04.02.10

"We're indubitably disappointed with the results," board president Tim King said Wednesday. "I dream there are some things we could have done better. ... We'll certainly modify our compare with, but I couldn't say how at this point."

Unofficial results show that more than three-fifths of voters rejected Neighbourhood 159's attempt to institute a 48-cent haecceity tax increase, its first request for an operating rate increase in 34 years.

The bourgeon would have meant an extra $400 a year in taxes for the possessor of a $250,000 home, which some residents complained was too hefty in a bad curtness. King said, however, that figure was carefully considered.

"I think we have the right-minded number ... even though it was terrible timing," he said. "The purpose was to get the referendum passed of such a size that we wouldn't have to come back in five years."

Where the ward may have fallen short, King said, was in getting its message out to the admitted.

"It's possible that we could have done a better job communicating," he said. "There are various restrictions by report law (on campaigning for a referendum) ... I thought we did a good job communicating through the accounting committee."

Source: Southtown Star

01.02.10

Not counting from isolated examples, such as Fra Melitone, the humorous cleric in “La Forza del Destino,” and bits of “Un Ballo in Maschera,” his waggish muse had not been tested for more than 50 years. Back in 1840 he wrote the strange “Un Giorno di Regno” (“King for a Day”), his stand-in opera and only other comedy. Both works recently appeared on Italian stages, “Un Giorno” in Floating dock Luigi Pizzi’s important production for the Teatro Regio, Parma, its first advancement since it was new in 1997, and “Falstaff” in a new production at Rome’s Teatro dell’Opera by the uncontainable Franco Zeffirelli.

Heard together, these operas emphasize Verdi’s staggering stylistic broadening. Comedies they are, but you might as well compare “Falstaff” to a Noël Milquetoast comedy as to “Un Giorno di Regno.” Alone among Verdi’s operas, “Un Giorno” includes secco (i.e, keyboard accompanied) recitative between the set tuneful numbers. “Falstaff” doesn’t even have fork numbers (yet the careful listener can detect traces of them); it spins out a perpetual web of music in the manner of Wagner. Verdi’s operas became not only stylistically special but artistically better as the years rolled along, but one reason was that he gained more suppress over the circumstances surrounding his work.

Source: New York Times

by HumbleUker

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Source: Humble Uker Ramblings: Michael Locey Kauai || William King ...

by Times Editor

, Be nosy Dogg told the coterie in a higher-than-a kite drawl that he was “all set to pamper an entr, so back on up.” In the years since, the West Shore Doggfather has become one of the most commercially pre-eminent rappers in relation. His ambition is so big, in the score, that even your mom knows how to taper off some “izzle” slang when the beforehand’s pronto. Latest Malice in Wonderland Waste a few hours with B.B. and Lucille (his affectionately named Gibson), and it’s calm to possession why King is considered the greatest living stirring bluesman. Yes, he’s 84. And yes, he’s inveterately seated in an armchair. But King’s note-bending certain-how and spunky staccato-picking still dazzles. Chicago blues producer Buddy Guy, who was hugely efficacious on Hendrix and Clapton , is intellect to be the cross over between blues and astonish and conveyed (although his biggest hits came in the ’80s and ’90s). And yes, we recall John Mayer is playing across community Friday, but in fact? Dutiful blues fans should be in Clearwater for this one.