text:
Have your bagel and eat it too
Kellie Mason
As a young professional, dating is fun but it can also be stressful. You can only go to so many bars and parties to meet new single people. Coffee Meets Bagel makes dating easier for you.
Coffee Meets Bagel is an app that was created by three sisters, Arum, Dawoon and Soo Kang, who couldn't find any dateable guys in New York City. They realized these fun people existed, but they didn't know how to go about meeting and connecting with them. The dating website launched in April 2012 and the app launched in August 2013.
When creating the name, the sisters thought about what part of the day everyone looks forward to. Most of the people using the app are busy, young professionals and everyone looks forward to daily coffee breaks. And what's better than coffee and a New York style bagel?
This app is not like Tinder, OkCupid or JSwipe. Coffee Meets Bagel gives you one "Bagel," or potential match, each day at noon so you can focus all your attention on one person. Accordingly, their slogan is, "What's happening at noon?" This app makes your lunch break a little more exciting.
The app is most popular in larger metropolitan areas like New York City, Boston, Chicago and San Francisco, according to its website. Currently, Coffee Meets Bagel has made more than 25 million matches, according to creator Dawoon Kang.
Once you receive your Bagel, you have 24 hours to "like" or "pass" on them. Once your Bagel likes you back, you are prompted to start a conversation. You have eight days to have a conversation and exchange contact information.
A personal profile is the first thing someone sees when he or she receives a Bagel. The app curates four photos from your Facebook profile, a couple of headshots and a couple of full body pictures, but you can always pick and choose what you want others to see.
There are three written parts to the profile to showcase your interests. The "I am…" section lets you write three things about yourself. The "I like…" section lets you describe three specific passions and interests. And the "I appreciate when my date…" section allows you to further explain your interests and what turns you on.
Every profile is reviewed for quality assurance. Your one match a day is personalized and picked out just for you based on sex, age, ethnicity and religion. Your personal information, such as your name, remain completely private. The algorithm chooses only the best of the best for you.
Coffee Meets Bagel asks you to authenticate via Facebook to pick out Bagels with whom you share mutual friends and to avoid matching you with existing friends. Nothing is posted on Facebook unless you want others to know about your dating life.
The app even has its own blog. It gives tips and tricks from creating the best profile to ditching the date if it's not going as well as expected.
There are plenty of success stories people share from using the app. A lot of the cute stories are posted on the blog and their Instagram account, coffeembagel.
"I think about the first couple who notified us of the fact that they are getting married," Kang said. "They are in New York [City] and extended an invite."
Kang said that it has been a challenge getting same-sex couples to try the app but a couple from Los Angeles has reached out after meeting. She is proud they are finally making it work for all people.
In order to reach more people, the app asks members to follow them on Twitter, tweet about them and send text messages to contacts in your phone. The more people on the app, the more opportunities you have to meet cool singles in your area.
Photo illustration by Megan Maher
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Christian-based radio programming returned to Hampton Bays earlier this month and to the airwaves across Long Island.
On Friday, August 1, WLIR—or channel 107.1 FM—began broadcasting adult contemporary Christian music under the moniker of Star 107.1, with the flagship station being in Hampton Bays.
WLIR, which reverted to a Christian radio station earlier this year following a brief stint broadcasting ESPN radio last year, is now part of the Pillar of Fire Radio Network, which has been broadcasting Christian-based content in the New York City media market out of Zarephath, New Jersey, for more than 80 years. It has been operating under the name Star 99.1 since 2003.
Star 99.1 General Manager Scott Taylor said he was contacted by WLIR owner Rich Anderson earlier this year, as Mr. Anderson expressed interest in forging a partnership.
Mr. Anderson's morning radio show, which he hosts on WLIR, will be the only program broadcast live from Hampton Bays, while other programs, including Dawn Wheeler's show during middays and Rick Hall's evening show, will be broadcast from New Jersey, Mr. Taylor explained.
Mr. Anderson could not be reached for comment.
Mr. Taylor said he's excited about bringing his network's programming to Long Island, adding that the response has been positive to Pillar of Fire's other two satellite locations in Cincinnati and Westminster, Colorado.
The station's website, www.star1071fm.com, boasts that it will play artists such as Casting Crowns, MercyMe, Third Day, Laura Story, Matthew West, the Newsboys, Chris Tomlin and Mandisa. The station can be heard on 107.1 FM across the North Fork and on the South Fork east of the Shinnecock Canal, on 96.5 FM in parts of western Southampton Town and Riverhead, and on 104.5 FM in Westhampton Beach and areas directly to the north and west.
The broadcast will be transmitted on various transmitters from Montauk to the Nassau-Queens county line.


text:
Instruments of the Orchestra (The)
410 songs (7 hours and 58 minutes) Released on November 2, 2002
Instruments of the Orchestra: Wagner: Tannhauser: Overture
Jeremy Siepmann
Instruments of the Orchestra: Anonymous: Domna, pos vos ay chausida
Instruments of the Orchestra: We don't merely use instruments, we play on them. And they play on us.
Instruments of the Orchestra: Brahms: Hungarian Dance No. 7
Instruments of the Orchestra: The violin is one of the most tender and beautiful instruments ever invented.
Instruments of the Orchestra: Brahms: Violin Concerto in D Major: II. Adagio
Instruments of the Orchestra: But for a long time it was seen as the instrument of the devil.
Instruments of the Orchestra: Stravinsky: The Soldier's Tale: Triumphal March of the Devil
Instruments of the Orchestra: The manipulative seductiveness of the gypsy violin
Instruments of the Orchestra: Anonymous: Csardas Music
Instruments of the Orchestra: The violin and the imitation of nature
Instruments of the Orchestra: Vivaldi: The Four Seasons: Spring: I. Allegro
Instruments of the Orchestra: Birds are again evoked in the second concerto, especially music's natural favourite.
Instruments of the Orchestra: Vivaldi: The Four Seasons: Summer: I. Allegro non molto
Instruments of the Orchestra: Like the devil, the violin is a master of disguise.
Instruments of the Orchestra: Kreisler: Schon Rosmarin
Instruments of the Orchestra: The menacing sensuality of Ravel's Tzigane; a very different side of the violin:
Instruments of the Orchestra: Ravel: Tzigane
Instruments of the Orchestra: Do we now have the true measure of this instrument? Not just yet.
Instruments of the Orchestra: Paganini: Caprice No. 24
Instruments of the Orchestra: Bach: Brandenburg Concerto No. 4: III. Presto / Schubert: Quartettsatz in C Minor
Instruments of the Orchestra: Britten: Variations on a Theme of Frank Bridge: VIII. Moto Perpetuo
Instruments of the Orchestra: Prokofiev's tremolo in Romeo and Juliet should not be heard just before bedtime
Instruments of the Orchestra: Prokofiev: Romeo and Juliet: Act IV
Instruments of the Orchestra: Vivaldi uses it to illustrate the shivering of travellers crossing the ice.
Instruments of the Orchestra: Vivaldi: The Four Seasons: Winter: I. Allegro non molto
Instruments of the Orchestra: The violin muted
Instruments of the Orchestra: Debussy: Clair de lune
Instruments of the Orchestra: The gentleness of muted strings persists even when a whole orchestra plays.
Instruments of the Orchestra: Mozart: Piano Concerto No. 21 in C Major, K. 467: II. Andante
Instruments of the Orchestra: The pizzicato violin
Instruments of the Orchestra: Strauss: Pizzicato Polka
Instruments of the Orchestra: In Prokofiev's Second Violin Concerto, the accompaniment is pizzicato.
Instruments of the Orchestra: Prokofiev: Violin Concerto No. 2 in G Minor: II. Andante assai
Instruments of the Orchestra: Kabalevsky: Colas Breugnon / Warlock: Capriol Suite: III. Tordion / Prokofiev: Romeo and Juliet: Act I
Instruments of the Orchestra: Holst: The Planets: I. Mars: The Bringer of War
Instruments of the Orchestra: Bach: Sonata No. 3 in C Major for unaccompanied violin: II. Fugue
Instruments of the Orchestra: Double-stopping is a standard feature of a lot of folk music.
Instruments of the Orchestra: Vivaldi: The Four Seasons: Autumn: I. Allegro
Instruments of the Orchestra: Now the same technique, but the sound might have come from another world.
Instruments of the Orchestra: Ravel: Bolero
Instruments of the Orchestra: Double-stopping can only approximate the sound of a real violin duet.
Instruments of the Orchestra: Joachim: Cadenza to the Violin Concerto by Brahms
Instruments of the Orchestra: Now compare that with a real violin duet.
Instruments of the Orchestra: Bartok: 44 Duos: I. Teasing Song
Instruments of the Orchestra: Another duo by Bartok, demonstrating the violin's rich lower register
Instruments of the Orchestra: Bartok: 44 Duos: II. Maypole Dance
Instruments of the Orchestra: And now what may be the most beautiful accompanied violin duet in history
Instruments of the Orchestra: Bach: Concerto in D Minor for two violins: II. Largo ma non tanto
Instruments of the Orchestra: The soul of the violin is in song; but what about this weird passage?
Instruments of the Orchestra: Prokofiev: Violin Concerto No. 1 in D Major: II. Scherzo
Instruments of the Orchestra: The use of harmonics in the orchestra can be both magical and unsettling.
Instruments of the Orchestra: Mahler: Symphony No. 1, "Titan": I. Langsam, schleppend (opening)
Instruments of the Orchestra: Tchaikovsky's use of harmonics in The Sleeping Beauty is both strange and daring.
Instruments of the Orchestra: Tchaikovsky: The Sleeping Beauty: Act II, No. 15: Entr'acte
Instruments of the Orchestra: Ravel's harmonics in Mother Goose effect a magical transformation.
Instruments of the Orchestra: Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty and the Beast
Instruments of the Orchestra: Stravinsky: The Firebird: Introduction
Instruments of the Orchestra: The natural upper notes of the violins have a unique emotional "grab"
Instruments of the Orchestra: Strauss: Also sprach Zarathustra: Of the Afterworldsmen
Instruments of the Orchestra: Still in their upper register, the violins unleash the energy of a young colt.
Instruments of the Orchestra: Britten: Variations on a Theme of Frank Bridge: V. Aria Italiana
Instruments of the Orchestra: Elsewhere, Britten uses the same high register to create a very different mood.
Instruments of the Orchestra: Britten: Peter Grimes: 4 Sea Interludes, Op. 33a: I. Dawn
Instruments of the Orchestra: To end this outing with the violins, a charming little elfin dance
Instruments of the Orchestra: Hellmesberger: Elfenreigen
Instruments of the Orchestra: Introduction to the viola
Instruments of the Orchestra: Telemann: Viola Concerto: I. Largo
Instruments of the Orchestra: Khachaturian gets a very different sound from it: fuller, fruitier, more exotic.
Instruments of the Orchestra: Khachaturian: Gayane Suite No. 1: III. Armen's Solo
Instruments of the Orchestra: Very nearly the whole of the violin's upper register is also available to the viola.
Instruments of the Orchestra: Britten: Peter Grimes: Passacaglia, Op. 33b
Instruments of the Orchestra: Strauss: Don Quixote
Instruments of the Orchestra: Berlioz: Harold in Italy: IV. Orgy of Brigands
Instruments of the Orchestra: The muted viola: intimate, gentle, poignant in Dvorak
Instruments of the Orchestra: Dvorak: Cypresses: IX. Thou Only Dear One
Instruments of the Orchestra: The massed violas of the modern symphony orchestra in Mahler
Instruments of the Orchestra: Mahler: Symphony No. 4: III. Ruhevoll, poco adagio
Instruments of the Orchestra: The "period" viola in Bach
Instruments of the Orchestra: Bach: Brandenburg Concerto No. 6: III. Allegro
Instruments of the Orchestra: The cello: a voice of unique nobility
Instruments of the Orchestra: Bach: Suite No. 1 for unaccompanied cello: I. Prelude
Instruments of the Orchestra: Brahms and the "soul" of the cello
Instruments of the Orchestra: Brahms: Piano Concerto No. 2 in B-Flat Major: III. Andante
Instruments of the Orchestra: Most orchestral composers tend to emphasise the cello's lower register.
Instruments of the Orchestra: Bach: Herz und Mund und Tat und Leben, BWV 147: Aria: Bereite dir, Jesu
Instruments of the Orchestra: In the time of Beethoven the cello remained as fundamental as ever.
Instruments of the Orchestra: Beethoven: Symphony No. 3 "Eroica": IV. Finale
Instruments of the Orchestra: But the cello is not condemned to spend its life in the basement.
Instruments of the Orchestra: Popper: Elfentanz, Op. 39
Instruments of the Orchestra: Not only in recital showpieces like that is the cello used in its highest register.
Instruments of the Orchestra: Tavener: The Protecting Veil: opening
Instruments of the Orchestra: A cello with an identity-crisis: the pizzicato Flamencan
Instruments of the Orchestra: Tagell: Flamenco
Instruments of the Orchestra: Double-stopping in the lower reaches of the cello's range
Instruments of the Orchestra: Cassado: Solo Suite for Cello and Piano: Sardana
Instruments of the Orchestra: It's in its middle register that the cello really comes into its own.
Instruments of the Orchestra: Rachmaninov: Oriental Dance, Op. 2, No. 2
Instruments of the Orchestra: Beethoven: Symphony No. 5: II. Andante con moto
Instruments of the Orchestra: Beethoven: Symphony No. 9: IV. Finale
Instruments of the Orchestra: Introduction to the double-bass
Instruments of the Orchestra: Saint-Saens: The Carnival of the Animals: The Elephant
Instruments of the Orchestra: But the double-bass can be intensely expressive and graceful.
Instruments of the Orchestra: Bottesini: Elegy No. 1 in D Major
Instruments of the Orchestra: Bottesini: Allegro di concerto, "Alla Mendelssohn"
Instruments of the Orchestra: Bottesini: Capriccio di bravura
Instruments of the Orchestra: Mahler: Symphony No. 1, "Titan": III. Feierlich und gemessen, ohne zu schleppen / Mahler: Symphony No. 3: I. Kraftig
Instruments of the Orchestra: Prokofiev: Lieutenant Kije Suite: III. Kije's Wedding / Prokofiev: Romeo and Juliet: Act III
Instruments of the Orchestra: Beethoven: Symphony No. 5: III. Allegro
Instruments of the Orchestra: The antiquity and magic of the flute
Instruments of the Orchestra: Debussy: Prelude a l'apres-midi d'un faune
Instruments of the Orchestra: The versatility and agility of the flute
Instruments of the Orchestra: Bach: Orchestral Suite No. 2 in B Minor: VII. Badinerie
Instruments of the Orchestra: The flute in fifteenth-century Spain
Instruments of the Orchestra: Anonymous: Sa'dawi
Instruments of the Orchestra: Other flutes: the bass and alto
Instruments of the Orchestra: Sallinen: Chamber Music II
Instruments of the Orchestra: The Piccolo - aptly named
Instruments of the Orchestra: Rameau: La Naissance d'Osiris: VI. Premier et deuxieme tambourin
Instruments of the Orchestra: From a piccolo of the eighteenth century to one of its descendants in the twentieth
Instruments of the Orchestra: Stravinsky: Suite No. 2 for Small Orchestra: II. Valse
Instruments of the Orchestra: A variety of techniques
Instruments of the Orchestra: Flutter-tonguing. But Tchaikovsky got there eighty years before.
Instruments of the Orchestra: Tchaikovsky: The Nutcracker: Act II, No. 2: Scene
Instruments of the Orchestra: From the transverse to the vertical: the Baroque recorder
Instruments of the Orchestra: Telemann: Recorder Suite in A Minor: Menuet II
Instruments of the Orchestra: An unfamiliar, early vision of the instrument
Instruments of the Orchestra: Baston: Naelden, Naelden
Instruments of the Orchestra: The Bachian oboe
Instruments of the Orchestra: Bach: Ein feste Burg ist unser Gott, BWV 80: Duetto: Wie selig sind doch die
Instruments of the Orchestra: Introduction to the cor anglais or 'English horn'
Instruments of the Orchestra: Dvorak: Symphony No. 9, "From the New World": II. Largo
Instruments of the Orchestra: The loneliness of the cor anglais
Instruments of the Orchestra: Sibelius: The Swan of Tuonela
Instruments of the Orchestra: The cor anglais joins the French horn in Haydn.
Instruments of the Orchestra: Haydn: Symphony No. 22, "The Philosopher": I. Adagio
Instruments of the Orchestra: Introduction to the oboe d'amore, beloved of Bach - but also of Ravel
Instruments of the Orchestra: Herrmann: The Egyptian: Violence / Janacek: Taras Bulba: The Death of Ostap
Instruments of the Orchestra: Stravinsky: Petrushka: Peasant with Bear / Berlioz: Symphonie fantastique: V. Songe d'une nuit / Prokofiev: Romeo and Juliet: Act II
Instruments of the Orchestra: As the high clarinets tend to be loud, so the bass tends to be soft
Instruments of the Orchestra: Khachaturian: Gayane Suite No. 1: V. Gayane's Solo
Instruments of the Orchestra: Stravinsky: Petrushka: The Blackamoor / Albeniz: Iberia: Almeria
Instruments of the Orchestra: The range of the normal clarinet parts goes quite high...
Instruments of the Orchestra: Tchaikovsky: The Snow Maiden: Scene 5: Melodrama
Instruments of the Orchestra: ....and quite low.
Instruments of the Orchestra: Prokofiev: Peter and the Wolf: The Cat
Instruments of the Orchestra: The clarinet as concerto soloist
Instruments of the Orchestra: Mozart: Clarinet Concerto in A Major: III. Rondo
Instruments of the Orchestra: But that's not the instrument Mozart wrote it for; this is:
Instruments of the Orchestra: Introduction to the saxophone
Instruments of the Orchestra: Kodaly: Háry János Suite: IV. The Battle and Defeat of Napoleon
Instruments of the Orchestra: The soprano saxophone has quite a different feel to it
Instruments of the Orchestra: Bizet: L'Arlesienne Suite No. 1: II. Minuet
Instruments of the Orchestra: The little sopranino sax goes even higher
Instruments of the Orchestra: The most famous use of the saxophone is in an orchestration by Ravel
Instruments of the Orchestra: Mussorgsky: Pictures at an exhibition: The Old Castle
Instruments of the Orchestra: The saxophone can be quite contagiously good-humoured.
Instruments of the Orchestra: Wiedoeft: Sax-o-phun
Instruments of the Orchestra: The puffa-puffa image of the bassoon
Instruments of the Orchestra: Prokofiev: Peter and the Wolf: Grandfather
Instruments of the Orchestra: The Bachian bassoon, in accompanimental mode
Instruments of the Orchestra: Bach: Weichet nur, betrubte Schatten, BWV 202, "Wedding Cantata": Aria No. 1
Instruments of the Orchestra: Bizet: Carmen Suite No. 1: V. Les Dragons d'Alcala
Instruments of the Orchestra: And Ravel, also in Spanish mode, does likewise
Instruments of the Orchestra: The bassoon as a voice of high seriousness, indeed desolate loneliness
Instruments of the Orchestra: Bax: Symphony No. 3: I. Lento moderato
Instruments of the Orchestra: The eerie bassoon in its highest register
Instruments of the Orchestra: Stravinsky: The Rite of Spring: opening
Instruments of the Orchestra: Stravinsky now draws on its lowest register, lonely and melancholy.
Instruments of the Orchestra: Stravinsky: The Firebird Suite (1919): Berceuse
Instruments of the Orchestra: The bassoon as concerto soloist, avoiding all exaggeration
Instruments of the Orchestra: Molter: Bassoon Concerto in G Minor: III. —
Instruments of the Orchestra: The deep-voiced contra-bassoon, as a fairy-tale beast
Instruments of the Orchestra: The French Horn under its woodwind hat
Instruments of the Orchestra: Nielsen: Wind Quintet, Op. 43: III. Praeludium - Tema con variazioni
Instruments of the Orchestra: Now a more prominent role, in a woodwind quintet from an earlier era
Instruments of the Orchestra: Reicha: Wind Quintet in A Minor, Op. 100, No. 5: II. Andante con variazioni
Instruments of the Orchestra: The horn in harmonious blend with strings in another quintet
Instruments of the Orchestra: Mozart: Horn Quintet in E-Flat Major, K. 407: III. Rondeau
Instruments of the Orchestra: The Trumpet as virtuoso soloist
Instruments of the Orchestra: Bach: Brandenburg Concerto No. 2: III. Allegro assai
Instruments of the Orchestra: The special brilliance of paired trumpets
Instruments of the Orchestra: Vivaldi: Concerto in C for two trumpets, RV 537: I. Allegro
Instruments of the Orchestra: The ceremonial trumpet
Instruments of the Orchestra: Copland: Fanfare for the Common Man
Instruments of the Orchestra: Trumpets and drums - an incomparable alliance
Instruments of the Orchestra: Handel: Messiah: The Trumpet Shall Sound
Instruments of the Orchestra: The versatility of the trumpet, from the most public to the most lonely
Instruments of the Orchestra: Gershwin: Piano Concerto in F: II. Andante con moto - Adagio
Instruments of the Orchestra: Gershwin: An American in Paris / Stravinsky: The Soldier's Tale: The March
Instruments of the Orchestra: Bizet: Carmen Suite No. 2: II. Habanera
Instruments of the Orchestra: The trumpet as the voice of strength and courage
Instruments of the Orchestra: Bizet: Carmen Suite No. 2: IV. Toreador's Song
Instruments of the Orchestra: Stravinsky: Petrushka: The Blackamoor / Prokofiev: Lieutenant Kije Suite: I. The Birth of Kije
Instruments of the Orchestra: Copland: Billy the Kid
Instruments of the Orchestra: The trumpet as character actor
Instruments of the Orchestra: Mussorgsky: Pictures at an Exhibition: Samuel Goldenberg and Schmuyle
Instruments of the Orchestra: The trumpet as the voice of God
Instruments of the Orchestra: Bach: Mass in B minor: Et expecto
Instruments of the Orchestra: The birth of the trombone
Instruments of the Orchestra: Anonymous: Aenmerckt nu hier
Instruments of the Orchestra: The birth of the brass as a family
Instruments of the Orchestra: Gabrieli: Canzon a 12 in Double Echo
Instruments of the Orchestra: The trombone in the eighteenth century
Instruments of the Orchestra: Albrechtsberger: Trombone Concerto in B-Flat Major: III. Finale
Instruments of the Orchestra: Hoser: Romance for trombone and organ / Berlioz: Requiem: Dies Irae
Instruments of the Orchestra: Liszt: Hosannah, S677/R409
Instruments of the Orchestra: The trombones become part of the orchestra
Instruments of the Orchestra: Beethoven: Symphony No. 5: IV. Allegro
Instruments of the Orchestra: The Trombone as caricaturist
Instruments of the Orchestra: Stravinsky: Pulcinella: No. 19: Vivo
Instruments of the Orchestra: Bartok: Concerto for Orchestra: IV. Intermezzo interrotto
Instruments of the Orchestra: The horn and the hunt
Instruments of the Orchestra: Mozart: Horn Concerto No. 4 in E flat, K. 495: III. Rondo
Instruments of the Orchestra: The challenging horn of the Baroque
Instruments of the Orchestra: Rameau: Abaris ou les Boréades: II. Menuet
Instruments of the Orchestra: The scarcity of first-rate players in Handel's time
Instruments of the Orchestra: Handel: Water Music: Suite No. 1 in F Major, HWV 348: Menuet
Instruments of the Orchestra: Stravinsky: The Firebird Suite (1919): Finale
Instruments of the Orchestra: Horns and the sound of nobility
Instruments of the Orchestra: Wagner: Tannhauser: Overture (opening)
Instruments of the Orchestra: The special sound of the horn in its higher register
Instruments of the Orchestra: Bach: Mass in B Minor: Quoniam tu solus sanctus
Instruments of the Orchestra: The trumpet-like sound of massed horns
Instruments of the Orchestra: Mahler: Symphony No. 3: I. Kraftig (opening)
Instruments of the Orchestra: The tuba - unfairly maligned?
Instruments of the Orchestra: Prokofiev: Symphony No. 6: III. Vivace
Instruments of the Orchestra: The tuba perfectly cast by Ravel
Instruments of the Orchestra: Mussorgsky: Pictures at an Exhibition: Bydlo
Instruments of the Orchestra: Introduction. And we begin with a bang.
Instruments of the Orchestra: Copland: Fanfare for the Common Man / Beethoven: Wellington's Victory, Op. 91 (opening)
Instruments of the Orchestra: At the opposite extreme is the triangle.
Instruments of the Orchestra: Liszt: Piano Concerto No. 1 in E-Flat Major: Scherzo
Instruments of the Orchestra: Categories of percussion: tuned and untuned. The side drum
Instruments of the Orchestra: Rossini: La gazza ladra (The Thieving Magpie): Overture (opening)
Instruments of the Orchestra: Nielsen: Clarinet Concerto (opening)
Instruments of the Orchestra: The tambourine. One of the oldest instruments in the world
Instruments of the Orchestra: Anonymous: Den hoboecken dans
Instruments of the Orchestra: Even older is the originally oriental gong.
Instruments of the Orchestra: Ravel: Ma Mere l'oye (Mother Goose): Laideronette
Instruments of the Orchestra: Satie: Gymnopedie No. 2
Instruments of the Orchestra: Elgar: The Sanguine fan / Cymbals clashed softly / Cymbals struck singly / Cymbals stroked with wire brushes
Instruments of the Orchestra: Ravel: Piano Concerto in G Major (opening) / Tchaikovsky: The Nutcracker: Act I Scene 5
Instruments of the Orchestra: Wood blocks
Instruments of the Orchestra: Copland: Rodeo: IV. Hoe-Down
Instruments of the Orchestra: Glinka: Jota aragonesa
Instruments of the Orchestra: Monteverdi: Scherzi musicali: Damigella tutta bella
Instruments of the Orchestra: A still earlier example from fifteenth-century Spain
Instruments of the Orchestra: Traditional: Yo m'enamori d'un aire
Instruments of the Orchestra: The birth of the bongo
Instruments of the Orchestra: Bernstein: West Side Story (Symphonic Dances)
Instruments of the Orchestra: Verdi: II Trovatore: Act II: Anvil Chorus
Instruments of the Orchestra: Grofe: Grand Canyon Suite: III. On the Trail / Varese: Arcana
Instruments of the Orchestra: Moncayo: Huapango
Instruments of the Orchestra: Onwards to the tuned percussion. First, the timpani
Instruments of the Orchestra: Strauss: Also sprach Zarathustra: Introduction
Instruments of the Orchestra: Mahler: Symphony No. 2, "Resurrection'": III. In ruhig fliessender Bewegung
Instruments of the Orchestra: Grofe: Grand Canyon Suite: I. Sunrise / Berlioz: Symphonie fantastique: V. Songe d'une nuit de Sabbat
Instruments of the Orchestra: Taking advantage of tunability
Instruments of the Orchestra: Bartok: Music for Strings, Percussion and Celesta: II. Allegro
Instruments of the Orchestra: Shchedrin: Carmen Suite: IV. Changing of the Guard
Instruments of the Orchestra: Shchedrin: Carmen Suite: V. Carmen's Entrance and Habanera
Instruments of the Orchestra: Saint-Saens and the xylophone
Instruments of the Orchestra: Saint-Saens: The Carnival of the Animals: Fossils
Instruments of the Orchestra: Ravel and the xylophone
Instruments of the Orchestra: Shchedrin: Carmen Suite: III. First Intermezzo
Instruments of the Orchestra: Introducing the vibraphone
Instruments of the Orchestra: Steiner: The Treasure of the Sierra Madre: Narange dolce
Instruments of the Orchestra: Introducing the Hungarian cimbalom
Instruments of the Orchestra: Traditional: Folk Dances
Instruments of the Orchestra: The cimbalom and the symphony orchestra
Instruments of the Orchestra: Kodaly: Háry János Suite : III. Song
Instruments of the Orchestra: Introducing the tubular bells
Instruments of the Orchestra: Kodaly: Háry János Suite: II. Viennese Musical Clock
Instruments of the Orchestra: A more "up-front" approach from Rodion Shchedrin
Instruments of the Orchestra: Shchedrin: Carmen Suite: I. Introduction
Instruments of the Orchestra: Vaughan Williams: Symphony No. 7, "Sinfonia antartica": I. Prelude
Instruments of the Orchestra: Introducing the celesta
Instruments of the Orchestra: Tchaikovsky: The Nutcracker: Dance of the Sugar Plum Fairy
Instruments of the Orchestra: Magic, in the use of collective percussion
Instruments of the Orchestra: Ravels: Miroirs: V. La vallee des cloches
Instruments of the Orchestra: Shchedrin: Carmen Suite: VI. Scene
Instruments of the Orchestra: Tchaikovsky: The Nutcracker: Act II: Scene / Liszt: Hungarian Rhapsody No. 1
Instruments of the Orchestra: The traditionally subservient role of the harpsichord in the Baroque orchestra
Instruments of the Orchestra: Bach: Brandenburg Concerto No. 2: II. Andante
Instruments of the Orchestra: Saint-Saens: Symphony No. 3, "Organ": II. Allegro moderato
Instruments of the Orchestra: Stravinsky: Petrushka: Russian Dance
Instruments of the Orchestra: The anti-Romantic piano as an integral part of the orchestra
Instruments of the Orchestra: Bartok: Music for Strings, Percussion and Celesta: IV. Allegro molto
Instruments of the Orchestra: Keyboard instruments in the orchestra - the most powerful of them all:
Instruments of the Orchestra: Saint-Saens: Symphony No. 3, "Organ": II. Presto
Instruments of the Orchestra: But things in Handel's day were very different.
Instruments of the Orchestra: Handel: Organ Concerto in B-Flat Major, Op. 4, No. 3: IV. Gavotte
Instruments of the Orchestra: The organ is difficult to classify.
Instruments of the Orchestra: An unexpected, organ-related guest
Instruments of the Orchestra: Boismortier: Concerto pour Zampogna: III. Allegro
Instruments of the Orchestra: Peasant-fancying… and a touch of the roaming cowboy
Instruments of the Orchestra: Schoenberg: Les Miserables: Drink with Me
Instruments of the Orchestra: Mozart: German Dance, K. 603, No. 3
Instruments of the Orchestra: Mahler: Symphony No. 4: I. Bedachtig, nicht eilen
Instruments of the Orchestra: Mahler: Symphony No. 6, "Tragic": I. Heftig, aber markig
Instruments of the Orchestra: Anderson: The Typewriter / Satie: Parade
Instruments of the Orchestra: Varese: Integrales / Gershwin: An American in Paris / Anderson: Sandpaper Ballet
Instruments of the Orchestra: Strauss: Don Quixote: Variation VIII
Instruments of the Orchestra: Rodrigo: Concierto de Aranjuez: III. Allegro gentile
Instruments of the Orchestra: Seeger / Hays: Washington Breakdown
Instruments of the Orchestra: Steiner: The Treasure of the Sierra Madre: Packing Up
Instruments of the Orchestra: Prokofiev: Romeo and Juliet: Act II: No. 14
Instruments of the Orchestra: Steiner: The Treasure of the Sierra Madre: EI Desayuno
Instruments of the Orchestra: The bongos and the congas and a whole wealth of other drums from Africa and Central America
Instruments of the Orchestra: Evening Raga: Bhapoli
Instruments of the Orchestra: Ferre: Paris cancaille
Instruments of the Orchestra: Karas: The Third Man: Theme
Instruments of the Orchestra: Albeniz: Rondena
Instruments of the Orchestra: Traditional: Svetit Mesiats
Instruments of the Orchestra: Debussy: Nocturnes: III. Sirenes
Instruments of the Orchestra: Instruments and the imitation of nature. The clarinet as cuckoo
Instruments of the Orchestra: Saint-Saens: The Carnival of the Animals: The Cuckoo
Instruments of the Orchestra: The flute as an all-purpose aviary
Instruments of the Orchestra: Saint-Saens: The Carnival of the Animals: The Aviary
Instruments of the Orchestra: The oboe as duck
Instruments of the Orchestra: Prokofiev: Peter and the Wolf: The Duck
Instruments of the Orchestra: The recording of reality. Does it work as well?
Instruments of the Orchestra: Respighi: The Pines of Rome: III. The Pines of the Janiculum
Instruments of the Orchestra: The recording of reality electronically reborn in new guises
Instruments of the Orchestra: Rautavaara: Cantus Arcticus, "Concerto for Birds and Orchestra": II. Melankolia (Melancholy)
Instruments of the Orchestra: Beethoven turns avian: cuckoo, nightingale, and quail
Instruments of the Orchestra: Beethoven: Symphony No. 6, "Pastoral": II. Szene am Bach
Instruments of the Orchestra: Some importable casting: the violin as braying donkey
Instruments of the Orchestra: Saint-Saens: The Carnival of the Animals: Persons with Long Ears
Instruments of the Orchestra: A truly orchestral hee-haw to be reckoned with
Instruments of the Orchestra: Mendelssohn: A Midsummer Night's Dream: Overture
Instruments of the Orchestra: A thunderstorm in a million
Instruments of the Orchestra: Beethoven: Symphony No. 6, "Pastoral": IV. Gewitter, Sturm
Instruments of the Orchestra: The instrumental depiction of a silent world
Instruments of the Orchestra: Saint-Saens: The Carnival of the Animals: The Aquarium
Instruments of the Orchestra: Saint-Saens' menagerie takes a curtain call
Instruments of the Orchestra: Saint-Saens: The Carnival of the Animals: Finale
Instruments of the Orchestra: The grouping of instrumental families. An additive approach. First, two violins.
Instruments of the Orchestra: Bartok: 44 Duos: IV. Midsummer Night Song
Instruments of the Orchestra: A greater contrast, of both pitch and character, violin and viola
Instruments of the Orchestra: Mozart: Duo for Violin and Viola in B-Flat Major, K. 424: finale: variations 1 and 2
Instruments of the Orchestra: Arrival at the standard string trio: violin, viola and cello
Instruments of the Orchestra: Schubert: String Trio in B-Flat Major: III. Menuetto
Instruments of the Orchestra: The string quartet: two violins, viola and cello
Instruments of the Orchestra: Beethoven: String Quartet in F Major, Op. 18, No. 1: III. Scherzo
Instruments of the Orchestra: The string quintet - when the extra instrument is a second viola
Instruments of the Orchestra: Mozart: String Quintet No. 5 in D Major, K. 593: II. Adagio
Instruments of the Orchestra: The string quintet - when the extra instrument is a second cello
Instruments of the Orchestra: Schubert: String Quintet in C Major: III. Scherzo
Instruments of the Orchestra: The string sextet: two violins, two violas, and two cellos
Instruments of the Orchestra: Brahms: String Sextet No. 1 in B-Flat Major: II. Andante ma moderato
Instruments of the Orchestra: The string octet: the standard string quartet times two
Instruments of the Orchestra: Mendelssohn: Octet in E-Flat Major, Op. 20: movement 1
Instruments of the Orchestra: Double the string octet: a fully fledged string orchestra
Instruments of the Orchestra: Mendelssohn: String Symphony No. 2: III. Allegro vivace
Instruments of the Orchestra: The massed strings of a symphony orchestra
Instruments of the Orchestra: Vaughan Williams: Fantasia on a Theme of Thomas Tallis
Instruments of the Orchestra: Contrasts of pitch and instrumental 'colour' in the woodwind section
Instruments of the Orchestra: Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Theme
Instruments of the Orchestra: In the First Variation it's the horn that gets the lion's share
Instruments of the Orchestra: Reicha: Wind Quintet in A Minor, Op. 100, No. 5: Variation 1
Instruments of the Orchestra: In Variation Two the torch is handed to the bassoon
Instruments of the Orchestra: In Variation Three the oboe leads
Instruments of the Orchestra: Variation Four: conversation before returning to a solo-dominated texture
Instruments of the Orchestra: And Variation Five is dominated by the clarinet
Instruments of the Orchestra: The next to be featured is the virtuoso flute.
Instruments of the Orchestra: Individual farewells and a closing chorus
Instruments of the Orchestra: A mixed group: clarinet, bassoon, horn, string quartet, and double-bass
Instruments of the Orchestra: Schubert: Octet in F Major, D. 803: III. Trio
Instruments of the Orchestra: The early classical symphony orchestra of Haydn and Mozart
Instruments of the Orchestra: Mozart: Symphony No. 29 in A Major, K. 201: IV. Allegro con spirito
Instruments of the Orchestra: Strings, wind, but no brass. What Haydn and Mozart never knew
Instruments of the Orchestra: Gabrieli: Canzon 28
Instruments of the Orchestra: Beethoven's Fifth: two horns, two trumpets, and three trombones join the team
Instruments of the Orchestra: From Beethoven to the massive orchestras of Berlioz, Wagner, and Mahler
Instruments of the Orchestra: Beethoven changed the face of the symphony and the orchestra forever.
Instruments of the Orchestra: The cult of orchestral elephantiasis reaches its peak
Instruments of the Orchestra: Brian: Symphony No. 1, "Gothic": VI. Te ergo quaesumus
Instruments of the Orchestra: When large doesn't necessarily mean loud: Debussy
Instruments of the Orchestra: Debussy: Images: I. Gigues
Instruments of the Orchestra: A crisis of confidence; the orchestra's survival hangs in the balance, but it still develops. The ondes martenot:
Instruments of the Orchestra: Messiaen: Turangalila Symphony: II. Chant d'amour I
Instruments of the Orchestra: The advent of the "early music" movement brings a new vitality and freshness
Instruments of the Orchestra: Lully: Ballet de Xerxes: Gavotte en rondeau
Instruments of the Orchestra: Computer and synthesiser: friends or foes?
Instruments of the Orchestra: Bach: Mass in B Minor: Dona nobis pacem
℗© 2002 Naxos

redpajama_set_name: RedPajamaCommonCrawl


text:
Compliance Monitors
Affiliated Monitors, Inc.
Paul Hastings
Hui Chen
Nathaniel B. Edmonds
Eric Feldman
The DOJ's "New" Monitor Policy: Carefully Selected Monitors, Thoughtfully Scoped Monitorships
Nicole Di Schino
Announcing the DOJ's new policy on the Selection of Monitors in Criminal Division Matters, Assistant Attorney General Brian Benczkowski promised that monitors will only be assigned when "necessary" to ensure compliance and prevent misconduct. The DOJ, he said, will also work to ensure that monitorships are "appropriately tailored to address the specific issues and concerns that created the need for the monitor." This article, the second in our series on the new policy, examines the DOJ's plans to tailor the scope of monitorships and details the monitor-selection process, both of which should bring comfort to companies. Our first article examined how the Policy instructs prosecutors to weigh the costs and benefits of a monitor and the Policy's emphasis not just on remediation, but also on testing new compliance controls. See "LBI and Its Monitor Discuss Getting the Most Out of a Monitorship" (Aug. 2, 2017).


text:
Select a City All Cities Antwerp Basel Berlin Brisbane Chicago Cologne London Los Angeles Mexico City Milan New York Paris Pittsburgh Toronto Washington
PRINT January 2000
Matthew Tickle
The English landscape is one of the most worked over in the world—barely a square inch of it has escaped the attention of landowners and developers. Arguably, England's most important and ambitious contribution to the visual arts is "garden design," whereby entire forests, hills, and lakes can be created and destroyed in the twinkling of an eye.
Matthew Tickle seems to confront that state of affairs head-on in his new installation, ironically titled IDYLL, 1999. Tickle created a mock woodland in Matt's Gallery, an installation space on the ground floor of a former industrial building in London's East End. Entering the gallery, one was stopped in one's tracks by a mass of light-brown plywood columns (sixty-three in all), distributed in such a way that they simulated the irregular distribution of trees in a forest. The columns extended from floor to ceiling and were rectangular, almost square in circumference, their proportions echoing the two concrete pillars supporting the ceiling.
The far wall of the gallery is pierced by a tall window, which looks out over a canal and, beyond that, toward a wasteland presided over by derelict gas cylinders. Since the installation was not artificially lit (Tickle removed the lighting system), its appearance was affected by the time of day and the weather. In the evening, floodlights mounted on the exterior of the building lent IDYLL an eerie, backlit glow.
One of the main virtues of Tickle's installation lies in our uncertainty of whether his mise-en-scène represents a colonization of "white cube" industrial architecture by nature, or the cultivation of nature by means of a Minimalist topiary. Is this the revenge of nature or the revenge of culture? The easiest answer would be to say that it is a peculiarly modern accommodation between the two. One thinks of those postwar mass-housing developments, in which enormous high-rises are situated in "picturesque" clusters amid landscaped parks.
IDYLL wasn't configured quite like that, though, for some of Tickle's columns were packed uncomfortably close together. Moreover, the "nature" analogy implies that the columns could keep multiplying until the space became claustrophobic, even inaccessible. We are surely meant to feel the sort of anxiety that Surrealist writer Louis Aragon expressed in Le Paysan de Paris (1924) in relation to the erection of statues. Aragon feared a Malthusian explosion of public sculpture, which would eventually make it impossible to move through the streets and fields: "Humanity will perish from statuemania, that's what. The god of Jews, who feared competition, knew what he was doing when he prohibited graven images. Great private symbols exercising their concrete power over the world." IDYLL, too, is about the struggle for personal space in the world.
—James Hall


Largest collection of pre-Raphaelite art outside the U.K. Embracing the idea that pre-industrial art was more creatively honest than that of mid-19th-century England, this group of artists held a new, romanticized world view that led to both the Aesthetic and English Arts and Crafts Movements. See works by Dante Gabriel Rossetti, Edward Burne-Jones, Frederick Sandys, and others.


Customer-focused, friendly and enthusiastic Associate with a solid background inbusiness ownership, customer service, and team oriented environment.?Desires a position as Sales Representative.
Owned and Operated Antique store/ Flea Market and all duties required to manage a business.
Where can I find a WV Radio Corporation Housekeeping resume example in Beverly, West Virginia ?
This is an actual resume example of a Housekeeping who works in the Account Management Industry. LiveCareer has 47604 Account Management resumes in its database. LiveCareer's Resume Directory contains real resumes created by subscribers using LiveCareer's Resume Builder.


text:
Tolent to build first residential phase at Kirkstall Forge
Mark Casci
Published: 08:31 Monday 18 March 2019
Contractor Tolent has won the bid to build the first residentital phase at Kirkstall Forge in Leeds.
Led by CEG, Kirkstall Forge is a £400 million project in Leeds that will see over 1,000 new homes and 400,000 sq ft of offices, retail, leisure and community spaces being developed.
Tolent will initally work on two prototype houses, to be completed this summer and, once finished, members of CEG's design team will move into the three and five-bed homes and test out the living experience.
Following their feedback, improvements will be made to finesse the final product before continuing with the first phase of 112 contemporary homes, which were designed by Stirling Prize winner Feilden Clegg Bradley Studios.
Regional Director for Tolent, John Currie, said: "This is another great win for the team which really shows the depth of experience and expertise we have as a national construction firm.
"With such a significant and visionary project that is already winning awards, we're looking forward to being a part of this legacy for Leeds as well as the innovative prototype housing which is something new for us."
James Shimwell, head of residential development at Kirkstall Forge, said: "This innovative way of delivering prototype housing follows the attention to detail we have paid to everything we are delivering at Kirkstall Forge.
"By testing every detail we can ensure we best complement Feilden Clegg Bradley Studios' inspiring design, which maximises the acres of green space and waterfront opportunity."
CEG's decision to ensure Kirkstall Forge is 'Different by Design' has paid off to date; with the opening of a new railway station connecting this development site to Leeds City Centre in just six minutes, followed swiftly by a 110,000 sq ft office development which was 90% let less than a year from completion, securing the prestigious British Council of Offices best UK 'Commercial Workplace' award.
Tolent, a north-east based national contractor, has been working across the Leeds and wider Yorkshire area since 1990, delivering a variety of contracts from industrial, leisure and more recently student accommodation.
Blackfriar: Team17 is a great Yorkshire success story


text:
MusicalCriticism.com
The new source for concert and opera reviews, articles and interviews on the web
Search MusicalCriticism.com
ROH Heritage: Verdi: Il trovatore | Wagner: Parsifal
Jones, Simionato, Prevedi, Glossop/Guilini (ROHS011) | Shuard, Vickers, Hendrikx/Goodall (ROHS012)
George Bernard Shaw said of Verdi's Il Trovatore 'He who thinks that Il Trovatore can be performed without taking it with the most tragic solemnity is, for all the purposes of romantic art, a fool…'. The opera is frequently and freely criticized, mostly for the libretto which many find risible, but also for some musical moments which appear, if one neglects to consider all the elements required for a successful piece of lyric theatre, crass.
Thankfully, Carlo Maria Giulini appears to have shared Shaw's sentiments about the work, and the performance released by the Royal Opera House Heritage Series, given on 26 November 1964, is near ideal from the point of view of the conducting. Giulini brings a marvelous sense of rhythmic precision to the score with excellently judged tempi and carefully balanced dynamics which serve Verdi and the cast very well. There is an inevitability about the progression from one scene to the next which is difficult to achieve in what people think of as a 'number opera', and Shaw's 'tragic solemnity' is indeed the best way to describe the mood which prevails as one moves inexorably towards the dreadful dénouement. Giulini keeps a tight rein, so that tension is increased and sustained, but matters never become frantic as is so often the case in performances of Trovatore, for instance in the Act I trio between Il Conte di Luna, Leonora and Manrico. It is a tremendous credit to the Orchestra of the Royal Opera House that they have the skill to deliver all the detail that Giulini demands with startling accuracy and spirit.
Vocally, the performances are for the most part very strong without being the unqualified success that would make this a 5 star recording. The premiere of this Trovatore has been famous for a long time as the occasion on which the great Welsh dramatic soprano, Dame Gwyneth Jones, achieved major prominence, substituting for the originally announced Leontyne Price at short notice. Alan Blyth, in his liner notes which accompany this release, describes Jones as being 'at her absolute peak at this stage of her career'. This seems a little unfair, as she wasn't so long out of music college, and had a further thirty or so years of major international success ahead of her. It is true, however, that vocally she is an absolute paragon of Italianate style, which did not remain the case for her whole career, and her vibrato is far less noticeable than it became even ten years later. Those with an aversion to Jones's less reliable singing in later years will be pleasantly surprised to hear the ease, security and sheer beauty of sound on display here – indeed, she had much in common with Price at this point of her career. Unfortunately though, she is also far less dramatically involving than one has come to expect from her, or than one would like from a great Leonora. One cannot fail to be impressed by the singing, but one is not swept away by the passion that ought to be on display from this heroine in extremis.
The opposite is the case with the Azucena on this recording, Giulietta Simionato, who had been on the operatic stage for over 30 years by 1964, and who retired just 2 years later in 1966. Azucena had been something of a signature role for Simionato, and her experience shows in her enthralling interpretation, but the voice itself sounds a little thin and lacks the lustre and squillo present in earlier years, such as her Giovanna opposite Gencer in the Anna Bolena broadcast of 1958. One suspects that live in the theatre, the signs of age in Simionato's vocal estate may have mattered less, but the role is absolutely pivotal and carries several large scenes in the opera, so for the listener at home, the lack of facility and bloom in the voice makes her portrayal a little unrewarding.
As has been remarked by more than one commentator, if a singer like Bruno Prevedi, who sings Manrico, emerged today, he would instantly be fast-tracked to the top rank of international opera singers. In an age where Corelli, Del Monaco, Bergonzi, Di Stefano, Pavarotti and Domingo were active, Prevedi was thought of as nothing terribly special. His voice had a beautiful colour, he was very involved dramatically and he was absolutely on top of all the considerable challenges presented by the role of Manrico. Here, he gives a beautifully phrased account of 'Ah! sì, ben mio' followed by a muscular and idiomatic 'Di quella pira', qualities which he also brings to all his duets and ensembles.
Peter Glossop is a reliable and high quality Conte di Luna who inspires Jones to a greater level of involvement in their Act IV duet than she displays elsewhere during the opera. All the small roles are sufficiently stylish and well sung. There are some standard cuts, such as the second verse of 'Di quella pira', but there is also the welcome inclusion of Leonora's 'Tu vedrai' which has often been omitted in performances of the work. The sound is as good as one can reasonably expect, and stage noise is at a minimum.
With a running time of almost 4 hours and 45 minutes, this new release of Wagner's Parsifal, given on 8 May 1971, is over an hour longer than 2 other live recordings I have to hand, and is indeed one of the longest on record. Upon listening to the Act I Prelude, the number of glaringly obvious split notes from the brass can't help but make one feel a little pang of pity for the audience, knowing they were in for a very long night. But if Reginald Goodall's quest for an ethereal quiet and stasis made his orchestra tense to start with, by the end of the prelude everybody appears to have settled into the part they have to play in realising Goodall's vision, and a certain understated orchestral sumptuousness from everybody, including the brass, quickly becomes one of the defining characteristics of this performance. Although an essay in the liner notes that accompany the release, written by John Deathridge, says that 'it is still difficult to imagine [Wagner] approving of Goodall's first act, which is surely much too long, and indeed constantly verges on incoherence', I found that one gets used to the unusually slow tempi fairly quickly, and accepts them, an experience familiar from many of Otto Klemperer's recordings.
Wagner's music is of course immensely difficult to sing from many points of view, but one thing it does tend to have is an abundance of places to breathe, which means the slow tempi do not necessarily pose the singers with the problems that might arise were they to be faced with the same situation in Mozart or Verdi. The musical environment created by Goodall therefore allows his artists to create immensely detailed characterisations, which suits this cast particularly well.
As Gurnemanz, the Belgian bass Louis Hendrikx brings a beautiful voice, magnificent, elegant gravitas, and something akin to a Lieder singer's attention to text, although it is interesting to note that Hendrikx in fact sang very few Lieder during his career. His operatic debut came as late as 1963, but he quickly made Wagner the cornerstone of his repertoire and his experience with the role shows in this brilliantly nuanced performance.
Amy Shuard, one of Covent Garden's post-war resident dramatic sopranos who deserves to be better remembered than she is, presents a Kundry of fascinating depths. The voice is perhaps not as immediately seductive or glamorous as some who have been acclaimed in the role, but she certainly delves into the character and phrases beautifully, rising to some thrilling climactic high notes in Act II.
Like Shuard, the voice of Jon Vickers has been surpassed in terms of beauty by other interpreters of the title role, but Vickers really seems to get to the heart of the matter, as far as one can with Parsifal. Somehow, one always feels he is creating something very specific, be it during the character's sprawling introspection, active discourse or passionate outbursts. He is on excellent form in this performance in terms of pure vocal production, injecting more colour into his often rather dry timbre than elsewhere in his discography. Vickers is amongst those singers where one is told one had to experience the voice live in order to appreciate its greatness, but it is a credit to the quality and 'style' of the sound on this recording that the greatness somehow comes across.
Such illustrious names as Norman Bailey, Michael Langdon and Donald McIntyre round out a cast of principals notable for being what one might call thinking man's singers. Of the smaller roles, the young Kiri Te Kanawa as the first flower maiden is in such lustrous, fresh voice that the impact is quite distracting, and the other five flower maidens suffer quite badly by comparison, although they do have more of a sense of style than their glamorous colleague. Te Kanawa certainly got noticed in contemporary reviews of the performances, and it is fascinating to have this document of her early years in the Covent Garden ensemble, just months ahead of her shooting to stardom as the Countess in Le Nozze di Figaro later in 1971.
This Parsifal is not without its idiosyncrasies. Shuard lacks the refulgence of other Kundrys like Gwyneth Jones or Christa Ludwig, and there are Parsifals with more alluring voices, such as James King and Placido Domingo. But I have yet to hear a recording that continues to reveal so much on repeated listening. Vickers, in fairly typical self-congratulatory mode, said in his now famous interview with Brice Duffie 'I can assure you that the Parsifal at Covent Garden [is] talked about to this day' and the release of this recording will ensure that his assertion remains the case for a long time yet.
By John Woods
©MusicalCriticism.com 2008
OPERA REVIEW: Die Frau ohne Schatten at ROH
OPERA REVIEW: Handel's Rodelinda at ENO
OPERA REVIEW: Donizetti's La Fille du regiment at ROH
CONCERT REVIEW: The OAE and Sigiswald Kuijken


text:
Q: spark NullPointerException when doing collect() I'm trying to do some testing on my development environment with Spark 2.2 in standalone setup.
I read a csv file using databricks library then I create temp view.
After I run a select statement using spark.sql().
If I do collect() on that DataFrame or any other later operation that requires spawning executors, I receive NullPointerException.
I use the spark-shell BTW.
this is the code I use:
val dir = "Downloads/data.csv"
val da = spark.read.format("com.databricks.spark.csv").option("header", "true").load(dir)
da.createOrReplaceTempView("data")

val product = spark.sql("select product from data where length(product) >0")

product.collect()

And this is the stack trace:
[Stage 1:>                                                          (0 + 1) / 3]17/09/03 03:36:34 ERROR Executor: Exception in task 0.0 in stage 1.0 (TID 1)
java.lang.NullPointerException
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser.org$apache$spark$sql$execution$datasources$csv$UnivocityParser$$convert(UnivocityParser.scala:194)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser.parse(UnivocityParser.scala:191)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$5.apply(UnivocityParser.scala:308)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$5.apply(UnivocityParser.scala:308)
        at org.apache.spark.sql.execution.datasources.FailureSafeParser.parse(FailureSafeParser.scala:60)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$parseIterator$1.apply(UnivocityParser.scala:312)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$parseIterator$1.apply(UnivocityParser.scala:312)
        at scala.collection.Iterator$$anon$12.nextCur(Iterator.scala:434)
        at scala.collection.Iterator$$anon$12.hasNext(Iterator.scala:440)
        at scala.collection.Iterator$$anon$11.hasNext(Iterator.scala:408)
        at org.apache.spark.sql.execution.datasources.FileScanRDD$$anon$1.hasNext(FileScanRDD.scala:105)
        at org.apache.spark.sql.catalyst.expressions.GeneratedClass$GeneratedIterator.processNext(Unknown Source)
        at org.apache.spark.sql.execution.BufferedRowIterator.hasNext(BufferedRowIterator.java:43)
        at org.apache.spark.sql.execution.WholeStageCodegenExec$$anonfun$8$$anon$1.hasNext(WholeStageCodegenExec.scala:395)
        at org.apache.spark.sql.execution.SparkPlan$$anonfun$2.apply(SparkPlan.scala:234)
        at org.apache.spark.sql.execution.SparkPlan$$anonfun$2.apply(SparkPlan.scala:228)
        at org.apache.spark.rdd.RDD$$anonfun$mapPartitionsInternal$1$$anonfun$apply$25.apply(RDD.scala:827)
        at org.apache.spark.rdd.RDD$$anonfun$mapPartitionsInternal$1$$anonfun$apply$25.apply(RDD.scala:827)
        at org.apache.spark.rdd.MapPartitionsRDD.compute(MapPartitionsRDD.scala:38)
        at org.apache.spark.rdd.RDD.computeOrReadCheckpoint(RDD.scala:323)
        at org.apache.spark.rdd.RDD.iterator(RDD.scala:287)
        at org.apache.spark.scheduler.ResultTask.runTask(ResultTask.scala:87)
        at org.apache.spark.scheduler.Task.run(Task.scala:108)
        at org.apache.spark.executor.Executor$TaskRunner.run(Executor.scala:335)
        at java.util.concurrent.ThreadPoolExecutor.runWorker(ThreadPoolExecutor.java:1142)
        at java.util.concurrent.ThreadPoolExecutor$Worker.run(ThreadPoolExecutor.java:617)
        at java.lang.Thread.run(Thread.java:745)
17/09/03 03:36:35 WARN TaskSetManager: Lost task 0.0 in stage 1.0 (TID 1, localhost, executor driver): java.lang.NullPointerException
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser.org$apache$spark$sql$execution$datasources$csv$UnivocityParser$$convert(UnivocityParser.scala:194)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser.parse(UnivocityParser.scala:191)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$5.apply(UnivocityParser.scala:308)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$5.apply(UnivocityParser.scala:308)
        at org.apache.spark.sql.execution.datasources.FailureSafeParser.parse(FailureSafeParser.scala:60)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$parseIterator$1.apply(UnivocityParser.scala:312)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$parseIterator$1.apply(UnivocityParser.scala:312)
        at scala.collection.Iterator$$anon$12.nextCur(Iterator.scala:434)
        at scala.collection.Iterator$$anon$12.hasNext(Iterator.scala:440)
        at scala.collection.Iterator$$anon$11.hasNext(Iterator.scala:408)
        at org.apache.spark.sql.execution.datasources.FileScanRDD$$anon$1.hasNext(FileScanRDD.scala:105)
        at org.apache.spark.sql.catalyst.expressions.GeneratedClass$GeneratedIterator.processNext(Unknown Source)
        at org.apache.spark.sql.execution.BufferedRowIterator.hasNext(BufferedRowIterator.java:43)
        at org.apache.spark.sql.execution.WholeStageCodegenExec$$anonfun$8$$anon$1.hasNext(WholeStageCodegenExec.scala:395)
        at org.apache.spark.sql.execution.SparkPlan$$anonfun$2.apply(SparkPlan.scala:234)
        at org.apache.spark.sql.execution.SparkPlan$$anonfun$2.apply(SparkPlan.scala:228)
        at org.apache.spark.rdd.RDD$$anonfun$mapPartitionsInternal$1$$anonfun$apply$25.apply(RDD.scala:827)
        at org.apache.spark.rdd.RDD$$anonfun$mapPartitionsInternal$1$$anonfun$apply$25.apply(RDD.scala:827)
        at org.apache.spark.rdd.MapPartitionsRDD.compute(MapPartitionsRDD.scala:38)
        at org.apache.spark.rdd.RDD.computeOrReadCheckpoint(RDD.scala:323)
        at org.apache.spark.rdd.RDD.iterator(RDD.scala:287)
        at org.apache.spark.scheduler.ResultTask.runTask(ResultTask.scala:87)
        at org.apache.spark.scheduler.Task.run(Task.scala:108)
        at org.apache.spark.executor.Executor$TaskRunner.run(Executor.scala:335)
        at java.util.concurrent.ThreadPoolExecutor.runWorker(ThreadPoolExecutor.java:1142)
        at java.util.concurrent.ThreadPoolExecutor$Worker.run(ThreadPoolExecutor.java:617)
        at java.lang.Thread.run(Thread.java:745)

17/09/03 03:36:35 ERROR TaskSetManager: Task 0 in stage 1.0 failed 1 times; aborting job
17/09/03 03:36:35 WARN TaskSetManager: Lost task 1.0 in stage 1.0 (TID 2, localhost, executor driver): TaskKilled (stage cancelled)
org.apache.spark.SparkException: Job aborted due to stage failure: Task 0 in stage 1.0 failed 1 times, most recent failure: Lost task 0.0 in stage 1.0 (TID 1, localhost, executor driver): java.lang.NullPointerException
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser.org$apache$spark$sql$execution$datasources$csv$UnivocityParser$$convert(UnivocityParser.scala:194)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser.parse(UnivocityParser.scala:191)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$5.apply(UnivocityParser.scala:308)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$5.apply(UnivocityParser.scala:308)
        at org.apache.spark.sql.execution.datasources.FailureSafeParser.parse(FailureSafeParser.scala:60)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$parseIterator$1.apply(UnivocityParser.scala:312)
        at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$parseIterator$1.apply(UnivocityParser.scala:312)
        at scala.collection.Iterator$$anon$12.nextCur(Iterator.scala:434)
        at scala.collection.Iterator$$anon$12.hasNext(Iterator.scala:440)
        at scala.collection.Iterator$$anon$11.hasNext(Iterator.scala:408)
        at org.apache.spark.sql.execution.datasources.FileScanRDD$$anon$1.hasNext(FileScanRDD.scala:105)
        at org.apache.spark.sql.catalyst.expressions.GeneratedClass$GeneratedIterator.processNext(Unknown Source)
        at org.apache.spark.sql.execution.BufferedRowIterator.hasNext(BufferedRowIterator.java:43)
        at org.apache.spark.sql.execution.WholeStageCodegenExec$$anonfun$8$$anon$1.hasNext(WholeStageCodegenExec.scala:395)
        at org.apache.spark.sql.execution.SparkPlan$$anonfun$2.apply(SparkPlan.scala:234)
        at org.apache.spark.sql.execution.SparkPlan$$anonfun$2.apply(SparkPlan.scala:228)
        at org.apache.spark.rdd.RDD$$anonfun$mapPartitionsInternal$1$$anonfun$apply$25.apply(RDD.scala:827)
        at org.apache.spark.rdd.RDD$$anonfun$mapPartitionsInternal$1$$anonfun$apply$25.apply(RDD.scala:827)
        at org.apache.spark.rdd.MapPartitionsRDD.compute(MapPartitionsRDD.scala:38)
        at org.apache.spark.rdd.RDD.computeOrReadCheckpoint(RDD.scala:323)
        at org.apache.spark.rdd.RDD.iterator(RDD.scala:287)
        at org.apache.spark.scheduler.ResultTask.runTask(ResultTask.scala:87)
        at org.apache.spark.scheduler.Task.run(Task.scala:108)
        at org.apache.spark.executor.Executor$TaskRunner.run(Executor.scala:335)
        at java.util.concurrent.ThreadPoolExecutor.runWorker(ThreadPoolExecutor.java:1142)
        at java.util.concurrent.ThreadPoolExecutor$Worker.run(ThreadPoolExecutor.java:617)
        at java.lang.Thread.run(Thread.java:745)

Driver stacktrace:
  at org.apache.spark.scheduler.DAGScheduler.org$apache$spark$scheduler$DAGScheduler$$failJobAndIndependentStages(DAGScheduler.scala:1499)
  at org.apache.spark.scheduler.DAGScheduler$$anonfun$abortStage$1.apply(DAGScheduler.scala:1487)
  at org.apache.spark.scheduler.DAGScheduler$$anonfun$abortStage$1.apply(DAGScheduler.scala:1486)
  at scala.collection.mutable.ResizableArray$class.foreach(ResizableArray.scala:59)
  at scala.collection.mutable.ArrayBuffer.foreach(ArrayBuffer.scala:48)
  at org.apache.spark.scheduler.DAGScheduler.abortStage(DAGScheduler.scala:1486)
  at org.apache.spark.scheduler.DAGScheduler$$anonfun$handleTaskSetFailed$1.apply(DAGScheduler.scala:814)
  at org.apache.spark.scheduler.DAGScheduler$$anonfun$handleTaskSetFailed$1.apply(DAGScheduler.scala:814)
  at scala.Option.foreach(Option.scala:257)
  at org.apache.spark.scheduler.DAGScheduler.handleTaskSetFailed(DAGScheduler.scala:814)
  at org.apache.spark.scheduler.DAGSchedulerEventProcessLoop.doOnReceive(DAGScheduler.scala:1714)
  at org.apache.spark.scheduler.DAGSchedulerEventProcessLoop.onReceive(DAGScheduler.scala:1669)
  at org.apache.spark.scheduler.DAGSchedulerEventProcessLoop.onReceive(DAGScheduler.scala:1658)
  at org.apache.spark.util.EventLoop$$anon$1.run(EventLoop.scala:48)
  at org.apache.spark.scheduler.DAGScheduler.runJob(DAGScheduler.scala:630)
  at org.apache.spark.SparkContext.runJob(SparkContext.scala:2022)
  at org.apache.spark.SparkContext.runJob(SparkContext.scala:2043)
  at org.apache.spark.SparkContext.runJob(SparkContext.scala:2062)
  at org.apache.spark.SparkContext.runJob(SparkContext.scala:2087)
  at org.apache.spark.rdd.RDD$$anonfun$collect$1.apply(RDD.scala:936)
  at org.apache.spark.rdd.RDDOperationScope$.withScope(RDDOperationScope.scala:151)
  at org.apache.spark.rdd.RDDOperationScope$.withScope(RDDOperationScope.scala:112)
  at org.apache.spark.rdd.RDD.withScope(RDD.scala:362)
  at org.apache.spark.rdd.RDD.collect(RDD.scala:935)
  at org.apache.spark.sql.execution.SparkPlan.executeCollect(SparkPlan.scala:278)
  at org.apache.spark.sql.Dataset.org$apache$spark$sql$Dataset$$collectFromPlan(Dataset.scala:2853)
  at org.apache.spark.sql.Dataset$$anonfun$collect$1.apply(Dataset.scala:2390)
  at org.apache.spark.sql.Dataset$$anonfun$collect$1.apply(Dataset.scala:2390)
  at org.apache.spark.sql.Dataset$$anonfun$55.apply(Dataset.scala:2837)
  at org.apache.spark.sql.execution.SQLExecution$.withNewExecutionId(SQLExecution.scala:65)
  at org.apache.spark.sql.Dataset.withAction(Dataset.scala:2836)
  at org.apache.spark.sql.Dataset.collect(Dataset.scala:2390)
  ... 48 elided
Caused by: java.lang.NullPointerException
  at org.apache.spark.sql.execution.datasources.csv.UnivocityParser.org$apache$spark$sql$execution$datasources$csv$UnivocityParser$$convert(UnivocityParser.scala:194)
  at org.apache.spark.sql.execution.datasources.csv.UnivocityParser.parse(UnivocityParser.scala:191)
  at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$5.apply(UnivocityParser.scala:308)
  at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$5.apply(UnivocityParser.scala:308)
  at org.apache.spark.sql.execution.datasources.FailureSafeParser.parse(FailureSafeParser.scala:60)
  at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$parseIterator$1.apply(UnivocityParser.scala:312)
  at org.apache.spark.sql.execution.datasources.csv.UnivocityParser$$anonfun$parseIterator$1.apply(UnivocityParser.scala:312)
  at scala.collection.Iterator$$anon$12.nextCur(Iterator.scala:434)
  at scala.collection.Iterator$$anon$12.hasNext(Iterator.scala:440)
  at scala.collection.Iterator$$anon$11.hasNext(Iterator.scala:408)
  at org.apache.spark.sql.execution.datasources.FileScanRDD$$anon$1.hasNext(FileScanRDD.scala:105)
  at org.apache.spark.sql.catalyst.expressions.GeneratedClass$GeneratedIterator.processNext(Unknown Source)
  at org.apache.spark.sql.execution.BufferedRowIterator.hasNext(BufferedRowIterator.java:43)
  at org.apache.spark.sql.execution.WholeStageCodegenExec$$anonfun$8$$anon$1.hasNext(WholeStageCodegenExec.scala:395)
  at org.apache.spark.sql.execution.SparkPlan$$anonfun$2.apply(SparkPlan.scala:234)
  at org.apache.spark.sql.execution.SparkPlan$$anonfun$2.apply(SparkPlan.scala:228)
  at org.apache.spark.rdd.RDD$$anonfun$mapPartitionsInternal$1$$anonfun$apply$25.apply(RDD.scala:827)
  at org.apache.spark.rdd.RDD$$anonfun$mapPartitionsInternal$1$$anonfun$apply$25.apply(RDD.scala:827)
  at org.apache.spark.rdd.MapPartitionsRDD.compute(MapPartitionsRDD.scala:38)
  at org.apache.spark.rdd.RDD.computeOrReadCheckpoint(RDD.scala:323)
  at org.apache.spark.rdd.RDD.iterator(RDD.scala:287)
  at org.apache.spark.scheduler.ResultTask.runTask(ResultTask.scala:87)
  at org.apache.spark.scheduler.Task.run(Task.scala:108)
  at org.apache.spark.executor.Executor$TaskRunner.run(Executor.scala:335)
  at java.util.concurrent.ThreadPoolExecutor.runWorker(ThreadPoolExecutor.java:1142)
  at java.util.concurrent.ThreadPoolExecutor$Worker.run(ThreadPoolExecutor.java:617)
  at java.lang.Thread.run(Thread.java:745)

A: Usually that SQL conditions that compare the result of LENGTH() to zero will not work if the column is NULL.
Please try below
val product = spark.sql("select product from data where length(product) > 0 and product IS NOT NULL")

A: Could you please try this:
val da = spark.read.format("com.databricks.spark.csv").option("header", "true").option("inferSchema", "true").load(dir);

redpajama_set_name: RedPajamaStackExchange


text:
class MyfitnesspalController < ApplicationController
  def index
  end

  def new
  end
end

redpajama_set_name: RedPajamaGithub


text:
ROBERT TAYLOR: A Biography by Charles Tranberg
Alternate Format
"Chuck Tranberg meticulously and painstakingly researched, explored, and carefully chronicled this fascinating time in history. He offers us a glimpse into early Hollywood where the studio system incubated and dominated so many stars, Robert Taylor among them."
-Terry Taylor, son of Robert Taylor, in his introduction to this book.
Robert Taylor was one of Hollywood's biggest stars for over thirty-years and starred in such classic films as Magnificent Obsession, Camille, A Yank at Oxford, Waterloo Bridge, Johnny Eager, Quo Vadis, Ivanhoe and The Last Hunt. He worked with the cream of Hollywood leading ladies: Irene Dunne, Joan Crawford, Greta Garbo, Vivien Leigh,Lana Turner, Katharine Hepburn and Barbara Stanwyck, who he later married, just to name a few. An open and friendly man who usually tried to avoid controversy, Taylor stepped into it when he became a so-called friendly witness appearing before the House Un-American Activities Committee during the height of the Washington investigations into alleged Communism in Hollywood. It has haunted his reputation to this day. A happy second marriage to actress Ursula Thiess produced two children and gave Taylor a contentment he lacked in his earlier marriage. Author Charles Tranberg takes a fresh look at the actor who was once called, "The man with the perfect profile." This book also takes a fascinating look at the Hollywood Studio system which existed during Taylor's hey-day.
Article in the Beatrice Daily Sun


Braces straighten teeth and correct improper bites by gently applying continuous pressure to your teeth over a period of time.
*Monthly payment of $99 does not include a finance charge at an annual percentage rate of 9.4999% that may be applicable. Standard two-year treatment with metal braces in Arizona is $4,199. Standard two-year treatment in California is $4,424; enrollment in a Western Dental plan is required on an annual basis to obtain the pricing stated. Pricing does not apply to Invisalign®. **No money down offer contingent upon credit approval. Depending on credit approval, a down payment of up to 5% of the total treatment plan may be required. Enrollment in Auto-Pay is required. Offer is subject to change, cannot be combined and must be contracted by 04/30/2018.
Invisalign is a method of dental straightening that uses clear plastic trays — no uncomfortable metal wires or clear brackets!
©2017 Western Dental. All Rights Reserved.
Would you like to have straighter teeth and a nicer smile? Everyone notices a great smile and it's never too late to get one! Braces are orthodontic devices that straighten teeth and correct improper bites.
At Western Dental, we offer several types of affordable braces including traditional and Invisalign® clear braces to help you or your loved one achieve a beautiful and memorable smile.
Orthodontic problems like crooked and crowded teeth can become worse if left untreated. Straight teeth help people bite and chew more effectively and contribute to healthier teeth and gums.
Western Dental believes everyone should have access to straight teeth and good dental health, that's why we offer no money down** braces with payment plans as low as $99 a month*. Call us today for a free consultation!
Dr. Maggie Trinh is a Diplomate of the American Board of Pediatric Dentistry and completed her dental school training at the University of California, Los Angeles (UCLA) in 2006. Prior to that, she graduated with a B.S. degree in Biology and a minor degree in Psychology from UC Irvine.
With a caring and compassionate nature, Dr. Maggie has always enjoyed being around kids and knew very early on that she wanted to have a career that involved children After the completion of her dental school from UCLA, Dr. Maggie completed an additional two-year dental specialty program in Pediatric Dentistry at the Lutheran Medical Center in New York.
Dr. Maggie is compassionate and gentle to her patients, her priority is to make each child feel comfortable and at ease during each appointment. She loves to talk to parents in detail about each child's individual needs and stresses the importance of preventive care.
With years of experience and having gone through a post graduate training program with a strong emphasis on treating disabled children, Dr. Maggie is especially prepared to treat children with special needs and autism.


When visiting south Wales recently, my mum and I went for a stroll on a beautiful beach where the tide was far, far out. After ambling about for a time, we suddenly spotted a jellied mound in a shallow pool – a gigantic dead barrel jellyfish. Then we saw one on the sand, and another. They were all over the shore, stranded and alien.
Here's another with Mum's foot beside it for scale.
Imagine encountering an invasion like this. What could have caused it? What might be coming next?


text:
Programs are a prison: Rethinking the fundamental building blocks of computing interfaces
We often hear that Apple's ecosystem of apps (or Microsoft's, or Google's) are "walled gardens". But what about the individual applications themselves?
In fact, individual programs are even more harmful walled gardens - a stifling barrier to true expressiveness, productivity, freedom and consistency of computing experience.
Imagining software beyond apps or webpages or programs
Think about adding up some numbers in a tabular structure. That's straightforward with most programming languages. But what if that same table is in a web page, or a mobile app, or a PDF? It's right there on the screen, it's probably encoded as a table in the markup. So the data is there. And yet, we can't query it.
Maybe if we copy-and-paste it we can query it. Or maybe we can download the page, save it to disk, write code to load the page, parse the table, and dump the data into a database.
But why should we need to do any of those things? Why can't we just query it directly?
There's a wall around each app preventing this sort of thing. A program is in the way, blocking our path to expressiveness and computing freedom. Much like great nations, great software should build bridges, not walls.
What would software look like, beyond standalone applications? What would software look like without walls?
A new kind of object-orientation
Notions of object-oriented programming are long-established and familiar. In the OO heyday there were high hopes that OO would allow much higher levels of expressiveness and encapsulation, and along with it, greater reuse and recombination of code.
This absolutely hasn't eventuated - once again, applications are the problem. Photoshop's codebase and Instagram's codebase no doubt have sophisticated Image objects defined, but each only exists within its gated prison.
A truly expressive system would let us seamlessly apply any filter to any image, but this isn't currently possible.
Each has an entirely separate notion of what Image means and can do - each app essentially rebuilds an object's meaning from the ground up. If we're interested in inter-operability, re-use, and consistency, this is a terrible situation.
We need computing environments where the building blocks are inherently interoperable objects - to interact with directly, without the concept of applications appearing at all.
Currently the most compelling software is that which locks the most functionality within it - in an environment of objects, the most compelling software would be that which exposes the most inter-operable re-combinable functionality to the objects around it.
This is in no way a new or original idea - Alan Kay and friends in the Smalltalk scene have been playing around with such concepts for decades with things like Squeak. And similar ideas have been used quite effectively in business system implementations with naked objects, the notion that a user interface should be directly generated from the objects it represents.
Perhaps the most well-known effort to build richer, consistent meaning into the software experience is the semantic web, however its adoption has been limited.
Whatever the success of these systems, it hasn't led to more general purpose systems being developed around these concepts.
Why not? What are the obstacles and how can we overcome them?
Conway's law
Conway's law has been getting a lot of airing recently - and for good reason. It has a lot of explanatory power for the contemporary state of software.
Conway's law postulates that the structure of software reflects the social structure the software exists within - readily observed in typical corporate websites where the structure mirrors that of the corporate hierarchy rather than around the needs of the users.
But it is at the application and operating system level that Conway's law is most engrained, and most pathological.
The components of the operating system - the core OS itself, its applications, and its websites - are a manifestation of the economic entities that create them.
The boundaries have to be drawn somewhere - Mozilla creates a browser but can't create all the websites you need. Microsoft wants to let you use Windows for 3d modelling but doesn't create that software itself. Same story with the iPhone - even an enormous corporation like Apple needs external app developers to enable the iPhone's range of capabilities.
The solution is sandboxing - processes and containers, browser tabs, phone apps. The code we need for day-to-day computing sits within these sandboxes, and in doing so, imprisons that code, preventing the expressive power and consistency we've mentioned.
Often these apps will have features to integrate with other apps and the wider operating system - but not so much that they become invisible. Instagram still wants you to see its logo, consume its specific content and stay within its ecosystem. Once again, the implementation and architecture are driven by economic imperatives.
We'd like all our conversations to be in one place - but the imperatives have them split between several different protocols (often proprietary) and tens of different software clients.
The hardest technical problems to solve are political problems.
Principles for empowered computing
Better systems must be built along the following principles (for starters):
Widely reusable meaning: Right now our shared "primitives" are very primitive indeed: basics like bytes and sockets. We must build much higher level shared meaning - Images, Tables, Conversations and beyond, building a common implementation and understanding used by everybody. This must not be limited to an optional sprinkling of additional meaning a la the semantic web - shared meaning and interoperability must be baked into the OS as fundamental.
Data without borders: The "things" of computing should be able to talk directly without anything in the way. For instance, any two tables of data available to the user through the OS should be joinable or otherwise combinable as easily as if they were in the same database.
Inherent, ubiquitous programmability: Currently, "doing programming" is a segregated activity from mainstream computing - separate software, command lines, specialist knowledge, clunky text-driven interfaces. This must end. Real expressiveness demands that every entity in the interface is inherently programmable - a table of data shouldn't just be a rendered picture of a table of data - it should be a table. Programming shouldn't be separate at all.
Building something different
There's no doubt these concepts are very broad and open-ended. Beyond the political problem of challenging status quo computing and pushing for an alternative, there are complex design and technical challenges in the specifics.
How do you build ubiquitous programmability into interfaces without adding clutter or reducing usability? How do you remove barriers between programs and more tightly integrate data without compromising security?
Conway's law tells us that to build something different, we need to build upon different social and political structures.
Open-ended research
Short-term commercial realities mean packaging things up in sellable units - escaping the application prison requires the opposite approach. Developing a fresh approach is going to require isolation from the short-term imperatives of the market.
Academia used to offer this. But the relentless march of neoliberalism has seen the open-ended possibilities of research constrained by "business logic", funding processes that demand narrow parameters of investigation, and a creativity-crushing increase in busywork. Peter Higgs of Higgs boson fame famously commented that he wouldn't be productive enough in today's academic environment.
The other bastion of open-ended research was government - the internet itself came from US military research. Here too funding for long term open-ended research has dried up, and even the military money has been more tightly constrained to projects with more obvious, shorter term military application - our amoral powerful would rather spend a trillion building new fighter jet systems than new software systems.
Rare-but-notable efforts like Xerox PARC suffered similar fates, able to fend off the bean-counters for a while but not indefinitely.
Rebooting
The realization that the software experience is still built on artifacts of computing from the 80s like text-based command lines is a lot less surprising considered within the context of this ongoing decline.
Climate change has shown us that mere awareness of the situation we are in isn't enough. Actual liberation from disaster requires a bold change of direction and a acknowledgement of shared, public goals beyond the financial.
Liberation from the constraints of today's limiting computing concepts will require similar boldness - large scale open-ended research, long term timeframes, but most fundamentally, a willingness to change path.
If you have thoughts on these ideas or how to make them happen, I'd love to hear from you. Tweet at me.
If you liked this you might also be interested in my talk: Instant feedback, instant debugging Python coding
djrobstep.com | twitter | github


Oliver Jeffers writes the most amazing children's books which are always pitched at absolutely the right level for pre-school and Key Stage one kids but still accessible for any age. Including those who are 38 *ahem*. Anyway, The Hueys in It Wasn't Me Tells the story of an argument between family members in the most insightful and amusing way.
One of the things my children instantly picked up on, after they had clearly identified with the story was that they could attempt to draw a Huey. Fantastic, as that kept them quiet for quite a long time too!
The children have been asking to read this book over and over again. I think that's high enough praise and I think it would make a perfect gift for any child who has a sibling in particular.
Everyone with a great children's library needs to own an Oliver Jeffers book. If you don't have one rectify the situation immediately!


beautiful bride and the wedding and reception were perfect.
Adam's mom gave her kids fun nicknames that she would use for their scrapbooks and stuff when they were little. When we were dating I loved this and I was so excited because she came up with 3 names for me and told me I could choose which one I liked. The one I chose is Gritty Gretty, always ready, Adam's Betty Mott (now Sheffield). I couldn't resist this one because I loved being referred to as Adam's Betty (I got the nickname before any of that was really talked about). Anyway this was something that was really fun while we were dating. Yesterday Adalynn found out that we both had names and she asked me to make one up for her. This is what I've come up with so far.


text:
Q: How to set up multiple RMI servers on different machines? I have an RMI CalculatorServer and a CalculatorClient class.
For the purpose of load balancing, I want to know how to set up several servers, each on a separate machine, so that multiple clients can access any of the servers.
CalculatorServer.java
public class CalculatorServer implements Serializable{
    public static void main(String[] args) {
        try{
            Registry reg = LocateRegistry.createRegistry(7000);
            CalculatorImpl ci = new CalculatorImpl();
            reg.bind("calc", ci);

            JOptionPane.showMessageDialog(null, "Server Started.");
        }
        catch(RemoteException e){
            System.out.println("Server Remote Exception: "+e);
        }
        catch(AlreadyBoundException e){
            System.out.println("Server Already Bound Exception: "+e);
        }
    }
}

CalculatorClient.java
public class CalculatorClient {
    public static void main(String[] args) {
        Scanner sn = new Scanner(System.in);

        System.out.println("Enter first number :");
        int x = sn.nextInt();
        System.out.println("Enter second number :");
        int y = sn.nextInt();

        try{
            Registry reg = LocateRegistry.getRegistry("127.0.0.1", 7000);
            CalculatorInterface ci = (CalculatorInterface)reg.lookup("calc");

            int sum = ci.add(x, y);

            System.out.println("Sum is: "+sum);
        }
        catch(RemoteException e){
            System.out.println(" Client Remote Exception: "+e);
        }
        catch(NotBoundException e){
            System.out.println(" Client Remote Exception: "+e);
        }
    }
}

A: Assume you have a number of servers (e.g 5). You can populate an arraylist using all 5 IP addresses. Then each time a client makes a request, select a random server IP from the arraylist.
public class generateServerIP {
    public static void main(String args[]){
        ArrayList<String> al = new ArrayList<>();
        al.add("172.62.22.103");
        al.add("172.62.22.123");
        al.add("172.62.22.15");
        al.add("172.62.22.187");
        al.add("172.62.22.110");

        int ip = new Random().nextInt(al.size());
        System.out.println(al.get(ip));
    }
}

To connect to a server use the following:
Registry reg = LocateRegistry.getRegistry(ip, 7000);

The nextInt(int n) method uses uniform distribution, therefore the probability of choosing any ip from the arraylist is equal to the probability of choosing any other ip.


My Dublin South based client is recruiting for a Solutions Consultant to join the existing team. This role is on a permanent basis.
My Dublin South based client is recruiting for a Solutions Consultant to join the existing team. This role is on a permanent basis. The successful candidate should have a minimum of 3 years of experience where the candidate has been part of a team implementing complex systems it could be an ERP or a Finance System which transform business processes.
The successful candidate will report to the Customer Service Manager and will work on customer projects to deliver finance process automation solutions developed by the client. You will be actively involved in the complete project lifecycle from pre-sales, solution design, pilot implementation through to project delivery.
Provide training to clients at both technical and business user levels.
Use your business process experience and analytical skillsets to identify new opportunities for solutions.
Develop and maintain expert technical knowledge of ERP solutions.
Cooperate with Sales to develop and present high-impact demonstrations of solutions, clearly articulating benefits to audiences at all levels from decision makers to end users.


text:
Teen worker tells would-be robber to get out of ST Dunkin' Donuts
Tanzina Haque refused demands for cash from a man believed by cops to have robbed or tried to rob five businesses in Manhattan and Brooklyn. (Photo by Sabina Mollot)
By Sabina Mollot
Police are looking for a senior citizen who's had had limited success in a series of robberies, most recently at the Dunkin' Donuts in Stuyvesant Town.
In that incident, which occurred on Friday, September 8, the man, who's believed to be 65-70 years old, pulled out a kitchen knife and demanded money from an 18-year-old staffer. However, according to the employee who was reached on the phone this week, Tanzina Haque, the robber didn't get it.
According to Haque, the interaction started normally with the man asking about prices of the things he wanted, like a doughnut. But then he took out his knife. At first, Haque said she didn't notice it, so he made a point of telling her he had one while saying, "Give me the money." However, she refused. The robber asked again, and Haque told him to leave. When he still kept asking, Haque said she got louder, again telling him to leave.
"I said, 'I'm going to call the cops.'" Finally, the man gave up and left empty-handed.
Haque added that she wasn't scared because there were a few other people in the store with her, including a woman customer who was behind the man, and also because of his age.
"He was a much older guy," she said, adding, "I thought, he doesn't have a gun. I have time to run."
Stuyvesant Town Dunkin Donuts
In other known incidents in Manhattan, the suspect headed to Coco, a bubble tea and juice spot at 38 Lexington Avenue and East 24th Street, on August 11. He simulated a gun by sticking his hand in his pocket while demanding money from an employee. A day later, he went to Gigi Café at 307 Seventh Street on August 12. He told an employee there he had a gun and demanded cash.
Police said it wasn't clear if the robber was successful in getting cash in either of those two incidents and an employee couldn't be reached for comment at Coco or Gigi.
The man did have more luck in Brooklyn, though, in a couple of holdups that took place over the summer.
On August 19, police say he pulled a knife on a cashier at a Subway sandwich shop at 66 Court Street. The employee handed over an unknown amount of cash and the robber took off.
On July 30, he simulated a gun while demanding cash from a 20-year-old employee at 7-Eleven at 146 Empire Boulevard. The cashier turned over the money and he took off with that as well as some candy and a pack of cigarettes.
Police said the man, who may be homeless, is black with a medium complexion and was last seen wearing black glasses, a black Du-rag, a gray sweater and dark shoes. At the Subway shop, he was also seen with a large backpack with a cane hanging from it.
Anyone with information in regards to this incident is asked to call the NYPD's Crime Stoppers Hotline at 800-577-TIPS or for Spanish 1-888-57-PISTA (74782). The public can also submit their tips by logging onto nypdcrimestoppers.com or texting their tips to 274637(CRIMES) then enter TIP577.
Posted by Maria Rocha-Buschel in 13th Precinct, Crime
Tagged: coco bubble tea, dunkin donuts, gigi, NYPD, robbery
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2 thoughts on "Teen worker tells would-be robber to get out of ST Dunkin' Donuts"
Is there a picture of this man? I would imagine that Dunkin has security cameras, right?
We need to put this mans photo on blast, before someone gets hurt.
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text:
Hołcyna – potok, lewobrzeżny, drugi co do długości dopływ Brennicy o długości 6,02 km i średnim spadku 6,0%.

Płynie w Beskidzie Śląskim, na terenie Brennej. Źródła potoku znajdują się na zachodnich stokach Grabowej, na wysokości ok. 800 m n.p.m. Spływa w kierunku północnym głęboką doliną, wciętą między grzbiet Starego Gronia (na zachodzie) a Kotarza (na wschodzie) i wpada do Brennicy koło kościoła w centrum Brennej. W dolnym biegu potoku niewielka zapora wodna, tworząca zalew, wykorzystywany w sezonie letnim w celach rekreacyjnych (kajaki, rowery wodne).

W dolnej części doliny Hołcyny i na otaczających ją stokach rozłożyły się zabudowania przysiółka Brennej – Hołcyny. Wzdłuż dolnego biegu Hołcyny wiedzie znakowany kolorem niebieskim szlak turystyczny z Brennej na Kotarz.

Zobacz też
 Hołcyna (Brenna)

Przypisy

Wody Beskidu Śląskiego
Dorzecze Brennicy

redpajama_set_name: RedPajamaWikipedia


text:
New twist in Stormy Daniels' lawsuit against Avenatti
January 25, 2022 by meziesblog.com, posted in Celebrity, News
Once-prominent California attorney Michael Avenatti took over representation of himself Tuesday at his latest criminal trial, setting the stage for him to directly confront former client and porn star Stormy Daniels over her claims that he stole some of the money she was owed for her autobiography.
U.S. District Judge Jesse M. Furman granted Avenatti's request at his Manhattan trial on wire fraud and aggravated identity theft charges after he cited a "breakdown" with his lawyers over trial strategy, particularly on how to question a former longtime office worker for Avenatti who was testifying at the trial by video.
Daniels was expected to take the witness stand at the trial as early as Wednesday.
Avenatti, 50, has vehemently asserted his innocence on the claims that he pocketed nearly $300,000 of the $800,000 advance paid to Daniels for her 2018 book "Full Disclosure."
Although Furman told Avenatti earlier that his right to represent himself was "sharply curtailed" once his trial began, the judge granted Avenatti's request after Avenatti insisted he wanted to act as his own lawyer, as he did at a trial in California for six weeks last year.
At that federal trial, he represented himself against criminal charges that he cheated clients of millions of dollars, and the proceedings ended in a mistrial.
Before, in early 2020, Avenatti was convicted of trying to extort up to $25 million from sportswear giant Nike by threatening to tarnish the company's reputation if it didn't meet his demands. He was sentenced to 2 1/2 years in prison. At that trial, he did not testify and was represented by lawyers.
Avenatti became well known nationally in 2018 as he represented Daniels in lawsuits against then-President Donald Trump. Daniels had received $130,000 shortly before the 2016 presidential election to remain silent about her claims that she'd had a sexual tryst with Trump a decade earlier. Trump has denied it happened.
In opening statements Monday, Avenatti attorney Andrew Dalack said Avenatti had an agreement with Daniels, whose real name is Stephanie Clifford, to share proceeds of any book deal.
Dalack said Avenatti had loaned Daniels hundreds of thousands of dollars while he represented her.
A prosecution witness, Judy Regnier, testified Tuesday that she did not believe Avenatti had sent any of his law firm's money to Daniels between July 2018 and February 2019.
Regnier, who worked as a paralegal and office manager for Avenatti for about 11 years, said the firm's finances were in bad shape during that span.
"I was checking bank accounts to see if there were enough funds to make it through the week, or the day," she said.
Tagged Celebrity, lawsuit, Michael Avenatti, News, porn star, Professional ethics, Stormy Daniels
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