in the half-light of a stage without a focal point, where only the slow, solemn air of a guitar marks the dance — to the 1995 production by Joaquín Cortés in the Apolo Theatre, where the entire spectacle has that same aspect, many flamenco ballets have followed this identical approach.
Other dancers leaned toward the use of restless, red-toned lighting as in Antonio Gades’ production of “Carmen”, although all seem to return to full illumination of the stage for the final numbers featuring the bulerias and other festive flamenco styles.
Costumes, too, have taken a broad turn, looking backward over several decades to arrive at today’s style. Women wear shorter skirts, or they may dress in long, silk costumes, while men dress as country horsemen or wear simple pants and shirt, often using the softer sombrero of the 1930’s.
The apron has become popular in works that have an Andalusian theme, and as a symbol of the original flamenco costume here is always a shawl around the woman’s neck or tied at the waist. In this context, men now use the “traje corto” costume instead of the pants and shirt.
There is more realism in the action. Movements are highly expressive, arms open wide. Rounded forms are abandoned and profiling postures are used, especially by men, in place of facing or foreshortened poses.
Women have gained the most freedom, doing the same open steps as men as well as driving zapateado footwork all done with much airy sprightliness; even in distinctive versions as Gades’ “Carmen” the female movement is aggressive. There are three interpreters who embody this new form: Christina Hoyos in the dances she does with Antonio Gades, Manuela Vargas in “Medea” and “El Sur y la Petenera”, and Merche Esmeralda in “Los Tarantos” of Felipe Sánchez. The each present an angular use of arms, open hands that add drama, a strong “zarandeo” of the skirt, and a kind of violent action never previously seen where theatrical interpretive moves are blended with dance.
In the mid-1980’s, there was a proliferation of ballets where the artist’s intent was to present choregraphic novelties and innovations. Styles seemed to multiply, and new themes were introduced that worked in parallel with the above-described prototypes that remained dominant.
José Granero marked the height of advanced creativity when he conceived the idea of a flamenco ballet based on Greek tragedy and realized this vision with Euripides’ “Medea”. From this difficult challenge there arose a work that claimed a truly fundamental place in the history of flamenco ballet, just as Manuel de Falla’s “El Amor Brujo” and “Sombrero de Tres Picos” did so long before.
This work divides the stage into superimposed planes, giving each dance its own space although at times when the action is at its most intense there is a coming-together of these planes. It presents delightful scenes from Andalusian folklore and from the flamenco tradition, together with the crackle of sheer tragedy as expressed by Manuela Vargas. Nonetheless, it does not distort any element; there is a clear, well-studied and even cerebral aspect that makes possible the success of the work. The orchestral music and the guitar as played by Manolo Sanlucar are the culmination of this ballet.
The Baroque returns to this field with José Antonio’s “Don Juan”, whose first scene shows a Venetian-style Carnival, full of color and movement, using a highly ornamented choreography that in “El Cachorro” reaches the limits of scenographic fantasy. This is based on a popular legend surrounding that famous image of Christ from Seville, and the action takes place around a large cross which, in the final moment as a dramatic apogee, rises up bearing the crucified Christ.
Also in this time frame, a simpler kind of dance recital form reclaimed a place in the art, notably in the work of Cristina Hoyos and Blanca del Rey who presented striking tableaus that covered all the major flamenco forms.
The most interesting innovation in contemporary flamenco ballet is undoubtedly the presentation of unschooled, Gypsy dance. La Argentinita had already done this in the 1930’s in “Las Calles de Cádiz”, when she added to her trained company the three best dancers from the cafés who danced in their own way; but this was a sort of comma in the production that would not be repeated until the time we’re discussing, perhaps because it seemed to clash with or contradict the feel of a production that was refined, stylized and Baroque in nature. One of the most successful later uses of this was found in Rafael Aguilar’s version of “Carmen”. At a specific moment, all the plots and machinations of ballet come to a halt, remaining blacked out, while in one corner, under a yellow light, a Gypsy sings and dances a flamenco tango, with the natural expressive force that evokes the loudest applause of the evening.
This kind of Gypsy dancing also abounds in Felipe Sánchez’s “Tarantos”, as befits the theme of the story [involving conflict between two Gypsy families]; at one particular moment, a group of Gypsy children dance and provide the highlight of that act.
The newest artists to approach the ballet flamenco, such as Joaquin Cortes, Antonio Canales and Sara Baras, all bring a drive to innovate and renovate. This impulse is so strong that one can talk of the present-day phase as one marked by “new tendencies”.
It’s difficult to say exactly when flamenco dance entered its new creative phase, because there is no specific ballet that marked the event as happened last time with the works of Antonio Gades and Mario Maya. There is a continuous evolution, marked by the continuous introduction of novel elements that we will situate in the context of the 1990’s.
This decade is even more prolific than the last regarding the production of ballets, and it’s alos even more daring with regards to everything that comprises the “action of the dance”, and the mis-en-scene. Everything seems to constitute one more step on the staircase of the new style that we can call today’s flamenco.
In terms of theatrical form, the new decade presented a type of spectacle that is neither a recital nor a full-fledged flamenco ballet, as this term has been understood from its introduction to the present day with its implication of great artistic and technical complexity. The companies were stable, which assured the quality of the production, and the choreographer was always a respected artist of great experience.
The 90’s offered complete freedom in these areas. Generally, today’s companies consist of a small number of dancers; sometimes just the two who are the protagonists, and rarely more than ten. In the traditional nomenclature, this would be termed a “group”, rather than a “company”.
Another astonishing aspect is the precarious way in which groups are assembled for works called “ballets”, and even more surprising is the new inclination to throw together companies which are ephemeral rather than long-lasting.
Of course, whatever the name and duration of such a spectacle, the important thing is that it be danced well. But this new form has two aspects: On one hand, flamenco broadens its expressive possibilities, acquires larger number of dancers, and augments the number of people who come to the theater – the only way such events take place today. This offers the possibility of becoming a soloist to good dancers who formerly had to work in minor venues, or who were bound to always have a minor role in theatres.
The negative aspect is clear: The love of theatre, or better yet, the urge to direct theatrical-flamenco companies, leads many dancers to create their own. But transforming an artistic vision into an actual theatrical event is very difficult, and so we see that despite the occasional masterpiece, there are more works that are immature and mediocre.
Today, one always goes to a flamenco event with doubts about what will transpire, because there are no clear reference points to take advantage of.
In addition, the concept of an integral flamenco spectacle has changed. It is becoming customary that when the curtain rises or during intermission, the spectator is confronted with a musical group that tries to please with a jazz work, or a classical violin or flute solo that has nothing to do with flamenco, or Andalusia, or even Spain.
Presented at the beginning, this can be interpreted as an introduction to the spectacle, but when the musical solo appears intermixed with the ballet, there is no sensible way to do this except by cutting short the time for the dance.
These considerations bring us to the matter of the music that surrounds today’s flamenco. Music that inspires the dance, serves as the motor for harmonious movement, creates the form and style of the dance.
New Tendencies in Music
Flamenco dance has a way of accepting any musical approach and blending with it; the system works smoothly enough, leaving the melody to one side and responding primarily to the rhythm. This was evident in the 1950’s with the advent of the rumba flamenca as it took root in Catalonia, and it remains true with new styles we encounter today.
I believe the artist Kiko Veneno was the first to introduce the idea of flamenco fusion. Ever since then, through the 1980’s, it has been common to see a musical group consisting of flute, violin and bass providing the music for flamenco productions. But it was only heard initially; when the dance began, these musicians were silent and only the guitar accompanied the dancer.
Today’s dancers are very familiar with this style, and the musicians have reciprocated by adapting to the dance. The result: they work together to offer the flamenco spectacle.
When the dance is accompanied by a guitar, the dancer is effectively in command. But when the music is provided by an orchestra, the dancer must adapt – something that can only be done by forcing the dance.
She will extend a step, prolong a pose, or simply indicate the melody’s rhythm with her arms while her feet await a danceable rhythm. Dance becomes poorer with respect to its integrity as flamenco, and the result is dancing along with a free-rhythm music whose key characteristic is improvisation. It’s a real problem for the dancer, who must always be adjusting the piece to a metric system.
Of all newer music, the most tempting for the dancer is fusion, notably with Cuban styles and rhythms.
One of the new qualities fostered by new music is the introduction of the cajón, a wooden box that serves as a percussion instrument; it is intended to underline and reinforce the rhythm, and it does this effectively because it makes a strong and sonorous sound. Sometimes it even reproduces the sound of the dancer’s heelwork, so it becomes heard as a sort of duet.
The cajon has come to substitute for the function of the palmas or handclaps, but in a more rudimentary form because the palmas, beyond functioning to mark the basic rhythm, have a real musicality; it is a living art, reflecting the musical sensibility of the hand-clappers themselves. They never drown out the action of the dance, but rather encourage the dancer to greater expressive heights. When the singer comes in, or when the footwork is quiet, the handclapping is done in a “sorda” or muted way that is appropriate and does not compete. It’s a shame that the art of hand-clapping is gradually disappearing, so that we no longer find the Cádiz-style handclapping that offered a prodigious form of flamenco musicality; though in Jerez, the tradition of clapping remains strong.
Regarding the technique of dance, one must say that between dance and music there is a direct correlation; and thus the alterations of the music are reflections of what happens in the dance – which is to say that ultimately the dance will suffer a profound transformation.
In this current phase, the choreographic action – that is, the steps as utilized – is impressively versatile. Each new stage spectacle brings forth some capricious novelty, either of form or of structure. One is left with the impression that the choreographer puts upon a chessboard a series of flamenco steps, which are then moved about at will. The choreographer seems to play with them in an arbitrary way, missing the deep connections that they should have.
Now, one cannot speak of creation in its strictest sense, but rather of mixtures. There is no specific discipline that unifies the various disparate elements. One ends up talking of various tendencies which share only the sense of irregularity.
There is another aspect that should be considered because of the novelty it offers, and the danger that it entails. From the early creation of the Spanish ballet, there were certain classical elements in its execution. Refined postures that seemed so appropriate for the theatre; the studied way a leg was raised; the care with which the body was positioned – all these evolutions occurred in harmony with the idea of the true classical ballet, but that form had been assimilated long ago.
The disturbing thing is that during a flamenco spectacle one finds a totally classical dance which is completely unrelated to the theme. I would call it an unwelcome and inappropriate interruption that does violence to the intention of the work. Today, we see this happen when the dancer shifts from the aggressive rhythm that is the essence of flamenco to the restrained, melodic cadences of an adagio or a prelude. The dancer must completely alter, even reverse, the quality of the dance. For example, consider the way a flamenco dancer does the basic walking step – short steps, firmly grounded by the heelwork. By instead using a classical approach, raising off the heels onto tiptoe, it becomes ethereal, and the entire aspect of the body changes completely.
And today all the flamenco artists, before becoming artists, spend many years learning the discipline of the classical ballet – in fact, most of the first-rate artists of this era have come out of the Spain’s National School of Ballet. Classical has become a universal and exciting discipline, which for the dancer is a necessary form of expressing oneself.
As far as what we might call traditional flamenco, in recent years we’ve seen a move toward greater technical complexity and greater speed. In fact, this frenetic velocity is not only the mark of the dance in general, but it is repeated insistently so that one sees the repetition of traditional closing moves and also the “desplantes” that mark key points in a dance. We have seen the end of slower-paced, reposed flamenco; now there’s a sort of violence to the art, sometimes contained and sometimes expressed openly. There is no longer any room for the kind of deliberate grace that demands gentleness and calm tranquility. There’s only time to do one thing and the next, as quickly as possible.
This is a flamenco that disorients the aficionado who is grounded in the tradition, but that attracts the majority of the new fans in the art.”
End of article by Teresa Martínez de la Peña. Again, this translation omits her comments on the earlier phases of flamenco dance, prior to 1920.
January 11, 2014 No Comments


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The council has set out a revised timeframe for the preparation and adoption of its local plan, including consulting on the document from February and extending its lifespan by two years.
Wirral Council aims to approve the publication of the Wirral Local Plan in February 2021, followed by a six-week public consultation after which the plan will be submitted to the secretary of state for examination.
If approved, the local plan would then be fully adopted by mid-2022 and the policies contained in it would cover the period 2020-2037 – an extension of two years compared to the draft document that exists currently.
The revised timeframe comes after the council in July requested more time from the Government to prepare its local plan, following a string of delays and setbacks relating in part to Covid-19.
However, even before the pandemic, Wirral had struggled to agree a final version of its local plan due to controversy over its position on Green Belt release, and other issues.
The council has faced questions from members of the public and councillors since 2018, when it published an earlier version of the Wirral Local Plan that recommended 50 Green Belt sites should be released for residential development.
Earlier this year, the council ran a consultation on the latest version of the plan – a consultation that was extended by four months to take into account the lockdown – and it intended to spend the summer months reviewing feedback before moving to the next stage of the process and submitting the draft plan to the Government in June.
However, in July, the council asked for more time to collate consultation responses and prepare the document for submission.
“Extending the timescales for preparing and adopting the final local plan will ensure we have developed a robust ‘sound’ local plan that not only protects our green belt but shapes the regeneration needed in our borough, improves the health and lifestyles of our residents and boosts employment opportunities,” Wirral Council’s cabinet member for the local plan, Cllr Anita Leech, said at the time.
Leech said on Friday that the revised timeframe “will ensure we can protect the Green Belt and bring regeneration to those areas which need it”.
She added: “We said a while back that we might need more time but instead we are actually going to speed up the development of the plan. This is because changes in the planning regulations brought in this summer mean any delay could result in an obligation to build even more new homes per year and that would put Wirral’s Green Belt at risk. I will not accept that, so we will press ahead.”
Under the council’s preferred option for development policy, to be enshrined in the local plan, key regeneration locations such as in Birkenhead and Wallasey would play a crucial role in helping deliver the housing needed into the future, with many more brownfield and urban areas across the borough also being put forward meet local housing need.
The plan would also open up opportunities for “major regeneration” of large parts of the eastern side of Wirral, the council said.
Place North West revealed in August that the council is working on the biggest regeneration framework the area has seen in decades, a 20-year plan development roadmap for a stretch of land along the Wirral Peninsula described as the Left Bank.
The development zone would take in areas such as Seacombe, Liscard, New Brighton, Birkenhead, New Ferry and Bromborough.
Wirral Council said on Friday that a stumbling block towards earmarking certain sites for redevelopment is that most brownfield land is privately owned. Although the council is working with landowners and developers to ensure sites are made available, “it may not be possible to meet all the housing need using only brownfield sites so other potential options to deliver the housing have been required to be part of the consultation” it said.
Green Belt release is not, however, the council’s preferred option, and council officers “continue to undertake further intensive work to seek to increase the supply of land in the urban areas”.


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The Other Einstein
By Marie Menedict
Publisher: Sourcebooks Landmark
Published: October 2016
List Price $25.99
In the tradition of The Paris Wife and Mrs. Poe, The Other Einstein offers us a window into a brilliant, fascinating woman whose light was lost in Einstein’s enormous shadow. It is the story of Einstein’s wife, a brilliant physicist in her own right, whose contribution to the special theory of relativity is hotly debated and may have been inspired by her own profound and very personal insight.

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Michael Phelps is still with girlfriend Miss California USA 2010 Nicole Johnson, following his cozy weekend in L.A. with Brittny Gastineau, TooFab has exclusively learned.
Sources close to Johnson tell TooFab that the swimming pro will spend this weekend with Johnson (right) in Palm Springs. The beauty queen will be in town for the Miss California USA 2011 Pageant, being held Saturday and Sunday at the nearby Agua Caliente resort in Rancho Mirage, at which she'll turn over her crown.
While TooFab reported Monday that Phelps and Gastineau (left) were indeed spotted together at the Mondrian Hotel Friday night and the following day at The Grove shopping center, sources scoffed at reports elsewhere that had proclaimed them a couple.
© 2015 EHM Productions, Inc. All rights reserved. Reproduction in whole or in part without permission is prohibited.

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our clown goes to london...
The Abbott Government hands out more jobs to the Howard mafia, with Alexander Downer being appointed London High Commissioner and Nick Minchin off to New York. Barry Everingham reports.
THE DECISION of the Abbott Government to appoint former foreign minister Alexander ‘Dolly’ Downer to the plum diplomatic post of High Commissioner in London is as absurd as it outrageous (though not unexpected here at IA, where we signalled the Abbott Government’s intentions back in December).
Indeed it is parallel to Gough Whitlam's appointment of Senator Vince Gair to Dublin — at least Gough wanted Vince out of the Senate in the dying days of his Government, but Abbott's reasoning is bizarre.
From Mark Kenny in this morning’s Sydney Morning Herald:
Former foreign affairs minister Alexander Downer is set to be named as the next high commissioner to London, prematurely ending the term of the existing office holder, Mike Rann.
The move is understood to be Mr Downer's second preference after he lobbied hard for the Washington post.
Fairfax Media has learnt the federal government has decided on the controversial switch, but aware of the sensitivities, is not planning to announce the change until after the state election in South Australia on March 22.
Downer was flop as Opposition Leader, which only came about when the Liberal Party was in a fit of despair and he was offered the poisoned chalice at a time when no other Liberal MP would even remotely consider it.
His end came in 1995 when he insulted all women who had suffered abuse at the hands of husbands or partners by sneeringly referring to "things that batter".
After that, he served on the backbench until John Howard was swept into power the following year and Downer was appointed Foreign Minister. And mere moments after being appointed to the role, he exhibited more than his diplomatic credentials by agreeing to be photographed in fishnet stockings and stilettos(picture excluded) by outstanding photojournalist Grant Nowell for the Herald Sun [interpreted by Gus above].


This morning, before taking off to do the Mother’s Day festivities, I put together a real quick youtube video for the first release I did once the new home studio was put together. It isn’t anything super fantastic. But, I did find out that I can put these simplistic videos together for free with an existing app found on my PC. So… that’s pretty cool.
I have ten new songs in the works. Once we get totally moved in to the new house I will be working toward releasing my first full length album in nearly a decade. I am pretty excited about it. Other than this, I still have a lot to learn about how to do the back end editing in Cubase.
Two new reviews came rolling in today. One of them came from Total Metal Onslaught Magazine. While the other one came from the For Good Reason Music Group.
A Martyr’s Oath just dropped a three song EP called “Ignorance is Woe” and all I can say is I’m intrigued. This is the first time hearing these genres mixed. I am a fan of spoken word tracks but this sermon jam over hardcore really mixes things up. Released through Raven Faith Records, these tracks mix Pat’s original music with sermon excerpts from Dr. Kent Hovind. This is Pat’s first release in seven years and I think this release will definitely get people talking about him again. I look forward to see what he has in store for the future. These songs can be downloaded for free on Bandcamp or can be listened to on Youtube. Go check out his website for more information about what Pat and his band are all about! – FGRMG


text: The finals for the state leagues around the country are almost done and dusted (SANFL up to prelims; the rest are completed). So we can start to get an idea which clubs will be in the running for Foxtel Cup spots in 2013 depending if it will stay a 16 team comp. or be reduced to just 8 teams (hopefully not the latter). VFL: (3 spots) Port Melbourne (runners-up), Werribee (3rd), Williamstown (4th). Premiers Geelong may miss out being a stand alone AFL affiliate? SANFL: (3 spots but top sides have declined so far) Norwood, West Adelaide, North Adelaide Norwood has refused to participate up to now but Westies and North have. So we might finally get some 'top' SANFL 3 sides participating in the Foxtel Cup next year. WAFL: (3 spots) Claremont (premiers), East Fremantle (runners-up), Swan Districts (3rd) TSL: (1 spot 2011; 2 spots 2012) Burnie (premiers), Launceston (runners-up) Tassie will be lucky to have one representative after both sides were flogged in the first round this year. NEAFL North: (2 spots plus a 3rd for NT) NT Thunder (runners-up), Southport (3rd), Redland (4th) Overall NEAFL champions and northern conference premiers Brisbane Lions may miss out being a stand alone AFL affiliate? NEAFL East: (2 spots) Queanbeyan (premiers), Eastlake (3rd) Sydney Swans (runners-up) may miss out being stand alone AFL affiliate? AFL Sydney: (1 spot in 2011; none in 2012) UNSW/Eastern Suburbs (premiers) Doubt the local Sydney comp. will have a rep. but threw them into the discussion for good measure.

domain: sports


text:
Pluto in 2nd House Meaning | Synastry, Appearance, Career, Marriage, Transit
Pluto’s placement in the second house of a person’s birth chart substantially impacts that person’s values, available resources, and overall attitude toward wealth and material belongings. Pluto, a planet linked to profound inner processes, power, and transformation, affects how people manage their financial security, values, and relationship with material wealth.
The emphasis switches to a major alteration in money, self-worth, and acquiring resources with Pluto in the second house. We shall examine the significance of Pluto in the second house and its effects on synastry, appearance, career, marriage, and its transit through this house.
Pluto in 2nd House Meaning Synastry
When considering synastry, Pluto’s location in the second house of both people’s birth charts substantially impacts their chemistry, shared values, and the financial dynamics of their partnership. Pluto, the planet linked to profound inner processes, power, and transformation, affects people’s financial security, moral principles, and relationships with material belongings.
The emphasis switches to a dramatic transformation and growth in the relationship with Pluto in the second house. We’ll examine the synastric significance of Pluto in the second house and discuss how it affects social dynamics, financial dynamics, and shared ideals.
A Significant Shift of Common Values
Pluto’s synastric placement in the second house suggests that the people’s common values have shifted significantly. A thorough analysis of each partner’s values, priorities, and beliefs may result in intense growth and change. The connection encourages each person to align their ideals with their true selves, catalyzing personal growth.
The synastry of Pluto’s influence in the second house suggests that the partnership may undergo financial empowerment and transformation. The people’s material circumstances may significantly change due to changes in their financial situations, the discovery of hidden financial resources, or the pursuit of shared financial objectives.
This arrangement encourages both parties to adopt a transformative mindset towards money issues and take responsibility for their financial well-being.
Strong Emotional Connection Around Shared Resources
Pluto’s synastric placement in the second house encourages a strong emotional connection around shared resources. Both people are strongly interested in money, belongings, and material security. In their shared financial endeavors, they might have a stronger sense of attachment and intensity, which might fuel a shared desire for success and a laser-like focus on the relationship’s financial health.
In synastry, Pluto in the second house can raise concerns about control and power dynamics in the context of money matters within the relationship. Conflicts over shared resources, collaborative investments, or decisions affecting financial stability may result from the closeness of the connection.
A shared awareness of each other’s financial requirements and limitations, open communication, and transparency are essential for both spouses as they manage these relationships.
Transformational Opportunities For Growth
According to astrology, Pluto’s placement in the second house indicates opportunities for transformational growth in the financial dynamics of the relationship. Both partners can experience profound inner transformations, let go of old habits, and create a more wholesome attitude toward financial concerns. This may result in empowerment among all parties, financial prosperity, and a better-coordinated resource management approach.
In the context of shared beliefs and financial concerns, Pluto’s presence in the second house of synastry promotes a shared dedication to personal progress and authenticity.
It is possible for authentic values to emerge and for each partner to gain a deeper awareness of the other’s true aspirations and objectives when both spouses help each other on their personal development journeys. This mutual commitment improves the harmony and endurance of the relationship.
Pluto in 2nd House Meaning Appearance
Pluto’s location in the second house of a person’s birth chart has a big impact on how they look, dress, and relate to their bodies in general. Pluto, the planet linked to strength, transformation, and profound inner processes, impacts how people express themselves, stake out their identities, and radiate energy through their outward looks.
When Pluto enters the second house, the emphasis shifts to a significant transformation and empowerment concerning one’s physical presence and how one presents themselves to the outside world. This article will explore the significance of Pluto in the second house and how it affects a person’s physical appearance.
The second house represents a person’s values, resources, possessions, and financial security. It denotes how one shows themselves physically and the value one places on their bodily presence regarding appearance. Pluto’s placement in the second house denotes a strong and transforming impact on a person’s physical self and relationship to their looks.
Fundamental Transformation of Personal Style
People with Pluto in the second house frequently go through a fundamental change in how they exhibit themselves to the outside world. They might modify their aesthetic preferences, grooming routines, or clothing selections. The motivation behind this transition is to match one’s outward development with one’s growing sense of self.
People with Pluto in the second house have an intense and magnetic presence that others may sense. Their aura exudes a strong energy that attracts attention and commands respect. They capture and transform the attention of those around them, leaving an enduring imprint. Their physical presence emits an air of enigma, profundity, and might.
Embracing the Shadows in Appearance
People aren’t hesitant to embrace the shadows in their appearance, thanks to Pluto’s influence in the second house. They understand that beauty can be found in unusual things and elements. They could be drawn to edgier or darker aesthetics that contain components that contradict cultural norms. Their physical attributes reveal their desire to delve deeply into themselves and embrace their characteristics.
In the second house, Pluto urges people to use their appearance as a vehicle for transformative self-expression. V. Transformative Self-Expression They see their bodily embodiment as a blank canvas for empowerment, personal development, and self-discovery. They experiment with various appearances, aesthetics, and styles, representing their developing sense of self and their desire to personify their true selves.
Intense Gaze and Magnetic Eyes
People with Pluto in the second house often have an intense gaze and magnetic eyes. They have piercing eyes that have the power to enthrall and mesmerize people. They can elicit a variety of emotions and captivate audiences with their universe. Their intense and inwardly changing journey is reflected in the depth and intensity of their eyes.
People with Pluto in the second house experience physical transformation and empowerment. They know how their appearance might affect their sense of empowerment and self-confidence. To enhance their physical presence and bring it into harmony with their inner sense of power, they may participate in self-care practices like exercise regimens, skincare rituals, or personal grooming.
Pluto in the 2nd House Meaning Career
Pluto’s location in the second house of a person’s birth chart greatly impacts their job path, sense of personal empowerment, and transformational events at work. Pluto, the planet of power, intensity, and deep transformations, influences how people manage their financial stability, personal ideals, and relationships with material possessions.
The emphasis turns to a work path incorporating personal development, empowerment, and the potential for profound transformations with Pluto in the second house. We shall examine the significance of Pluto in the second house and its ramifications for a person’s career.
Personal Empowerment and Financial Change
People are motivated by their desire for both financial and personal change when Pluto is in the second house, which influences both personal and career goals. They are looking for a career path that aligns with their basic principles and gives them a feeling of financial and personal empowerment. They are prepared to undergo significant changes and transformations to succeed financially and in their chosen field.
Pluto’s influence in the second house frequently directs people towards a career path with significant life changes. Significant changes, career transitions, or personal development may alter their professional trajectory. As they deal with difficulties, accept change, and look for opportunities for advancement within their chosen area, this placement shows a profound desire for personal and professional improvement.
Financial Empowerment and Achievement
People with Pluto may experience financial advancement and professional achievement in the second house. They strongly desire to become financially secure and leave a lasting impression through their profession. They don’t hesitate to take measured risks and seize chances that could result in substantial financial gains. Their tenacity and fortitude distinguish them and help them advance toward their objectives.
Under the influence of Pluto in the second house, people may have to deal with concerns about control and power in the workplace. They are not afraid to stand up for themselves and set boundaries when required.
They have a great knowledge of power dynamics and may be drawn to leadership or business roles where they can bring about change and revolution. They excel in positions requiring diplomacy and deft strategic movement because they are adept at handling complicated relationships.
Transformative Attitude to Work
People with Pluto in the second house take a transformative attitude to their work. They are not content with merely achieving outward achievement or financial accomplishment. They look for jobs where they can have a significant impact, effect real change, and advance society. They are driven by a sense of purpose and are prepared to challenge the status quo in order to accomplish their professional goals.
Pluto’s position in the second house encourages people to see financial difficulties as chances for personal development and transformation. They know that failures and challenges can result in insightful lessons that help them advance in their careers.
They are adaptable and willing to change their strategies to overcome financial obstacles when faced with difficulty. The secret to their professional success is their capacity to accept problems and turn them into opportunities.
Pluto in the 2nd House, Meaning Marriage
Pluto’s location in the second house of a person’s birth chart greatly impacts how they approach marriage, share resources, and how transformative their unions are. Pluto, the planet linked to strength, intensity, and significant shifts, affects how people manage their close relationships, shared wealth, and the more profound facets of their partnerships.
With Pluto in the second house, the emphasis moves to a marriage or long-term partnership with the potential for profound transformation and tremendous dynamics. We shall examine the significance of Pluto in the second house and its consequences for marriage.
Strong Emotional Bonds
People with Pluto in the second house frequently have strong emotional bonds throughout their marriages. Strong emotional ties, magnetic pulls, and a regenerative energy flow characterize their connections. They are drawn to people with an intense emotional response and a significant influence on their lives. An increased level of closeness and emotional depth marks their unions.
Under the influence of Pluto in the second house, couples experience transformational processes that result in both spouses’ personal growth and evolution. The connection catalyzes in-depth reflection, letting go of old habits, and embracing new communication styles.
Due to their union, individuals undergo significant changes in their attitudes, viewpoints, and approaches to shared resources. The collaboration serves as a platform for growth and transformation for both parties.
Closeness And Trust
Pluto’s placement in the second house denotes a marriage’s intense desire for closeness and trust. People with this placement yearn for emotional realism and depth in their relationships. They look for companions with whom they can openly discuss their most intimate desires, anxieties, and weaknesses. They place a high value on trust and are prepared to delve into the depths of an emotional connection to fortify their relationship.
In marriages with Pluto in the second house, control and power dynamics in money matters can arise. The connection may become intense and transform due to shared financial decisions. Both partners must cultivate open communication, transparency, and respect when managing shared resources. This setting pushes people to address power disparities and strike a healthy financial balance.
Pluto’s placement in the second house frequently signifies the need for prior marital scars to be healed. People may experience ingrained problems with control, trust, or financial security that must be resolved and transformed. As both parties acknowledge and let go of past habits, the relationship transforms into a healing space that promotes a stronger and more empowering dynamic.
Marriages with Pluto in the second house place a lot of emphasis on achieving mutual financial objectives and transformative growth. The partners collaborate to build a strong foundation of monetary stability and material prosperity. They are aware of the potential for growth and wealth that can be attained through teamwork, and they are prepared to go through the required changes to accomplish their shared goals.
Pluto in the 2nd House: Meaning Transit
Pluto’s passage through the second house of a person’s birth chart greatly impacts their values, financial condition, and overall relationship with material possessions. Pluto, the planet linked to strength, intensity, and big changes, affects how people manage their financial security, personal principles, and relationship with material wealth.
A period of profound psychological and financial development, a reevaluation of values, and a potential restructuring of one’s connection with money are all highlighted when Pluto transits the second house. We will examine the significance of Pluto’s transit into the second house and its ramifications for various facets of life.
Profound Financial Transformations
People undergo profound financial transformations while Pluto is transiting through the second house. Their salary, total financial stability, and financial condition could all undergo major adjustments due to this travel.
As people face their ideas and practices regarding money, wealth, and personal worth, there may be both difficulties and chances for improvement. They are urged to adopt a new perspective on wealth and resources during this period and let go of their old, restricting financial habits.
Empowerment by Financial Changes
During Pluto’s transit, people may experience a sense of empowerment as a result of changes in their financial situation. This may entail taking charge of their financial circumstances, making audacious financial decisions, or investigating fresh sources of revenue. People are encouraged by this transit to use their inner strength and boldness to better manage their finances and feel more personally empowered.
Material Holdings Change
A change in material holdings frequently accompanies Pluto’s transit into the second house. People could discover that they are letting go of material attachments that no longer serve them to make room for new and better-aligned possessions. This route encourages people to match their things with their genuine values and to have a better relationship with their material goods by emphasizing quality rather than quantity.
During Pluto’s passage, people looked for security beyond worldly possessions. They understand that true security cannot only be gained from external conditions but must also originate from within. This journey inspires them to strengthen their inner fortitude, independence, and sense of self-worth because these traits serve as the cornerstone of their financial security.
What is the astrological second house’s profession?
The second house represents a profession in writing, publishing, consulting, teaching, banking, investments, and finance. The third house represents communication. Marketing, sales, advertising, computers, web design, travel, writing, and import/export are suitable careers for this home.
Which connection in astrology represents the second house?
In Vedic astrology, the second house also cares for the members of the close family, including siblings, sisters, grandparents, uncles, aunts, and so forth. The house also affects our family’s financial situation and how our childhood will go, including whether we’ll be wealthy while we’re little.
What does Pluto’s position mean?
Pluto is connected to Hades, the Greek deity of the underworld, therefore this position in your chart also symbolises power struggles, obsession, and even destructiveness. Consider your Pluto sign to be the position you keep to yourself, with the possible exception of your therapist, due to its dishonourable shadow characteristics.
Why is Pluto in the second house significant?
The person with Pluto in the second house is motivated by self-interest. They are constantly looking for methods to alter or control their environment. Pluto is strongly positioned in your second house, which indicates that you are analytical, realistic, patient, and persistent.
which home denotes a second union?
Your horoscope’s ninth house represents a second marriage. It determines whether the marriage will be easy or challenging. It is essential to compare the 7th and 9th houses of your horoscope in order to determine whether a second marriage will be more successful than the first.
In astrology, which house represents the second wife?
The first house, which represents you, is the primary indicator of a second marriage. The 8th house, also known as the Dusthana house in astrology, is next and represents a second marriage. Last but not least, the 9th house is the primary indicator for a second marriage.

domain: psychology


text:
Yesterday it was the inauguration party of the Stockholm Fringe Festival. The Festival is organised by an independet organization (Stoff) . The objective of the festival is to give an opportunity for the artists to create network and cooperation between them. During five days the festival presents many performances in different venues in Stockholm. In the festival participate people from different ages. The objective of the festival is show and do marketing for new artists and groups. Stockholm Fringe festival is a festival for all. The festival offers an innovative art, contemporary performance - and art installation. This year is the 6th edition of Stoff.
Here is the link to the festival http://www.stockholmfringe.com/stoffice-chronicles-blog

domain: artistic


text:
Home > News > World
Saturday August 16, 2014 MYT 6:00:04 PM
Saturday August 16, 2014 MYT 6:01:20 PM
SEATTLE (Reuters) - A Russian accused of hacking U.S. retailers' computer systems to steal credit card data has been ordered by a Washington State judge to be held pending his trial in October, citing risks that he could flee the country, prosecutors said.
The arrest of Roman Seleznev, the 30-year-old son of a deputy in Russia's lower house of parliament, has increased tensions between the two countries, already at their worst since the end of the Cold War over the Ukraine crisis.
Shortly after Seleznev's arrest was announced last month, the Russian Foreign Ministry said his capture amounted to kidnapping and accused the United States of violating a bilateral treaty.
Russia has demanded his immediate release.
Attorneys for Seleznev asked that he be released from custody to his Seattle apartment until the trial, U.S. Attorney Jenny Durkan said in a statement on Friday.
It said Magistrate Judge James P. Donohue denied the request because Seleznev was a frequent international traveller, had access to money in bank accounts around the world and had the ability to forge fake identity documents, making him a flight risk.
Seleznev faces charges including bank fraud, causing damage to a protected computer, obtaining information from a protected computer and aggravated identity theft, prosecutors said.
His indictment said Seleznev hacked into retail point of sale systems to steal credit card numbers from 2009 to 2011.
The man's father, Valery Seleznev, a deputy in Russia's lower house, said in a statement last month that he intended to take every step to protect his son.
"The defendant is entitled to every protection offered by our system, but will be afforded no special privileges," Durkan, U.S. Attorney for the Western District of Washington, said in the statement.
(Reporting by Eric M. Johnson in Seattle; Writing by Curtis Skinner in New York; Editing by Alison Williams)
Ahead of trial, U.S. says North Korea using Americans as 'pawns'
Sanctions to shut down activities of Russian oil firms - U.S. official
U.S., EU hit Russia with more sanctions despite Ukraine ceasefire
Singer and others accused of plot against Rwandan government
U.S. intensifies sanctions on Russia over Ukraine
World Bank chief says Ebola outbreak shows harm of inequality
New Afghan president re-opens inquiry into Kabul Bank scandal
Turkey vows to fight Islamic State, coalition strikes near border
At least 10 killed in shelling of school and mini-van in Ukraine
Hong Kong's embattled leader believes protests could last weeks- source
Slovak prime minister says Russian gas supplies down by half
'P. Ramlee the Musical' is a tale of a lifetime
McIlroy named PGA Tour Player of the Year
Israel's Netanyahu tells Obama that Iran can't be allowed to reach nuclear arms 'threshold'
Copyright © 1995-2014 Star Publications (M) Bhd (Co No 10894-D)

domain: law


From Scott Wolfe
Stewart,OH — (June 21, 2013) — Kenny Johnson, Mineral Wells, West Virginia remained a perfect 5-for-5 in the Octane AMRA Modifieds, and in the companion Kryptonite AMRA Late Models Josh McGuire has gone 2-for-2 as both veterans picked up feature wins at Billy Jarrell’s Skyline Speedway Friday night. Second generation driver Chris Myers, Caldwell, Ohio got the jump on the field and led every lap to win his first-ever Skyline Speedway A-main in the Ohio Valley Sprint Car Association 410 sprint division, while Austin Washburn won the Mike’s Auto Body Mini-wedge main.
The wins were worth $1,500 to both McGuire and Myers. Johnson brought home $500 for his effort.
Nine exciting heat races–three of which came down to last lap passes– set the stage for the trio of A-mains. Preliminary events had the crowd cheering and on its feet a good deal of the time, especially in hard-fought wins from Jason Montgomery in the Late Models and Kenny Johnson in the Modifieds.
Aaron Higgins and Wayne McPeek set the stage for the 410 sprint car main, but when Higgins’ mount wheelie-hopped three times at the drop of the green, young Chris Myers shot into the lead and led every lap to claim his first Skyline A-main. Myers had his work cut out for him , however, as McPeek dogged the masterful youth much of the first ten laps.
McPeek actually went ahead on several different occasions in the turns, but Myers rode the momentum down the back chute to lead each lap at the start-finish line. McPeek became entangled in a duel with Kory Crabtree, who just laps later would chase down Myers and make a bid at the lead.
On lap five Brian Benson tangled with another car and did a slow roll over to bring out the red. Benson was ok, but done for the evening.That came after Jimmy Stinson did a 360 in front of the pack, but managed to avoid contact and kept his mount rolling.
Crabtree’s bid for the lead fizzled somewhat when Ryan Broughton came on strong at the finish and pre-occupied the charging Crabtree. McPeek faded to fourth, while Dave Dickson was consistently strong and brought home fifth. Broughton claimed third in a good, solid run.
The Hard Charger in the Sprints was Wes McGlumphy moving up ten positions from 16th to 6th. McGlumphy picked off car after car, but was slowed when he came upon the defending OVSCA champ Dickson. Behind Dickson in the top ten were McGlumphy, Aaron Higgins, Nathan Skaggs, Greg Mitchell, and Jimmy Stinson.
Myers brought home the popular win in the Triple X “XXX” Chassis/Gaerte Engine Powered #25. The win was his second of the year in the OVSCA.
Kenny Johnson just keeps getting the job done, but each time it gets a little tougher. The defending AMRA champion had won four straight at Skyline, but Friday’s bout saw Jeremy Berwanger dog Johnson every inch of the way. Berwanger clung to Johnson as if tied to his bumper with a rope.
Despite Berwanger’s persistence, Johnson again proved to be the class of the field. In the first few circuits, Mike McPherson challenged Johnson until Berwanger rooted his way to the runner-up slot. McPherson maintained a great run, but had to hold off the efforts of Jeremy Blake, Kyle Bond, and Derrick Smith. Blake was on the upswing, but McPherson repelled the challenges, while Bond and Smith fought hard for position.
Behind 4th place Blake were Bond, Derrick Smith, Aaron Pendleton, Mark Dickson, Travis Dickson, and Jason Brooks. The Hard Charger in the Modifieds was Jason Brookover moving up six positions from 17th to 11th.
McGuire, Conley, Montgomery, Garnes. With names like that, everyone expected an old-fashioned John Wayne-styled shootout. The competition shot only blanks as the feature never lived up to expectations. Garnes left early with engine problems and no one else had anything for the winner.
Josh McGuire, Grayson, Kentucky, again was the class of the field, fending off challenges from Fast Freddie Carpenter then waltzing off into the sunset and through lapped traffic for a resounding win. Carpenter anchored second, but after three laps couldn’t keep pace with the eventual winner.
Carpenter and Jason Montgomery engaged in a torrid skirmish, but as Delmas Conley closed the gap on Montgomery, Carpenter separated himself from the pair. With McGuire securely out front, the battle for second again tightened into a three way dual among Carpenter, Montgomery, and Conley.
Finishing 5th through tenth were Ralph Withem, Nick Dohm, KC Burdette, Steve Bigley, Jeremy Blake, and Derek Doll. Withem had a great run toward the front and had nearly caught the earlier mentioned trio. Dohm drove a consistent race as did K-C Burdette.
The Hard Chargers in the Late Models were Ralph Withem and Andy Bond both moving up five positions; Withem from 10th to 5th and Bond from 17th to 12th.
Next weekend June 28-29th, the 5th Annual Greg Schilling Memorial race, the 5th Annual Dan Reno Memorial Race, and the Ohio Valley Speedway Topless Modified Special make up what could be the biggest open wheel Modified weekend in the nation. Skyline will host the first leg of a power-packed Octane AMRA weekend June 28 with a $17,000 purse and $1,699-to-win Greg Schilling Memorial, while two biggies are slated for AMRA turf on Saturday. Sprints and Late Models are also on the racing card at Skyline.
Saturday, June 29 Jackson County Speedway in Jackson, Ohio hosts the Dan Reno Memorial and the same night Ohio Valley hosts its $1,200 to win Topless OCTANE Special. Originally a Street Stock event, The Reno Memorial at Jackson County Speedway will now be run as an Octane Modified Invitational race paying $2,222 to win and $222 to start with a $9,000 purse.
Autograph night is July 19th and the Jack Shutts Memorial Late Model Race is July 26th at Skyline.
For more information please visit << www.skylinespeedway.net >> Skyline Speedway on Facebook, or call 304-539-4410; 304-542-8322, or the track phone at 740-662-4111.
OVSCA 410 Sprint Cars (18)
Fast Time: Kory Crabtree 11:49
Heat One: Aaron Higgins, Kory Crabtree, Jimmy Stinson, Dave Dickson, Greg Mitchell, Wes McGlumphy
Heat Two: Wayne McPeek, Andre Layfield, Brian Benson, Bob Tucker, Eric Martin, Mark Imler
Heat Three: Chris Myers, Josh Davis, Ryan Broughton, John Shewbrooks, Nathan Skaggs, Jesse McCreary (DNS)
Feature: Chris Myers, Kory Crabtree, Ryan Broughton, Wayne McPeek, Dave Dickson, Wes McGlumphy, Aaron Higgins, Nathan Skaggs, Greg Mitchell, Jimmy Stinson, Josh Davis, Mark Imler, Bob Tucker, John Shewbrooks, Eric Martin, Andre Layfield, Jesse McCreary, Brian Benson
KRYPTONITE AMRA Late Models (27)
Fast Time: Josh McGuire 13:01
Heat One: Josh McGuire, KC Burdette, Nick Dohm, Ralph Withem, Travis Brookover, Jason Gillian, Tom Hendrix, Ryan Casto, Tanner Hendrix
Heat Two: Freddie Carpenter, Jeremy Blake, Steve Bigley, Frankie Hall, Tony Roush, Tyler French, John Church, Andy Bond, Chris Garnes (DNS)
Heat Three: Jason Montgomery, Delmas Conley, Derek Doll, Randy Armes, Brian Daniels, Bub Crum, Larry Bond, Austin Eddy
B-Main: Bub Crum, Andy Bond, Tyler French, Larry Bond, John Church, Tanner Hendrix, Ryan Casto, Jason Gillian, Austin Eddy
Feature: Josh McGuire, Freddie Carpenter, Jason Montgomery, Delmas Conley, Ralph Withem, Nick Dohm, KC Burdette, Steve Bigley, Jeremy Blake, Derek Doll, Frankie Hall, Andy Bond, Travis Brookover, Tony Roush, Brian Daniels, Bub Crum, Tyler French, Randy Armes,
OCTANE AMRA MODIFIEDS (25)
Heat One: Kenny Johnson, Jason Brooks, Jeremy Blake, Aaron Pendleton, Nathan Loney, Andy Bond, Shawn Donahue, Brad Willis
Heat Two: Mike McPherson, Jeremy Berwanger, Jerrod Willis, Mark Dickson, Travis Dickson, Jason Brookover, J.P. Roberts, Jesse Rupe
Heat Three: Kyle Bond, John Burdette, Derrick Smith, Robert Garnes, Nick Corbitt, Gary Gould, Tyler Hendrix, Michael Conley (DNS)
B-Main: J.P. Roberts, Jason Brookover, Gary Gould, Andy Bond, Shawn Donahue, Tyler Hendrix, Jesse Rupe, Brad Willis
Feature: Kenny Johnson, Jeremy Berwanger, Mike McPherson, Jeremy Blake, Kyle Bond, Derrick Smith, Aaron Pendleton, Mark Dickson, Travis Dickson, Jason Brooks, Jason Brookover, Nathan Loney, J.P. Roberts, Robert Garnes, Gary Gould, Nick Corbitt, John Burdette, Jerrod Willis
Mike’s Auto Body Mini-Wedges (10)
Heat One: Adam Douglas, Tanner Martin, Kasey Rankin, Evan McPherson, Kalista Barnes
Heat Two: Austin Washburn, #85, Seth LaGraff, Ryan Bigley, Hunter Krivesti
Feature: Austin Washburn, Adam Douglas, #85, Kasey Rankin, Evan McPherson, Kalista Barnes, Tanner Martin, Ryan Bigley, Hunter Krivesti, Seth LaGraff (DNS)


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And since we’re moving soon, I also
would like to need to empty out the abundance from my freezer and pantry. I’m going to try to GOING to spend less than $15 a week for my grocery budget in April and probably the first two weeks of May. WISH ME LUCK! LOL
Tuesday–Leftover (frozen) Broccoli Cauliflower soup, grilled cheese sandwiches
Wednesday–Stuffed Peppers (Large–Once a Month Cooking-type Recipe), mashed potatoes, green beans
Thursday–Round Steak with Gravy, mashed potatoes, corn (See recipe below)
Friday–Grilled pork loin
Saturday–My belated lunch/dinner at mom’s. 🙂
Sunday–Phil’s day to grill. Most likely steaks from the quarter cow we bought.
Dessert? Blueberry Crisp (with blueberries from last summer’s picking!)
Snacks? Homemade Yogurt!
* * *
Grocery list? Looks like I only need milk, bread, ice cream, butter and a yogurt starter.
1 Round Steak cut in pieces (about the size of your palm)
1 stick butter
Salt & pepper
Melt butter in frying pan on low.
Add in round steak pieces. Salt and pepper to your liking.
Cover and cook on low for about 2.5 hours, flipping meat occasionally. If it looks dry, add a little bit of water.
Make either 2 packets of gravy (make sure it’s MSG-free!) or mix your MSG-free beef soup base with water and a bit of flour to make your own gravy. Pour on top of round steak and cover, cook on low another hour.
Serve over noodles, mashed potatoes, or rice.
1 thought on “Menu Plan Monday–March 30”
Sounds like a yummy week you’ve planned; especially the Blueberry Crisp!

domain: food


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The New England Region of the
American Music Therapy Association Students
We are planning a Virtual Panel for the spring!
You will have the opportunity to submit any topic of interest for the panel to discuss regarding subjects within the music therapy field.
Representing the Black Music Therapy Network, join us with guest speaker
Ph.D., MA, MT-BC
to continue the conversation about social justice in the music therapy practice. Please join us for a discussion-based presentation this upcoming Sunday, November 29th @2pm EST on Zoom.
This website is used to help NER-AMTAS strive to increase student participation, promote communication between members, and create a positive union of students within the region. NER-AMTAS develops, fosters, and promotes cooperation with the New England Region of the American Music Therapy Association, herein referred to as NER-AMTA, and other related professional organizations in activities that concern the music therapy profession and enhance the education of NER-AMTAS members.
NER-AMTAS is comprised of all students attending schools within the American Music Therapy Association (AMTA) approved music therapy programs of the New England Region, including the states of Connecticut, Maine, Massachusetts, New Hampshire, Rhode Island, and Vermont.
The three schools include:
Anna Maria College (Paxton, MA)
Berklee College of Music (Boston, MA)
and Lesley University (Cambridge, MA).


text:
The Sons and Daughters of This Land
Stand for Israel | September 13, 2021
As World War II began, Jozef and Wiktoria Ulma were leading citizens in the Polish town of Markowa. Jozef worked as the town’s librarian, and the couple also kept bees and grew fruit. They also had six young children, with a seventh on the way.
So when the Nazis invaded Poland and began to deport and execute their Jewish neighbors, the Ulma family knew they had to act, as the only Jews from the area to survive were those who found shelter in the homes of Righteous Gentiles.
Jozef and Wiktoria hid eight Jews – six members of the Szall family, as well as two daughters from the Goldman family – in their attic. For close to two years, those eight Jewish people found safety in the Ulma family’s attic.
But then, in March of 1944, the Germans received a tip from a local Polish police officer. They arrived at the Ulma home, where they found the eight hidden Jews, who were all murdered. Then, in order to send a message to any neighbors who might hide Jews, the Nazis also murdered Jozef, Wiktoria (who was about to deliver their seventh child), and all of their children.
For their sacrifice, Jozef and Wiktoria Ulma were named Righteous Among the Nations by Yad Vashem. And in the village of Markowa sits a stone memorial to these Heroes of the Holocaust, which reads:
Saving the lives of others they laid down their own lives. Hiding eight elder brothers in faith, they were killed with them. May their sacrifice be a call for respect and love to every human being! They were the sons and daughters of this land; they will remain in our hearts.

domain: sociology


text:
The notification titled “Dance for Education” was issued on March 29 by Samreen Mangi, the assistant secretary general. Giving in to the letter written by the UNESCO, the government of Pakistan issued another directive to the all the head of Institutions, Islamabad Models Colleges for Girls in Urban and Rural areas to join the sinful campaign. The second directive was issued by Deputy Director Ziaul Haq.
The letter dated March 29 reads, “I am excited to invite you to join UNESCO’s #Dance for Education campaign. This initiative coincides with the release of the song “Education in the Air” by Goodwill Ambassador A’Salfo and Magic System. It aims to highlight education’s transformative power and its role in shaping a more just and sustainable world.”
Second paragraph of the letter says, “We encourage you to participate by showcasing your creativity and passion for education through dance.” It further says that the dance activities would be shared on the social media. “The campaign will culminate on May 25th, Africa Day, with the best submissions being featured on UNESCO’s social media platform.

domain: news


text:
Alpha and beta subunits of acetylcholine receptors in the human inner ear
2000 (English)In: Acta Oto-Laryngologica, ISSN 0001-6489, Vol. 120, no 4, 484-9 p.Article in journal (Refereed) Published
The localization and distribution of nicotinic acetylcholine receptors (n-ACh-r) was characterized by studying alpha and beta subunits in the adult human inner ear by FITC fluorescence technique. In the cochlea, distinct fluorescence staining occurred for beta subunits in outer hair cells (OHCs), but no alpha subunits were identified. Beta subunits differ quantitatively between the three rows of OHCs, decreasing along a base-to-apex gradient in the cochlea. Both alpha and beta subunits were identified on spiral ganglion cells, adjacent nerve fibres and in vestibular hair cells (HCs). It would appear that they form an active complex in n-ACh-r at these locations.
Place, publisher, year, edition, pages
2000. Vol. 120, no 4, 484-9 p.
Medical and Health Sciences
IdentifiersURN: urn:nbn:se:uu:diva-58167PubMedID: 10958399OAI: oai:DiVA.org:uu-58167DiVA: diva2:86076

domain: medical


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|“The World’s Greatest Paranormal Investigator”|
I’m sure this won’t be a huge surprise but; he’s the son of a demon and a witch. Fire red, shaved horns, cloven hooves, and tail are his signature look. His right hand (of doom) is a sort of sledge hammer and a key to opening the Hadean Gates. Hellboy carries a very large gun “The Samaritan” that shoots his own patented fifty caliber “Demon Destroyer” bullets. His attitude; Bad...Capitol “B” Bad. There’s a small bit of a chip on his shoulder; he loves a good fight. Given this he’s actually a hero that fights the forces of evil. He has a soft spot for cats. No; he doesn’t eat them he adores them as pets and will do anything to protect them. Hellboy’s one of the good guys.
Writer/Artist Mike Mignola created Hellboy in 1993 and his creation became a hit as a comic book character almost immediately. Hellboy has been adapted to film, animation, novels and video games. His fan base continues to grow as one of the great incarnations of the imagination. Mignola’s man/creature started with the “look” from a single drawing he did for fun. The editors at Dark Horse Comics loved Mignola’s work and talents; they urged him to create an original project for publication. Mignola choose to work from his “Hellboy” drawing and he created the themes and supporting cast around the character’s commanding presence. The Hellboy project was something that Mignola could put all of his favorite literary and entertainment influences into and use as devices. Monster films like “The Mummy” and “The Bride of Frankenstein,” gothic horror and ghost stories, pulp fiction, ancient myths legends and lore. It is even hinted at within the context of Hellboy's narrative that his mother was the descendant of Morgana Le Fey and Arthur Pendragon. Could Hellboy be the rightful heir to the British throne?
In the beginning…Professor Trevor Bruttenholm and a group of American soldiers rescued a tiny creature released from an inter-dimensional portal to a mysterious astral region opened by Grigori Rasputin and a group of Nazi’s during the Second World War. Hitler; in reality was very much interested in the occult and believed he could use it powers. The G.I.’s name the small creature with the oversized hand “Hellboy” on the spot and adopted and raised him as a human. Trevor Bruttenholm became Hellboy’s father and “The Bureau for Paranormal Research and Defense” (B.P.R.D.) was formed around Hellboy. He fights evil under the organizations banner.
|“When things go bump in the night; we’re the ones who “bump” back.” |
There have many writers and artist to imagine and contribute to the development of Mignola’s Hellboy; John Byrne, Bruce Timm, Christorpher Golden, Guy Davis and Rich Corben are a few but none are more immersed in the legend than film maker Guillermo Del Toro. The Hellboy films are rich tapestries and very faithful to the spirit of the characters and situations.
As with Mignola’s beginning the look of the movies are perfect. When Del Toro makes changes they only embellish and clarify what was previously published. The films are perfectly cast with Ron Pearlman in the lead. Pearlman is magnificent and born for the role of Hellboy. He is no stranger to heavy make up and prosthetics. He makes it all look effortless and real as no other actor could. Most of Pearlman’s great roles have featured the actor totally immersed and hidden by masks and modifications. Vincent from television’s “Beauty and the Beast” was his first success. He was mesmerizing in that role. Pearlman is the Lon Chaney of our times; Del Toro the James Whale.
“Pan Cakes”In conjunction with the release of the first Hellboy Movie DVD Mignola wrote a short story about the two year old Hellboy. The folks at the B.P.R.D. try to get a reluctant Hellboy to try a new treat for breakfast. He finally gives in and tastes pan cakes for the first time. He loves them. At the precise moment pandemonium breaks out in the city of Pandemonium (The Capitol City of Hell.) “It is the boy. He has eaten the pan cakes. He will never come back to us now.” A demon laments this to another minion of Hell. Hellboy has discovered what every small child knows. There is nothing so close to heaven as the pancake prepared with and given in love.
Mignola have been honored with the top awards in the field of graphic novels and story-telling. In 2002 “Hellboy: Conqueror Worm” won the Eisner for “Best Limited series” and “The Art of Hellboy” won the 2004 Eisner for “Best Comics Related book.” The Eisner is the field’s chief award. Mignola holds his own with the all-time best.
There seem to be limitless avenues for Hellboy and the B.P.R.D. to travel. It is our pleasure to tag along for this infinite, immaculate ride.

domain: literature


2015 Jaguar XK – when you hear its name, you should know from now on that this car is all that you need if you love to get a high-performance car with the great design around its exterior and interior. It provides a superb drivability level without ignoring the demand of refinement and comfort. So, this luxury and stylish car will make you have no idea instead of purchasing it.
2015 Jaguar XK Sports Convertible Design
2015 Jaguar XK for sports convertible design is available with LED as the signature design. It is LED running lights frame which is designed in advance with the bi-function HID xenon headlights so that it provides a new unique look. When you see each surface of the car, you will love it because it is sculpted and designed with bold visual energy. The front bumper design is offered with dramatic look and it is supported with chrome-outlined air intakes along the distinctive side power vents. The muscular haunches will be the proof that it is one of the parts of luxury refinements and powerful design. We cannot deny that 2015 Jaguar XK is compelling especially for the space since it is addressed to enhance the driving experience. It comes with 2+2 configuration that is available with rear seats so that it could be used for convenient storage area when there are no passengers. This convertible also has trunk capacity for more than 11.1 cubic feet. In fact, the car always comes with luxury. It built with modern texture and phosphoer Blue mood lighting as the signature of 2015 Jaguar XK.
2015 Jaguar XK Engine
For your information, the power is amazing. It is reported that the car will come with 5.0 liter Jaguar engines. First, there is V8 5.0 liter to generate 285 horsepower to be used for XK models which brings great acceleration and simple refinement. Second, you can choose supercharged V8 to produce 510 horsepower. The last, supercharged V8 could be found in XKR-S that could produce amazingly 550 horsepower. Well, it is not the end for 2015 Jaguar XK. The car also available with more dramatic engine option that is V8 5.0 liter supercharged system which is paired with sixth-generation twin-vortex supercharger. The power plant is all-aluminum quad cam into two versions which are 510 horsepower and 550 horsepower to support XKR and also XKR-S for
2015 Jaguar XK Price
The sports convertible car will be available with the price tag around $138,000 as the part of new generation of 2015 Jaguar XK


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Posted On: Sep 20, 2019
Road Dogs Music Supply opening a Pop-up Music Shop during BreakOut West 2019
Whitehorse is an ideal community for a passion-driven event like BreakOut West, but because it’s such a bustling artistic center, it’s easy to forget that it is a very small city, only 25000 humans. There are delicious restaurants, rustic watering holes, and vibrant community gathering places, but some amenities, the city is just too small to have yet. There are no music stores in town to pick up the bits and pieces that keep the notes ringing.
Fret not (or rather, fret on)! Road Dogs Music Supply is hosting a music supply pop up, October 1 to 12 at Midnight Sun Coffee Roasters, located 21 Waterfront Place in Whitehorse. Artists will be able to pick up strings, picks, sticks, and stands all in one convenient location. BreakOut West artists will get 10% at the pop-up during the festival weekend.
“Road Dogs Music is thrilled to offer a wide selection of music supplies to both the visiting BreakOut West artists and local Yukon musicians.” Proprietor Willow Gamberg tells BreakOut West. “The shop has already received an overwhelming amount of support and patronage from the community, and we can't wait to open our doors in a few weeks and meet you all in person!”

domain: hobby


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How To Draw A Blue Bird. Today i'll show you how to draw an adorable cinderella and blue bird with easy to follow, simple step by step drawing instructions. All the best blue bird flying drawing 39+ collected on this page.
In the center of the oval draw a birds eye. Drawing tutorials for kids and beginners. It is often found in orchards and woodlands.

domain: design